Tales from the German, Comprising specimens from the most celebrated authors

Professor Aloysius Walter did not know that he really stood before the "travelling enthusiast," although he might have found it out, and thus, gentle reader, I am enabled to give you the Jesuit-student's short history of the painter, Berthold. It thoroughly explains the manner in which he conducted himself in my presence, and thou, reader, wilt be able to see how the strange spirit of destiny often plunges us into destructive error.

"'Only let your son make up his mind and go to Italy. He is already a clever artist, and here at D – there is no lack of opportunity for studying after excellent originals in every class, but here he must not stay. The free life of an artist must dawn upon him in the cheerful land of art, his studies will there first take a living form, and produce individual thoughts. Mere copying is now of no further use to him. The growing plant requires more sun to thrive and bring forth its blossoms and fruit. Your son has a really artistical temperament, so you may be perfectly satisfied about all the rest!' Thus said the old painter, Stephan Birkner, to Berthold's parents. The latter scraped together all that their slender means would allow to fit out the youth for his long journey, and thus was Berthold's warmest wish – that of travelling to Italy – accomplished.

"'When Birkner told me the decision of my parents, I literally jumped for joy. I wandered about as in a dream till the time of my departure. I was not able to make a single stroke with my pencil in the gallery. I made the inspector, and all the artists who had been to Italy, tell me of the land where art flourishes. The day and hour at length arrived. The parting from my parents was painful, as they felt a gloomy presentiment that they should not see me again. Even my father, generally a firm, resolute man, had difficulty in containing his feelings. 'Italy! you will see Italy!' cried my brother artists, and then my wish shone forth with greater power, from my deep melancholy, and I stepped boldly forth, for the path of an artist seemed to begin even at my parents' door.'

"Berthold had studied every department of painting, but he had especially devoted himself to landscapes, at which he worked with ardent love and zeal. In Rome he expected to find abundant nurture for this branch of art, but it proved otherwise. The very circle of artists and dilettanti in which he moved, continually told him that the historical painter alone stood on the highest point, and that all the rest were but subordinate. He was advised, if he wished to become an artist of eminence, to abandon at once the department he had chosen, and to devote himself to the higher branch; and this advice, coupled with the novel impression which Raffaelle's mighty frescoes in the Vatican had made upon him, determined him to give up landscape painting altogether. He sketched after the Raffaelles, and he copied small oil paintings by other celebrated masters. All these things were very cleverly done by his practised hand; but he plainly felt that the praise of the artists and dilettanti should only solace him, and encourage him to further efforts. He himself saw that his sketches and copies wanted all the fire of the originals. Raffaelle's and Correggio's heavenly thoughts – so he thought – inspired him to creations of his own, but he wished to hold them fast in his fancy, they vanished as in a mist, and all that he sketched was like every obscure, confused thought, without motion and significance. During his vain endeavours deep melancholy took possession of his soul, and he often escaped from his friends, privately to sketch and paint in the vicinity of Rome, groups of trees – single pieces of landscape. But even these attempts were less successful than formerly; and, for the first time in his life, he doubted the truth of his calling as an artist. His proudest hopes seemed on the point of vanishing. 'Ah, my revered friend and instructor,' wrote Berthold to Birkner, 'you gave me credit for great things; but here, when a light should have risen in my soul, I have learned that that which you termed real artistical genius was nothing but a sort of talent– mere dexterity of hand. Tell my parents that I shall soon return, and learn some trade that I may get my living,' &c. Birkner wrote back: 'Oh! would I could be with you, my son, to support you in your depression. It is your very doubts that prove your calling as an artist. He who with steady immoveable confidence in his powers believes that he will always progress, is a blind fool, who only deceives himself, for he wants the proper spur to endeavour, which only consists in the thought of deficiency. Persevere and you will soon gain strength; and then, no longer fettered by the opinion or the advice of friends, who are, perhaps, unable to appreciate you, you will quietly pursue the path which your own nature has designed for you. It will then be left to your own decision whether you become a painter of landscapes or historical pieces, and you will cease to think of a hostile separation of the branches of one trunk.'

"It happened that about the time when Berthold received this letter of consolation from his old friend and instructor, Philip Hackert's fame became widely extended in Rome. Some of the paintings which he had exhibited, and which were distinguished by wonderful grace and clearness, proved the real genius of the artist, and even the historical painters admitted that there was much greatness and excellence in this pure imitation of nature. Berthold breathed again; he no more heard his favourite art treated with contempt, he saw a man who pursued it honoured and elevated, and, as it were, a spark fell on his soul that he must travel to Naples and study under Hackert. In high spirits he wrote to Birkner, and his parents, that he had now, after a hard struggle, discovered the right way, and hoped to become a clever artist in his own style. The honest German, Hackert, received his German pupil with great kindness, and the latter soon made great efforts to follow his master. Berthold attained great facility in giving faithful representations of the different kinds of trees and shrubs, and was not a little successful in those misty effects, which are to be found in Hackert's pictures. He thus gained great praise, but it seemed to him as if something was wanting both in his own and his master's landscapes; – something to which he could not give a name, and which was nevertheless plainly apparent in the pictures by Claude Lorraine, and the wild landscapes of Salvator Rosa. Soon he felt a want of confidence in his instructor, and he felt particularly dispirited when Hackert, with unwearied exertion, painted some dead game which the king had sent him. Soon, however, he conquered such presumptuous thoughts – as he considered them – and went on with virtuous resignation and true German industry, following the pattern of his master, so that in a short time he could nearly equal him. At Hackert's own suggestion he sent a large landscape, which he had faithfully copied from nature, to an exhibition, which was chiefly to consist of landscapes and pieces of still-life in the Hackert style. All the artists and connoisseurs admired the young man's faithful, neatly executed works, and praised him aloud. There was only an elderly strangely-attired man who did not say a word about Hackert's pictures, but smiled, significantly, whenever the multitude broke out into extravagant praises. Berthold perceived plainly enough that this stranger, when he stood before his landscape, shook his head with an air of the deepest pity, and was then about to retire. Being somewhat elevated by the general praise which he had received, Berthold could not help feeling indignant with the stranger. He went up to him, and speaking more sharply than was necessary, said: 'You do not seem satisfied with the picture, sir, although I must say there are excellent artists and connoisseurs who do not think it so bad. Pray tell me where the fault lies that I may improve the picture according to your kind suggestion.' The stranger cast a keen glance at Berthold, and said, very seriously: 'Young man, a great deal might be made out of you.' Berthold felt deeply horrified at the glance and words of this man; he had not courage to say any thing more, or to follow him, when he slowly stalked out of the saloon. Hackert soon came in himself, and Berthold hastened to tell him of his meeting with this strange man. 'Ha!' said Hackert, smiling, 'do not take that to heart. That is a crabbed old man, who grumbles at every thing, and is pleased at nothing; I met him in the ante-room. He was born of Greek parents, in Malta, and is a rich, queer old fellow, and no bad painter. All that he does has a fantastic appearance, and this proceeds from the absurd notion he has about art, and from the fact that he has constructed a system which is utterly worthless. I know well enough that he has no opinion of me, which I readily pardon in him, since he cannot throw any doubt on my honourably acquired fame.' Berthold had felt as if the Maltese had touched a sore place in his soul, like a beneficent physician, only for the purpose of probing it and healing it; but he soon drove this notion from his mind, and worked on happily as he had done before.

"The success of this large picture, which was universally admired, gave him courage to begin a companion to it. Hackert himself selected one of the most lovely spots in the gorgeous vicinity of Naples; and, as the first picture had represented sunset, this landscape was to show the effect of sunrise. He had a number of strange trees, a number of vineyards, and, above all, a good deal of mist to paint.

"Berthold was sitting on a large flat stone, in this very spot, completing the sketch of the great picture after nature. 'Bravo – well done!' said a voice near him. He looked up. The Maltese was viewing his work, and added, with a sarcastic smile, 'You have only forgotten one thing, my dear young friend. Only look yonder, at the wall of the distant vineyard; the one covered with green tendrils. The door is half-open, don't you see? You must represent that with its proper shading. The half-open door makes a surprising effect!'

"'You are joking, sir,' exclaimed Berthold, 'and without reason. Such accidental circumstances are by no means so contemptible as you imagine, and for that very reason my master loves to employ them. Only recollect the suspended white cloth in the landscape of one of the Dutch painters, that could not be omitted without marring the general effect. You, however, seem to be no friend to landscape painting in general; and, as I have given myself up to it with heart and soul, I beg of you to let me go on working in quiet.'

"'You are much mistaken, young man,' said the Maltese. 'I tell you again that a good deal might be made of you, for your works visibly prove an unwearied endeavour to attain the highest; but that, unfortunately, you will never attain, since the path that you have taken does not lead to it. Only mark what I tell you. Perhaps I may succeed in kindling that flame in your soul, which you, senseless as you are, are endeavouring to smother, and in making it flash up brightly, so as to enlighten you. Then you will be able to recognise the real spirit that animates you. Do you think I am so foolish as to place the landscape lower in rank than the historical painting, and that I do not recognise the common goal after which the painters of both classes should strive? The apprehension of nature in the deepest import of that higher sense, which kindles all beings to a higher life, that is the sacred end of all art. Can the mere dim copying of nature lead to this? How poor, how stiff and forced, is the appearance of a manuscript copied from another in some foreign language, which the copyist does not understand, and is, therefore, unable to give the strokes, which he laboriously imitates, their proper significance. Thus your master's landscapes are correct copies of an original author in a language which is strange to him. The initiated artist hears the voice of nature, which from trees, hedges, flowers, mountains, and waters, speaks to him, and of unfathomable mysteries in wondrous sounds, which form themselves in his bosom to a pious feeling of foreboding; then, as a divine spirit, the talent itself of transferring this dim feeling to his works, descends upon him. Have not you yourself, young man, felt strangely affected when looking at the landscapes of the old masters? Assuredly you did not think whether the leaves of the lime trees, the pines, the plane trees, might be truer to nature, whether the back ground might be more misty, or the water might be clearer; but the spirit that breathes from the whole raised you into a higher region, the reflection of which you seemed to behold. Therefore, study nature in the mechanical part, sedulously and carefully, that you may attain the practice of representation; but do not take the practice for the art itself. If you have penetrated into the deep import of nature, her pictures will arise within you in bright magnificence.' The Maltese was silent; but when Berthold, deeply moved by what he had heard, stood with downcast eyes, and incapable of uttering a word, the Maltese left him, saying, 'I had no intention of interrupting you in your calling, but I know that a higher spirit is slumbering in you. I called upon it, with strong words, that it might awake, and move its wings with freshness and vigour. Farewell.'

"Berthold felt as if the Maltese had only clothed in words that which had already been fermenting in his soul. The inner voice broke forth. 'No! All this striving, this constant endeavour, is but the uncertain, deceptive groping of the blind. Away with all that has hitherto dazzled me.' He was not in a condition to accomplish a single other stroke. He left his master, and wandered about full of wild uneasiness, loudly imploring that the high knowledge of which the Maltese had spoken might be revealed to him.

"'Only in sweet dreams was I happy – yes, truly blessed! Then every thing that the Maltese had spoken became true. I lay in the green hedge, while magical exhalations played around me, and the voice of nature sounded audibly and melodiously through the dark forest. 'Listen, listen, oh! thou initiated one. Hear the original tones of creation, which fashion themselves to beings accessible to thy mind.' And when I heard the chords sound plainer and plainer, I felt as though a new sense was awakened in me, and apprehended with wonderful perspicuity, that which had appeared unfathomable. As if in strange hieroglyphics I drew in the air the secrets that had been revealed to me with characters of fire; and this hieroglyphic writing was a strange landscape, upon which trees, hedges, flowers, and waters moved, as it seemed, in loud delightful sounds.'

"But it was only in dreams that poor Berthold felt real happiness, for his strength was broken, and his mind was more disturbed than it had been in Rome, when he wished to be an historical painter. If he strode through the dark wood, an unpleasant sensation of awe came over him; if he went out and looked into the distant mountains, he felt as though icy cold claws grasped his heart – his breath was stopped – and he felt as if he perished from internal anguish. All nature, which used to smile kindly upon him, became a threatening monster, and her voice, which used to greet him sweetly in the murmuring of the evening breeze, in the bubbling of the brook, in the rustling of the leaves, now told him of nothing but perdition. At last, however, the more these lively dreams consoled him, the calmer he became; nevertheless, he avoided being alone in the open air, and hence he associated himself with a couple of cheerful German painters, and took with them many a trip to the loveliest spots of Naples.

"One of them, whom we will call Florentin, was at this moment more intent upon the enjoyment of life, than upon the serious study of his art, as his portfolio sufficiently testified. Groups of dancing peasant-girls, processions, rural festivals – all this class of subjects he could transfer to paper with a sure, ready hand, whenever he chanced to meet with them. Every drawing, even though it were a mere sketch, had life and motion. At the same time his mind was by no means closed to the higher in art; on the contrary, he penetrated more than any modern painter into the strange import of the paintings by all masters. In his sketch-book he had copied in outline the frescoes of an old convent-church in Rome, before the walls were pulled down. They represented the martyrdom of St. Catharine, and one could not see any thing more beautiful, more happily conceived than those outlines, which made a very peculiar impression upon Berthold. He saw flashes through the gloomy desert that surrounded him, and the result was, that he became capable of appreciating the cheerful mind of Florentin, and that, as the latter when representing the charms, especially brought forward the human principle, he also took this principle as the ground on which he must stand, not to float away into boundless space. While Florentin was hastily sketching some group that he met, Berthold took the opportunity of looking into his book, and tried to imitate the lovely figure of Catharine, in which he was tolerably successful, although, as at Rome, he failed in giving his figures the animation of the original. He complained of this to Florentin, whom he looked upon as far his superior in true artistical genius, and at the same time told him all that the Maltese had spoken about art. 'The Maltese is right, dear brother Berthold,' said Florentin, 'and I rank the genuine landscape quite as high as the deeply significant sacred histories, as depicted by the old masters. Nay, I maintain that one ought first to strengthen oneself by the representation of that organic nature which is nearest to us, that we may be able to find light for her darker regions. I advise you, Berthold, to practise yourself in sketching figures, and in arranging your thoughts in them. Perhaps by this means you will gain additional light.' Berthold acted according to the suggestion of his friend, and it seemed to him, as if the dark clouds which spread over his life, were passing away.

"'I endeavoured to represent that, which seemed no more than a mere obscure feeling in my innermost soul, by hieroglyphic characters, as I had done in my dream; but the hieroglyphics became human figures, which moved about a focus of light in strange combinations. This focus was to be the noblest form that ever was evoked by a painter's fancy, but I vainly endeavoured, when this form appeared to me in a dream, surrounded by the rays of heaven, to catch the features. Every attempt to represent it proved an utter failure, and I seemed to fade away in a state of the most ardent desire.' Florentin perceived the situation of his friend, who was excited to a morbid degree, and gave him all the consolation in his power. Often did he tell him that this was the very time when illumination would break upon him; but Berthold merely slunk about like a dreamer, and all his attempts were but the feeble efforts of a puny child.

"In the vicinity of Naples was a duke's villa from which there was the finest view of Vesuvius and the sea, and which, on this account was hospitably kept open for foreign artists, especially landscape painters. Berthold had often worked here, but still oftener in a grotto in the park had he given himself up to his fantastic dreams. One day he was sitting in this grotto tortured by the sense of longing, that tore his bosom, and was shedding briny tears, hoping that the star would shine upon his obscure path, when a rustling was heard in the hedges, and the form of an exquisitely beautiful woman was before him.

"'The sunbeams fell upon her angelic countenance: she cast upon me an indescribable glance. It was Saint Catharine. No, more than she, it was my ideal. Mad with transport I threw myself on the ground, and the form vanished with a benignant smile! My most ardent prayer was realised.'

"Florentin entered the grotto, and was surprised at Berthold, who, with beaming countenance, pressed him to his heart, while the tears streamed from his eyes. 'My friend! my friend!' he stammered forth; 'I am happy – I am blessed – she is found – found!' He hurried to his atelier, and stretching the canvass began to paint as if inspired by divine power, he charmed before him the superterrestrial woman – for so he thought her – with the full glow of life. From this moment his inmost soul was entirely changed. Far from feeling that melancholy which preyed upon his heart, he was serene and cheerful. He industriously studied the chefs-d'oeuvre of the old painters. Many of his copies were perfectly successful, and now, for the first time, he began to produce paintings which caused astonishment among all the connoisseurs. As for landscapes, they were no more to be thought of, and Hackert himself confessed that the youth had not till now discovered his proper vocation. He had to paint many large works, such as altar-pieces for churches, and generally selected the more cheerful subjects of Christian tradition. From all of these, however, the noble form of his ideal beamed forth. It was discovered that the face and figure of the Princess Angiola T – were represented to the life; nay, this fact was communicated to the young painter himself, and knowing folks waggishly insinuated that the German was smitten to the heart by the brilliant eyes of the lovely dame. Berthold was highly indignant at this silly gossip of people who wished to lower the heavenly into the mere earthy. 'Do you believe,' he said, 'that such a being could wander here upon earth? No; the highest was revealed in a wondrous vision; it was the moment when the artist receives consecration.' Berthold lived happy, until the French army, after Bonaparte's conquests in Italy, approached the kingdom of Naples, and the revolution, which so fearfully destroyed all the peaceful relations of the place, broke out. The king and queen had left Naples, and the Citta was appointed. The vicar-general concluded a disgraceful truce with the French commander, and the French commissaries soon came to receive the sums that were to be paid them. The vicar-general fled to escape the rage of the people, who believed themselves deserted by him, by the Citta, and, in short, by all who could defend them against the approaching enemy. Then were all the bands of society loosened. The people, in a state of wild anarchy, set law and order at defiance, and with the cry, 'Viva la Santa Fede!' wild hordes ran through the streets plundering and burning the houses of the nobles, who they thought had sold them to the enemy. Vain were the endeavours of Moliterno and Rocca Romana, who were the favourites of the people, and had been elected for leaders: vain were their endeavours to restore order. The dukes Delia Torre and Clement Filomarino were murdered, but the thirst for blood among the raging people was not yet satisfied. Berthold had just been able to escape, half-dressed, from a burning house, when he met a mob, that with kindled torches and glittering knives, was hurrying to the palace of the Duke of T – . These madmen, taking him for one of their own class, carried him along with them, shouting, 'Viva la Santa Fede!' and in a few minutes the duke, the servants, every one who resisted, were murdered, and the palace, into which Berthold was more and more forced by the throng, was in flames. Thick clouds of smoke rolled through the long passages. Berthold, in danger of being burned to death, darted through the now open doors in hopes of finding an outlet, but all in vain; a piercing shriek of agony struck his ear, and he rushed into the hall. A woman was struggling with a lazzarone, who held her fast, and was about to plunge a knife in her heart. It was the princess – it was Berthold's ideal! Losing all consciousness with horror, he sprang towards them, and it was but the work of a moment to seize the lazzarone, to fling him to the ground, to plunge his own knife in his throat, to catch the princess in his arms, to fly with her through the flaming ruins, to dash down the steps, and to go on – on – through the dense crowd of people. None attempted to stop him in his flight. With the bloody knife in his hand, with his face begrimed by smoke, with his clothes torn, he was taken for a plunderer and murderer by the people, who willingly conceded him his prey. In a deserted corner of the city, beneath an old wall, to which, as if by instinct he had run to escape danger, he fell exhausted. On recovering, he found the princess kneeling at his side, and washing his forehead with cold water. 'Oh thanks! – thanks!' said she, in the softest and most lovely voice; 'thanks to the saints that thou hast recovered, my preserver, my all!' Berthold raised himself, – he fancied he was dreaming, he looked with fixed eyes upon the princess – yes, it was herself – the celestial form which had kindled the divine spark in his breast. 'Is it possible? – Is it true? – Do I live?' he exclaimed. 'Yes,' replied the princess, 'thou livest for me. That which thou didst not venture even to hope, has happened through a miracle. Oh! I know thee well, – thou art the German painter, Berthold, who loved me, and ennobled me in his beautiful works. Was it then possible for me to be thine? But now I am thine for ever – let us fly!' A strange feeling, as when a sudden pain disturbs sweet dreams, darted through Berthold as the princess spoke. But when the lovely woman clasped him with her full, snow-white arms, when he pressed her passionately to his bosom, then did a delicious trembling, hitherto unknown, take possession of him, and in the mad delight of possessing the greatest earthly felicity, he cried: 'Oh, it was no delirious dream! No! it is my wife whom I embrace, and whom I will never leave!'

"Escape from the city was at first impossible, for at the gate stood the French army, whose entrance the people, although badly armed and without leaders, were able to dispute for two days. Berthold, however, succeeded in flying with Angiola from one hiding-place to another, and at last out of the city. Angiola, deeply enamoured of him, could not think of remaining in Italy; she wished her family to consider her dead, that Berthold's possession of her might be secure. A diamond necklace, and some valuable rings which she wore, were sufficient to provide them with all necessaries at Rome – whither they had proceeded by slow degrees – and they arrived happily at M – , in Southern Germany, where Berthold intended to settle, and to support himself by his art. Was it not a state of felicity, not even to be dreamed, that Angiola, that creature of celestial loveliness, that ideal of his most delightful visions, now became his own, – when all social laws had seemed to raise an insurmountable barrier between him and his beloved? Berthold could hardly comprehend his happiness, he was abandoned to inexpressible delight, until the inner voice became louder and louder, urging him to think of his art. He determined to found his fame at M – by a large picture which he designed for the Maria church there. The whole subject was to be the very simple one of Mary and Elizabeth sitting on the grass in a beautiful garden, with the infant Christ and John playing before them; but all his efforts to obtain a pure spiritual view of his picture proved fruitless. As in that unhappy period of the crisis the forms floated away from him, and it was not the heavenly Mary – no, it was an earthly woman, his Angiola herself, fearfully distorted, that stood before the eyes of his mind. He fancied that he could defy the gloomy power that seemed to grasp him, – he prepared his colours and began to paint; but his strength was broken, and all his endeavours were – as they had been formerly – only the puny efforts of a senseless child. Whatever he painted was stiff and inanimate, and even Angiola, – Angiola his ideal, became, when she sat to him, and he tried to paint her, a mere wax image on the canvass, staring at him with its glassy eyes. His soul became more and more the prey of a despondency, that consumed all the happiness of his life. He would not, nay, he could not, work any more; and thus he fell into a state of poverty, which was the more crushing, because Angiola did not utter a word of complaint.

"'The grief that gnawed more and more into my soul, that grief that was the offspring of a hope, invariably deceived, when I summoned powers that were no longer mine, soon reduced me to a state that might be compared to madness. My wife bore me a son, – that increased my misery, and my long suppressed discontent broke out into open, burning hate. She – she alone had been the cause of my unhappiness. She was not the ideal which had appeared to me, but had only assumed the form and face of that heavenly woman. In wild despair I cursed her and her innocent child. I wished them both dead, that I might be freed from the insupportable pains that tortured me, like so many burning knives. Thoughts of hell arose in my mind. In vain did I read in Angiola's corpse-like face, and in her tears, the madness and impiety of my conduct. 'Thou hast cheated me out of my life, cursed woman!' I thundered forth, and thrust her away with my foot, when she fell fainting to the ground and clasped my knees.'

"Berthold's mad, cruel conduct towards his wife and child excited the attention of the neighbours, who informed the magistrates of the circumstance. They wished to imprison him; but when the police entered his dwelling, he had vanished with his wife and child, without leaving so much as a trace behind. Soon afterwards he appeared at N – , in Upper Silesia; he had got rid of his wife and child, and cheerfully began to paint the picture which he had vainly attempted at M – . However he could only finish the Virgin Mary, and the children – Christ and John – for he fell into a dreadful illness, which brought him near the death he desired. Every thing that belonged to him, including the unfinished picture, was sold for his subsistence; and, after he had recovered, in some measure, he departed, a sick, miserable beggar. He afterwards gained a poor livelihood by a few jobs of wall-painting."

"There is something terrible in the history of Berthold," said I to the professor. "Although so much is not plainly expressed, I believe that he was the reckless murderer of his innocent wife and child."

"He is a mad fool," replied the professor, "to whom I do not give credit for enough courage to perform such an act. On this point he never speaks plainly; and the question is, whether it be not a mere fancy that he took any part in the death of his wife and child. He now returns to painting marble; and this very night he will finish the altar. This puts him in a good-humour, and you may learn something about this critical affair from his own mouth."

I must confess that the thought of passing midnight in the church alone with Berthold made me shudder a little, now I had read his history. I thought that there might be a little of the devil in him in spite of his good-humour and frank deportment; and I chose rather to be in his company that very noon in the clear sunlight.

I found him upon the scaffold, reserved and in an ill-humour, painting the veins of marble. Climbing up to him, I reached him the pots, while he stared at me with amazement. "I am your helpmate," said I softly, and this drew a smile from him. Now I began to talk of his life, so as to let him know that I was acquainted with all; and he seemed to believe that he himself had, on that night, communicated every thing. Very, very gently I came to the frightful catastrophe, and then said suddenly – "Did you actually, in your unholy madness, murder your wife and child?"

At this he let the paint-pot and the pencil fall; and, staring at me with a hideous countenance, as he raised both his hands, cried out, "No, these hands are unstained by the blood of my wife – of my son! Another such word and I will dash myself down from the scaffolding with you, so that both our heads shall be shattered on the stone floor of the church."

At this moment I felt my situation rather odd, and deemed it advisable to change the subject. "Look here, dear Berthold," said I, as quietly and coolly as possible; "see how that ugly dark yellow is running on the wall."

He turned his eyes to the spot, and while he painted out the yellow, I slipped gently down the scaffold, left the church, and went to the professor, to have a hearty laugh at my well-chastised presumption.

My vehicle was repaired, and I left G – , after Professor Aloysius Walter had solemnly promised that in case any thing happened to Berthold, he would communicate it in writing immediately.

About half a year elapsed, when I actually received a letter from the professor. He expressed himself in very prolix terms of praise about our meeting at G – , and wrote as follows about Berthold: – "Soon after your departure affairs took a singular turn with our whimsical painter. He became suddenly quite cheerful, and finished, in the most splendid style, the great altar-piece, which is now the wonder of every body. He then vanished; and, as he took nothing with him, and a few days afterwards we found a hat and stick lying near the O – stream, we are all of opinion that he met a voluntary death."

J. O.

THE SEVERED HAND

BY WILHELM HAUFF

[This story is related by a Greek merchant, in the collection called "Die Karavane."]

I was born at Constantinople, where my father was a dragoman to the Sublime Porte, and carried on besides, a tolerably lucrative trade in perfumes and silks. He gave me a good education, partly instructing me himself, and partly engaging a priest of our religion for that purpose. He originally intended me for his own business, but as I displayed greater talents than he expected, he determined, by the advice of his friends, to make me a physician, being of opinion that a physician, if he has learned more than the common charlatans, could make his fortune in Constantinople. Our house was frequented by many Franks, one of whom urged my father to let me go to the city of Paris, in his native country, where people might study such things gratis and in the best manner, saying, he would take me with him for nothing when he returned thither.

My father, who in his youth had also travelled, agreed, and the Frank told me to be ready in three months. I was delighted beyond measure at the prospect of seeing foreign lands, and could scarcely await the time when we should embark. Having at length concluded all his business, the Frank prepared for his voyage, and on the evening previous to our departure my father took me to his lodgings. Here I saw beautiful dresses and arms lying on the table; but what most attracted my eyes was a large heap of gold, as I had never before seen so much together. My father embraced me, saying, "Behold, my son, I have provided these clothes for your voyage; those arms are yours, and they are the same your grandfather gave me when I went forth to foreign countries. I know you can wield them, but never use them excepting in self-defence, and then fight bravely. My fortune is not large; but see, I have divided it into three parts, of which one is yours, one shall be for my support and wants, but the third shall be sacred property, and devoted to the purpose of saving you in the hour of need." Thus spoke my aged father, and tears trembled in his eyes, perhaps from a certain presentiment, for I never saw him again.

Our voyage was prosperous; we soon reached the land of the Franks, and in six days' journey, after landing, we came to the great city of Paris. Here my Frankish friend hired a room and advised me to use proper discretion in laying out my money, which in all was two thousand thalers. I lived for three years in this city, and learned what every skilful physician ought to know; but I should not speak the truth were I to say that I liked the place, for the manners and customs of this people did not suit me. Moreover, I had but few friends, though these were indeed noble young men.

The desire of seeing my native country, at length, became strong; and having all this time heard nothing of my father, I seized a favourable opportunity to return home.

This opportunity was afforded me by an embassy from the land of the Franks to the Sublime Porte. I engaged myself as surgeon in the suite of the ambassador, and was fortunate enough to return to Constantinople. There I found my father's house closed, and the neighbours were astonished when they saw me, and told me that my father had died two months since. The priest who had instructed me in my youth brought me the keys of the now desolate house, which I entered alone and forsaken. I found every thing as my father had left it, only the money he had promised to bequeath me was not there. I inquired of the priest about it, who, with a bow, told me that my father had died as a holy man, since he had bequeathed all his money to the church.

The latter circumstance has ever since been inexplicable to me. Yet what could I do? I had no witnesses against the priest, and could not but consider myself fortunate that he had not also claimed as a legacy the house and goods of my father. This was the first calamity that befel me, but from that time misfortunes succeeded each other. My reputation as a physician spread but slowly, because I was ashamed to play the quack, and I wanted everywhere the recommendation of my father, who would have introduced me to the wealthiest and noblest persons, who now no longer thought of poor Zaleukos. Neither could I find customers for my father's goods, for all had gone elsewhere after his death, and new ones come but slowly. Once sadly reflecting on my situation it occurred to me that I had often seen in France men of my native land, who travelled through the country, exposing their goods in the market-places of the towns; I remembered that they easily found customers because they came from a foreign country, and that by such traffic one might profit a hundred-fold. My resolution was soon taken. I sold my father's house, gave part of the money I received for it to a tried friend to keep for me, and with the rest I purchased such things as are seldom seen in the west – viz: shawls, silks, ointments, and perfumes. Having engaged a berth in a ship, I thus set out on my second voyage to France. As soon as I had turned my back on the castles of the Dardanelles it seemed as if fortune would again smile on me. Our passage was short and prosperous.

I travelled through large and small towns, and found everywhere ready purchasers of my goods. My friend in Constantinople supplied me constantly with fresh goods, and I daily became more wealthy.

When at length I thought I had saved enough to risk a greater enterprise, I went to Italy. But I must here mention that I derived no small additional profit from the healing art. Whenever I entered a town, I announced, by bills, that a Greek physician had arrived, who had already cured many; and truly my balsams and medicines brought me in many a zechino. I now reached the city of Florence, in Italy, where I purposed remaining for some time, as I liked it much, and wished to recover from the fatigues of my travels. I hired a shop in the quarter called Santa Croce, and in an inn not far from thence two beautiful rooms which led to a balcony. Having made these arrangements, I had my bills placarded about, announcing myself as a physician and merchant. I had no sooner opened my shop than I had crowds of customers, and though my prices were rather high, I sold more than others, because I was civil and obliging to my customers. When I had thus pleasantly spent four days in Florence, I was one evening about closing my shop, and only had to examine my stock of boxes of ointments, as was my custom, when I found in a small jar a piece of paper which I did not recollect to have put there. On opening it I discovered that it was an invitation for me to appear that night at twelve o'clock precisely on the bridge called Ponte Vecchio. I conjectured a long time who it could possibly be that invited me thither, but, not knowing a soul in Florence, I thought some one wished, perhaps, to take me secretly to some sick person, which was not uncommon, and I therefore determined to go. However, I took the precaution to buckle on the sword my father had given me.

When it was near midnight I set out on my way, and soon arrived at the Ponte Vecchio. I found the bridge forsaken and lonely, and determined to await the person who had appointed to meet me.

It was a cold night, the moon shone brightly, and I looked down on the waves of the Arno, glistening in the moonlight. The church clocks now struck the midnight hour, I looked up and saw before me a tall man, enveloped in a red cloak, a corner of which he had drawn over his face.

At first, I was rather terrified, at his suddenly appearing behind me, but soon recovered myself, and said, "If you have summoned me hither, say what is your command." The Red Cloak turned round, and slowly said, "Follow me." I felt somewhat uneasy at the thought of following the stranger alone; so I stood still, saying, "Nay, sir, please first to tell me whither. Moreover, you might let me have a peep at your face, that I may see whether you intend any good with me." But the Red Cloak did not seem to mind my words, "If you will not follow, Zaleukos, stop where you are," he said, and then went on. Now my anger was roused, and I cried, "Think you a man like me, will submit to be tantalized by any fool, and to wait for nothing in a cold night like this?" In three leaps I overtook him, seized him by the cloak, and cried still louder, while grasping my sword with the other hand. But the cloak alone remained in my hand, and the stranger vanished round the next corner. My rage gradually subsided, but still I held the cloak, and this I expected would give me a clue to this singular adventure. I wrapped it round me, and walked home. When I was about a hundred paces from my house, some one passed close by me, and whispered to me in French, "Be on your guard, Count, there is nothing to be done to night." But before I could look round, this somebody had passed, and I only saw his shadow glide along the houses. That those words were addressed to the owner of the cloak and not to me was pretty evident, but this threw no light on the affair. The following morning, I considered what I should do. At first I intended to have the cloak cried, as if I had found it: on reflection, however, I thought the owner might send another person for it, and that I might still have no clue to the discovery. While thus considering, I looked at the cloak more narrowly; It was of heavy Genoese reddish purple velvet, edged with Astracan fur, and richly embroidered with gold. The sight of this splendid cloak suggested an idea to me, which I resolved to execute. I carried it to my shop, and exposed it for sale, but set upon it so high a price, that I felt sure I should not find a purchaser. My object in this was to look closely at every person who might ask the price; for I thought I could discover, among a thousand, the figure of the stranger, which after the loss of the cloak had shown itself to me distinctly, though but for a moment. Many came desirous of buying the cloak, the extraordinary beauty of which attracted every eye, but no one had the remotest resemblance to the stranger, and none would pay for it the high price of two-hundred zechinos. What struck me most was, that all whom I asked whether they had ever seen such a cloak in Florence before, replied in the negative, assuring me they had never seen such costly and tasteful work.

As evening approached, a young man came who had often been in my shop, and had also during the day made a handsome offer for it. He threw a purse of zechinos on the table, saying, "By Heavens, Zuleukos I must have your cloak, though it will beggar me!" At these words he counted down the gold. I was greatly embarrassed, having only exposed the cloak for sale in hopes of attracting the looks of its owner, and now comes a young madcap to pay the exorbitant price. But what could I do? I yielded; for the idea was pleasing of being so handsomely recompensed for my nocturnal adventure. The young man put on the cloak and went away; but returned at the door, as he took off a paper which was fastened to it, threw it to me, and said, "Here, Zaleukos is something which I think does not belong to the cloak." I took the paper carelessly, when behold! it contained these words:

"Bring the cloak to night at the usual hour to the Ponte Vecchio, and four hundred zechinos shall be yours." I was thunderstruck. Thus then I had trifled with my good luck, and utterly missed my aim; but I soon recovered, took the two-hundred zechinos, followed him, and said, "Take back your money, my friend, and leave me the cloak, I cannot possibly part with it." He thought at first I was joking, but when he perceived I was in earnest, he flew into a rage at my demand, called me a fool, and we at length came to blows. In the scuffle, I was fortunate enough to secure the cloak, and was about to run off with it, when the young man called the police to his assistance, and brought me before the magistrate. The latter was much surprised at the accusation, and awarded the cloak to my opponent. I now offered the young man twenty, fifty, eighty, nay, a hundred zechinos, if he would let me have it. My gold effected what my entreaties could not. He took my money, I went off triumphant with the cloak, and was obliged to submit to be called mad by all Florence. But I cared little for the opinion of the people, since I knew more than they, viz: that I still gained by my bargain.

I awaited the night with impatience. About the same time as before I went to the Ponte Vecchio, with the cloak under my arm. The figure approached me with the last stroke of the clock, and I could not be mistaken as to its identity. "Have you the cloak?" was the question. "I have, sir," I answered, "but it cost me a hundred zechinos." "I know it," he replied; "here are four hundred for it." With these words he stepped to the broad balustrade and counted down the gold, four hundred pieces, which sparkled beautifully in the moonlight; their glitter delighted my heart, which, alas! little imagined that this was its last joy. I put the money in my pocket, and was going to take a close survey of the kind unknown, but he had on a mask, through which his dark eyes flashed at me frightfully. "I thank you, sir, for your kindness," said I. "What else do you desire of me? for I must tell you beforehand that it must be nothing underhanded." "Unnecessary fear," he replied, as he wrapped the cloak round him. "I want your assistance as a physician, not, however, for one living, but for one who is dead."

"How can that be?" I exclaimed, astonished. He beckoned me to follow him, and related as follows: "I came here from foreign lands with my sister, and have lived with her at the house of a friend, where she died suddenly yesterday. Her relatives wish her to be buried to-morrow; and by an ancient custom in our family every member is to be buried in the vault of our ancestors, where many who died in foreign countries now repose embalmed. I wish to leave her body to our relations here, but must take to my father her head, at least, that he may see his daughter's face once more."

This custom of cutting off the head of beloved relatives seemed to me somewhat repulsive, but I did not venture to raise any objections, fearing to give offence to the stranger. I therefore told him that I well understood embalming the dead and begged him to take me to the deceased. At the same time I could not refrain from asking him why all this must be done so mysteriously, and in the night. To this he answered, that his relations, considering his intention as somewhat cruel, would prevent him if he attempted it during the daytime; but that if the head was once severed they would say little about it; that he, indeed, would have brought me the head himself had not a natural feeling deterred him from performing the operation.

In the meanwhile we arrived at a large, splendid mansion, which my companion pointed out as the end of our nocturnal walk. Passing the principal gate we entered the house by a small door, which he carefully fastened after him, and ascended, in the dark, a narrow winding staircase. This led to a faintly lighted corridor through which we came to an apartment, which was lighted by a lamp suspended from the ceiling.