# Tales of the Dead/The Family Portraits

Translation of "Portraits de Famille" from Fantasmagoriana volume 1 (1812), which itself is a translation of "Die Bilder der Ahnen" from Malven (1805).
I.
THE FAMILY PORTRAITS.
“No longer shall you gaze on’t; lest your fancy May think anon, it moves.———— The fixure of her eye has motion in’t.” Winter’s Tale.
Night had insensibly superseded day, when Ferdinand’s carriage continued its slow course through the forest; the postilion uttering a thousand complaints on the badness of the roads, and Ferdinand employing the leisure which the tedious progress of his carriage allowed, with reflections to which the purpose of his journey gave rise.
As was usual with young men of rank, he had visited several universities; and after having travelled over the principal parts of Europe, he was now returning to his native country to take possession of the property of his father, who had died in his absence.
Ferdinand was an only son, and the last branch of the ancient family of Meltheim: it was on this account that his mother was the more anxious that ​he should form a brilliant alliance, to which both his birth and fortune entitled him; she frequently repeated that Clotilde of Hainthal was of all others the person she should be most rejoiced to have as a daughter-in-law, and who should give to the world an heir to the name and estates of Meltheim. In the first instance, she merely named her amongst other distinguished females whom she recommended to her son’s attention: but after a short period she spoke of none but her: and at length declared, rather positively, that all her happiness depended on the completion of this alliance, and hoped her son would approve her choice.
Ferdinand, however, never thought of this union but with regret; and the urgent remonstrances which his mother ceased not to make on the subject, only contributed to render Clotilde, who was an entire stranger to him, less amiable in his eyes: he determined at last to take a journey to the capital, whither Mr. Hainthal and his daughter were attracted by the carnival. He wished at least to know the lady, ere he consented to listen to his mother’s entreaties; and secretly flattered himself that he should find some more cogent reasons for opposing this union than mere caprice, which was the appellation the old lady gave to his repugnance.
​Whilst travelling alone in his carriage, as night approached, the solitary forest, his imagination drew a picture of his early life, which happy recollections rendered still happier. It seemed, that the future presented no charms for him to equal the past; and the greater pleasure he took in retracing what no longer existed, the less wish he felt to bestow a thought on that futurity to which, contrary to his inclinations, he seemed destined. Thus, notwithstanding the slowness with which his carriage proceeded over the rugged ground, he found that he was too rapidly approaching the termination of his journey.
The postilion at length began to console himself; for one half of the journey was accomplished, and the remainder presented only good roads: Ferdinand, however, gave orders to his groom to stop at the approaching village, determining to pass the night there.
The road through the village which led to the inn was bordered by gardens, and the sound of different musical instruments led Ferdinand to suppose that the villagers were celebrating some rural fête. He already anticipated the pleasure of joining them, and hoped that this recreation would dissipate his melancholy thoughts. But on listening more attentively, he remarked that the music did not resemble that usually heard at inns; ​and the great light he perceived at the window of a pretty house from whence came the sounds that had arrested his attention, did not permit him to doubt that a more select party than are accustomed to reside in the country at that unfavourable season, were amusing themselves in performing a concert.
The carriage now stopped at the door of a small inn of mean appearance. Ferdinand, who counted on much inconvenience and few comforts, asked who was the lord of the village. They informed him that he occupied a château situated in an adjoining hamlet. Our traveller said no more, but was obliged to content himself with the best apartment the landlord could give him. To divert his thoughts, he determined to walk in the village, and directed his steps towards the spot where he had heard the music; to this the harmonious sounds readily guided him: he approached softly, and found himself close to the house where the concert was performing. A young girl, sitting at the door, was playing with a little dog, who began to bark. Ferdinand, drawn from his reverie by this singular accompaniment, begged the little girl to inform him who lived in that house. “It is my father,” she replied, smiling; “come in, sir.” And saying this, she slowly went up the steps.
Ferdinand hesitated for an instant whether to ​accept this unceremonious invitation. But the master of the house came down, saying to him in a friendly tone: “Our music, sir, has probably been the only attraction to this spot; no matter, it is the pastor’s abode, and to it you are heartily welcome. My neighbours and I,” continued he, whilst leading Ferdinand in, “meet alternately at each other’s houses once a week, to form a little concert; and to-day it is my turn. Will you take a part in the performance, or only listen to it? Sit down in this apartment. Are you accustomed to hear better music than that performed simply by amateurs? or do you prefer an assemblage where they pass their time in conversation? If you like the latter, go into the adjoining room, where you will find my wife surrounded by a young circle: here is our musical party, there is their conversazióni.” Saying this, he opened the door, made a gentle inclination of the head to Ferdinand, and seated himself before his desk. Our traveller would fain have made apologies; but the performers in an instant resumed the piece he had interrupted. At the same time the pastor’s wife, a young and pretty woman, entreated Ferdinand, in the most gracious manner possible, entirely to follow his own inclinations, whether they led him to remain with the musicians, or to join the circle assembled in the other apartment. Ferdinand, ​after uttering some common-place terms of politeness, followed her into the adjoining room.
The chairs formed a semicircle round the sofa, and were occupied by several women and by some men. They all rose on Ferdinand’s entering, and appeared a little disconcerted at the interruption. In the middle of the circle was a low chair, on which sat, with her back to the door, a young and sprightly female, who, seeing every one rise, changed her position, and at sight of a stranger blushed and appeared embarrassed. Ferdinand entreated the company not to interrupt the conversation. They accordingly reseated themselves, and the mistress of the house invited the new guest to take a seat on the sofa by two elderly ladies, and drew her chair near him. “The music,” she said to him, “drew you amongst us, and yet in this apartment we have none; I hear it nevertheless with pleasure myself: but I cannot participate in my husband’s enthusiasm for simple quartetts and symphonies; several of my friends are of the same way of thinking with me, which is the reason that, while our husbands are occupied with their favourite science, we here enjoy social converse, which sometimes, however, becomes too loud for our virtuoso neighbours. To-day, I give a long-promised tea-drinking. Every one is to relate a story of ghosts, or something of a similar nature. You ​see that my auditors are more numerous than the band of musicians.”
“Permit me, madam,” replied Ferdinand, “to add to the number of your auditors; although I have not much talent in explaining the marvellous.”
“That will not be any hinderance to you here,” answered a very pretty brunette; “for it is agreed amongst us that no one shall search for any explanation, even though it bears the stamp of truth, as explanations would take away all pleasure from ghost stories.”
“I shall benefit by your instructions,” answered Ferdinand: “but without doubt I interrupt a very interesting recital;—dare I entreat—?”
The young lady with flaxen hair, who rose from the little seat, blushed anew; but the mistress of the house drew her by the arm, and laughing, conducted her to the middle of the circle. “Come, child,” said she, “don’t make any grimace; reseat yourself, and relate your story. This gentleman will also give us his.”
“Do you promise to give us one, sir?” said the young lady to Ferdinand. He replied by a low bow. She then reseated herself in the place destined for the narrator, and thus began:
“One of my youthful friends, named Juliana, passed every summer with her family at her father’s estate. The château was situated in a romantic ​country; high mountains formed a circle in the distance; forests of oaks and fine groves surrounded it. It was an ancient edifice, and had descended through a long line of ancestry to Juliana’s father; for which reason, instead of making any alterations, he was only anxious to preserve it in the same state they had left it to him.
“Among the number of antiquities most prized by him was the family picture gallery; a vaulted room, dark, high, and of gothic architecture, where hung the portraits of his forefathers, as large as the natural size, covering the walls, which were blackened by age. Conformable to an immemorial custom, they ate in this room: and Juliana has often told me, that she could not overcome, especially at supper-time, a degree of fear and repugnance; and that she had frequently feigned indisposition, to avoid entering this formidable apartment. Among the portraits there was one of a female, who, it would seem, did not belong to the family; for Juliana’s father could neither tell whom it represented, nor how it had become ranged amongst his ancestry: but as to all appearance it had retained its station for ages, my friend’s father was unwilling to remove it.
“Juliana never looked at this portrait without an involuntary shuddering: and she has told me, that from her earliest infancy she has felt this ​secret terror, without being able to define the cause. Her father treated this sentiment as puerile, and compelled her sometimes to remain alone in that room. But as Juliana grew up, the terror this singular portrait occasioned, increased; and she frequently supplicated her father, with tears in her eyes, not to leave her alone in that apartment—‘That portrait,’ she would say, ‘regards me not gloomily or terribly, but with looks full of a mild melancholy. It appears anxious to draw me to it, and as if the lips were about to open and speak to me.—That picture will certainly cause my death.’
“Juliana’s father at length relinquished all hope of conquering his daughter’s fears. One night at supper, the terror she felt had thrown her into convulsions, for she fancied she saw the picture move its lips; and the physician enjoined her father in future to remove from her view all similar causes of fear. In consequence, the terrifying portrait was removed from the gallery, and it was placed over the door of an uninhabited room in the attic story.
“Juliana, after this removal, passed two years without experiencing any alarms. Her complexion resumed its brilliancy, which surprised every one; for her continual fears had rendered her pale and wan: but the portrait and the fears it produced had alike disappeared, and Juliana—”
​“Well,” cried the mistress of the house, smiling, when she perceived that the narrator appeared to hesitate, “confess it, my dear child; Juliana found an admirer of her beauty;—was it not so?”
“’Tis even so,” resumed the young lady, blushing deeply; “she was affianced: and her intended husband coming to see her the day previous to that fixed on for her marriage, she conducted him over the château, and from the attic rooms was shewing him the beautiful prospect which extended to the distant mountains. On a sudden she found herself, without being aware of it, in the room where the unfortunate portrait was placed. And it was natural that a stranger, surprised at seeing it there alone, should ask who it represented. To look at it, recognise it, utter a piercing shriek, and run towards the door, were but the work of an instant with poor Juliana. But whether in effect owing to the violence with which she opened the door the picture was shaken, or whether the moment was arrived in which its baneful influence was to be exercised over Juliana, I know not; but at the moment this unfortunate girl was striving to get out of the room and avoid her destiny, the portrait fell; and Juliana, thrown down by her fears, and overpowered by the heavy weight of the picture, never rose more.”——
A long silence followed this recital, which was ​only interrupted by the exclamations of surprise and interest excited for the unfortunate Juliana. Ferdinand alone appeared untouched by the general emotions. At length, one of the ladies sitting near him broke the silence by saying, “This story is literally true; I knew the family where the fatal portrait caused the death of a charming young girl: I have also seen the picture; it has, as the young lady truly observed, an indescribable air of goodness which penetrates the heart, so that I could not bear to look on it long; and yet, as you say, its look is so full of tender melancholy, and has such infinite attractions, that it appears that the eyes move and have life.”
“In general,” resumed the mistress of the house, at the same time shuddering, “I don’t like portraits, and I would not have any in the rooms I occupy. They say that they become pale when the original expires; and the more faithful the likeness, the more they remind me of those waxen figures I cannot look at without aversion.”
“That is the reason,” replied the young person who had related the history, “that I prefer those portraits where the individual is represented occupied in some employment, as then the figure is entirely independent of those who look at it; whereas in a simple portrait the eyes are inanimately fixed on every thing that passes. Such portraits ​appear to me as contrary to the laws of illusion as painted statues.”
“I participate in your opinion,” replied Ferdinand; “for the remembrance of a terrible impression produced on my mind when young, by a portrait of that sort, will never be effaced.”
“O! pray relate it to us,” said the young lady with flaxen hair, who had not as yet quitted the low chair; “you are obliged according to promise to take my place.” She instantly arose, and jokingly forced Ferdinand to change seats with her.
“This history,” said he, “will resemble a little too much the one you have just related; permit me therefore ——”
“That does not signify,” resumed the mistress of the house, “one is never weary with recitals of this kind; and the greater repugnance I feel in looking at these horrible portraits, the greater is the pleasure I take in listening to histories of their eyes or feet being seen to move.”
“But seriously,” replied Ferdinand, who would fain have retracted his promise, “my history is too horrible for so fine an evening. I confess to you that I cannot think of it without shuddering, although several years have elapsed since it happened.”
“So much the better, so much the better!” cried nearly all present; “how you excite our ​curiosity! and its having happened to yourself will afford double pleasure, as we cannot entertain any doubt of the fact.”
“It did not happen personally to me,” answered Ferdinand, who reflected that he had gone too far, “but to one of my friends, on whose word I have as firm a reliance as if I had been myself a witness to it.”
They reiterated their entreaties; and Ferdinand began in these words:—“One day, when I was arguing with the friend of whom I am about to make mention, on apparitions and omens, he told me the following story:—
“I had been invited,’ said he, ‘by one of my college companions, to pass my vacations with him at an estate of his father’s. The spring was that year unusually late, owing to a long and severe winter, and appeared in consequence more gay and agreeable, which gave additional charms to our projected pleasures. We arrived at his father’s in the pleasant month of April, animated by all the gaiety the season inspired.
“As my companion and I were accustomed to live together at the university, he had recommended to his family, in his letters, so to arrange matters that we might live together at his father’s also: we in consequence occupied two adjoining rooms, from whence we enjoyed a view of the garden and ​a fine country, bounded in the distance by forests and vineyards. In a few days I found myself so completely at home in the house, and so familiarised with its inhabitants, that nobody, whether of the family or among the domesticks, made any difference between my friend and myself. His younger brothers, who were absent from me in the day, often passed the night in my room, or in that of their elder brother. Their sister, a charming girl about twelve years of age, lovely and blooming as a newly blown rose, gave me the appellation of brother, and fancied that under this title she was privileged to shew me all her favourite haunts in the garden, to gratify my wishes at table, and to furnish my apartment with all that was requisite. Her cares and attention will never be effaced from my recollection; they will long outlive the scenes of horror that château never ceases to recall to my recollection. From the first of my arrival, I had remarked a huge portrait affixed to the wall of an antechamber through which I was obliged to pass to go to my room; but, too much occupied by the new objects which on all sides attracted my attention, I had not particularly examined it. Meanwhile I could not avoid observing that, though the two younger brothers of my friend were so much attached to me, that they would never permit me to go at night into my room ​without them, yet they always evinced an unaccountable dread in crossing the hall where this picture hung. They clung to me, and embraced me that I might take them in my arms; and whichever I was compelled to take by the hand, invariably covered his face, in order that he might not see the least trace of the portrait.
“Being aware that the generality of children are afraid of colossal figures, or even of those of a natural height, I endeavoured to give my two young friends courage. However, on more attentively considering the portrait which caused them so much dread, I could not avoid feeling a degree of fear myself. The picture represented a knight in the costume of a very remote period; a full grey mantle descended from his shoulders to his knees; one of his feet placed in the foreground, appeared as if it was starting from the canvass; his countenance had an expression which petrified me with fear. I had never before seen any thing at all like it in nature. It was a frightful mixture of the stillness of death, with the remains of a violent and baneful passion, which not even death itself was able to overcome. One would have thought the artist had copied the terrible features of one risen from the grave, in order to paint this terrific portrait. I was seized with a terror little less than the children, whenever I wished to con​template this picture. Its aspect was disagreeable to my friend, but did not cause him any terror: his sister was the only one who could look at this hideous figure with a smiling countenance; and said to me with a compassionate air, when I discovered my aversion to it, ‘That man is not wicked, but he is certainly very unhappy.’ My friend told me that the picture represented the founder of his race, and that his father attached uncommon value to it; it had, in all probability, hung there from time immemorial, and it would not be possible to remove it from this chamber without destroying the regularity of its appearance.
“Meanwhile, the term of our vacation was speedily drawing to its close, and time insensibly wore away in the pleasures of the country. The old count, who remarked our reluctance to quit him, his amiable family, his château, and the fine country that surrounded it, applied himself with kind and unremitting care, to make the day preceding our departure a continual succession of rustic diversions: each succeeded the other without the slightest appearance of art; they seemed of necessity to follow each other. The delight that illumined the eyes of my friend’s sister when she perceived her father’s satisfaction; the joy that was painted in Emily’s countenance (which was the name of this charming girl) when she surprised ​even her father by her arrangements, which outstripped his projects, led me to discover the entire confidence that existed between the father and daughter, and the active part Emily had taken in directing the order which reigned in that day’s festivities.
“Night arrived; the company in the gardens dispersed; but my amiable companions never quitted my side. The two young boys skipped gaily before us, chasing the may-bug, and shaking the shrubs to make them come out. The dew arose, and aided by the light of the moon formed silver spangles on the flowers and grass. Emily hung on my arm; and an affectionate sister conducted me, as if to take leave, to all the groves and places I had been accustomed to visit with her, or with the family. On arriving at the door of the château, I was obliged to repeat the promise I had made to her father, of passing some weeks in the autumn with him. ‘That season,’ said she, ‘is equally beautiful with the spring!’ With what pleasure did I promise to decline all other engagements for this. Emily retired to her apartment, and, according to custom, I went up to mine, accompanied by my two little boys: they ran gaily up the stairs; and in crossing the range of apartments but faintly lighted, to my no small surprise their boisterous mirth was not interrupted by the terrible portrait.
​“For my own part, my head and heart were full of the intended journey, and of the agreeable manner in which my time had passed at the count’s château. The images of those happy days crowded on my recollection; my imagination, at that time possessing all the vivacity of youth, was so much agitated, that I could not enjoy the sleep which already overpowered my friend. Emily’s image, so interesting by her sprightly grace, by her pure affection for me, was present to my mind like an amiable phantom shining in beauty. I placed myself at the window, to take another look at the country I had so frequently ranged with her, and traced our steps again probably for the last time. I remembered each spot illumined by the pale light the moon afforded. The nightingale was singing in the groves where we had delighted to repose; the little river on which while gaily singing we often sailed, rolled murmuringly her silver waves.
“Absorbed in a profound reverie, I mentally exclaimed: With the flowers of spring, this soft pure peaceful affection will probably fade; and as frequently the after seasons blight the blossoms and destroy the promised fruit, so possibly may the approaching autumn envelop in cold reserve that heart which, at the present moment, appears only to expand with mine!
​“Saddened by these reflections, I withdrew from the window, and overcome by a painful agitation I traversed the adjoining rooms; and on a sudden found myself before the portrait of my friend’s ancestor. The moon’s beams darted on it in the most singular manner possible, insomuch as to give the appearance of a horrible moving spectre; and the reflexion of the light gave to it the appearance of a real substance about to quit the darkness by which it was surrounded. The inanimation of its features appeared to give place to the most profound melancholy; the sad and glazed look of the eyes appeared the only hinderance to its uttering its grief.
“My knees tremblingly knocked against each other, and with an unsteady step I regained my chamber: the window still remained open; I reseated myself at it, in order that the freshness of the night air, and the aspect of the beautiful surrounding country, might dissipate the terror I had experienced. My wandering eyes fixed on a long vista of ancient linden trees, which extended from my window to the ruins of an old tower, which had often been the scene of our pleasures and rural fêtes. The remembrance of the hideous portrait had vanished; when on a sudden there appeared to me a thick fog issuing from the ruined ​tower, which advancing through the vista of lindens came towards me.
“I regarded this cloud with an anxious curiosity: it approached; but again it was concealed by the thickly-spreading branches of the trees.
“On a sudden I perceived, in a spot of the avenue less dark than the rest, the same figure represented in the formidable picture, enveloped in the grey mantle I so well knew. It advanced towards the château, as if hesitating: no noise was heard of its footsteps on the pavement; it passed before my window without looking up, and gained a back door which led to the apartments in the colonnade of the château.
“Seized with trembling apprehension, I darted towards my bed, and saw with pleasure that the two children were fast asleep on either side. The noise I made awoke them; they started, but in an instant were asleep again. The agitation I had endured took from me the power of sleep, and I turned to awake one of the children to talk with me: but no powers can depict the horrors I endured when I saw the frightful figure at the side of the child’s bed.
“I was petrified with horror, and dared neither move nor shut my eyes. I beheld the spectre stoop towards the child and softly kiss his forehead: he ​then went round the bed, and kissed the forehead of the other boy.
“I lost all recollection at that moment; and the following morning, when the children awoke me with their caresses, I was willing to consider the whole as a dream.
“Meanwhile, the moment for our departure was at hand. We once again breakfasted all together in a grove of lilacs and flowers. ‘I advise you to take a little more care of yourself,’ said the old count in the midst of other conversation; ‘for I last night saw you walking rather late in the garden, in a dress ill suited to the damp air; and I was fearful such imprudence would expose you to cold and fever. Young people are apt to fancy they are invulnerable; but I repeat to you, Take advice from a friend.’
“‘In truth,’ I answered, ‘I believe readily that I have been attacked by a violent fever, for never before was I so harassed by terrifying visions: I can now conceive how dreams afford to a heated imagination subjects for the most extraordinary stories of apparitions.’
“‘What would you tell me?’ demanded the count in a manner not wholly devoid of agitation. I related to him all that I had seen the preceding night; and to my great surprise he appeared to me in no way astonished, but extremely affected.
​“‘You say,’ added he in a trembling voice, ‘that the phantom kissed the two children’s foreheads?’ I answered him, that it was even so. He then exclaimed, in accents of the deepest despair, ‘Oh heavens! they must then both die!’”—
Till now the company had listened without the slightest noise or interruption to Ferdinand: but as he pronounced the last words, the greater part of his audience trembled; and the young lady who had previously occupied the chair on which he sat, uttered a piercing shriek.
“Imagine,” continued Ferdinand, “how astonished my friend must have been at this unexpected exclamation. The vision of the night had caused him excess of agitation; but the melancholy voice of the count pierced his heart, and seemed to annihilate his being, by the terrifying conviction of the existence of the spiritual world, and the secret horrors with which this idea was accompanied. It was not then a dream, a chimera, the fruit of an over-heated imagination! but a mysterious and infallible messenger, which, dispatched from the world of spirits, had passed close to him, had placed itself by his couch, and by its fatal kiss had dropt the germ of death in the bosom of the two children.
“He vainly entreated the count to explain this extraordinary event. Equally fruitless were his son’s ​endeavours to obtain from the count the developement of this mystery, which apparently concerned the whole family. ‘You are as yet too young,’ replied the count: ‘too soon, alas! for your peace of mind, will you be informed of these terrible circumstances which you now think mysterious.’
“Just as they came to announce to my friend that all was ready, he recollected that during the recital the count had sent away Emily and her two younger brothers. Deeply agitated, he took leave of the count and the two young children who came towards him, and who would scarcely permit themselves to be separated from him. Emily, who had placed herself at a window, made a sign of adieu. Three days afterwards the young count received news of the death of his two younger brothers. They were both taken off in the same night.
“You see,” continued Ferdinand, in a gayer tone, in order to counteract the impression of sadness and melancholy his story had produced on the company; “You see my history is very far from affording any natural explication of the wonders it contains; explanations which only tend to shock one’s reason: it does not even make you entirely acquainted with the mysterious person, which one has a right to expect in all marvellous recitals. But I could learn nothing more; and the old count ​dying without revealing the mystery to his son, I see no other means of terminating the history of the portrait, which is undoubtedly by no means devoid of interest, than by inventing according to one’s fancy a dénouement which shall explain all.”
“That does not appear at all necessary to me,” said a young man: “this history, like the one that preceded it, is in reality finished, and gives all the satisfaction one has any right to expect from recitals of this species.”
“I should not agree with you,” replied Ferdinand, “if I was capable of explaining the mysterious connection between the portrait and the death of the two children in the same night, or the terror of Juliana at sight of the other portrait, and her death, consequently caused by it. I am, however, not the less obliged to you for the entire satisfaction you evince.”
“But,” resumed the young man, “what benefit would your imagination receive, if the connections of which you speak were known to you?”
“Very great benefit, without doubt,” replied Ferdinand; “for imagination requires the completion of the objects it represents, as much as the judgment requires correctness and accuracy in its ideas.”
The mistress of the house, not being partial to these metaphysical disputes, took part with Fer​dinand: “We ladies,” said she, “are always curious; therefore don’t wonder that we complain when a story has no termination. It appears to me like seeing the last scene of Mozart’s Don Juan without having witnessed the preceding ones; and I am sure no one would be the better satisfied, although the last scene should possess infinite merit.”
The young man remained silent, perhaps less through conviction than politeness. Several persons were preparing to retire; and Ferdinand, who had vainly searched with all his eyes for the young lady with flaxen hair, was already at the door, when an elderly gentleman, whom he remembered to have seen in the music-room, asked him whether the friend concerning whom he had related the story was not called Count Meltheim?
“That is his name,” answered Ferdinand a little drily; “how did you guess it?—are you acquainted with his family?”
“You have advanced nothing but the simple truth,” resumed the unknown. “Where is the count at this moment?”
“He is on his travels,” replied Ferdinand. “But I am astonished——”
“Do you correspond with him?” demanded the unknown.
​“I do,” answered Ferdinand. “But I don’t understand——”
“Well then,” continued the old man, “tell him that Emily still continues to think of him, and that he must return as speedily as possible, if he takes any interest in a secret that very particularly concerns her family.”
On this the old man stepped into his carriage, and had vanished from Ferdinand’s sight ere he had recovered from his surprise. He looked around him in vain for some one who might inform him of the name of the unknown: every one was gone; and he was on the point of risking being considered indiscreet, by asking for information of the pastor who had so courteously treated him, when they fastened the door of the house, and he was compelled to return in sadness to his inn, and leave his researches till the morning.
The frightful scenes of the night preceding Ferdinand’s departure from the château of his friend’s father, had tended to weaken the remembrance of Emily; and the distraction which his journey so immediately after had produced, had not contributed to recall it with any force: but all at once the recollection of Emily darted across his mind with fresh vigour, aided by the recital of the previous evening and the old man’s conversation: it ​presented itself even with greater vivacity and strength than at the period of its birth. Ferdinand now fancied that he could trace Emily in the pretty girl with flaxen hair. The more he reflected on her figure, her eyes, the sound of her voice, the grace with which she moved; the more striking the resemblance appeared to him. The piercing shriek that had escaped her, when he mentioned the old count’s explication of the phantom’s appearance; her sudden disappearance at the termination of the recital; her connection with Ferdinand’s family, (for the young lady, in her history of Juliana, had recounted the fatal accident which actually befel Ferdinand’s sister,) all gave a degree of certainty to his suppositions.
He passed the night in forming projects and plans, in resolving doubts and difficulties; and Ferdinand impatiently waited for the day which was to enlighten him. He went to the pastor’s, whom he found in the midst of his quires of music; and by giving a natural turn to the conversation, he seized the opportunity of enquiring concerning the persons with whom he had passed the preceding evening.
He unfortunately, however, could not get satisfactory answers to his questions concerning the young lady with flaxen hair, and the mysterious old gentleman; for the pastor had been so absorbed in ​his music, that he had not paid attention to many persons who had visited him: and though Ferdinand in the most minute manner possible described their dress and other particulars, it was impossible to make the pastor comprehend the individuals whose names he was so anxious to learn. “It is unfortunate,” said the pastor, “that my wife should be out; she would have given you all the information you desire. But according to your description, it strikes me the young person with flaxen hair must be Mademoiselle de Hainthal;—but—”
“Mademoiselle de Hainthal!” reiterated Ferdinand, somewhat abruptly.
“I think so,” replied the clergyman. “Are you acquainted with the young lady?”
“I know her family,” answered Ferdinand; “but from her features bearing so strong a resemblance to the family, I thought it might have been the young countess of Wartbourg, who was so much like her brother.”
“That is very possible,” said the pastor. “You knew then the unfortunate count Wartbourg?”
“Unfortunate!” exclaimed Ferdinand, greatly surprised.
“You don’t then know any thing,” continued the pastor, “of the deplorable event that has recently taken place at the château of Wartbourg? The young count, who had probably in his travels ​seen some beautifully laid-out gardens, was anxious to embellish the lovely country which surrounds his château; and as the ruins of an old tower seemed to be an obstacle to his plans, he ordered them to be pulled down. His gardener in vain represented to him, that seen from one of the wings of the château they presented, at the termination of a majestic and ancient avenue of linden trees, a magnificent coup d’œil, and that they would also give a more romantic appearance to the new parts they were about to form. An old servant, grown grey in the service of his forefathers, supplicated him with tears in his eyes to spare the venerable remains of past ages. They even told him of an ancient tradition, preserved in the neighbourhood, which declared, that the existence of the house of Wartbourg was by supernatural means linked with the preservation of that tower.
“The count, who was a well-informed man, paid no attention to these sayings; indeed they possibly made him the more firmly adhere to his resolution. The workmen were put to their task: the walls, which were constructed of huge masses of rock, for a long while resisted the united efforts of tools and gunpowder; the architect of this place appeared to have built it for eternity.
“At length perseverance and labour brought it down. A piece of the rock separating from the ​rest, precipitated itself into an opening which had been concealed for ages by rubbish and loose sticks, and fell into a deep cavern. An immense subterranean vault was discovered by the rays of the setting sun, supported by enormous pillars:—but ere they proceeded in their researches, they went to inform the young count of the discovery they had made.
“He came; and being curious to see this dark abode, descended into it with two servants. The first thing they discovered were chains covered with rust, which being fixed in the rock, plainly shewed the use formerly made of the cavern. On another side was a corpse, dressed in female attire of centuries past, which had surprisingly resisted the ravages of time: close to it was extended a human skeleton almost destroyed.
“The two servants related that the young count, on seeing the body, cried in an accent of extreme horror, ‘Great God! it is she then whose portrait killed my intended wife.’ Saying which, he fell senseless by the body. The shake which his fall occasioned reduced the skeleton to dust.
“They bore the count to his château, where the care of the physicians restored him to life; but he did not recover his senses. It is probable that this tragical event was caused by the confined and unwholesome air of the cavern. A ​very few days after, the count died in a state of total derangement.
“It is singular enough, that the termination of his life should coincide with the destruction of the ruined tower, and there no longer exists any male branch of that family. The deeds relative to the succession, ratified and sealed by the emperor Otho, are still amongst the archives of his house. Their contents have as yet only been transmitted verbally from father to son, as an hereditary secret, which will now, however, be made known. It is also true, that the affianced bride of the count was killed by the portrait’s falling on her.”
“I yesterday heard that fatal history recited by the lady with flaxen hair,” replied Ferdinand.
“It is very possible that young person is the countess Emily,” replied the pastor; “for she was the bosom-friend of the unfortunate bride.”
“Does not then the countess Emily live at the castle of Wartbourg?” asked Ferdinand.
“Since her brother’s death,” answered the clergyman, “she has lived with a relation of her mother’s at the château of Libinfelt, a short distance from hence. For as they yet know not with certainty to whom the castle of Wartbourg will belong, she prudently lives retired.”
Ferdinand had learnt sufficient to make him abandon the projected journey to the capital. He ​thanked the pastor for the instructions he had given him, and was conducted to the château where Emily now resided.
It was still broad day when he arrived. The whole journey he was thinking of the amiable figure which he had recognised too late the preceding evening. He recalled to his idea her every word, the sound of her voice, her actions; and what his memory failed to represent, his imagination depicted with all the vivacity of youth, and all the fire of rekindled affection. He already addressed secret reproaches to Emily for not recognising him; as if he had himself remembered her; and in order to ascertain whether his features were entirely effaced from the recollection of her whom he adored, he caused himself to be announced as a stranger, who was anxious to see her on family matters.
While waiting impatiently in the room into which they had conducted him, he discovered among the portraits with which it was decorated, that of the young lady whose features had the over-night charmed him anew: he was contemplating it with rapture when the door opened and Emily entered. She instantly recognised Ferdinand; and in the sweetest accents accosted him as the friend of her youth.
Surprise rendered Ferdinand incapable of answering suitably to so gracious a reception: it was ​not the charming person with flaxen hair; it was not a figure corresponding with his imagination, which at this moment presented itself to his view. But it was Emily, shining in every possible beauty, far beyond what Ferdinand had expected: he recollected notwithstanding each feature which had already charmed him, but now clothed in every perfection which nature bestows on her most favoured objects. Ferdinand was lost in thought for some moments: he dared not make mention of his love, and still less did he dare speak of the portrait, and the other wonders of the castle of Wartbourg. Emily spoke only of the happiness she had experienced in her earlier days, and slightly mentioned her brother’s death.
As the evening advanced, the young female with flaxen hair came in with the old stranger. Emily presented them both to Ferdinand, as the baron of Hainthal and his daughter Clotilde. They remembered instantly the stranger whom they had seen the preceding evening. Clotilde rallied him on his wish to be incognito; and he found himself on a sudden, by a short train of natural events, in the company of the person whom his mother intended for his wife; the object of his affection whom he had just discovered; and the interesting stranger who had promised him an explanation relative to the mysterious portraits.
​Their society was soon augmented by the mistress of the château, in whom Ferdinand recognised one of those who sat by his side the preceding evening. In consideration for Emily, they omitted all the subjects most interesting to Ferdinand; but after supper the baron drew nearer to him.
“I doubt not,” said he to him, “that you are anxious to have some light thrown on events, of which, according to your recital last night, you were a spectator. I knew you from the first; and I knew also, that the story you related as of a friend, was your own history. I cannot, however, inform you of more than I know: but that will perhaps be sufficient to save Emily, for whom I feel the affection of a daughter, from chagrin and uneasiness; and from your recital of last evening, I perceive you take a lively interest concerning her.”
“Preserve Emily from uneasiness,” replied Ferdinand with warmth; “explain yourself: what is there I ought to do?”
“We cannot,” answered the baron, “converse here with propriety; to-morrow morning I will come and see you in your apartment.”
Ferdinand asked him for an audience that night; but the baron was inflexible. “It is not my wish,” said he, “to work upon your imagination by any marvellous recital, but to converse with you on the ​very important concerns of two distinguished families. For which reason, I think the freshness of morning will be better suited to lessen the horror that my recital must cause you: therefore, if not inconvenient to you, I wish you to attend me at an early hour in the morning: I am fond of rising with the sun; and yet I have never found the time till mid-day too long for arranging my affairs,” added he, smiling, and turning half round towards the rest of the party, as if speaking on indifferent topics.
Ferdinand passed a night of agitation, thinking of the conference he was to have with the baron; who was at his window at dawn of day. “You know,” said the baron, “that I married the old count of Wartbourg’s sister; which alliance was less the cause, than the consequence, of our intimate friendship. We reciprocally communicated our most secret thoughts, and the one never undertook any thing, without the other taking an equal interest with himself in his projects. The count had, however, one secret from me, of which I should never have come at the knowledge but for an accident.
“On a sudden, a report was spread abroad, that the phantom of the Nun’s rock had been seen, which was the name given by the peasantry to the old ruined tower which you knew. Persons of sense only laughed at the report: I was anxious the following night to unmask this spectre, and I ​already anticipated my triumph: but to my no small surprise, the count endeavoured to dissuade me from the attempt; and the more I persisted, the more serious his arguments became; and at length he conjured me in the name of friendship to relinquish the design.
“His gravity of manner excited my attention; I asked him several questions; I even regarded his fears in the light of disease, and urged him to take suitable remedies: but he answered me with an air of chagrin, ‘Brother, you know my sincerity towards you; but this is a secret sacred to my family. My son can alone be informed of it, and that only on my death-bed. Therefore ask me no more questions.’
“I held my peace; but I secretly collected all the traditions known amongst the peasantry. The most generally believed one was, that the phantom of the Nun’s rock was seen when any one of the count’s family were about to die; and in effect, in a few days after the count’s youngest son expired. The count seemed to apprehend it: he gave the strictest possible charge to the nurse to take care of him; and under pretext of feeling indisposed himself, sent for two physicians to the castle: but these extreme precautions were precisely the cause of the child’s death; for the nurse passing over the stones near the ruins, in her extreme care took the ​child in her arms to carry him, and her foot slipping, she fell, and in her fall wounded the child so much, that he expired on the spot. She said she fancied that she saw the child extended, bleeding in the midst of the stones; that her fright had made her fall with her face on the earth; and that when she came to herself, the child was absolutely lying weltering in his blood, precisely on the same spot where she had seen his ghost.
“I will not tire you with a relation of all the sayings uttered by an illiterate woman to explain the cause of the vision, for under similar accidents invention far outstrips reality. I could not expect to gain much more satisfactory information from the family records; for the principal documents were preserved in an iron chest, the key of which was never out of the possession of the owner of the castle. I however discovered, by the genealogical register and other similar papers, that this family had never had collateral male branches; but further than this, my researches could not discover.
“At length, on my friend’s death-bed I obtained some information, which, however, was far from being satisfactory. You remember, that while the son was on his travels, the father was attacked by the complaint which carried him off so suddenly. The evening previous to his decease, he sent for me express, dismissed all those who were with ​him, and turning towards me, said: ‘I am aware that my end is fast approaching, and am the first of my family that has been carried off without communicating to his son the secret on which the safety of our house depends. Swear to me to reveal it only to my son, and I shall die contented.’
“In the names of friendship and honour, I promised what he exacted of me, and he thus began:
“‘The origin of my race, as you know, is not to be traced. Ditmar, the first of my ancestry mentioned in the written records, accompanied the emperor Otho to Italy. His history is also very obscure. He had an enemy called count Bruno, whose only son he killed in revenge, according to ancient tradition, and then kept the father confined till his death in that tower, whose ruins, situated in the Nun’s rock, still defy the hand of time. That portrait which hangs alone in the state-chamber, is Ditmar’s; and if the traditions of the family are to be believed, it was painted by the Dead. In fact, it is almost impossible to believe that any human being could have contemplated sufficiently long to paint the portrait, the outline of features so hideous. My forefathers have frequently tried to plaster over this redoubtable figure; but in the night, the colours came through the plaster, and re-appeared as distinctly as before; and often in the night, this Ditmar has been seen wandering abroad dressed in ​the garb represented in the picture; and by kissing the descendants of the family, has doomed them to death. Three of my children have received this fatal kiss. It is said, a monk imposed on him this penance in expiation of his crimes. But he cannot destroy all the children of his race: for so long as the ruins of the old tower shall remain, and whilst one stone shall remain on another, so long shall the count de Wartbourg’s family exist; and so long shall the spirit of Ditmar wander on earth, and devote to death the branches of his house, without being able to annihilate the trunk. His race will never be extinct; and his punishment will only cease when the ruins of the tower are entirely dispersed. He brought up, with a truly paternal care, the daughter of his enemy, and wedded her to a rich and powerful knight; but notwithstanding this, the monk never remitted his penance. Ditmar, however, foreseeing that one day or other his race would perish, was certainly anxious ere then, to prepare for an event on which his deliverance depended; and accordingly made a relative disposition of his hereditary property, in case of his family becoming extinct. The act which contained his will, was ratified by the emperor Otho: as yet it has not been opened, and nobody knows its contents. It is kept in the secret archives of our house.’
​“The speaking thus much was a great effort to my friend. He required a little rest, but was shortly after incapable of articulating a single word. I performed the commission with which he charged me to his son.”
“And he did, notwithstanding ——” replied Ferdinand.
“Even so,” answered the baron: “but judge more favourably of your excellent friend. I have often seen him alone in the great state-chamber, with his eyes fixed on this horrible portrait: he would then go into the other rooms, where the portraits of his ancestors were ranged for several successive generations; and after contemplating them with visible internal emotion, would return to that of the founder of his house. Broken sentences, and frequent soliloquies, which I overheard by accident, did not leave me a shadow of doubt, but that he was the first of his race who had magnanimity of soul sufficient to resolve on liberating the spirit of Ditmar from its penance, and of sacrificing himself to release his house from the malediction that hung over it. Possibly he was strengthened in his resolutions by the grief he experienced for the death of his dearly beloved.”
“Oh!” cried Ferdinand deeply affected, “how like my friend!”
“He had, however, in the ardour of his en​thusiasm, forgotten to guard his sister’s sensibility,” said the baron.
“How so?” demanded Ferdinand.
“It is in consequence of this,” answered the baron, “that I now address myself to you, and reveal to you the secret. I have told you that Ditmar demonstrated a paternal affection to the daughter of his enemy, had given her a handsome portion, and had married her to a valiant knight. Learn then, that this knight was Adelbert de Meltheim, from whom the counts of this name descended in a direct line.”
“Is it possible?” exclaimed Ferdinand, “the author of my race!”
“The same,” answered the baron; “and according to appearances, Ditmar designed that the family of Meltheim should succeed him on the extinction of his own. Haste, then, in order to establish your probable right to the ——”
“Never——” said Ferdinand “——so long as Emily——”
“This is no more than I expected from you,” replied the baron; “but remember, that in Ditmar’s time the girls were not thought of in deeds of this kind. Your inconsiderate generosity would be prejudicial to Emily. For the next of kin who lay claim to the fief, do not probably possess very gallant ideas.”
“As a relation, though only on the female side, ​I have taken the necessary measures; and I think it right you should be present at the castle of Wartbourg when the seals are broken, that you may be immediately recognised as the only immediate descendant of Adelbert, and that you may take instant possession of the inheritance.”
“And Emily?” demanded Ferdinand.
“As for what is to be done for her,” replied the baron, “I leave to you; and feel certain of her being provided for suitably, since her destiny will be in the hands of a man whose birth equals her own, who knows how to appreciate the rank in which she is placed, and who will evince his claims to merit and esteem.”
“Have I a right, then,” said Ferdinand, “to flatter myself with the hope that Emily will permit me to surrender her the property to which she is actually entitled?”
“Consult Emily on the subject,” said the baron.—And here finished the conference.
Ferdinand, delighted, ran to Emily. She answered with the same frankness he had manifested; and they were neither of them slow to confess their mutual passion.
Several days passed in this amiable delirium. The inhabitants of the château participated in the joy of the young lovers; and Ferdinand at length wrote to his mother, to announce the choice he had made.
​They were occupied in preparations for removing to the castle of Wartbourg, when a letter arrived, which at once destroyed Ferdinand’s happiness. His mother refused to consent to his marriage with Emily: her husband having, she said, on his death-bed, insisted on his wedding the baron of Hainthal’s daughter, and that she should refuse her consent to any other marriage. He had discovered a family secret, which forced him peremptorily to press this point, on which depended his son’s welfare, and the happiness of his family; she had given her promise, and was obliged to maintain it, although much afflicted at being compelled to act contrary to her son’s inclinations.
In vain did Ferdinand conjure his mother to change her determination; he declared to her that he would be the last of his race, rather than renounce Emily. She was not displeased with his entreaties, but remained inflexible.
The baron plainly perceived, from Ferdinand’s uneasiness and agitation, that his happiness had fled; and as he possessed his entire confidence, he soon became acquainted with the cause of his grief. He wrote in consequence to the countess Meltheim, and expressed his astonishment at the singular disposition the count had made on his death-bed: but all he could obtain from her, was a promise to come to the castle of Wartbourg, to see the fe​male whom she destined for her son, and the one whom he had himself chosen; and probably to elucidate by her arrival so singular and complicated an affair.
Spring was beginning to enliven all nature, when Ferdinand, accompanied by Emily, the baron, and his daughter, arrived at the castle of Wartbourg. The preparations which the principal cause of their journey required, occupied some days. Ferdinand and Emily consoled themselves in the hope that the countess of Meltheim’s presence would remove every obstacle which opposed their love, and that at sight of the two lovers she would overcome her scruples.
A few days afterwards she arrived, embraced Emily in the most affectionate manner, and called her, her dear daughter, at the same time expressing her great regret that she could not really consider her such, being obliged to fulfil a promise made to her dying husband.
The baron at length persuaded her to reveal the motive for this singular determination: and after deliberating a short time, she thus expressed herself:—
“The secret you are anxious I should reveal to you, concerns your family, Monsieur le Baron: consequently, if you release me from the necessity of longer silence, I am very willing to abandon my ​scruples. A fatal picture has, you know, robbed me of my daughter; and my husband, after this melancholy accident, determined on entirely removing this unfortunate portrait: he accordingly gave orders for it to be put in a heap of old furniture, where no one would think of looking for it; and in order to discover the best place to conceal it, he was present when it was taken there. In the removal, he perceived a piece of parchment behind the canvass which the fall had a little damaged: having removed it, he discovered it to be an old document, of a singular nature. The original of this portrait, (said the deed,) was called Bertha de Hainthal; she fixes her looks on her female descendants, in order that if any one of them should receive its death by this portrait, it may prove an expiatory sacrifice which will reconcile her to God. She will then see the families of Hainthal and Meltheim united by the bonds of love; and finding herself released, she will have cause to rejoice in the birth of her after-born descendants.
“This then is the motive which made my husband anxious to fulfil, by the projected marriage, the vows of Bertha; for the death of his daughter, caused by Bertha, had rendered her very name formidable to him. You see, therefore, I have the same reasons for adhering to the promise made my dying husband.”
​“Did not the count,” demanded the baron, “allege any more positive reason for this command?”
“Nothing more, most assuredly,” replied the countess.
“Well then,” answered the baron, “in case the writing of which you speak should admit of an explanation wholly differing from, but equally clear with, the one attached thereto by the deceased, would you sooner follow the sense than the letter of the writing?”
“There is no doubt on that subject,” answered the countess; “for no one is more anxious than myself to see that unfortunate promise set aside.”
“Know then,” said the baron, “that the corpse of that Bertha, who occasioned the death of your daughter, reposes here at Wartbourg; and that, on this subject, as well as all the other mysteries of the castle, we shall have our doubts satisfied.”
The baron would not at this time explain himself further; but said to the countess, that the documents contained in the archives of the castle would afford the necessary information; and recommended that Ferdinand should, with all possible dispatch, hasten every thing relative to the succession. Conformable to the baron’s wish, it was requisite that, previous to any other research, the secret deeds contained in the archives should be ​opened. The law commissioners, and the next of kin who were present, who, most likely, promised themselves an ample compensation for their curiosity in the contents of the other parts of the records, were anxious to raise objections; but the baron represented to them, that the secrets of the family appertained to the unknown heir alone, and that consequently no one had a right to become acquainted with them, unless permitted by him.
These reasons produced the proper effect. They followed the baron into the immense vault in which were deposited the family records. They therein discovered an iron chest, which had not been opened for nearly a thousand years. A massive chain, which several times wound round it, was strongly fixed to the floor and to the wall; but the emperor’s grand seal was a greater security for this sacred deposit, than all the chains and bolts which guarded it. It was instantly recognised and removed: the strong bolts yielded; and from the chest was taken the old parchment which had resisted the effects of time. This piece contained, as the baron expected, the disposition which confirmed the right of inheritance to the house of Meltheim, in case of the extinction of the house of Wartbourg: and Ferdinand, according to the baron’s advice, having in readiness the deeds justifying and acknowledging him as the lawful heir to the house ​of Meltheim, the next of kin with regret permitted what they could not oppose; and he took possession of the inheritance. The baron having made him a signal, he immediately sealed the chest with his seal. He afterwards entertained the strangers in a splendid manner; and at night found himself in possession of his castle, with only his mother, Emily, the baron, and his daughter.
“It will be but just,” said the baron, “to devote this night, which introduces a new name into this castle, to the memory of those who have hitherto possessed it. And we shall acquit ourselves most suitably in this duty, by reading in the council-chamber the documents which, without doubt, are destined to explain, as supplementary deeds, the will of Ditmar.”
This arrangement was instantly adopted. The hearts of Emily and Ferdinand were divided between hope and fear; for they impatiently, yet doubtingly, awaited the denouement of Bertha’s history, which, after so many successive generations, had in so incomprehensible a manner interfered with their attachment.
The chamber was lighted: Ferdinand opened the iron case; and the baron examined the old parchments.
“This,” cried he, after having searched some short time, “will inform us.” So saying, he drew ​from the chest some sheets of parchment. On the one which enveloped the rest was the portrait of a knight of an agreeable figure, and habited in the costume of the tenth century: and the inscription at the bottom called him Ditmar; but they could scarcely discover the slightest resemblance in it to the frightful portrait in the state-chamber.
The baron offered to translate, in reading to them the document written in Latin, provided they would make allowances for the errors which were likely to arise from so hasty a translation. The curiosity of his auditors was so greatly excited, that they readily consented; and he then read as follows:
“I the undersigned Tutilon, monk of St. Gall, have, with the lord Ditmar’s consent, written the following narrative: I have omitted nothing, nor written aught of my own accord.
“Being sent for to Metz, to carve in stone the image of the Virgin Mary; and that mother of our blessed Saviour having opened my eyes and directed my hands, so that I could contemplate her celestial countenance, and represent it on stone to be worshipped by true believers, the lord Ditmar discovered me, and engaged me to follow him to his castle, in order that I might execute his portrait for his descendants. I began painting it in the state-chamber of his castle; and on returning the following day to resume my task, I found that a ​strange hand had been at work, and had given to the portrait quite a different countenance, which was horrible to look at, for it resembled one who had risen from the dead. I trembled with terror: however, I effaced these hideous features, and I painted anew the count Ditmar’s figure, according to my recollection; but the following day I again discovered the nocturnal labour of the stranger hand. I was seized with still greater fear, but resolved to watch during the night; and I recommenced painting the knight’s figure, such as it really was. At midnight I took a torch, and advancing softly into the chamber to examine the portrait, I perceived a spectre resembling the skeleton of a child; it held a pencil, and was endeavouring to give Ditmar’s image the hideous features of death.
“On my entering, the spectre slowly turned its head towards me, that I might see its frightful visage. My terror became extreme: I advanced no further, but retired to my room, where I remained in prayer till morning; for I was unwilling to interrupt the work executed in the dead of night. In the morning, discovering the same strange features in Ditmar’s portrait as that of the two preceding mornings, I did not again risk effacing the work of the nightly painter; but went in search of the knight, and related to him what I had seen. I shewed him the picture. He trembled with hor​ror, and confessed his crimes to me, for which he required absolution. Having for three successive days invoked all the saints to my assistance, I imposed on him as a penance for the murder of his enemy, which he had avowed to me, to submit to the most rigid mortifications in a dungeon during the rest of his life. But I told him, that as he had murdered an innocent child, his spirit would never be at rest till it had witnessed the extermination of his race; for the Almighty would punish the death of that child by the death of the children of Ditmar, who, with the exception of one in each generation, would all be carried off in early life; and as for him, his spirit would wander during the night, resembling the portrait painted by the hand of the skeleton child; and that he would condemn to death, by a kiss, the children who were the sacrifices to his crimes, in the same manner as he had given one to his enemy’s child before he killed it: and that, in fine, his race should not become extinct, so long as stone remained on stone in the tower where he had permitted his enemy to die of hunger. I then gave him absolution. He immediately made over his seigniory to his son; and married the daughter of his enemy, who had been brought up by him, to the brave knight Sir Adalbert. He bequeathed all his property, in case of his race becoming extinct, to this knight’s descend​ants, and caused this will to be ratified by the emperor Otho. After having done so, he retired to a cave near the tower, where his corpse is interred; for he died like a pious recluse, and expiated his crimes by extreme penance. As soon as he was laid in his coffin, he resembled the portrait in the state-chamber; but during his life he was like the portrait depicted on this parchment, which I was able to paint without interruption, after having given him absolution: and by his command I have written and signed this document since his death; and I deposit it, with the emperor’s letters patent, in an iron chest, which I have caused to be sealed. I pray God speedily to deliver his soul, and to cause his body to rise from the dead to everlasting felicity!”
“He is delivered,” cried Emily, greatly affected; “and his image will no longer spread terror around. But I confess that the sight of that figure, and even that of the frightful portrait itself, would never have led me to dream of such horrible crimes as the monk Tutilon relates. Certain I am, his enemy must have mortally wounded his happiness, or he undoubtedly would have been incapable of committing such frightful crimes.”
“Possibly,” said the baron, continuing his researches, “we shall discover some explanation on that point.”
​“We must also find some respecting Bertha,” replied Ferdinand in a low tone, and casting a timid look on Emily and his mother.
“This night,” answered the baron, “is consecrated to the memory of the dead; let us therefore forget our own concerns, since those of the past call our attention.”
“Assuredly,” exclaimed Emily, “the unfortunate person who secured these sheets in the chest, ardently looked forward to the hope of their coming to light; let us therefore delay it no longer.”
The baron, after having examined several, read aloud these words:
“The confession of Ditmar.” And he continued thus:—“Peace and health. When this sheet is drawn from the obscurity in which it is now buried, my soul will, I hope firmly in God and the saints, be at eternal rest and peace. But for your good I have ordered to be committed to paper the cause of my chastisement, in order that you may learn that vengeance belongs to God alone, and not to men; for the most just amongst them knows not how to judge: and again, that you may not in your heart condemn me, but rather that you may pity me; for my misery has nearly equalled my crimes; and my spirit would never have dreamt of evil, if man had not rent my heart.”
​“How justly,” exclaimed Ferdinand, “has Emily’s good sense divined thus much!”
The baron continued: “My name is Ditmar; they surnamed me The Rich, though I was then only a poor knight, and my only possession was a very small castle. When the emperor Otho departed for Italy, whither he was called by the beautiful Adelaide to receive her hand, I followed him; and I gained the affection of the most charming woman in Pavia, whom I conducted as my intended spouse to the castle of my forefathers. Already the day appointed for the celebration of my nuptials was at hand: the emperor sent for me. His favourite, the count Bruno de Hainthal had seen Bertha ——”
“Bertha!” exclaimed every one present. But the baron, without permitting them to interrupt him, continued his translation.
“One day, when the emperor had promised to grant him any recompence that he thought his services merited, he asked of him my intended bride. Otho was mute with astonishment;—but his imperial word was given. I presented myself before the emperor, who offered me riches, lands, honours, if I would but consent to yield Bertha to the count: but she was dearer to me than every worldly good. The emperor yielded to a torrent of ​anger: he carried off my intended bride by force, ordered my castle to be pulled down, and caused me to be thrown into prison.
“I cursed his power and my destiny. The amiable figure of Bertha, however, appeared to me in a dream; and I consoled myself during the day by the sweet illusions of the night. At length my keeper said to me: ‘I pity you, Ditmar; you suffer in a prison for your fidelity, while Bertha abandons you. To-morrow she weds the count: accede then to the emperor’s wish, ere it be too late; and ask of him what you think fit, as a recompence for the loss of the faithless fair.’ These words froze my heart. The following night, instead of the gracious image of Bertha, the frightful spirit of vengeance presented itself to me. The following morning I said to my keeper: Go and tell the emperor, I yield Bertha to his Bruno; but as a recompence, I demand this tower, and as much land as will be requisite to build me a new castle.’ The emperor was satisfied; for he frequently repented his violent passions, but he could not alter what he had already decided. He therefore gave me the tower in which I had been confined, and all the lands around it for the space of four leagues. He also gave me more gold and silver than was sufficient to build a castle much more magnificent than the one he had caused to be pulled down. I ​took unto myself a wife, in order to perpetuate my race; but Bertha still reigned sole mistress of my heart. I also built myself a castle, from which I made a communication, by subterranean and secret passages, with my former prison the tower, and with the castle of Bruno, the residence of my mortal enemy. As soon as the edifice was completed, I entered the fortress by the secret passage, and appeared as the spirit of one of his ancestors before the bed of his son, the heir with which Bertha had presented him. The women who lay beside him were seized with fear: I leaned over the child, who was the precise image of its mother, and kissed its forehead; but—it was the kiss of death; it carried with it a secret poison.
“Bruno and Bertha acknowledged the vengeance of Heaven: they received it as a punishment for the wrongs they had occasioned me; and they devoted their first child to the service of God. As it was a girl, I spared it: but Bertha had no more children; and Bruno, irritated to find his race so nearly annihilated, repudiated his wife, as if he repented the injustice of which he had been guilty in taking her, and married another. The unfortunate Bertha took refuge in a monastery, and consecrated herself to Heaven: but her reason fled; and one night she quitted her retreat, came to the tower in which I had been confined in consequence of ​her perfidy, there bewailed her crime, and there grief terminated her existence; which circumstance gave rise to that tower being called the Nun’s Rock. I heard, during the night, her sobs; and on going to the tower found Bertha extended motionless; the dews of night had seized her:—she was dead. I then resolved to avenge her loss. I placed her corpse in a deep vault beneath the tower; and having by means of my subterranean passage discovered all the count’s movements, I attacked him when unguarded; and dragging him to the vault which contained his wife’s corpse, I there abandoned him. The emperor, irritated against him for having divorced Bertha, gave me all his possessions, as a remuneration for the injustice I had heretofore experienced.
“I caused all the subterranean passages to be closed. I took under my care his daughter Hildegarde, and brought her up as my child: she loved the count Adalbert de Meltheim. But one night her mother’s ghost appeared to her, and reminded her that she was consecrated to the Almighty: this vision, however, could not deter her from marrying Adalbert. The night of her marriage the phantom appeared again before her bed, and thus addressed her:
“‘Since you have infringed the vow I made, my ​spirit can never be at rest, till one of your female descendants receives its death from me.’
“This discourse occasioned me to send for the venerable Tutilon, monk of St. Gall, who was very celebrated, in order that he might paint a portrait of Bertha, as she had painted herself in the monastery during her insanity; and I gave it to her daughter.
“Tutilon concealed behind that portrait a writing on parchment, the contents of which were as follows:
“‘I am Bertha; and I look at my daughters, to see whether one of them will not die for me, in expiation of my crimes, and thus reconcile me to God. Then shall I see the two families of Meltheim and Hainthal reunited by love, and in the birth of their descendants I shall enjoy happiness.’”
“This then,” exclaimed Ferdinand, “is the fatal writing that is to separate me from Emily; but which, in fact, only unites me to her more firmly! and Bertha, delivered from her penance, blesses the alliance; for by my marriage with Emily, the descendants of Bertha and Ditmar will be reunited.”
“Do you think,” demanded the baron of the countess, “that this explanation can admit of the slightest doubt?”
​The only answer the countess made, was by embracing Emily, and placing her hand in that of her son.
The joy was universal. Clotilde in particular had an air of extreme delight; and her father several times, in a jocular manner, scolded her for expressing her joy so vehemently. The following morning they removed the seals from the state-chamber, in order to contemplate the horrible portrait with somewhat less of sadness than heretofore: but they found that it had faded in a singular manner, and the colours, which formerly appeared so harsh, had blended and become softened.
Shortly after arrived the young man who was anxious to enter into an argument with Ferdinand on the explication of the mysteries relative to the portraits. Clotilde did not conceal that he was far from indifferent to her; and they discovered the joy she had evinced, in discovering the favourable turn Emily’s attachment had taken, was not altogether disinterested, but occasioned by the prospect it afforded of happiness to herself. Her father, in fact, would never have approved her choice, had not the countess Meltheim removed all pretensions to Clotilde.
“But,” asked Ferdinand of Clotilde’s intended, “do you not forgive our having searched into certain mysteries which concerned us?”
​“Completely,” he answered; “but not less disinterestedly than formerly, when I maintained a contrary opinion. I ought now to confess to you, that I was present at the fatal accident which caused your sister’s death, and that I then discovered the writing concealed behind the portrait. I naturally explained it as your father did afterwards; but I held my peace; for the consequences have brought to light what the discovery of that writing had caused me to apprehend for my love.”
“Unsatisfactory explanations are bad,” replied Ferdinand, laughing.
The happy issue of these discoveries spread universal joy amongst the inhabitants of the castle, which was in some degree heightened by the beauty of the season. The lovers were anxious to celebrate their marriage ere the fall of the leaf. And when next the primrose’s return announced the approach of spring, Emily gave birth to a charming boy.
Ferdinand’s mother, Clotilde and her husband, and all the friends of the family, among whom were the pastor who was so fond of music, and his pretty little wife, assembled at the fête given in honour of the christening. When the priest who was performing the ceremony asked what name he was to give the child, that of Ditmar was uttered by every mouth, as if they had previously agreed on ​it. The christening over, Ferdinand, elate with joy, accompanied by his relations and guests, carried his son to the state-chamber, before his forefather’s portrait; but it was no longer perceptible; the colours, figure,—all had disappeared; not the slightest trace remained.