Chambers's Edinburgh Journal, No. 454. Various

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СКАЧАТЬ and there is no time to seek further. Come; for Heaven's sake, let us hasten.'

      Conrad immediately gave the necessary intimation to his landlady; his easel, pallet, and painting-box were quickly placed in the phaeton; the gentleman and himself took their places inside; and the coachman drove off at as great a pace as a pair of good horses could command.

      Twilight was deepening into dusk when, after a silent and rapid ride of some ten miles, the phaeton stopped before the gates of a park-like demesne. The coachman shouted; when a lad, who appeared to have been waiting near the spot, ran and opened the gates, and they resumed their way through a beautiful drive—the carefully-kept sward, the venerable trees, and the light and elegant ha-has on either side, testifying that they were within the boundaries of an estate of some pretensions. Half a mile brought them to the portal of a sombre and venerable mansion, which rose up darkly and majestically in front of an extensive plantation of forest-like appearance. Facing it was a large, level lawn, having in the centre the pedestal and sun-dial so frequently found in such situations.

      A footman in livery came forth, and taking Conrad's easel and apparatus, carried them into the house. The young artist, who had always lived and moved among humble people, was surprised and abashed to find himself suddenly brought into contact with wealth and its accompaniments, and began to fear that more might be expected of him than he would be able to accomplish. The occasion must be urgent indeed, thought he nervously, which should induce wealthy people to have recourse to him—a poor, self-taught, obscure artist—merely because he happened to be the nearest at hand. However, to draw back was impossible; and, although grief is always repellent, there was still an amount of kindness and consideration in the demeanour of his new employer that reassured him. Besides, he knew that, let his painting be as crude and amateur-like as any one might please to consider it, he had still the undoubted talent of being able to catch a likeness—indeed, his ability to do this had never once failed him. This reflection gave him some consolation, and he resolved to undertake courageously whatever was required of him, and do his best.

      When they had entered the house, the door was softly closed, and the gentleman, whose name we may here mention was Harrenburn, conducted Conrad across the hall, and up stairs to an apartment on the second storey, having a southern aspect. The proportions of the house were noble. The wide entrance-hall was boldly tesselated with white and black marble; the staircase was large enough for a procession of giants; the broad oaken stairs were partly covered with thick, rich carpet; fine pictures, in handsome frames, decorated the walls; and whenever they happened in their ascent to pass an opened door, Conrad could see that the room within was superbly furnished. To the poor painter, these evidences of opulence and taste seemed to have something of the fabulous about them. The house was good enough for a monarch; and to find a private gentleman of neither rank nor title living in such splendour, was what he should never have expected. Mr Harrenburn placed his finger on his lips, as he opened the door of the chamber already indicated; Conrad followed him in with stealthy steps and suppressed breath. The room was closely curtained, and a couple of night-lights shed their feeble and uncertain rays upon the objects within it. The height of the apartment, and the absorbing complexion of the dark oaken wainscot, here and there concealed by falls of tapestry, served to render such an illumination extremely inefficient. But Conrad knew that this must be the chamber of death, even before he was able to distinguish that an apparently light and youthful figure lay stretched upon the bed—still, motionless, impassive, as death alone can be. Two women, dressed in dark habiliments—lately nurses of the sick, now watchers over the dead—rose from their seats, and retired silently to a distant corner of the room as Mr Harrenburn and Conrad entered. Where does the poor heart suffer as it does in the chamber of the dead, where lies, as in this instance, the corpse of a beloved daughter? A hundred objects, little thought of heretofore, present themselves, and by association with the lost one, assume a power over the survivor. The casual objects of everyday life rise up and seize a place in the fancy and memory, and, become invested with deep, passionate interest, as relics of the departed. There is the dress which lately so well became her; there the little shoes in which she stepped so lightly and gracefully; there the book which she was reading only yesterday, the satin ribbon still between the pages at which she had arrived when she laid it down for ever; there the cup from which she drank but a few hours back; there the toilet, with all its little knick-knacks, and the glass which so often mirrored her sweet face.

      Thus Conrad instinctively interpreted the glances which Mr Harrenburn directed at the objects around him. The bereaved father standing motionless, regarded one thing and then another with a sort of absent attention, which, under other circumstances, would have appeared like imbecility or loss of self-command, but now was full of a deeply-touching significance, which roused the sympathies of the young painter more powerfully than the finest eloquence could have done. He seemed at first to shun the bed, as if the object lying there were too powerful a source of grief to bear—seemed to be anxious to discover in some minor souvenirs of sorrow, a preparatory step, which should enable him to approach with seemly and rational composure the mute wreck of his beloved child—the cast-shell of the spirit which had been the pride and joy, the hope and comfort of his life. But presently he succeeded in mastering this sensibility, and approaching the bed, motioned Conrad to follow him. He gently drew aside the curtain which had concealed the face of the figure that was lying there. Conrad started. Could that be death? That hair, so freshly black and glossy; those slightly-parted lips, on which the light of fancy still seemed to play; the teeth within, so white and healthy-looking; the small, well-shapen hand and arm, so listlessly laid along the pillow: could these be ready for the grave? It seemed so much like sleep, and so little like death, that Conrad, who had never looked upon the dead before, was amazed. When he saw the eyes, however, visible betwixt the partly-opened lids, his scepticism vanished. The cold, glazed, fixed unmeaningness of them chilled and frightened him—they did really speak of the tomb.

      'My daughter,' said Mr Harrenburn, to whose tone the effort of self-command now communicated a grave and cold severity. 'She died at four this afternoon, after a very short illness—only in her twentieth year. I wish to have her represented exactly as she lies now. From the window there, in the daytime, a strong light is thrown upon this spot; so that I do not think it will be needful to make any new disposition either of the bed or its poor burden. Your easel and other matters shall be brought here during the night. I will rouse you at five in the morning, and you will then, if you please, use your utmost expedition.'

      Conrad promised to do all he could to accomplish the desire of the afflicted parent, and after the latter had approached the bed, leaned over it, and kissed the cold lips of his child, they left the room to the dead and its silent watchers.

      After a solemn and memorable evening, Conrad was shewn to his bedroom, and there dreamed through the livelong night—now, that he was riding at frightful speed through woods and wilds with Mr Harrenburn, hurrying with breathless haste to avert some catastrophe that was about to happen somewhere to some one; now, that he was intently painting a picture of the corpse of a beautiful young lady—terribly oppressed by nervousness, and a fretful sense of incapacity most injurious to the success of his labours—when suddenly, O horror! he beheld the body move, then rise, in a frightful and unnatural manner, stark upright, and with opened lips, but rigidly-clenched teeth, utter shriek upon shriek as it waved its white arms, and tore its streaming hair; then, that his landlady, Mrs Farrell, came up to him, as he crouched weeping and trembling by, and bade him be comforted, for that they who were accustomed to watch by the dead often beheld such scenes; then that Mr Harrenburn suddenly entered the room, and sternly reproached him for not proceeding with his work, when, on looking towards the bed, they perceived that the corpse was gone, and was nowhere to be seen, upon which Mr Harrenburn, with a wild cry, laid hands upon him, as if to slay him on the spot.

      'You do not sleep well.' A hand was gently laid upon his shoulder; a kind voice sounded in his ear: he opened his eyes; Mr Harrenburn was standing at his bedside. 'You have not slept well, I regret to find. I have knocked at your door several times, but, receiving no reply, ventured to enter. I have relieved you from an unpleasant dream, I think.'

      Conrad, somewhat embarrassed by the combined СКАЧАТЬ