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J. S. Le Fanu's Ghostly Tales, Volume 1 By: Joseph Sheridan LeFanu (1814-1873) |
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Schalken the Painter (1851) and An Account of Some Strange Disturbances in Aungier Street (1853) by Joseph Sheridan Le Fanu
Schalken the Painter
"For he is not a man as I am that
we should come together; neither is
there any that might lay his hand
upon us both. Let him, therefore,
take his rod away from me, and let
not his fear terrify me." 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 heir looms 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... Continue reading book >>
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