Uncle Michael pressed his hand against his mouth, and was silent for almost a whole minute. "My mother was almost mad with grief. But somehow, she knew who had killed her children. She spent every afternoon in Kensington Gardens, following almost every man she saw. And - at last - she came across him. He was standing amongst the trees, watching two nannies sitting on a bench. She approached him, and she challenged him. She told him to his face that she knew who he was; and that she knew he had murdered her children.
"Do you know what he said? I shall never forget my mother telling me this, and it still sends shivers down my spine. He said, 'I never had a mother, I never had a father. I was never allowed to be a boy. But the old woman on Haiti said that I could stay young forever and ever, so long as I always sent back to her the souls of young children, flying on the wind. So that is what I did. I kissed them, and sucked out their souls, and sent them flying back to Haiti on the wind.'
"But do you know what he said to my mother? He said 'Your children's souls may have flown to a distant island, but they can still live, if you wish them to. You can go to their graves, and you can call them, and they'll come to you. It only takes a mother's word.'
"My mother said, 'Who are you? What are you? And he said 'Pan', which is nothing more nor less than Polish for 'Man'. That's why my mother called him 'Piotr Pan.' And that's where Sir James Barrie got the name from."
"And here, of course, is the terrible irony - Captain Hook and Peter Pan weren't enemies at all, not in real life. They were one and the same person."
Marjorie stared at her Uncle Michael in horror. "What did my great auntie do? She didn't call your brother and sister, did she?"
Uncle Michael shook his head. "She insisted that their graves should be covered in heavy slabs of granite. Then - as you know - she did whatever she could to warn other mothers of the danger of Piotr Pan."
"So she really believed that she could call her children back to life?"
"I think so. But - as she always said to me - what can life amount to, without a soul?"
Marjorie sat with her Uncle Michael until it grew dark, and his head dropped to one side, and he began to snore.
* * *
She stood in the chapel of rest, her face bleached white by the single ray of sunlight that fell from the clerestory window. Her dress was black, her hat was black. She held a black handbag in front of her.
William's white coffin was open, and William himself lay on a white silk pillow, his eyes closed, his tiny eyelashes curled over his deathly-white cheek, his lips slightly parted, as if he were still breathing.
On either side of the coffin, candles burned; and there were two tall vases of white gladioli. Apart from the murmuring of traffic, and the occasional rumbling of a Central Line tube train deep beneath the building's foundations, the chapel was silent.
Marjorie could feel her heart beating, steady and slow.
My baby, she thought. My poor sweet baby.
She stepped closer to the coffin. Hesitantly, she reached out and brushed his fine baby curls. So soft, it crucified her to touch it.
"William," she breathed.
He remained cold and still. Not moving, not breathing.
"William," she repeated. "William, my darling, come back to me. Come back to me, Mr Bill."
Still he didn't stir. Still he didn't breathe.
She waited a moment longer. She was almost ashamed of herself for having believed Uncle Michael's stories. Piotr Pan indeed! The old man was senile.
Softly, she tiptoed to the door. She took one last look at William, and then she closed the door behind her.
She had barely let go of the handle, however, when the silence was broken by the most terrible high-pitched scream she had ever heard in her life.
In Kensington Gardens, beneath the trees, a thin dark man raised his head and listened, and listened, as if he could hear a child crying in the wind. He listened, and he smiled, although he never took his eyes away from the young woman who was walking towards him, pushing a baby-buggy.
He thought, God bless mothers everywhere.
16 - J. Sheridan Le Fanu - Schalken the Painter
There exists, at this moment, in good preservation a remarkable work of Schalken's. The curious management of its lights constitutes, as usual in his pieces, the chief apparent merit of the picture. I say apparent, for in its subject, and not in its handling, however exquisite, consists its real value. The picture represents the interior of what might be a chamber in some antique religious building; and its foreground is occupied by a female figure, in a species of white robe, part of which is arranged so as to form a veil. The dress, however, is not that of any religious order. In her hand the figure bears a lamp, by which alone her figure and face are illuminated; and her features wear such an arch smile, as well becomes a pretty woman when practising some prankish roguery; in the background, and, excepting where the dim red light of an expiring fire serves to define the form, in total shadow, stands the figure of a man dressed in the old Flemish fashion, in an attitude of alarm, his hand being placed upon the hilt of his sword, which he appears to be in the act of drawing.
There are some pictures, which impress one, I know not how, with a conviction that they represent not the mere ideal shapes and combinations which have floated through the imagination of the artist, but scenes, faces, and situations which have actually existed. There is in that strange picture, something that stamps it as the representation of a reality.
And such in truth it is, for it faithfully records a remarkable and mysterious occurrence, and perpetuates, in the face of the female figure, which occupies the most prominent place in the design, an accurate portrait of Rose Velderkaust, the niece of Gerard Douw, the first, and I believe, the only love of Godfrey Schalken. My great grandfather knew the painter well; and from Schalken himself he learned the fearful story of the painting, and from him too he ultimately received the picture itself as a bequest. The story and the picture have become heirlooms in my family, and having described the latter, I shall, if you please, attempt to relate the tradition which has descended with the canvas.
There are few forms on which the mantle of romance hangs more ungracefully than upon that of the uncouth Schalken - the boorish but most cunning worker in oils, whose pieces delight the critics of our day almost as much as his manners disgusted the refined of his own; and yet this man, so rude, so dogged, so slovenly, in the midst of his celebrity, had in his obscure, but happier days, played the hero in a wild romance of mystery and passion.
When Schalken studied under the immortal Gerard Douw, he was a very young man; and in spite of his phlegmatic temperament, he at once fell over head and ears in love with the beautiful niece of his wealthy master. Rose Velderkaust was still younger than he, having not yet attained her seventeenth year, and, if tradition speaks truth, possessed all the soft and dimpling charms of the fair, light-haired Flemish maidens. The young painter loved honestly and fervently. His frank adoration was rewarded. He declared his love, and extracted a faltering confession in return. He was the happiest and proudest painter in all Christendom. But there was somewhat to dash his elation; he was poor and undistinguished. He dared not ask old Gerard for the hand of his sweet ward. He must first win a reputation and a competence.
There were, therefore, many dread uncertainties and cold days before him; he had to fight his way against sore odds. But he had won the heart of dear Rose Velderkaust, and that was half the battle. It is needless to say his exertions were redoubled, and his lasting celebrity proves that his industry was not unrewarded by success.
These ardent labours, and worse still, the hopes that elevated and beguiled them, were however, destined to experience a sudden interruption - of a character so strange and mysterious as to baffle all inquiry and to throw over the events themselves a shadow of preternatural horror.
Schalken had one evening outstayed all his fellow-pupils, and still pursued his work in the deserted room. As the daylight was fast falling, he lai
d aside his colours, and applied himself to the completion of a sketch on which he had expressed extraordinary pains. It was a religious composition, and represented the temptations of a pot-bellied Saint Anthony. The young artist, however destitute of elevation, had, nevertheless, discernment enough to be dissatisfied with his own work, and many were the patient erasures and improvements which saint and devil underwent, yet all in vain. The large, old-fashioned room was silent, and, with the exception of himself, quite emptied of its usual inmates. An hour had thus passed away, nearly two, without any improved result. Daylight had already declined, and twilight was deepening into the darkness of night. The patience of the young painter was exhausted, and he stood before his unfinished production, angry and mortified, one hand buried in the folds of his long hair, and the other holding the piece of charcoal which had so ill-performed its office, and which he now rubbed, without much regard to the sable streaks it produced, with irritable pressure upon his ample Flemish inexpressibles. "Curse the subject!" said the young man aloud; "curse the picture, the devils, the saint - "
At this moment a short, sudden sniff uttered close behind him made the artist turn sharply round, and he now, for the first time, became aware that his labours had been overlooked by a stranger. Within about a yard and half, and rather behind him, there stood the figure of an elderly man in a cloak and broad-brimmed, conical hat; in his hand, which was protected with a heavy gauntlet shaped glove, he carried a long ebony walking-stick, surmounted with what appeared, as it glittered dimly in the twilight, to be a massive head of gold, and upon his breast, through the folds of the cloak, there shone the links of a rich chain of the same metal. The room was so obscure that nothing further of the appearance of the figure could be ascertained, and his hat threw his features into profound shadow. It would not have been easy to conjecture the age of the intruder; but a quantity of dark hair escaping from beneath his sombre hat, as well as his firm and upright carriage served to indicate that his years could not yet exceed threescore, or thereabouts. There was an air of gravity and importance about the garb of the person, and something indescribably odd, I might say awful, in the perfect, stone like stillness of the figure, that effectually checked the testy comment which had at once risen to the lips of the irritated artist. He, therefore, as soon as he had sufficiently recovered his surprise, asked the stranger, civilly, to be seated, and desired to know if he had any message to leave for his master.
"Tell Gerard Douw," said the unknown, without altering his attitude in the smallest degree, "that Minheer Vanderhausen, of Rotterdam, desires to speak with him on tomorrow evening at this hour, and if he please, in this room, upon matters of weight; that is all."
The stranger, having finished this message, turned abruptly, and, with a quick, but silent step quitted the room, before Schalken had time to say a word in reply. The young man felt a curiosity to see in what direction the burgher of Rotterdam would turn, on quitting the studio, and for that purpose he went directly to the window which commanded the door. A lobby of considerable extent intervened between the inner door of the painter's room and the street entrance, so that Schalken occupied the post of observation before the old man could possibly have reached the street. He watched in vain, however. There was no other mode of exit. Had the queer old man vanished, or was he lurking about the recesses of the lobby for some sinister purpose? This last suggestion filled the mind of Schalken with a vague uneasiness, which was so unaccountably intense as to make him alike afraid to remain in the room alone, and reluctant to pass through the lobby. However, with an effort which appeared very disproportioned to the occasion, he summoned resolution to leave the room, and, having locked the door and thrust the key in his pocket, without looking to the right or left, he traversed the passage which had so recently, perhaps still, contained the person of his mysterious visitant, scarcely venturing to breathe till he had arrived in the open street.
"Minheer Vanderhausen!" said Gerard Douw within himself, as the appointed hour approached, "Minheer Vanderhausen, of Rotterdam! I never heard of the man till yesterday. What can he want of me? A portrait, perhaps, to be painted; or a poor relation to be apprenticed; or a collection to be valued; or - pshaw! there's no one in Rotterdam to leave me a legacy. Well, whatever the business may be, we shall soon know it all."
It was now the close of day, and again every easel, except that of Schalken, was deserted. Gerard Douw was pacing the apartment with the restless step of impatient expectation, sometimes pausing to glance over the work of one of his absent pupils, but more frequently placing himself at the window, from whence he might observe the passengers who threaded the obscure by-street in which his studio was placed.
"Said you not, Godfrey," exclaimed Douw, after a long and fruitful gaze from his post of observation, and turning to Schalken, "that the hour he appointed was about seven by the clock of the Stadhouse?"
"It had just told seven when I first saw him, sir," answered the student.
"The hour is close at hand, then," said the master, consulting a horologe as large and as round as an orange. "Minheer Vanderhausen from Rotterdam - is it not so?
"Such was the name."
"And an elderly man, richly clad?" pursued Douw, musingly.
"As well as I might see," replied his pupil; "he could not be young, nor yet very old, neither; and his dress was rich and grave, as might become a citizen of wealth and consideration."
At this moment the sonorous boom of the Stadhouse clock told, stroke after stroke, the hour of seven; the eyes of both master and student were directed to the door; and it was not until the last peal of the bell had ceased to vibrate, that Douw exclaimed -
"So, so; we shall have his worship presently, that is, if he means to keep his hour; if not, you may wait for him, Godfrey, if you court his acquaintance. But what, after all, if it should prove but a mummery got up by Vankarp, or some such wag? I wish you had run all risks, and cudgelled the old burgomaster soundly. I'd wager a dozen of Rhenish, his worship would have unmasked, and pleaded old acquaintance in a trice."
"Here he comes, sir," said Schalken, in a low monitory tone; and instantly, upon turning towards the door, Gerard Douw observed the same figure which had, on the day before, so unexpectedly greeted his pupil Schalken.
There was something in the air of the figure which at once satisfied the painter that there was no masquerading in the case, and that he really stood in the presence of a man of worship; and so, without hesitation, he doffed his cap, and courteously saluting the stranger, requested him to be seated. The visitor waved his hand slightly, as if in acknowledgment of the courtesy, but remained standing.
"I have the honour to see Minheer Vanderhausen of Rotterdam?" said Gerard Douw.
"The same," was the laconic reply of his visitor.
"I understand your worship desires to speak with me," continued Douw, "and I am here by appointment to wait your commands."
"Is that a man of trust?" said Vanderhausen, turning towards Schalken, who stood at a little distance behind his master.
"Certainly," replied Gerard.
"Then let him take this box, and get the nearest jeweller or goldsmith to value its contents, and let him return hither with a certificate of the valuation."
At the same time, he placed a small case about nine inches square in the hands of Gerard Douw, who was as much amazed at its weight as at the strange abruptness with which it was handed to him. In accordance with the wishes of the stranger, he delivered it into the hands of Schalken, and repeating his direction, despatched him upon the mission.
Schalken disposed his precious charge securely beneath the folds of his cloak, and rapidly traversing two or three narrow streets, he stopped at a corner house, the lower part of which was then occupied by the shop of a Jewish goldsmith. He entered the shop, and calling the little Hebrew into the obscurity of its back recesses, he proceeded to lay before him Vanderhausen's casket. On being examined by the light of a lamp, it appeared entirely cased with lead, the outer sur
face of which was much scraped and soiled, and nearly white with age. This having been partially removed, there appeared beneath a box of some hard wood; which also they forced open and after the removal of two or three folds of linen, they discovered its contents to be a mass of golden ingots, closely packed, and, as the Jew declared, of the most perfect quality. Every ingot underwent the scrutiny of the little Jew, who seemed to feel an epicurean delight in touching and testing these morsels of the glorious metal; and each one of them was replaced in its berth with the exclamation: "Mein Gott, how very perfect! Not one grain of alloy - beautiful, beautiful!" The task was at length finished, and the Jew certified under his hand the value of the ingots submitted to his examination to amount to many thousand rix-dollars. With the desired document in his pocket, and the rich box of gold carefully pressed under his arm, and concealed by his cloak, he retraced his way, and entering the studio, found his master and the stranger in close conference. Schalken had no sooner left the room, in order to execute the commission he had taken in charge, than Vanderhausen addressed Gerard Douw in the following terms:-
"I cannot tarry with you tonight more than a few minutes, and so I shall shortly tell you the matter upon which I come. You visited the town of Rotterdam some four months ago, and then I saw in the church of St Lawrence your niece, Rose Velderkaust. I desire to marry her; and if I satisfy you that I am wealthier than any husband you can dream of for her, I expect that you will forward my suit with your authority. If you approve my proposal, you must close with it here and now, for I cannot wait for calculations and delays."
Gerard Douw was hugely astonished by the nature of Minheer Vanderhausen's communication, but he did not venture to express surprise; for besides the motives supplied by prudence and politeness, the painter experienced a kind of chill and oppression like that which is said to intervene when one is placed in unconscious proximity with the object of a natural antipathy - an undefined but overpowering sensation, while standing in the presence of the eccentric stranger, which made him very unwilling to say anything which might reasonably offend him.
The Mammoth Book of Zombies Page 36
