Great Ghost Stories

Opposite the chapel of Saint Sebalt in Nuremberg, at the corner of Trabaus Street, there stands a little tavern, tall and narrow, with a toothed gable and dusty windows, whose roof is surmounted by a plaster Virgin. It was there that I spent the unhappiest days of my life. I had gone to Nuremberg to study the old German masters; but in default of ready money, I had to paint portraits-and such portraits! Fat old women with their cats on their laps, big-wigged aldermen, burgomasters in three-cornered hats-all horribly bright with ochre and vermilion.

From portraits I descended to sketches, and from sketches to silhouettes.

Nothing is more annoying than to have your landlord come to you every day with pinched lips, shrill voice, and impudent manner to say: "Well, sir, how soon are you going to pay me? Do you know how much your bill is? No; that doesn't worry you! You eat, drink, and sleep calmly enough. God feeds the sparrows. Your bill now amounts to two hundred florins and ten kreutzers-it is not worth talking about."

Those who have not heard any one talk in this way can form no idea of it; love of art, imagination, and the sacred enthusiasm for the beautiful are blasted by the breath of such an attack. You become awkward and timid; all your energy evaporates, as well as your feeling of personal dignity, and you bow respectfully at a distance to the burgomaster Schneegans.

One night, not having a sou, as usual, and threatened with imprisonment by this worthy Mister Rap, I determined to make him a bankrupt by cutting my throat. Seated on my narrow bed, opposite the window, in this agreeable mood, I gave myself up to a thousand philosophical reflections, more or less comforting.

"What is man?" I asked myself. "An omnivorous animal; his jaws, provided with canines, incisors, and molars, prove it. The canines are made to tear meat; the incisors to bite fruits; and the molars to masticate, grind, and triturate animal and vegetable substances that are pleasant to smell and to taste. But when he has nothing to masticate, this being is an absurdity in Nature, a superfluity, a fifth wheel to the coach."

Such were my reflections. I dared not open my razor for fear that the invincible force of my logic would inspire me with the courage to make an end of it all. After having argued so finely, I blew out my candle, postponing the sequel till the morrow.

That abominable Rap had completely stupefied me. I could do nothing but silhouettes, and my sole desire was to have some money to rid myself of his odious presence. But on this night a singular change came over my mind. I awoke about one o'clock-I lit my lamp, and, enveloping myself in my grey gabardine, I drew upon the paper a rapid sketch after the Dutch school-something strange and bizarre, which had not the slightest resemblance to my ordinary conceptions.

Imagine a dreary courtyard enclosed by high dilapidated walls. These walls are furnished with hooks, seven or eight feet from the ground. You see, at a glance, that it is a butchery.

On the left, there extends a lattice structure; you perceive through it a quartered beef suspended from the roof by enormous pulleys. Great pools of blood run over the flagstones and unite in a ditch full of refuse.

The light falls from above, between the chimneys where the weathercocks stand out from a bit of the sky the size of your hand, and the roofs of the neighbouring houses throw bold shadows from story to story.

At the back of this place is a shed, beneath the shed a pile of wood, and upon the pile of wood some ladders, a few bundles of straw, some coils of rope, a chicken-coop, and an old dilapidated rabbit-hutch.

How did these heterogeneous details suggest themselves to my imagination? I don't know; I had no reminiscences, and yet every stroke of the pencil seemed the result of observation, and strange because it was all so true. Nothing was lacking.

But on the right, one corner of the sketch remained a blank. I did not know what to put there.... Something suddenly seemed to writhe there, to move! Then I saw a foot, the sole of a foot. Notwithstanding this improbable position, I followed my inspiration without reference to my own criticism. This foot was joined to a leg-over this leg, stretched out with effort, there soon floated the skirt of a dress. In short, there appeared by degrees an old woman, pale, dishevelled, and wasted, thrown down at the side of a well, and struggling to free herself from a hand that clutched her throat.

It was a murder scene that I was drawing. The pencil fell from my hand.

This woman, in the boldest attitude, with her thighs bent on the curb of the well, her face contracted by terror, and her two hands grasping the murderer's arm, frightened me. I could not look at her. But the man-he, the person to whom that arm belonged-I could not see him. It was impossible for me to finish the sketch.

"I am tired," I said, my forehead dripping with perspiration; "there is only this figure to do; I will finish it tomorrow. It will be easy then."

And again I went to bed, thoroughly frightened by my vision.

The next morning, I got up very early. I was dressing in order to resume my interrupted work, when two little knocks were heard on my door.

"Come in!"

The door opened. An old man, tall, thin, and dressed in black, appeared on the threshold. This man's face, his eyes set close together and his large nose like the beak of an eagle, surmounted by a high bony forehead, had something severe about it. He bowed to me gravely.

"Mister Christian Vénius, the painter?" said he.

"That is my name, sir."

He bowed again, adding:

"The Baron Frederick Van Spreckdal."

The appearance of the rich amateur, Van Spreckdal, judge of the criminal court, in my poor lodging, greatly disturbed me. I could not help throwing a stealthy glance at my old worm-eaten furniture, my damp hangings and my dusty floor. I felt humiliated by such dilapidation; but Van Spreckdal did not seem to take any account of these details; and sitting down at my little table:

"Mister Vénius," he resumed, "I come--" But at this instant his glance fell upon the unfinished sketch-he did not finish his phrase.

I was sitting on the edge of my little bed; and the sudden attention that this personage bestowed upon one of my productions made my heart beat with an indefinable apprehension.

At the end of a minute, Van Spreckdal lifted his head:

"Are you the author of that sketch?" he asked me with an intent look.

"Yes, sir."

"What is the price of it?"

"I never sell my sketches. It is the plan for a picture."

"Ah!" said he, picking up the paper with the tips of his long yellow fingers.

He took a lens from his waistcoat pocket and began to study the design in silence.

The sun was now shining obliquely into the garret. Van Spreckdal never said a word; the hook of his immense nose increased, his heavy eyebrows contracted, and his long pointed chin took a turn upward, making a thousand little wrinkles in his long, thin cheeks. The silence was so profound that I could distinctly hear the plaintive buzzing of a fly that had been caught in a spider's web.

"And the dimensions of this picture, Mister Vénius?" he said without looking at me.

"Three feet by four."

"The price?"

"Fifty ducats."

Van Spreckdal laid the sketch on the table, and drew from his pocket a large purse of green silk shaped like a pear; he drew the rings of it--

"Fifty ducats," said he, "here they are."

I was simply dazzled.

The Baron rose and bowed to me, and I heard his big ivory-headed cane resounding on each step until he reached the bottom of the stairs. Then recovering from my stupour, I suddenly remembered that I had not thanked him, and I flew down the five flights like lightning; but when I reached the bottom, I looked to the right and left; the street was deserted.

"Well," I said, "this is strange."

And I went upstairs again all out of breath.