THE CRAYON MISCELLANY, page 10
“‘Don Manuel de Manara!’ replied the priest.
“‘Father,’ cried Don Manuel, impatiently, ‘you are deceived. This is some imposture. Know that Don Manuel de Manara la alive and well, and now stands before you. I am Don Manuel de Manara!’
“‘Avaunt, rash youth!’ cried the priest; ‘know that Don Manuel de Manara is dead! — is dead! — is dead! — and we are all souls from purgatory, his deceased relatives and ancestors, and others that have been aided by masses of his family, who are permitted to come here and pray for the repose of his soul!’
“Don Manuel cast round a fearful glance upon the assemblage, in antiquated Spanish garbs, and recognized in their pale and ghastly countenances the portraits of many an ancestor that hung in the family picture-gallery. He now lost all self-command, rushed up to the bier, and beheld the counterpart of himself, but in the fixed and livid lineaments of death. Just at that moment the whole choir burst forth with a ‘Requiescat in pace,’ that shook the vaults of the cathedral. Don Manuel sank senseless on the pavement. He was found there early the next morning by the sacristan, and conveyed to his home. When sufficiently recovered, he sent for a friar and made a full confession of all that had happened.
“‘My son,’ said the friar, ‘all this is a miracle and a mystery, intended for thy conversion and salvation. The corpse thou hast seen was a token that thou hadst died to sin and the world; take warning by it, and henceforth live to righteousness and heaven!’
“Don Manuel did take warning by it. Guided by the counsels of the worthy friar, he disposed of all his temporal affairs; dedicated the greater part of his wealth to pious uses, especially to the performance of masses for souls in purgatory; and finally, entering a convent, became one of the most zealous and exemplary monks in Seville.”
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While my companion was relating this story, my eyes wandered, from time to time, about the dusky church. Methought the burly countenances of the monks in their distant choir assumed a pallid, ghastly hue, and their deep metallic voices had a sepulchral sound. By the time the story was ended, they had ended their chant; and, extinguishing their lights, glided one by one, like shadows, through a small door in the side of the choir. A deeper gloom prevailed over the church; the figure opposite me on horseback grew more and more spectral; and I almost expected to see it bow its head.
“It is time to be off,” said my companion, “unless we intend to sup with the statue.”
“I have no relish for such fare or such company,” replied I; and, following my companion, we groped our way through the mouldering cloisters. As we passed by the ruined cemetery, keeping up a casual conversation, by way of dispelling the loneliness of the scene, I called to mind the words of the poet:
” — The tombs
And monumental caves of death look cold,
And shoot a chillness to my trembling heart!
Give me thy hand, and let me hear thy voice;
Nay, speak — and let me hear thy voice;
My own affrights me with its echoes.”
There wanted nothing but the marble statue of the commander striding along the echoing cloisters to complete the haunted scene.
Since that time I never fail to attend the theater whenever the story of Don Juan is represented, whether in pantomime or opera. In the sepulchral scene, I feel myself quite at home; and when the statue makes his appearance, I greet him as an old acquaintance. When the audience applaud, I look round upon them with a degree of compassion. “Poor souls!” I say to myself, “they think they are pleased; they think they enjoy this piece, and yet they consider the whole as a fiction! How much more would they enjoy it, if like me they knew it to be true — and had seen the very place!”
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BROEK OF THE DUTCH PARADISE
It has long been a matter of discussion and controversy among the pious and the learned, as to the situation of the terrestrial paradise from whence our first parents were exiled. This question has been put to rest by certain of the faithful in Holland, who have decided in favor of the village of Broek, about six miles from Amsterdam. It may not, they observe, correspond in all respects to the description of the Garden of Eden, handed down from days of yore, but it comes nearer to their ideas of a perfect paradise than any other place on earth.
This eulogium induced me to make some inquiries as to this favored spot in the course of a sojourn at the city of Amsterdam, and the information I procured fully justified the enthusiastic praises I had heard. The village of Broek is situated in Waterland, in the midst of the greenest and richest pastures of Holland, I may say, of Europe. These pastures are the source of its wealth, for it is famous for its dairies, and for those oval cheeses which regale and perfume the whole civilized world. The population consists of about six hundred persons, comprising several families which have inhabited the place since time immemorial, and have waxed rich on the products of their meadows. They keep all their wealth among themselves, intermarrying, and keeping all strangers at a wary distance. They are a “hard money” people, and remarkable for turning the penny the right way. It is said to have been an old rule, established by one of the primitive financiers and legislators of Broek, that no one should leave the village with more than six guilders in his pocket, or return with less than ten; a shrewd regulation, well worthy the attention of modern political economists, who are so anxious to fix the balance of trade.
What, however, renders Broek so perfect an elysium in the eyes of all true Hollanders is the matchless height to which the spirit of cleanliness is carried there. It amounts almost to a religion among the inhabitants, who pass the greater part of their time rubbing and scrubbing, and painting and varnishing; each housewife vies with her neighbor in her devotion to the scrubbing-brush, as zealous Catholics do in their devotion to the cross; and it is said a notable housewife of the place in days of yore is held in pious remembrance, and almost canonized as a saint, for having died of pure exhaustion and chagrin in an ineffectual attempt to scour a black man white.
These particulars awakened my ardent curiosity to see a place which I pictured to myself the very fountainhead of certain hereditary habits and customs prevalent among the descendants of the original Dutch settlers of my native State. I accordingly lost no time in performing a pilgrimage to Broek.
Before I reached the place I beheld symptoms of the tranquil character of its inhabitants. A little clump-built boat was in full sail along the lazy bosom of a canal, but its sail consisted of the blades of two paddles stood on end, while the navigator sat steering with a third paddle in the stern, crouched down like a toad, with a slouched hat drawn over his eyes. I presumed him to be some nautical lover on the way to his mistress. After proceeding a little further I came in sight of the harbor or port of destination of this drowsy navigator. This was the Broeken-Meer, an artificial basin, or sheet of olive-green water, tranquil as a millpond. On this the village of Broek is situated, and the borders are laboriously decorated with flowerbeds, box-trees clipped into all kinds of ingenious shapes and fancies, and little “lust” houses, or pavilions.
I alighted outside of the village, for no horse nor vehicle is permitted to enter its precincts, lest it should cause defilement of the well-scoured pavements. Shaking the dust off my feet, therefore, I prepared to enter, with due reverence and circumspection, this sanctum sanctorum of Dutch cleanliness. I entered by a narrow street, paved with yellow bricks, laid edgewise, and so clean that one might eat from them. Indeed, they were actually worn deep, not by the tread of feet, but by the friction of the scrubbing-brush.
The houses were built of wood, and all appeared to have been freshly painted, of green, yellow, and other bright colors. They were separated from each other by gardens and orchards, and stood at some little distance from the street, with wide areas or courtyards, paved in mosaic, with variegated stones, polished by frequent rubbing. The areas were divided from the street by curiously-wrought railings, or balustrades, of iron, surmounted with brass and copper balls, scoured into dazzling effulgence. The very trunks of the trees in front of the houses were by the same process made to look as if they had been varnished. The porches, doors, and window-frames of the houses were of exotic woods, curiously carved, and polished like costly furniture. The front doors are never opened, excepting on christenings, marriages, or funerals; on all ordinary occasions, visitors enter by the back door. In former times, persons when admitted had to put on slippers, but this Oriental ceremony is no longer insisted upon.
A poor devil Frenchman, who attended upon me as cicerone, boasted with some degree of exultation of a triumph of his countrymen over the stern regulations of the place. During the time that Holland was overrun by the armies of the French republic, a French general, surrounded by his whole état major, who had come from Amsterdam to view the wonders of Broek, applied for admission at one of these taboo’d portals. The reply was that the owner never received any one who did not come introduced by some friend. “Very well,” said the general, “take my compliments to your master, and tell him I will return here tomorrow with a company of soldiers, ‘pour parler raison avec mon ami Hollandais.’” Terrified at the idea of having a company of soldiers billeted upon him, the owner threw open his house, entertained the general and his retinue with unwonted hospitality; though it is said it cost the family a month’s scrubbing and scouring to restore all things to exact order, after this military invasion. My vagabond informant seemed to consider this one of the greatest victories of the republic.
I walked about the place in mute wonder and admiration. A dead stillness prevailed around, like that in the deserted streets of Pompeii. No sign of life was to be seen, excepting now and then a hand, and a long pipe, and an occasional puff of smoke, out of the window of some “lusthaus” overhanging a miniature canal; and on approaching a little nearer, the periphery in profile of some robustious burgher.
Among the grand houses pointed out to me were those of Claes Bakker, and Cornelius Bakker, richly carved and gilded, with flower gardens and clipped shrubberies; and that of the Great Ditmus, who, my poor devil cicerone informed me, in a whisper, was worth two millions; all these were mansions shut up from the world, and only kept to be cleaned. After having been conducted from one wonder to another of the village, I was ushered by my guide into the grounds and gardens of Mynheer Broekker, another mighty cheese-manufacturer, worth eighty thousand guilders a year. I had repeatedly been struck with the similarity of all that I had seen in this amphibious little village to the buildings and landscapes on Chinese platters and teapots; but here I found the similarity complete; for I was told that these gardens were modeled upon Van Bramm’s description of those of Yuen min Yuen, in China. Here were serpentine walks, with trellised borders; winding canals, with fanciful Chinese bridges; flowerbeds resembling huge baskets, with the flower of “love lies bleeding” falling over to the ground. But mostly had the fancy of Mynheer Broekker been displayed about a stagnant little lake, on which a corpulent little pinnace lay at anchor. On the border was a cottage within which were a wooden man and woman seated at table, and a wooden dog beneath, all the size of life; on pressing a spring, the woman commenced spinning, and the dog barked furiously. On the lake were wooden swans, painted to the life; some floating, others on the nest among the rushes; while a wooden sportsman, crouched among the bushes, was preparing his gun to take deadly aim. In another part of the garden was a dominie in his clerical robes, with wig, pipe, and cocked hat; and mandarins with nodding heads, amid red lions, green tigers, and blue hares. Last of all, the heathen deities, in wood and plaster, male and female, naked and bare-faced as usual, and seeming to stare with wonder at finding themselves in such strange company.
My shabby French guide, while he pointed out all these mechanical marvels of the garden, was anxious to let me see that he had too polite a taste to be pleased with them. At every new knick-knack he would screw down his mouth, shrug up his shoulders, take a pinch of snuff, and exclaim: “Ma foi, Monsieur, ces Hollandais sont forts pour ces bétises là!”
To attempt to gain admission to any of these stately abodes was out of the question, having no company of soldiers to enforce a solicitation. I was fortunate enough, however, through the aid of my guide, to make my way into the kitchen of the illustrious Ditmus, and I question whether the parlor would have proved more worthy of observation. The cook, a little wiry, hook-nosed woman, worn thin by incessant action and friction, was bustling about among her kettles and saucepans, with the scullion at her heels, both clattering in wooden shoes, which were as clean and white as the milk-pails; rows of vessels, of brass and copper, regiments of pewter dishes, and portly porringers, gave resplendent evidence of the intensity of their cleanliness; the very trammels and hangers in the fireplace were highly scoured, and the burnished face of the good Saint Nicholas shone forth from the iron plate of the chimney back.
Among the decorations of the kitchen was a printed sheet of woodcuts, representing the various holiday customs of Holland, with explanatory rhymes. Here I was delighted to recognize the jollities of New Year’s Day; the festivities of Paäs and Pinkster, and all the other merrymakings handed down in my native place from the earliest times of New Amsterdam, and which had been such bright spots in the year in my childhood. I eagerly made myself master of this precious document for a trifling consideration, and bore it off as a memento of the place; though I question if, in so doing, I did not carry off with me the whole current literature of Broek.
I must not omit to mention that this village is the paradise of cows as well as men; indeed you would almost suppose the cow to be as much an object of worship here as the bull was among the ancient Egyptians; and well does she merit it, for she is in fact the patroness of the place. The same scrupulous cleanliness, however, which pervades everything else, is manifested in the treatment of this venerated animal. She is not permitted to perambulate the place, but in winter, when she forsakes the rich pasture, a well-built house is provided for her, well painted, and maintained in the most perfect order. Her stall is of ample dimensions; the floor is scrubbed and polished; her hide is daily curried and brushed and sponged to her heart’s content, and her tail is daintily tucked up to the ceiling, and decorated with a ribbon!
On my way back through the village, I passed the house of the prediger, or preacher; a very comfortable mansion, which led me to augur well of the state of religion in the village. On inquiry, I was told that for a long time the inhabitants lived in a great state of indifference as to religious matters; it was in vain that their preachers endeavored to arouse their thoughts as to a future state; the joys of heaven, as commonly depicted, were but little to their taste. At length a dominie appeared among them who struck out in a different vein. He depicted the New Jerusalem as a place all smooth and level; with beautiful dykes, and ditches, and canals; and houses all shining with paint and varnish, and glazed tiles; and where there should never come horse, or ass, or cat, or dog, or anything that could make noise or dirt; but there should be nothing but rubbing and scrubbing, and washing and painting, and gilding and varnishing, for ever and ever, amen! Since that time, the good housewives of Broek have all turned their faces Zionward.
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SKETCHES IN PARIS IN 1825 FROM THE TRAVELING NOTEBOOK OF GEOFFREY CRAYON, GENT.
A Parisian hotel is a street set on end, the grand staircase forming the highway, and every floor a separate habitation. Let me describe the one in which I am lodged, which may serve as a specimen of its class. It is a huge quadrangular pile of stone, built round a spacious paved court. The ground floor is occupied by shops, magazines, and domestic offices. Then comes the entre-sol, with low ceilings, short windows, and dwarf chambers; then succeed a succession of floors, or stories, rising one above the other, to the number of Mahomet’s heavens. Each floor is like a distinct mansion, complete in itself, with antechamber, saloons, dining and sleeping rooms, kitchen and other conveniences for the accommodation of a family. Some floors are divided into two or more suites of apartments. Each apartment has its main door of entrance, opening upon the staircase, or landing-places, and locked like a street door. Thus several families and numerous single persons live under the same roof, totally independent of each other, and may live so for years without holding more intercourse than is kept up in other cities by residents in the same street.
Like the great world, this little microcosm has its gradations of rank and style and importance. The Premier, or first floor, with its grand saloons, lofty ceilings, and splendid furniture, is decidedly the aristocratical part of the establishment. The second floor is scarcely less aristocratical and magnificent; the other floors go on lessening in splendor as they gain in altitude, and end with the attics, the region of petty tailors, clerks, and sewing-girls. To make the filling up of the mansion complete, every odd nook and corner is fitted up as a joli petit appartement à garçon (a pretty little bachelor’s apartment), that is to say, some little dark inconvenient nestling-place for a poor devil of a bachelor.
The whole domain is shut up from the street by a great portecochère, or portal, calculated for the admission of carriages. This consists of two massy folding-doors, that swing heavily open upon a spacious entrance, passing under the front of the edifice into the courtyard. On one side is a spacious staircase leading to the upper apartments. Immediately without the portal is the porter’s lodge, a small room with one or two bedrooms adjacent, for the accommodation of the concierge, or porter and his family. This is one of the most important functionaries of the hotel. He is, in fact, the Cerberus of the establishment, and no one can pass in or out without his knowledge and consent. The portecochère in general is fastened by a sliding bolt, from which a cord or wire passes into the porter’s lodge. Whoever wishes to go out must speak to the porter, who draws the bolt. A visitor from without gives a single rap with the massive knocker; the bolt is immediately drawn, as if by an invisible hand; the door stands ajar, the visitor pushes it open, and enters. A face presents itself at the glass door of the porter’s little chamber; the stranger pronounces the name of the person he comes to seek. If the person or family is of importance, occupying the first or second floor, the porter sounds a bell once or twice, to give notice that a visitor is at hand. The stranger in the meantime ascends the great staircase, the highway common to all, and arrives at the outer door, equivalent to a street door, of the suite of rooms inhabited by his friends.
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