Thus, after the Captain and Edward were gone, the Architect, of whom we have spoken, appeared every day a more important person. The ordering and executing of a number of undertakings depended entirely upon him, and he proved himself thoroughly understanding and businesslike in the style in which he went to work; while in a number of other ways he was able also to make himself of assistance to the ladies, and find amusement for their weary hours. His outward air and appearance were of the kind which win confidence and awake affection. A youth in the full sense of the word, well-formed, tall, perhaps a little too stout; modest without being timid, and easy without being obtrusive, there was no work and no trouble which he was not delighted to take upon himself; and as he could keep accounts with great facility, the whole economy of the household soon was no secret to him, and everywhere his salutary influence made itself felt. Any stranger who came he was commonly set to entertain, and he was skilful either at declining unexpected visits, or at least so far preparing the ladies for them as to spare them any disagreeableness.

Among others, he had one day no little trouble with a young lawyer, who had been sent by a neighboring nobleman to speak about a matter which, although of no particular moment, yet touched Charlotte to the quick. We have to mention this incident because it gave occasion for a number of things which otherwise might perhaps have remained long untouched.

We remember certain alterations which Charlotte had made in the churchyard. The entire body of the monuments had been removed from their places, and had been ranged along the walls of the church, leaning against the string-course. The remaining space had been levelled, except a broad walk which led up to the church, and past it to the opposite gate; and it had been all sown with various kinds of trefoil, which had shot up and flowered most beautifully.

The new graves were to follow one after another in a regular order from the end, but the spot on each occasion was to be carefully smoothed over and again sown. No one could deny that on Sundays and holidays when the people went to church the change had given it a most cheerful and pleasant appearance. At the same time the clergyman, an old man and clinging to old customs, who at first had not been especially pleased with the alteration, had become thoroughly delighted with it, all the more because when he sat out like Philemon with his Baucis under the old linden trees at his back door, instead of the humps and mounds he had a beautiful clean lawn to look out upon; and which, moreover, Charlotte having secured the use of the spot to the Parsonage, was no little convenience to his household.

Notwithstanding this, however, many members of the congregation had been displeased that the means of marking the spots where their forefathers rested had been removed, and all memorials of them thereby obliterated. However well preserved the monuments might be, they could only show who had been buried, but not where he had been buried, and the where, as many maintained, was everything.

Of this opinion was a family in the neighborhood, who for many years had been in possession of a considerable vault for a general resting-place of themselves and their relations, and in consequence had settled a small annual sum for the use of the church. And now this young lawyer had been sent to cancel this settlement, and to show that his client did not intend to pay it any more, because the conditions under which it had been hitherto made had not been observed by the other party, and no regard had been paid to objection and remonstrance. Charlotte, who was the originator of the alteration herself, chose to speak to the young man, who in a decided though not a violent manner, laid down the grounds on which his client proceeded, and gave occasion in what he said for much serious reflection.

"You see," he said, after a slight introduction, in which he sought to justify his peremptoriness; "you see, it is right for the lowest as well as for the highest to mark the spot which holds those who are dearest to him. The poorest, peasant, who buries a child, finds it some consolation to plant a light wooden cross upon the grave, and hang a garland upon it, to keep alive the memorial, at least as long as the sorrow remains; although such a mark, like the mourning, will pass away with time. Those better off change the cross of wood into iron, and fix it down and guard it in various ways; and here we have endurance for many years. But because this too will sink at last, and become invisible, those who are able to bear the expense see nothing fitter than to raise a stone which shall promise to endure for generations, and which can be restored and made fresh again by posterity. Yet this stone it is not which attracts us; it is that which is contained beneath it, which is intrusted, where it stands, to the earth. It is not the memorial so much of which we speak, as of the person himself; not of what once was, but of what is. Far better, far more closely, can I embrace some dear departed one in the mound which rises over his bed, than in a monumental writing which only tells us that once he was. In itself, indeed, it is but little; but around it, as around a central mark, the wife, the husband, the kinsman, the friend, after their departure, shall gather in again; and the living shall have the right to keep far off all strangers and evil-wishers from the side of the dear one who is sleeping there. And, therefore, I hold it quite fair and fitting that my principal shall withdraw his grant to you. It is, indeed, but too reasonable that he should do it, for the members of his family are injured in a way for which no compensation could be even proposed. They are deprived of the sad sweet feelings of laying offerings on the remains of their dead, and of the one comfort in their sorrow of one day lying down at their side."

"The matter is not of that importance," Charlotte answered, "that we should disquiet ourselves about it with the vexation of a lawsuit. I regret so little what I have done, that I will gladly myself indemnify the church for what it loses through you. Only I must confess candidly to you, your arguments have not convinced me; the pure feeling of an universal equality at last, after death, seems to me more composing than this hard determined persistence in our personalities and in the conditions and circumstances of our lives. What do you say to it?" she added, turning to the Architect.

"It is not for me," replied he, "either to argue, or to attempt to judge in such a case. Let me venture, however, to say what my own art and my own habits of thinking suggest to me. Since we are no longer so happy as to be able to press to our breasts the in-urned remains of those we have loved; since we are neither wealthy enough nor of cheerful heart enough to preserve them undecayed in large elaborate sarcophagi; since, indeed, we cannot even find place any more for ourselves and ours in the churches, and are banished out into the open air, we all, I think, ought to approve the method which you, my gracious lady, have introduced. If the members of a common congregation are laid out side by side, they are resting by the side of, and among their kindred; and, if the earth be once to receive us all, I can find nothing more natural or more desirable than that the mounds, which, if they are thrown up, are sure to sink slowly in again together, should be smoothed off at once, and the covering, which all bear alike, will press lighter upon each."

"And is it all, is it all to pass away," asked Ottilie, "without one token of remembrance, without anything to call back the past?"

"By no means," continued the Architect; "it is not from remembrance, it is from place that men should be set free. The architect, the sculptor, are highly interested that men should look to their art—to their hand, for a continuance of their being; and, therefore, I should wish to see well-designed, well-executed monuments; not sown up and down by themselves at random, but erected all in a single spot, where they can promise themselves endurance. Inasmuch as even the good and the great are contented to surrender the privilege of resting in person in the churches, we may, at least, erect there or in some fair hall near the burying place, either monuments or monumental writings. A thousand forms might be suggested for them, and a thousand ornaments with which they might be decorated."

"If the artists are so rich," replied Charlotte, "then tell me how it is that they are never able to escape from little obelisks, dwarf pillars, and urns for ashes? Instead of your thousand forms of which you boast, I have never seen anything but a thousand repetitions."

"It is very generally so with us," returned the Architect, "but it is not universal; and very likely the right taste and the proper application of it may be a peculiar art. In this case especially we have this great difficulty, that the monument must be something cheerful and yet commemorate a solemn subject; while its matter is melancholy, it must not itself be melancholy. As regards designs for monuments of all kinds, I have collected numbers of them, and I will take some opportunity of showing them to you; but at all times the fairest memorial of a man remains some likeness of himself. This better than anything else, will give a notion of what he was; it is the best text for many or for few notes, only it ought to be made when he is at his best age, and that is generally neglected; no one thinks of preserving forms while they are alive, and if it is done at all, it is done carelessly and incompletely; and then comes death; a cast is taken swiftly of the face; this mask is set upon a block of stone, and that is what is called a bust. How seldom is the artist in a position to put any real life into such things as these!"

"You have contrived," said Charlotte, "without perhaps knowing it or wishing it, to lead the conversation altogether in my favor. The likeness of a man is quite independent; everywhere that it stands, it stands for itself, and we do not require it to mark the site of a particular grave. But I must acknowledge to you to having a strange feeling; even to likenesses I have a kind of disinclination. Whenever I see them they seem to be silently reproaching me. They point to something far away from us—gone from us; and they remind me how difficult it is to pay right honor to the present. If we think how many people we have seen and known, and consider how little we have been to them and how little they have been to us, it is no very pleasant reflection. We have met a man of genius without having enjoyed much with him—a learned man without having learnt from him—a traveler without having been instructed,—a man to love without having shown him any kindness.

"And, unhappily, this is not the case only with accidental meetings. Societies and families behave in the same way toward their dearest members, towns toward their worthiest citizens, people toward their most admirable princes, nations toward their most distinguished men.

"I have heard it asked why we heard nothing but good spoken of the dead, while of the living it is never without some exception. It should be answered, because from the former we have nothing any more to fear, while the latter may still, here or there, fall in our way. So unreal is our anxiety to preserve the memory of others—generally no more than a mere selfish amusement; and the real, holy, earnest feeling would be what should prompt us to be more diligent and assiduous in our attentions toward those who still are left to us."



CHAPTER II

Under the stimulus of this accident, and of the conversations which arose out of it, they went the following day to look over the burying-place, for the ornamenting of which and relieving it in some degree of its sombre look, the Architect made many a happy proposal. His interest too had to extend itself to the church as well; a building which had caught his attention from the moment of his arrival.

It had been standing for many centuries, built in old German style, the proportions good, the decorating elaborate and excellent; and one might easily gather that the architect of the neighboring monastery had left the stamp of his art and of his love on this smaller building also; it worked on the beholder with a solemnity and a sweetness, although the change in its internal arrangements for the Protestant service had taken from it something of its repose and majesty.

The Architect found no great difficulty in prevailing on Charlotte to give him a considerable sum of money to restore it externally and internally, in the original spirit, and thus, as he thought, to bring it into harmony with the resurrection-field which lay in front of it. He had himself much practical skill, and a few laborers who were still busy at the lodge might easily be kept together, until this pious work too should be completed.

The building itself, therefore, with all its environs, and whatever was attached to it, was now carefully and thoroughly examined; and then showed itself, to the greatest surprise and delight of the Architect, a little side chapel, which nobody had thought of, beautifully and delicately proportioned, and displaying still greater care and pains in its decoration. It contained at the same time many remnants, carved and painted, of the implements used in the old services, when the different festivals were distinguished by a variety of pictures and ceremonies, and each was celebrated in its own peculiar style.

It was impossible for him not at once to take this chapel into his plan; and he determined to bestow especial pains on the restoring of this little spot, as a memorial of old times and of their taste. He saw exactly how he would like to have the vacant surfaces of the walls ornamented, and delighted himself with the prospect, of exercising his talent for painting upon them; but of this, at first, he made a secret to the rest of the party.

Before doing anything else, he fulfilled his promise of showing the ladies the various imitations of, and designs from, old monuments, vases, and other such things which he had made, and when they came to speak of the simple barrow-sepulchres of the northern nations, he brought a collection of weapons and implements which had been found in them. He had got them exceedingly nicely and conveniently arranged in drawers and compartments, laid on boards cut to fit them, and covered over with cloth; so that these solemn old things, in the way he treated them, had a smart dressy appearance, and it was like looking into the box of a trinket merchant.

Having once begun to show his curiosities, and finding them prove serviceable to entertain our friends in their loneliness, every evening he would produce one or other of his treasures. They were most of them of German origin—pieces of metal, old coins, seals, and such like. All these things directed the imagination back upon old times; and when at last they came to amuse themselves with the first specimens of printing, woodcuts, and the earliest copper-plate engraving, and when the church, in the same spirit, was growing out, every day, more and more in form and color like the past, they had almost to ask themselves whether they really were living in a modern time, whether it were not a dream, that manners, customs, modes of life, and convictions were all really so changed.

After such preparation, a great portfolio, which at last he produced, had the best possible effect. It contained indeed principally only outlines and figures, but as these had been traced upon original pictures, they retained perfectly their ancient character, and most captivating indeed this character was to the spectators. All the figures breathed only the purest feeling; every one, if not noble, at any rate was good; cheerful composure, ready recognition of One above us, to whom all reverence is due; silent devotion, in love and tranquil expectation, was expressed on every face, on every gesture. The old bald-headed man, the curly-pated boy, the light-hearted youth, the earnest man, the glorified saint, the angel hovering in the air, all seemed happy in an innocent, satisfied, pious expectation. The commonest object had a trait of celestial life; and every nature seemed adapted to the service of God, and to be, in some way or other, employed upon it.

Toward such a region most of them gazed as toward a vanished golden age, or on some lost paradise; only perhaps Ottilie had a chance of finding herself among beings of her own nature. Who could offer any proposition when the Architect asked to be allowed to paint the spaces between the arches and the walls of the chapel in the style of these old pictures and thereby leave his own distinct memorial at a place where life had gone so pleasantly with him?

He spoke of it with some sadness, for he could see, in the state in which things were, that his sojourn in such delightful society could not last forever; indeed, that perhaps it would now soon be ended.

For the rest, these days were not rich in incidents; yet full of occasion for serious entertainment. We therefore take the opportunity of communicating something of the remarks which Ottilie noted down among her manuscripts, to which we cannot find a fitter transition than through a simile which suggested itself to us on contemplating her exquisite pages.

There is, we are told, a curious contrivance in the service of the English marine. The ropes in use in the royal navy, from the largest to the smallest, are so twisted that a red thread runs through them from end to end, which cannot be extracted without undoing the whole; and by which the smallest pieces may be recognized as belonging to the crown.

Just so is there drawn through Ottilie Is diary, a thread of attachment and affection which connects it all together, and characterizes the whole. And thus these remarks, these observations, these extracted sentences, and whatever else it may contain, were, to the writer, of peculiar meaning. Even the few separate pieces which we select and transcribe will sufficiently explain our meaning.

FROM OTTILIE'S DIARY

"To rest hereafter at the side of those whom we love is the most delightful thought which man can have when once he looks out beyond the boundary of life. What a sweet expression is that—'He was gathered to his fathers!'"

"Of the various memorials and tokens which bring nearer to us the distant and the separated—none is so satisfactory as a picture. To sit and talk to a beloved picture, even though it be unlike, has a charm in it, like the charm which there sometimes is in quarrelling with a friend. We feel, in a strange sweet way, that we are divided and yet cannot separate."

"We entertain ourselves often with a present person as with a picture. He need not speak to us, he need not look at us, or take any notice of us; we look at him, we feel the relation in which we stand to him; such relation can even grow without his doing anything toward it, without his having any feeling of it: he is to us exactly as a picture."

"One is never satisfied with a portrait of a person that one knows. I have always felt for the portrait-painter on this account. One so seldom requires of people what is impossible, and of them we do really require what is impossible; they must gather up into their picture the relation of every body to its subject, all their likings and all dislikings; they must not only paint a man as they see him, but as every one else sees him. It does not surprise me if such artists become by degrees stunted, indifferent, and of but one idea; and indeed it would not matter what came of it, if it were not that in consequence we have to go without the pictures of so many persons near and dear to us."

"It is too true, the Architect's collection of weapons and old implements, which were found with the bodies of their owners, covered in with great hills of earth and rock, proves to us how useless is man's so great anxiety to preserve his personality after he is dead; and so inconsistent people are, the Architect confesses to have himself opened these barrows of his forefathers, and yet goes on occupying himself with memorials for posterity."

"But after all why should we take it so much to heart? Is all that we do, done for eternity? Do we not put on our dress in the morning, to throw it off again at night? Do we not go abroad to return home again? And why should we not wish to rest by the side of our friends, though it were but for a century?"

"When we see the many gravestones which have fallen in, which have been defaced by the footsteps of the congregation, which lie buried under the ruins of the churches, that have themselves crumbled together over them, we may fancy the life after death to be as a second life, into which a man enters in the figure, or the picture, or the inscription, and lives longer there than when he was really alive. But this figure also, this second existence, dies out too, sooner or later. Time will not allow himself to be cheated of his rights with the monuments of men or with themselves."

It causes us so agreeable a sensation to occupy ourselves with what we can only half do, that no person ought to find fault with the dilettante, when he is spending his time over an art which he can never learn; nor blame the artist if he chooses to pass out over the border of his own art, and amuse himself in some neighboring field. With such complacency of feeling we regard the preparation of the Architect for painting the chapel. The colors were got ready, the measurements taken, the cartoons designed. He had made no attempt at originality, but kept close to his outlines; his only care was to make a proper distribution of the sitting and floating figures, so as tastefully to ornament his space with them.

The scaffoldings were erected. The work went forward; and as soon as anything had been done on which the eye could rest, he could have no objection to Charlotte and Ottilie coming to see how he was getting on.

The life-like faces of the angels, their robes waving against the blue sky-ground, delighted the eye, while their still and holy air calmed and composed the spirit, and produced the most delicate effect.

The ladies ascended the scaffolding to him, and Ottilie had scarcely observed how easily and regularly the work was being done when the power which had been fostered in her by her early education at once appeared to develop. She took a brush, and with a few words of direction, painted a richly folding robe, with as much delicacy as skill.

Charlotte, who was always glad when Ottilie would occupy or amuse herself with anything, left them both in the chapel, and went to follow the train of her own thoughts, and work her way for herself through her cares and anxieties which she was unable to communicate to a creature.

When ordinary men allow themselves to be worked up by common every-day difficulties into fever-fits of passion, we can give them nothing but a compassionate smile. But we look with a kind of awe on a spirit in which the seed of a great destiny has been sown, which must abide the unfolding of the germ, and neither dare nor can do anything to precipitate either the good or the ill, either the happiness or the misery, which is to arise out of it.

Edward had sent an answer by Charlotte's messenger, who had come to him in his solitude. It was written with kindness and interest, but it was rather composed and serious than warm and affectionate. He had vanished almost immediately after, and Charlotte could learn no news about him; till at last she accidentally found his name in the newspaper, where he was mentioned with honor among those who had most distinguished themselves in a late important engagement. She now understood the method which he had taken; she perceived that he had escaped from great danger; only she was convinced at the same time that he would seek out greater; and it was all too clear to her that in every sense he would hardly be withheld from any extremity.

She had to bear about this perpetual anxiety in her thoughts, and turn which way she would, there was no light in which she could look at it that would give her comfort.

Ottilie, never dreaming of anything of this, had taken to the work in the chapel with the greatest interest, and she had easily obtained Charlotte's permission to go on with it regularly. So now all went swiftly forward, and the azure heaven was soon peopled with worthy inhabitants. By continual practice both Ottilie and the Architect had gained more freedom with the last figures; they became perceptibly better. The faces, too, which had been all left to the Architect to paint, showed by degrees a very singular peculiarly. They began all of them to resemble Ottilie. The neighborhood of the beautiful girl had made so strong an impression on the soul of the young man, who had no variety of faces preconceived in his mind, that by degrees, on the way from the eye to the hand, nothing was lost, and both worked in exact harmony together. Enough; one of the last faces succeeded perfectly; so that it seemed as if Ottilie herself was looking down out of the spaces of the sky.

They had finished with the arching of the ceiling. The walls they proposed to leave plain, and only to cover them over with a bright brown color. The delicate pillars and the quaintly molded ornaments were to be distinguished from them by a dark shade. But as in such things one thing ever leads on to another, they determined at least on having festoons of flowers and fruit, which should, as it were, unite heaven and earth. Here Ottilie was in her element. The gardens provided the most perfect patterns; and although the wreaths were as rich as they could make them, it was all finished sooner than they had supposed possible.

It was still looking rough and disorderly. The scaffolding poles had been run together, the planks thrown one on the top of the other; the uneven pavement was yet more disfigured by the parti-colored stains of the paint which had been spilt over it.

The Architect begged that the ladies would give him a week to himself, and during that time would not enter the chapel; at the end of it, one fine evening, he came to them, and begged them both to go and see it. He did not wish to accompany them, he said, and at once took his leave.

"Whatever surprise he may have designed for us," said Charlotte, as soon as he was gone, "I cannot myself just now go down there. You can go by yourself, and tell me all about it. No doubt he has been doing something which we shall like. I will enjoy it first in your description, and afterwards it will be the more charming in the reality."

Ottilie, who knew well that in many cases Charlotte took care to avoid everything which could produce emotion, and particularly disliked to be surprised, set off down the walk by herself and looked round involuntarily for the Architect, who, however, was nowhere to be seen and must have concealed himself somewhere. She walked into the church, which she found open. This had been finished before; it had been cleaned up, and service had been performed in it. She went on to the chapel door; its heavy mass, all overlaid with iron, yielded easily to her touch, and she found an unexpected sight in a familiar spot.

A solemn, beautiful light streamed in through the one tall window. It was filled with stained glass, gracefully put together. The entire chapel had thus received a strange tone, and a peculiar genius was thrown over it. The beauty of the vaulted ceiling and the walls was set off by the elegance of the pavement, which was composed of peculiarly shaped tiles, fastened together with gypsum, and forming exquisite patterns as they lay. This and the colored glass for the windows the Architect had prepared without their knowledge, and a short time was sufficient to have it put in its place.

Seats had been provided as well. Among the relics of the old church some finely carved chancel chairs had been discovered, which now were standing about at convenient places along the walls.

The parts which she knew so well now meeting her as an unfamiliar whole, delighted Ottilie. She stood still, walked up and down, looked and looked again; at last she seated herself in one of the chairs, and it seemed, as she gazed up and down, as if she was, and yet was not—as if she felt and did not feel—as if all this would vanish from before her, and she would vanish from herself; and it was only when the sun left the window, on which before it had been shining full, that she awoke to possession of herself and hastened back to the castle.

She did not hide from herself the strange epoch at which this surprise had occurred to her. It was the evening of Edward's birthday. Very differently she had hoped to keep it. How was not every thing to be dressed out for this festival and now all the splendor of the autumn flowers remained ungathered! Those sunflowers still turned their faces to the sky; those asters still looked out with quiet, modest eye; and whatever of them all had been wound into wreaths had served as patterns for the decorating a spot which, if it was not to remain a mere artist's fancy, was only adapted as a general mausoleum.

And then she had to remember the impetuous eagerness with which Edward had kept her birthday-feast. She. thought of the newly erected lodge, under the roof of which they had promised themselves so much enjoyment. The fireworks flashed and hissed again before her eyes and ears; the more lonely she was, the more keenly her imagination brought it all before her. But she felt herself only the more alone. She no longer leant upon his arm, and she had no hope ever any more to rest herself upon it.

FROM OTTILIE'S DIARY

"I have been struck with an observation of the young architect.

"In the case of the creative artist, as in that of the artisan, it is clear that man is least permitted to appropriate to himself what is most entirely his own. His works forsake him as the birds forsake the nest in which they were hatched.

"The fate of the Architect is the strangest of all in this way. How often he expends his whole soul, his whole heart and passion, to produce buildings into which he himself may never enter. The halls of kings owe their magnificence to him; but he has no enjoyment of them in their splendor. In the temple he draws a partition line between himself and the Holy of Holies; he may never more set his foot upon the steps which he has laid down for the heart-thrilling ceremonial, as the goldsmith may only adore from far off the monstrance whose enamel and whose jewels he has himself set together. The builder surrenders to the rich man, with the key of his palace, all pleasure and all right there, and never shares with him in the enjoyment of it. And must not art in this way, step by step, draw off from the artist, when the work, like a child who is provided for, has no more to fall back upon its father? And what a power there must be in art itself for its own self-advancing, when it has been obliged to shape itself almost solely out of what was open to all, only out of what was the property of every one, and therefore also of the artist!"

"There is a conception among old nations which is awful, and may almost seem terrible. They pictured their forefathers to themselves sitting round on thrones, in enormous caverns, in silent converse; when a new comer entered, if he were worthy enough, they rose up, and inclined their heads to welcome him. Yesterday, as I was sitting in the chapel, and other carved chairs stood round like that in which I was, the thought of this came over me with a soft, pleasant feeling. Why cannot you stay sitting here? I said to myself; stay here sitting meditating with yourself long, long, long, till at last your friends come, and you rise up to them, and with a gentle inclination direct them to their places. The colored window panes convert the day into a solemn twilight; and some one should set up for us an ever-burning lamp, that the night might not be utter darkness."

"We may imagine ourselves in what situation we please, we always conceive ourselves as seeing. I believe men only dream that they may not cease to see. Some day, perhaps, the inner light will come out from within us, and we shall not any more require another.

"The year dies away, the wind sweeps over the stubble, and there is nothing left to stir under its touch. But the red berries on yonder tall tree seem as if they would still remind us of brighter things; and the stroke of the thrasher's flail awakes the thought how much of nourishment and life lie buried in the sickled ear."



CHAPTER IV

How strangely, after all this, with the sense so vividly impressed on her of mutability and perishableness, must Ottilie have been affected by the news which could not any longer be kept concealed from her, that Edward had exposed himself to the uncertain chances of war! Unhappily, none of the observations which she had occasion to make upon it escaped her. But it is well for us that man can only endure a certain degree of unhappiness; what is beyond that either annihilates him, or passes by him, and leaves him apathetic. There are situations in which hope and fear run together, in which they mutually destroy one another, and lose themselves in a dull indifference. If it were not so, how could we bear to know of those who are most dear to us being in hourly peril, and yet go on as usual with our ordinary everyday life?

It was therefore as if some good genius was caring for Ottilie, that, all at once, this stillness, in which she seemed to be sinking from loneliness and want of occupation, was suddenly invaded by a wild army, which, while it gave her externally abundance of employment, and so took her out of herself, at the same time awoke in her the consciousness of her own power.

Charlotte's daughter, Luciana, had scarcely left the school and gone out into the great world; scarcely had she found herself at her aunt's house in the midst of a large society, than her anxiety to please produced its effect in really pleasing; and a young, very wealthy man, soon experienced a passionate desire to make her his own. His large property gave him a right to have the best of everything for his use, and nothing seemed to be wanting to him except a perfect wife, for whom, as for the rest of his good fortune, he should be the envy of the world.

This incident in her family had been for some time occupying Charlotte. It had engaged all her attention, and taken up her whole correspondence, except so far as this was directed to the obtaining news of Edward; so that latterly Ottilie had been left more than was usual to herself. She knew, indeed, of an intended visit from Luciana. She had been making various changes and arrangements in the house in preparation for it; but she had no notion that it was so near. Letters, she supposed, would first have to pass, settling the time, and unsettling it; and at last a final fixing: when the storm broke suddenly over the castle and over herself.

Up drove, first, lady's maids and men-servants, their carriage loaded with trunks and boxes. The household was already swelled to double or to treble its size, and then appeared the visitors themselves. There was the great aunt, with Luciana and some of her friends; and then the bridegroom with some of his friends. The entrance-hall was full of things—bags, portmanteaus, and leather articles of every sort. The boxes had to be got out of their covers, and that was infinite trouble; and of luggage and of rummage there was no end. At intervals, moreover, there were violent showers, giving rise to much inconvenience. Ottilie encountered all this confusion with the easiest equanimity, and her happy talent showed in its fairest light. In a very little time she had brought things to order, and disposed of them. Every one found his room—every one hand his things exactly as they wished, and all thought themselves well attended to, because they were not prevented from attending on themselves.

The journey had been long and fatiguing, and they would all have been glad of a little rest after it. The bridegroom would have liked to pay his respects to his mother-in-law, express his pleasure, his gratitude, and so on. But Luciana could not rest. She had now arrived at the happiness of being able to mount a horse. The bridegroom had beautiful horses, and mount they must on the spot. Clouds and wind, rain and storm, they were nothing to Luciana, and now it was as if they only lived to get wet through, and to dry themselves again. If she took a fancy to go out walking, she never thought what sort of dress she had on, or what her shoes were like; she must go and see the grounds of which she had heard so much; what could not be done on horseback, she ran through on foot. In a little while she had seen everything, and given her opinion about everything; and with such rapidity of character it was not easy to contradict or oppose her. The whole household had much to suffer, but most particularly the lady's maids, who were at work from morning to night, washing, and ironing, and stitching.

As soon as she had exhausted the house and the park, she thought it was her duty to pay visits all around the neighborhood. Although they rode and drove fast, "all around the neighborhood" was a goodly distance. The castle was flooded with return visits, and that they might not miss one another, it soon came to days being fixed for them.

Charlotte, in the meantime, with her aunt, and the man of business of the bridegroom, were occupied in determining about the settlements, and it was left to Ottilie, with those under her, to take care that all this crowd of people were properly provided for. Gamekeepers and gardeners, fishermen and shopdealers, were set in motion, Luciana always showing herself like the blazing nucleus of a comet with its long tail trailing behind it. The ordinary amusements of the parties soon became too insipid for her taste. Hardly would she leave the old people in peace at the card-table. Whoever could by any means be set moving (and who could resist the charm of being pressed by her into service?) must up, if not to dance, then to play at forfeits, or some other game, where they were to be victimized and tormented. Notwithstanding all that, however, and although afterward the redemption of the forfeits had to be settled with herself, yet of those who played with her, never any one, especially never any man, let him be of what sort he would, went quite empty-handed away. Indeed, some old people of rank who were there she succeeded in completely winning over to herself, by having contrived to find out their birthdays or christening days, and marking them with some particular celebration. In all this she showed a skill not a little remarkable. Every one saw himself favored, and each considered himself to be the one most favored, a weakness of which the oldest person of the party was the most notably guilty.

It seemed to be a sort of pride with her that men who had anything remarkable about them—rank, character, or fame—she must and would gain for herself. Gravity and seriousness she made give way to her, and, wild, strange creature as she was, she found favor even with discretion itself. Not that the young were at all cut short in consequence. Everybody had his share, his day, his hour, in which she contrived to charm and to enchain him. It was therefore natural enough that before long she should have had the Architect in her eye, looking out so unconsciously as he did from under his long black hair, and standing so calm and quiet in the background. To all her questions she received short, sensible answers; but he did not seem inclined to allow himself to be carried away further, and at last, half provoked, half in malice, she resolved that she would make him the hero of a day, and so gain him for her court.

It was not for nothing that she had brought that quantity of luggage with her. Much, indeed, had followed her afterward. She had provided herself with an endless variety of dresses. When it took her fancy she would change her dress three or four times a day, usually wearing something of an ordinary kind, but making her appearance suddenly at intervals in a thorough masquerade dress, as a peasant girl or a fish-maiden, as a fairy or a flower-girl; and this would go on from morning till night. Sometimes she would even disguise herself as an old woman, that her young face might peep out the fresher from under the cap; and so utterly in this way did she confuse and mix together the actual and the fantastic, that people thought they were living with a sort of drawing-room witch.

But the principal use which she had for these disguises were pantomimic tableaux and dances, in which she was skilful in expressing a variety of character. A cavalier in her suite had taught himself to accompany her action on the piano with the little music which was required; they needed only to exchange a few words and they at once understood each other.

One day, in a pause of a brilliant ball, they were called upon suddenly to extemporize (it was on a private hint from themselves) one of these exhibitions. Luciana seemed embarrassed, taken by surprise, and contrary to her custom let herself be asked more than once. She could not decide upon her character, desired the party to choose, and asked, like an improvisatore, for a subject. At last her piano-playing companion, with whom it had been all previously arranged, sat down at the instrument, and began to play a mourning march, calling on her to give them the Artemisia which she had been studying so admirably. She consented; and after a short absence reappeared, to the sad tender music of the dead march, in the form of the royal widow, with measured step, carrying an urn of ashes before her. A large black tablet was borne in after her, and a carefully cut piece of chalk in a gold pencil case.

One of her adorers and adjutants, into whose ear she whispered something, went directly to call the Architect, to desire him, and, if he would not come, to drag him up, as master-builder, to draw the grave for the mausoleum, and to tell him at the same time that he was not to play the statist, but enter earnestly into his part as one of the performers.

Embarrassed as the Architect outwardly appeared (for in his black, close-fitting, modern civilian's dress, he formed a wonderful contrast with the gauze crape fringes, tinsel tassels, and crown), he very soon composed himself internally, and the scene became all the more strange. With the greatest gravity he placed himself in front of the tablet, which was supported by a couple of pages, and drew carefully an elaborate tomb, which indeed would have suited better a Lombard than a Carian prince; but it was in such beautiful proportions, so solemn in its parts, so full of genius in its decoration, that the spectators watched it growing with delight, and wondered at it when it was finished.

All this time he had not once turned toward the queen, but had given his whole attention to what he was doing. At last he inclined his head before her, and signified that he believed he had now fulfilled her commands. She held the urn out to him, expressing her desire to see it represented on the top of the monument. He complied, although unwillingly, as it would not suit the character of the rest of his design. Luciana was now at last released from her impatience. Her intention had been by no means to get a scientific drawing out of him. If he had only made a few strokes, sketched out something which should have looked like a monument, and devoted the rest of his time to her, it would have been far more what she had wished, and would have pleased her a great deal better. His manner of proceeding had thrown her into the greatest embarrassment. For although in her sorrow, in her directions, in her gestures, in her approbation of the work as it slowly rose before her, she had tried to manage some sort of change of expression, and although she had hung about close to him, only to place herself into some sort of relation to him, yet he had kept himself throughout too stiff, so that too often she had been driven to take refuge with her urn; she had to press it to her heart and look up to heaven, and at last, a situation of that kind having a necessary tendency to intensify, she made herself more like a widow of Ephesus than a Queen of Caria. The representation had to lengthen itself out and became tedious. The pianoforte player, who had usually patience enough, did not know into what tune he could escape. He thanked God when he saw the urn standing on the pyramid, and fell involuntarily as the queen was going to express her gratitude, into a merry air; by which the whole thing lost its character, the company, however, being thoroughly cheered up by it, who forthwith divided, some going up to express their delight and admiration of the lady for her excellent performance, and some praising the Architect for his most artistlike and beautiful drawing.



The bridegroom especially paid marked attention to the Architect. "I am vexed," he said, "that the drawing should be so perishable; you will permit me, however, to have it taken to my room, where I should much like to talk to you about it."

"If it would give you any pleasure," said the Architect, "I can lay before you a number of highly finished designs for buildings and monuments of this kind, of which this is but a mere hasty sketch."

Ottilie was standing at no great distance, and went up to them. "Do not forget," she said to the Architect, "to take an opportunity of letting the Baron see your collection. He is a friend of art and of antiquity. I should like you to become better acquainted."

Luciana was passing at the moment. "What are they speaking of?" she asked.

"Of a collection of works of art," replied the Baron, "which this gentleman possesses, and which he is good enough to say that he will show us."

"Oh, let him bring them immediately," cried Luciana. "You will bring them, will you not?" she added, in a soft and sweet tone, taking both his hands in hers.

"The present is scarcely a fitting time," the Architect answered.

"What!" Luciana cried, in a tone of authority; "you will not obey the command of your queen!" and then she begged him again with some piece of absurdity.

"Do not be obstinate," said Ottilie, in a scarcely audible voice.

The Architect left them with a bow, which said neither yes nor no.

He was hardly gone, when Luciana was flying up and down the saloon with a greyhound. "Alas!" she exclaimed, as she ran accidentally against her mother, "am I not an unfortunate creature? I have not brought my monkey with me. They told me I had better not; but I am sure it was nothing but the laziness of my people, and it is such a delight to me. But I will have it brought after me; somebody shall go and fetch it. If I could only see a picture of the dear creature, it would be a comfort to me; I certainly will have his picture taken, and it shall never be out of my sight."

"Perhaps I can comfort you," replied Charlotte. "There is a whole volume full of the most wonderful ape faces in the library, which you can have fetched if you like."

Luciana shrieked for joy. The great folio was produced instantly. The sight of these hideous creatures, so like to men, and with the resemblance even more caricatured by the artist, gave Luciana the greatest delight. Her amusement with each of the animals, was to find some one of her acquaintance whom it resembled. "Is that not like my uncle?" she remorselessly exclaimed; "and here, look, here is my milliner M., and here is Parson S., and here the image of that creature—bodily! After all, these monkeys are the real incroyables, and it is inconceivable why they are not admitted into the best society."

It was in the best society that she said this, and yet no one took it ill of her. People had become accustomed to allow her so many liberties in her prettinesses, that at last they came to allow them in what was unpretty.

During this time, Ottilie was talking to the bridegroom; she was looking anxiously for the return of the Architect, whose serious and tasteful collection was to deliver the party from the apes; and in the expectation of it, she had made it the subject of her conversation with the Baron, and directed his attention on various things which he was to see. But the Architect stayed away, and when at last he made his appearance, he lost himself in the crowd, without having brought anything with him, and without seeming as if he had been asked for anything.

For a moment Ottilie became—what shall we call it?—annoyed, put out, perplexed. She had been saying so much about him—she had promised the bridegroom an hour of enjoyment after his own heart; and with all the depth of his love for Luciana, he was evidently suffering from her present behavior.

The monkeys had to give place to a collation. Round games followed, and then more dancing; at last, a general uneasy vacancy, with fruitless attempts at resuscitating exhausted amusements, which lasted this time, as indeed they usually did, far beyond midnight. It had already become a habit with Luciana to be never able to get out of bed in the morning or into it at night.

About this time, the incidents noticed in Ottilie's diary become more rare, while we find a larger number of maxims and sentences drawn from life and relating to life. It is not conceivable that the larger proportion of these could have arisen from her own reflection, and most likely some one had shown her varieties of them, and she had written out what took her fancy. Many, however, with an internal bearing, can be easily recognized by the red thread.

FROM OTTILIE'S DIARY

"We like to look into the future, because the undetermined in it, which may be affected this or that way, we feel as if we could guide by our silent wishes in our own favor."

"We seldom find ourselves in a large party without thinking; the accident which brings so many here together, should bring our friends to us as well."

"Let us live in as small a circle as we will, we are either debtors or creditors before we have had time to look round."

"If we meet a person who is under an obligation to us, we remember it immediately. But how often may we meet people to whom we are, ourselves, under obligation, without its even occurring to us!"

"It is nature to communicate one's-self; it is culture to receive what is communicated as it is given."

"No one would talk much in society, if he only knew how often he misunderstands others."

"One alters so much what one has heard from others in repeating it, only because one has not understood it."

"Whoever indulges long in monologue in the presence of others, without flattering his listeners, provokes ill-will."

"Every word a man utters provokes the opposite opinion."

"Argument and flattery are but poor elements out of which to form a conversation."

"The pleasantest society is when the members of it have an easy and natural respect for one another."

"There is nothing in which people more betray their character than in what they find to laugh at."

"The ridiculous arises out of a moral contrast, in which two things are brought together before the mind in an innocent way."

"The foolish man often laughs where there is nothing to laugh at. Whatever touches him, his inner nature comes to the surface."

"The man of understanding finds almost everything ridiculous; the man of thought scarcely anything."

"Some one found fault with an elderly man for continuing to pay attention to young ladies. 'It is the only means,' he replied, 'of keeping one's-self young, and everybody likes to do that.'"

"People will allow their faults to be shown them; they will let themselves be punished for them; they will patiently endure many things because of them; they only become impatient when they have to lay them aside."

"Certain defects are necessary for the existence of individuality. We should not be pleased, if old friends were to lay aside certain peculiarities."

"There is a saying, 'He will die soon,' when a man acts unlike himself."

"What kind of defects may we bear with and even cultivate in ourselves? Such as rather give pleasure to others than injure them."

"The passions are defects or excellencies only in excess."

"Our passions are true phoenixes: as the old burn out, the new straight rise up out of the ashes."

"Violent passions are incurable diseases; the means which will cure them are what first make them thoroughly dangerous."

"Passion is both raised and softened by confession. In nothing, perhaps, were the middle way more desirable than in knowing what to say and what not to say to those we love."



CHAPTER V

So swept on Luciana in the social whirlpool, driving the rush of life along before her. Her court multiplied daily, partly because her impetuosity roused and attracted so many, partly because she knew how to attach the rest to her by kindness and attention. Generous she was in the highest degree; her aunt's affection for her, and her bridegroom's love, had heaped her with beautiful and costly presents, but she seemed as if nothing which she had was her own, and as if she did not know the value of the things which had streamed in upon her. One day she saw a young lady looking rather poorly dressed by the side of the rest of the party, and she did not hesitate a moment to take off a rich shawl which she was wearing and hang it over her—doing it, at the same time, in such a humorous, graceful way that no one could refuse such a present so given. One of her courtiers always carried about a purse, with orders, whatever place they passed through, to inquire there for the most aged and most helpless persons, and give them relief, at least for the moment. In this way she gained for herself all round the country a reputation for charitableness which caused her not a little inconvenience, attracting about her far too many troublesome sufferers.

Nothing, however, so much added to her popularity as her steady and consistent kindness toward an unhappy young man, who shrank from society because, while otherwise handsome and well-formed, he had lost his right hand, although with high honor, in action. This mutilation weighed so heavily upon his spirits, it was so annoying to him, that every new acquaintance he made had to be told the story of his misfortune, that he chose rather to shut himself up altogether, devoting himself to reading and other studious pursuits, and once for all would have nothing more to do with society.

She heard of the state of this young man. At once she contrived to prevail upon him to come to her, first to small parties, then to greater, and then out into the world with her. She showed more attention to him than to any other person; particularly she endeavored, by the services which she pressed upon him, to make him sensible of what he had lost in laboring herself to supply it. At dinner, she would make him sit next to her; she cut up his food for him, that he might have to use only his fork. If people older or of higher rank prevented her from being close to him, she would stretch her attention across the entire table, and the servants were hurried off to make up to him what distance threatened to deprive him of. At last she encouraged him to write with his left hand. All his attempts he was to address to her and thus, whether far or near, she always kept herself in correspondence with him. The young man did not know what had happened to him, and from that moment a new life opened out before him.

One may perhaps suppose that such behavior must have caused some uneasiness to her bridegroom. But, in fact, it was quite the reverse. He admired her exceedingly for her exertions, and he had the more reason for feeling entirely satisfied about her, as she had certain features in her character almost in excess, which kept anything in the slightest degree dangerous utterly at a distance. She would run about with anybody, just as she fancied; no one was free from danger of a push or a pull, or of being made the object of some sort of freak. But no person ever ventured to do the same to her; no person dared to touch her, or return, in the remotest degree, any liberty which she had taken herself. She kept every one within the strictest barriers of propriety in their behavior to herself, while she, in her own behavior, was every moment overleaping them.

On the whole, one might have supposed it had been a maxim with her to expose herself indifferently to praise or blame, to regard or to dislike. If in many ways she took pains to gain people, she commonly herself spoiled all the good she had done, by an ill tongue, which spared no one. Not a visit was ever paid in the neighborhood, not a single piece of hospitality was ever shown to herself and her party among the surrounding castles or mansions, but what, on her return, her excessive recklessness let it appear that all men and all human things she was only inclined to see on the ridiculous side.

There were three brothers who, purely out of compliment to one another, kept up a good-natured and urbane controversy as to which should marry first, had been overtaken by old age before they had got the question settled; here was a little young wife with a great old husband; there, on the other hand, was a dapper little man and an unwieldy giantess. In one house, every step one took one stumbled over a child; another, however many people were crammed into it, never would seem full, because there were no children there at all. Old husbands (supposing the estate was not entailed) should get themselves buried as quickly as possible, that such a thing as a laugh might be heard again in the house. Young married people should travel: housekeeping did not sit well upon them. And as she treated the persons, so she treated what belonged to them; their houses, their furniture, their dinner-services—everything. The ornaments of the walls of the rooms most particularly provoked her saucy remarks. From the oldest tapestry to the most modern printed paper; from the noblest family pictures to the most frivolous new copper-plate: one as well as the other had to suffer—one as well as the other had to be pulled in pieces by her satirical tongue, so that, indeed, one had to wonder how, for twenty miles round, anything continued to exist.

It was not, perhaps, exactly malice which produced all this destructiveness; wilfulness and selfishness were what ordinarily set her off upon it: but a genuine bitterness grew up in her feelings toward Ottilie.

She looked down with disdain on the calm, uninterrupted activity of the sweet girl, which every one had observed and admired; and when something was said of the care which Ottilie took of the garden and of the hot-houses, she not only spoke scornfully of it, in affecting to be surprised, if it were so, at there being neither flowers nor fruit to be seen, not caring to consider that they were living in the depth of winter, but every faintest scrap of green, every leaf, every bud which showed, she chose to have picked every day and squandered on ornamenting the rooms and tables, and Ottilie and the gardener were not a little distressed to see their hopes for the next year, and perhaps for a longer time, destroyed in this wanton recklessness.

As little would she be content to leave Ottilie to her quiet work at home, in which she could live with so much comfort. Ottilie must go with them on their pleasure-parties and sledging-parties; she must be at the balls which were being got up all about the neighborhood. She was not to mind the snow, or the cold, or the night-air, or the storm; other people did not die of such things, and why should she? The delicate girl suffered not a little from it all, but Luciana gained nothing. For although Ottilie went about very simply dressed, she was always, at least so the men thought, the most beautiful person present. A soft attractiveness gathered them all about her; no matter whereabouts in the great rooms she was, first or last, it was always the same. Even Luciana's bridegroom was constantly occupied with her; the more so, indeed, because he desired her advice and assistance in a matter with which he was just then engaged.

He had cultivated the acquaintance of the Architect. On seeing his collection of works of art, he had taken occasion to talk much with him on history and on other matters, and especially from seeing the chapel had learnt to appreciate his talent. The Baron was young and wealthy. He was a collector; he wished to build. His love for the arts was keen, his knowledge small. In the Architect he thought that he had found the man he wanted; that with his assistance there was more than one aim at which he could arrive at once. He had spoken to his bride of what he wished. She praised him for it, and was infinitely delighted with the proposal. But it was more, perhaps, that she might carry off this young man from Ottilie (for whom she fancied she saw in him a kind of inclination), than because she thought of applying his talents to any purpose. He had shown himself, indeed, very ready to help at any of her extemporized festivities, and had suggested various resources for this thing and that. But she always thought she understood better than he what should be done, and as her inventive genius was usually somewhat common, her designs could be as well executed with the help of a tolerably handy domestic as with that of the most finished artist. Further than to an altar on which something was to be offered, or to a crowning, whether of a living head or of one of plaster of paris, the force of her imagination could not ascend, when a birthday, or other such occasion, made her wish to pay some one an especial compliment.

Ottilie was able to give the Baron the most satisfactory answer to his inquiries as to the relation of the Architect with their family. Charlotte had already, as she was aware, been exerting herself to find some situation for him; had it not been indeed for the arrival of the party, the young man would have left them immediately on the completion of the chapel, the winter having brought all building operations to a standstill; and it was, therefore, most fortunate if a new patron could be found to assist him, and to make use of his talents.

Ottilie's own personal position with the Architect was as pure and unconscious as possible. His agreeable presence, and his industrious nature, had charmed and entertained her, as the presence of an elder brother might. Her feelings for him remained at the calm unimpassioned level of blood relationship. For in her heart there was no room for more; it was filled to overflowing with love for Edward; only God, who interpenetrates all things, could share with him the possession of that heart.

Meanwhile the winter sank deeper; the weather grew wilder, the roads more impracticable, and therefore it seemed all the pleasanter to spend the waning days in agreeable society. With short intervals of ebb, the crowd from time to time flooded up over the house. Officers found their way there from distant garrison towns; the cultivated among them being a most welcome addition, the ruder the inconvenience of every one. Of civilians too there was no lack; and one day the Count and the Baroness quite unexpectedly came driving up together.

Their presence gave the castle the air of a thorough court. The men of rank and character formed a circle about the Baron, and the ladies yielded precedence to the Baroness. The surprise at seeing both together, and in such high spirits, was not allowed to be of long continuance. It came out that the Count's wife was dead, and the new marriage was to take place as soon as ever decency would allow it.

Well did Ottilie remember their first visit, and every word which was then uttered about marriage and separation, binding and dividing, hope, expectation, disappointment, renunciation. Here were these two persons, at that time without prospect for the future, now standing before her, so near their wished-for happiness, and an involuntary sigh escaped out of her heart.

No sooner did Luciana hear that the Count was an amateur of music, than at once she must get up something of a concert. She herself would sing and accompany herself on the guitar. It was done. The instrument she did not play without skill; her voice was agreeable: as for the words one understood about as little of them as one commonly does when a German beauty sings to the guitar. However, every one assured her that she had sung with exquisite expression, and she found quite enough approbation to satisfy her. A singular misfortune befell her, however, on this occasion. Among the party there happened to be a poet, whom she hoped particularly to attach to herself, wishing to induce him to write a song or two, and address them to her. This evening, therefore, she produced scarcely anything except songs of his composing. Like the rest of the party he was perfectly courteous to her, but she had looked for more. She spoke to him several times, going as near the subject as she dared, but nothing further could she get. At last, unable to bear it any longer, she sent one of her train to him, to sound him and find out whether he had not been delighted to hear his beautiful poems so beautifully executed.

"My poems?" he replied, with amazement; "pray excuse me, my dear sir," he added, "I heard nothing but the vowels, and not all of those; however, I am in duty bound to express all gratitude for so amiable an intention." The dandy said nothing and kept his secret; the other endeavored to get himself out of the scrape by a few well-timed compliments. She did not conceal her desire to have something of his which should be written for herself.

If it would not have been too ill-natured, he might have handed her the alphabet, to imagine for herself, out of that, such laudatory poem as would please her, and set it to the first melody that came to hand; but she was not to escape out of this business without mortification. A short time after, she had to learn that the very same evening he had written, at the foot of one of Ottilie's favorite melodies, a most lovely poem, which was something more than complimentary.

Luciana, like all persons of her sort, who never can distinguish between where they show to advantage and where to disadvantage, now determined to try her fortune in reciting. Her memory was good, but, if the truth must be told, her execution was spiritless, and she was vehement without being passionate. She recited ballad stories, and whatever else is usually delivered in declamation. At the same time she had contracted an unhappy habit of accompanying what she delivered with gestures, by which, in a disagreeable way, what is purely epic and lyric is more confused than connected with the dramatic.

The Count, a keen-sighted man, soon saw through the party, their inclinations, dispositions, wishes, and capabilities, and by some means or other contrived to bring Luciana to a new kind of exhibition, which was perfectly suited to her.

"I see here," he said, "a number of persons with fine figures, who would surely be able to imitate pictorial emotions and postures. Suppose they were to try, if the thing is new to them, to represent some real and well-known picture. An imitation of this kind, if it requires some labor in arrangement, has an inconceivably charming effect."

Luciana was quick enough in perceiving that here she was on her own ground entirely. Her fine shape, her well-rounded form, the regularity and yet expressiveness of her features, her light-brown braided hair, her long neck—she ran them all over in her mind, and calculated on their pictorial effects, and if she had only known that her beauty showed to more advantage when she was still than when she was in motion, because in the last case certain ungracefulness continually escaped her, she would have entered even more eagerly than she did into this natural picture-making.

They looked out the engravings of celebrated pictures, and the first which they chose was Van Dyk's Belisarius. A large well-proportioned man, somewhat advanced in years, was to represent the seated, blind general. The Architect was to be the affectionate soldier standing sorrowing before him, there really being some resemblance between them. Luciana, half from modesty, had chosen the part of the young woman in the background, counting out some large alms into the palm of his hand, while an old woman beside her is trying to prevent her, and representing that she is giving too much. Another woman who is in the act of giving him something, was not forgotten. Into this and other pictures they threw themselves with all earnestness. The Count gave the Architect a few hints as to the best style of arrangement, and he at once set up a kind of theatre, all necessary pains being taken for the proper lighting of it. They were already deep in the midst of their preparations, before they observed how large an outlay what they were undertaking would require, and that in the country, in the middle of winter, many things which they required it would be difficult to procure; consequently, to prevent a stoppage, Luciana had nearly her whole wardrobe cut in pieces, to supply the various costumes which the original artist had arbitrarily selected.

The appointed evening came, and the exhibition was carried out in the presence of a large assemblage, and to the universal satisfaction. They had some good music to excite expectation, and the performance opened with the Belisarius. The figures were so successful, the colors were so happily distributed, and the lighting managed so skilfully, that they might really have fancied themselves in another world, only that the presence of the real instead of the apparent produced a kind of uncomfortable sensation.

The curtain fell, and was more than once raised again by general desire. A musical interlude kept the assembly amused while preparation was going forward, to surprise them with a picture of a higher stamp; it was the well-known design of Poussin, Ahasuerus and Esther. This time Luciana had done better for herself. As the fainting, sinking queen she had put out all her charms, and for the attendant maidens who were supporting her, she had cunningly selected pretty, well-shaped figures, not one among whom, however, had the slightest pretension to be compared with herself. From this picture, as from all the rest, Ottilie remained excluded. To sit on the golden throne and represent the Zeus-like monarch, Luciana had picked out the finest and handsomest man of the party, so that this picture was really of inimitable perfection.

For a third they had taken the so-called "Father's Admonition" of Terburg, and who does not know Wille's admirable engraving of this picture? One foot thrown over the other, sits a noble knightly-looking father; his daughter stands before him, to whose conscience he seems to be addressing himself. She, a fine striking figure, in a folding drapery of white satin, is only to be seen from behind, but her whole bearing appears to signify that she is collecting herself. That the admonition is not too severe, that she is not being utterly put to shame, is to be gathered from the air and attitude of the father, while the mother seems as if she were trying to conceal some slight embarrassment—she is looking into a glass of wine, which she is on the point of drinking.

Here was an opportunity for Luciana to appear in her highest splendor. Her back hair, the form of her head, neck, and shoulders, were beyond all conception beautiful; and the waist, which in the modern antique of the ordinary dresses of young ladies is hardly visible, showed to the greatest advantage in all its graceful, slender elegance in the really old costume. The Architect had contrived to dispose the rich folds of the white satin with the most exquisite nature, and, without any question whatever, this living imitation far exceeded the original picture, and produced universal delight.

The spectators could never be satisfied with demanding a repetition of the performance, and the very natural wish to see the face and front of so lovely a creature, when they had done looking at her from behind, at last became so decided that a merry impatient young wit cried out aloud the words one is accustomed to write at the bottom of a page, "Tournez, s'il vous plait," which was echoed all round the room.

The performers, however, understood their advantage too well, and had mastered too completely the idea of these works of art to yield to the most general clamor. The daughter remained standing in her shame, without favoring the spectators with the expression of her face. The father continued to sit in his attitude of admonition, and the mother did not lift nose or eyes out of the transparent glass, in which, although she seemed to be drinking, the wine did not diminish.

We need not describe the number of smaller after-pieces for which had been chosen Flemish public-house scenes and fair and market days.

The Count and the Baroness departed, promising to return in the first happy weeks of their approaching union. And Charlotte now had hopes, after having endured two weary months of it, of ridding herself of the rest of the party at the same time. She was assured of her daughter's happiness, as soon as the first tumult of youth and betrothal should have subsided in her; for the bridegroom considered himself the most fortunate person in the world. His income was large, his disposition moderate and rational, and now he found himself further wonderfully favored in the happiness of becoming the possessor of a young lady with whom all the world must be charmed. He had so peculiar a way of referring everything to her, and only to himself through her, that it gave him an unpleasant feeling when any newly-arrived person did not devote himself heart and soul to her, and was far from flattered if, as occasionally happened, particularly with elderly men, he neglected her for a close intimacy with himself. Every thing was settled about the Architect. On New Year's day he was to follow him and spend the Carnival at his house in the city, where Luciana was promising herself infinite happiness from a repetition of her charmingly successful pictures, as well as from a hundred other things; all the more as her aunt and her bridegroom seemed to make so light of the expense which was required for her amusements.

And now they were to break up. But this could not be managed in an ordinary way. They were one day making fun of Charlotte aloud, declaring that they would soon have eaten out her winter stores, when the nobleman who had represented Belisarius, being fortunately a man of some wealth, carried away by Luciana's charms to which he had been so long devoting himself, cried out unthinkingly, "Why not manage then in the Polish fashion? You come now and eat up me, and then we will go on round the circle." No sooner said than done. Luciana willed that it should be so. The next day they all packed up and the swarm alighted on a new property. There indeed they found room enough, but few conveniences and no preparations to receive them. Out of this arose many contretemps, which entirely enchanted Luciana; their life became ever wilder and wilder. Huge hunting-parties were set on foot in the deep snow, attended with every sort of disagreeableness; women were not allowed to excuse themselves any more than men, and so they trooped on, hunting and riding, sledging and shouting, from one place to another, till at last they approached the residence, and there the news of the day and the scandals and what else forms the amusement of people at courts and cities gave the imagination another direction, and Luciana with her train of attendants (her aunt had gone on some time before) swept at once into a new sphere of life.

FROM OTTILIE'S DIARY

"We accept every person in the world as that for which he gives himself out, only he must give himself out for something. We can put up with the unpleasant more easily than we can endure the insignificant.

"We venture upon anything in society except only what involves a consequence.

"We never learn to know people when they come to us: we must go to them to find out how things stand with them.

"I find it almost natural that we should see many faults in visitors, and that directly they are gone we should judge them not in the most amiable manner. For we have, so to say, a right to measure them by our own standard. Even cautious, sensible men can scarcely keep themselves in such cases from being sharp censors.

"When, on the contrary, we are staying at the houses of others, when we have seen them in the midst of all their habits and environments among those necessary conditions from which they cannot escape, when we have seen how they affect those about them, and how they adapt themselves to their circumstances, it is ignorance nay, worse, it is ill-will, to find ridiculous what in more than one sense has a claim on our respect.

"That which we call politeness and good breeding effects what otherwise can only be obtained by violence, or not even by that.

"Intercourse with women is the element of good manners.

"How can the character, the individuality, of a man co-exist with polish of manner?

"The individuality can only be properly made prominent through good manners. Every one likes what has something in it, only it not be a disagreeable something.

"In life generally, and in society, no one has such high advantages as a well-cultivated soldier.

"The rudest fighting people at least do not go out of their character, and generally behind the roughness there is a certain latent good humor, so that in difficulties it is possible to get on, even with them.

"No one is more intolerable than an underbred civilian. From him one has a right to look for a delicacy, as he has no rough work to do.

"When we are living with people who have a delicate sense of propriety, we are in misery on their account when anything unbecoming is committed. So I always feel for and with Charlotte, when a person is tipping his chair. She cannot endure it.

"No one would ever come into a mixed party with spectacles on his nose, if he did but know that at once we women lose all pleasure in looking at him or listening to what he has to say.

"Free-and-easiness, where there ought to be respect, is always ridiculous. No one would put his hat down when he had scarcely paid the ordinary compliments if he knew how comical it looks.

"There is no outward sign of courtesy that does not rest on a deep moral foundation. The proper education would be that which communicated the sign and the foundation of it at the same time.

"Behavior is a mirror in which every one displays his own image.

"There is a courtesy of the heart. It is akin to love. Out of it arises the purest courtesy in the outward behavior.

"A freely offered homage is the most beautiful of all relations. And how were that possible without love?

"We are never further from our wishes than when we imagine that we possess what we have desired.

"No one is more a slave than the man who thinks himself free while he is not.

"A man has only to declare that he is free, and the next moment he feels the conditions to which he is subject. Let him venture to declare that he is under conditions, and then he will feel that he is free.

"Against great advantages in another, there are no means of defending ourselves except love.

"There is something terrible in the sight of a highly-gifted man lying under obligations to a fool.

"'No man is a hero to his valet,' the proverb says. But that is only because it requires a hero to recognize a hero. The valet will probably know how to value the valet-hero.

"Mediocrity has no greater consolation than in the thought that genius is not immortal.

"The greatest men are connected with their own century always through some weakness.

"One is apt to regard people as more dangerous than they are.

"Fools and modest people are alike innocuous. It is only your half-fools and your half-wise who are really and truly dangerous.

"There is no better deliverance from the world than through art; and a man can form no surer bond with it than through art.

"Alike in the moment of our highest fortune and our deepest necessity, we require the artist.

"The business of art is with the difficult and the good.

"To see the difficult easily handled, gives us the feeling of the impossible.

"Difficulties increase the nearer we are to our end.

"Sowing is not so difficult as reaping."



CHAPTER VI

The very serious discomfort which this visit had caused to Charlotte was in some way compensated to her through the fuller insight which it had enabled her to gain into her daughter's character. In this, her knowledge of the world was of no slight service to her. It was not the first time that so singular a character had come across her, although she had never seen any in which the unusual features were so largely developed; and she had had experience enough to show her that such persons, after having felt the discipline of life, after having gone through something of it, and been in intercourse with older people, may come out at last really charming and amiable; the selfishness may soften and eager restless activity find a definite direction for itself. And therefore, as a mother, Charlotte was able to endure the appearance of symptoms which for others might perhaps have been unpleasing, from a sense that where strangers only desire to enjoy, or at least not to have their taste offended, the business of parents is rather to hope.

After her daughter's departure, however, she had to be pained in a singular and unlooked-for manner, in finding that, not so much through what there really was objectionable in her behavior, as through what was good and praiseworthy in it, she had left an ill report of herself behind her. Luciana seemed to have prescribed it as a rule to herself not only to be merry with the merry, but miserable with the miserable; and in order to give full swing to the spirit of contradiction in her, often to make the happy, uncomfortable, and the sad, cheerful. In every family among whom she came, she inquired after such members of it as were ill or infirm, and unable to appear in society. She would go to see them in their rooms, enact the physician, and insist on prescribing powerful doses for them out of her own traveling medicine-chest, which she constantly took with her in her carriage; her attempted cures, as may be supposed, either succeeding or failing as chance happened to direct.

In this sort of benevolence she was thoroughly cruel, and would listen to nothing that was said to her, because she was convinced that she was managing admirably. One of these attempts of hers on the moral side failed very disastrously, and this it was which gave Charlotte so much trouble, inasmuch as it involved consequences and every one was talking about it. She never had heard of the story till Luciana was gone; Ottilie, who had made one of the party present at the time, had to give her a circumstantial account of it.

One of several daughters of a family of rank had the misfortune to have caused the death of one of her younger sisters; it had destroyed her peace of mind, and she had never been properly herself since. She lived in her own room, occupying herself and keeping quiet; and she could only bear to see the members of her own family when they came one by one. If there were several together, she suspected at once that they were making reflections upon her, and upon her condition. To each of them singly she would speak rationally enough, and talk freely for an hour at a time.

Luciana had heard of this, and had secretly determined with herself, as soon as she got into the house, that she would forthwith work a miracle, and restore the young lady to society. She conducted herself in the matter more prudently than usual, managed to introduce herself alone to the poor sick-souled girl, and, as far as people could understand, had wound her way into her confidence through music. At last came her fatal mistake; wishing to make a scene, and fancying that she had sufficiently prepared her for it, one evening she suddenly introduced the beautiful pale creature into the midst of the brilliant, glittering assembly; and perhaps, even then, the attempt might not have so utterly failed, had not the crowd themselves, between curiosity and apprehension, conducted themselves so unwisely, first gathering about the invalid, and then shrinking from her again; and with their whispers, and shaking their heads together, confusing and agitating her. Her delicate sensibility could not endure it. With a dreadful shriek, which expressed, as it seemed, a horror at some monster that was rushing upon her, she fainted. The crowd fell back in terror on every side, and Ottilie had been one of those who had carried back the sufferer utterly insensible to her room.

Luciana meanwhile, just like herself, had been reading an angry lecture to the rest of the party, without reflecting for a moment that she herself was entirely to blame, and without letting herself be deterred by this and other failures, from going on with her experimentalizing.

The state of the invalid herself had since that time become more and more serious; indeed, the disorder had increased to such a degree that the poor thing's parents were unable to keep her any longer at home, and had been forced to confide her to the care of a public institution. Nothing remained for Charlotte, except, by the delicacy of her own attention to the family, in some degree to alleviate the pain which had been occasioned by her daughter. On Ottilie, the thing made a deep impression. She felt the more for the unhappy girl, as she was convinced, she did not attempt to deny it to Charlotte, that by a careful treatment the disorder might have been unquestionably removed.

So there came, too, as it often happens, that we dwell more on past disagreeables than on past agreeables, a slight misunderstanding to be spoken of, which had led Ottilie to a wrong judgment of the Architect, when he did not choose to produce his collection that evening, although she had so eagerly begged him to produce it. His practical refusal had remained, ever since, hanging about her heart, she herself could not tell why. Her feelings about the matter were undoubtedly just; what a young lady like Ottilie could desire, a young man like the Architect ought not to have refused. The latter, however, when she took occasion to give him a gentle reproof for it, had a very valid excuse to offer for himself.

"If you knew," he said, "how roughly even cultivated people allow themselves to handle the most valuable works of art, you would forgive me for not producing mine among the crowd. No one will take the trouble to hold a medal by the rim. They will finger the most beautiful impressions, and the smoothest surfaces; they will take the rarest coins between the thumb and forefinger, and rub them up and down, as if they were testing the execution with the touch. Without remembering that a large sheet of paper ought to be held in two hands, they will lay hold, with one, of an invaluable proof-engraving of some drawing which cannot be replaced, like a conceited politician laying hold of a newspaper, and passing judgment by anticipation, as he is cutting the pages, on the occurrences of the world. Nobody cares to recollect that if twenty people, one after the other, treat a work of art in this way, the one-and-twentieth will not find much to see there."

"Have not I often vexed you in this way?" asked Ottilie. "Have not I, through my carelessness, many times injured your treasures?"

"Never once," answered the Architect, "never. For you it would be impossible. In you the right thing is innate."

"In any case," replied Ottilie, "it would not be a bad plan, if in the next edition of the book of good manners, after the chapters which tell us how we ought to eat and drink in company, a good circumstantial chapter were inserted, telling how to behave among works of art and in museums."

"Undoubtedly," said the Architect; "and then curiosity-collectors and amateurs would be better contented to show their valuable treasures to the world."

Ottilie had long, long forgiven him; but as he seemed to have taken her reproof sorely to heart, and assured her again and again that he would gladly produce everything—that he was delighted to do anything for his friends—she felt that she had wounded his feelings, and that she owed him some compensation. It was not easy for her, therefore, to give an absolute refusal to a request which he made her in the conclusion of this conversation, although when she called her heart into counsel about it, she did not see how she could allow herself to do what he wished.

The circumstances of the matter were these: Ottilie's exclusion from the picture-exhibition by Luciana's jealousy had irritated him in the highest degree; and at the same time he had observed with regret, that at this, the most brilliant part of all the amusements at the castle, ill health had prevented Charlotte from being more than rarely present; and now he did not wish to go away without some additional proof of his gratitude, which, for the honor of one and the entertainment of the other, should take the thoughtful and attractive form of preparing a far more beautiful exhibition than any of those which had preceded it. Perhaps, too, unknown to himself, another secret motive was working on him. It was so hard for him to leave the house, and to leave the family. It seemed impossible to him to go away from Ottilie's eyes, under the calm, sweet, gentle glance of which the latter part of the time he had been living almost entirely alone.