THE RED ROOM.
As Samuel had said, the door of the walled-up house had just been
disencumbered of the bricks, lead, and iron, which had kept it from view,
and its panels of carved oak appeared as fresh and sound, as on the day
when they had first been withdrawn from the influence of the air and
time. The laborers, having completed their work, stood waiting upon the
steps, as impatient and curious as the notary's clerk, who had
superintended the operation, when they saw Samuel slowly advancing across
the garden, with a great bunch of keys in his hand.
"Now, my friends," said the old man, when he had reached the steps, "your
work is finished. The master of this gentleman will pay you, and I have
only to show you out by the street door."
"Come, come, my good fellow," cried the clerk, "you don't think. We are
just at the most interesting and curious moment; I and these honest
masons are burning to see the interior of this mysterious house, and you
would be cruel enough to send us away? Impossible!"
"I regret the necessity, sir, but so it must he. I must be the first to
enter this dwelling, absolutely alone, before introducing the heirs, in
order to read the testament."
"And who gave you such ridiculous and barbarous orders?" cried the clerk,
singularly disappointed.
"My father, sir."
"A most respectable authority, no doubt; but come, my worthy guardian, my
excellent guardian," resumed the clerk, "be a good fellow, and let us
just take a peep in at the door."
"Yes, yes, sir, only a peep!" cried the heroes of the trowel, with a
supplicating air.
"It is disagreeable to have to refuse you, gentlemen," answered Samuel;
"but I cannot open this door, until I am alone."
The masons, seeing the inflexibility of the old man, unwillingly
descended the steps; but the clerk had resolved to dispute the ground
inch by inch, and exclaimed: "I shall wait for my master. I do not leave
the house without him. He may want me--and whether I remain on these
steps or elsewhere, can be of little consequence to you my worthy
keeper."
The clerk was interrupted in his appeal by his master himself, who called
out from the further side of the courtyard, with an air of business: "M.
Piston! quick, M. Piston--come directly!"
"What the devil does he want with me?" cried the clerk, in a passion. "He
calls me just at the moment when I might have seen something."
"M. Piston," resumed the voice, approaching, "do you not hear?"
While Samuel let out the masons, the clerk saw, through a clump of trees,
his master running towards him bareheaded, and with an air of singular
haste and importance. The clerk was therefore obliged to leave the steps,
to answer the notary's summons, towards whom he went with a very bad
grace.
"Sir, sir," said M. Dumesnil, "I have been calling you this hour with all
my might."
"I did not hear you sir," said M. Piston.
"You must be deaf, then. Have you any change about you?"
"Yes sir," answered the clerk, with some surprise.
"Well, then, you must go instantly to the nearest stamp-office, and fetch
me three or four large sheets of stamped paper, to draw up a deed. Run!
it is wanted directly."
"Yes, sir," said the clerk, casting a rueful and regretful glance at the
door of the walled-up house.
"But make haste, will you, M. Piston," said the notary.
"I do not know, sir, where to get any stamped paper."
"Here is the guardian," replied M. Dumesnil. "He will no doubt be able to
tell you."
At this instant, Samuel was returning, after showing the masons out by
the street-door.
"Sir," said the notary to him, "will you please to tell me where we can
get stamped paper?"
"Close by, sir," answered Samuel; "in the tobacconist's, No. 17, Rue
Vieille-du-Temple."
"You hear, M. Piston?" said the notary to his clerk. "You can get the
stamps at the tobacconist's, No. 17, Rue Vieille-du-Temple. Be quick! for
this deed must be executed immediately before the opening of the will.
Time presses."
"Very well, sir; I will make haste," answered the clerk, discontentedly,
as he followed his master, who hurried back into the room where he had
left Rodin, Gabriel, and Father d'Aigrigny.
During this time, Samuel, ascending the steps, had reached the door, now
disencumbered of the stone, iron, and lead with which it had been blocked
up. It was with deep emotion that the old man having selected from his
bunch of keys the one he wanted, inserted it in the keyhole, and made the
door turn upon its hinges. Immediately he felt on his face a current of
damp, cold air, like that which exhales from a cellar suddenly opened.
Having carefully re-closed and double-locked the door, the Jew advanced
along the hall, lighted by a glass trefoil over the arch of the door. The
panes had lost their transparency by the effect of time, and now had the
appearance of ground-glass. This hall, paved with alternate squares of
black and white marble, was vast, sonorous, and contained a broad
staircase leading to the first story. The walls of smooth stone offered
not the least appearance of decay or dampness; the stair-rail of wrought
iron presented no traces of rust; it was inserted, just above the bottom
step, into a column of gray granite, which sustained a statue of black
marble, representing a negro bearing a flambeau. This statue had a
strange countenance, the pupils of the eyes being made of white marble.
The Jew's heavy tread echoed beneath the lofty dome of the hall. The
grandson of Isaac Samuel experienced a melancholy feeling, as he
reflected that the footsteps of his ancestor had probably been the last
which had resounded through this dwelling, of which he had closed the
doors a hundred and fifty years before; for the faithful friend, in favor
of whom M. de Rennepont had made a feigned transfer of the property, had
afterwards parted with the same, to place it in the name of Samuel's
grandfather, who had transmitted it to his descendants, as if it had been
his own inheritance.
To these thoughts, in which Samuel was wholly absorbed, was joined the
remembrance of the light seen that morning through the seven openings in
the leaden cover of the belvedere; and, in spite of the firmness of his
character, the old man could not repress a shudder, as, taking a second
key from his bunch, and reading upon the label, The Key of the Red Room,
he opened a pair of large folding doors, leading to the inner apartments.
The window which, of all those in the house, had alone been opened,
lighted this large room, hung with damask, the deep purple of which had
undergone no alteration. A thick Turkey carpet covered the floor, and
large arm-chairs of gilded wood, in the severe Louis XIV. style, were
symmetrically arranged along the wall. A second door, leading to the next
room, was just opposite the entrance. The wainscoting and the cornice
were white, relieved with fillets and mouldings of burnished gold. On
each side of this door was a large piece of buhl-furniture, inlaid with
brass and porcelain, supporting ornamental sets of sea crackle vases. The
window was hung with heavy deep-fringed damask curtains, surmounted by
scalloped drapery, with silk tassels, directly opposite the chimney-piece
of dark-gray marble, adorned with carved brass-work. Rich chandeliers,
and a clock in the same style as the furniture, were reflected in a large
Venice glass, with basiled edges. A round table, covered with a cloth of
crimson velvet, was placed in the centre of this saloon.
As he approached this table, Samuel perceived a piece of white vellum, on
which were inscribed these words: "My testament is to be opened in this
saloon. The other apartments are to remain closed, until after the
reading of my last will--M. De R."
"Yes," said the Jew, as he perused with emotion these lines traced so
long ago; "this is the same recommendation as that which I received from
my father; for it would seem that the other apartments of this house are
filled with objects, on which M. de Rennepont set a high value, not for
their intrinsic worth, but because of their origin. The Hall of Mourning
must be a strange and mysterious chamber. Well," added Samuel, as he drew
from his pocket a register bound in black shagreen, with a brass lock,
from which he drew the key, after placing it upon the table, "here is the
statement of the property in hand, which I have been ordered to bring
hither, before the arrival of the heirs."
The deepest silence reigned in the room, at the moment when Samuel placed
the register on the table. Suddenly a simple and yet most startling
occurrence roused him from his reverie. In the next apartment was heard
the clear, silvery tone of a clock, striking slowly ten. And the hour was
ten! Samuel had too much sense to believe in perpetual motion, or in the
possibility of constructing a clock to go far one hundred and fifty
years. He asked himself, therefore, with surprise and alarm, how this
clock could still be going, and how it could mark so exactly the hour of
the day. Urged with restless curiosity, the old man was about to enter
the room; but recollecting the recommendation of his father, which had
now been confirmed by the few lines he had just read from De Rennepont's
pen, he stopped at the door, and listened with extreme attention.
He heard nothing--absolutely nothing, but the last dying vibration of the
clock. After having long reflected upon this strange fact, Samuel,
comparing it with the no less extraordinary circumstance of the light
perceived that morning through the apertures in the belvedere, concluded
that there must be some connection between these two incidents. If the
old man could not penetrate the true cause of these extraordinary
appearances, he at least explained them to himself, by remembering the
subterraneous communications, which, according to tradition, were said to
exist between the cellars of this house and distant places; and he
conjectured that unknown and mysterious personages thus gained access to
it two or three times in a century. Absorbed in these thoughts Samuel
approached the fireplace, which, as we have said, was directly opposite
the window. Just then, a bright ray of sunlight, piercing the clouds,
shone full upon two large portraits, hung upon either side of the
fireplace, and not before remarked by the Jew. They were painted life
size, and represented one a woman, the other a man. By the sober yet
powerful coloring of these paintings, by the large and vigorous style, it
was easy to recognize a master's hand. It would have been difficult to
find models more fitted to inspire a great painter. The woman appeared to
be from five-and-twenty to thirty years of age. Magnificent brown hair,
with golden tints, crooned a forehead, white, noble, and lofty. Her
head-dress, far from recalling the fashion, which Madame de Sevigne
brought in during the age of Louis XIV., reminded one rather of some of
the portraits of Paul Veronese, in which the hair encircles the face in
broad, undulating bands, surmounted by a thick plait, like a crown, at
the back of the head. The eyebrows, finely pencilled, were arched over
large eyes of bright, sapphire blue. Their gaze at once proud and
mournful, had something fatal about it. The nose, finely formed,
terminated in slight dilated nostrils: a half smile, almost of pain,
contracted the mouth; the face was a long oval, and the complexion,
extremely pale, was hardly shaded on the cheek by a light rose-color. The
position of the head and neck announced a rare mixture of grace and
dignity. A sort of tunic or robe, of glossy black material, came as high
as the commencement of her shoulders, and just marking her lithe and tall
figure, reached down to her feet, which were almost entirely concealed by
the folds of this garment.
The attitude was full of nobleness and simplicity. The head looked white
and luminous, standing out from a dark gray sky, marbled at the horizon
by purple clouds, upon which were visible the bluish summits of distant
hills, in deep shadow. The arrangement of the picture, as well as the
warm tints of the foreground, contrasting strongly with these distant
objects, showed that the woman was placed upon an eminence, from which
she could view the whole horizon. The countenance was deeply pensive and
desponding. There was an expression of supplicating and resigned grief,
particularly in her look, half raised to heaven, which one would have
thought impossible to picture. On the left side of the fireplace was the
other portrait, painted with like vigor. It represented a man, between
thirty and thirty-five years of age, of tall stature. A large brown
cloak, which hung round him in graceful folds, did not quite conceal a
black doublet, buttoned up to the neck, over which fell a square white
collar. The handsome and expressive head was marked with stern powerful
lines, which did not exclude an admirable air of suffering, resignation,
and ineffable goodness. The hair, as well as the beard and eyebrows, was
black; and the latter, by some singular caprice of nature, instead of
being separated and forming two distinct arches, extended from one temple
to the other, in a single bow, and seemed to mark the forehead of this
man with a black line.
The background of this picture also represented a stormy sky; but, beyond
some rocks in the distance, the sea was visible, and appeared to mingle
with the dark clouds. The sun, just now shining upon these two remarkable
figures (which it appeared impossible to forget, after once seeing them),
augmented their brilliancy.
Starting from his reverie, and casting his eyes by chance upon these
portraits, Samuel was greatly struck with them. They appeared almost
alive. "What noble and handsome faces!" he exclaimed, as he approached to
examine them more closely. "Whose are these portraits? They are not those
of any of the Rennepont family, for my father told me that they are all
in the Hall of Mourning. Alas!" added the old man, "one might think, from
the great sorrow expressed in their countenances, that they ought to have
a place in that mourning-chamber."
After a moment's silence, Samuel resumed: "Let me prepare everything for
this solemn assembly, for it has struck ten." So saying, he placed the
gilded arm-chairs round the table, and then continued, with a pensive
air: "The hour approaches, and of the descendants of my grandfather's
benefactor, we have seen only this young priest, with the angelic
countenance. Can he be the sole representative of the Rennepont family?
He is a priest, and this family will finish with him! Well! the moment is
come when I must open this door, that the will may be read. Bathsheba is
bringing hither the notary. They knock at the door; it is time!" And
Samuel, after casting a last glance towards the place where the clock had
struck ten, hastened to the outer door, behind which voices were now
audible.
He turned the key twice in the lock, and threw the portals open. To his
great regret, he saw only Gabriel on the steps, between Rodin and Father
d'Aigrigny. The notary, and Bathsheba, who had served them as a guide,
waited a little behind the principal group.
Samuel could not repress a sigh, as he stood bowing on the threshold, and
said to them: "All is ready, gentlemen. You may walk in."