The Alkahest | Page 7

its own weight with a solemn, ponderous sound that echoed along the roof of a wide paved archway and through the depths of the house, as though the door had been of iron. This archway, painted to resemble marble, always clean and daily sprinkled with fresh sand, led into a large court-yard paved with smooth square stones of a greenish color. On the left were the linen- rooms, kitchens, and servants' hall; to the right, the wood-house, coal-house, and offices, whose doors, walls, and windows were decorated with designs kept exquisitely clean. The daylight, threading its way between four red walls chequered with white lines, caught rosy tints and reflections which gave a mysterious grace and fantastic appearance to faces, and even to trifling details.
A second house, exactly like the building on the street, and called in Flanders the "back-quarter," stood at the farther end of the court- yard, and was used exclusively as the family dwelling. The first room on the ground-floor was a parlor, lighted by two windows on the court- yard, and two more looking out upon a garden which was of the same size as the house. Two glass doors, placed exactly opposite to each other, led at one end of the room to the garden, at the other to the court-yard, and were in line with the archway and the street door; so that a visitor entering the latter could see through to the greenery which draped the lower end of the garden. The front building, which was reserved for receptions and the lodging-rooms of guests, held many objects of art and accumulated wealth, but none of them equalled in the eyes of a Claes, nor indeed in the judgment of a connoisseur, the treasures contained in the parlor, where for over two centuries the family life had glided on.
The Claes who died for the liberties of Ghent, and who might in these days be thought a mere ordinary craftsman if the historian omitted to say that he possessed over forty thousand silver marks, obtained by the manufacture of sail-cloth for the all-powerful Venetian navy,-- this Claes had a friend in the famous sculptor in wood, Van Huysum of Bruges. The artist had dipped many a time into the purse of the rich craftsman. Some time before the rebellion of the men of Ghent, Van Huysum, grown rich himself, had secretly carved for his friend a wall- decoration in ebony, representing the chief scenes in the life of Van Artevelde,--that brewer of Ghent who, for a brief hour, was King of Flanders. This wall-covering, of which there were no less than sixty panels, contained about fourteen hundred principal figures, and was held to be Van Huysum's masterpiece. The officer appointed to guard the burghers whom Charles V. determined to hang when he re-entered his native town, proposed, it is said, to Van Claes to let him escape if he would give him Van Huysum's great work; but the weaver had already despatched it to Douai.
The parlor, whose walls were entirely panelled with this carving, which Van Huysum, out of regard for the martyr's memory, came to Douai to frame in wood painted in lapis-lazuli with threads of gold, is therefore the most complete work of this master, whose least carvings now sell for nearly their weight in gold. Hanging over the fire-place, Van Claes the martyr, painted by Titian in his robes as president of the Court of Parchons, still seemed the head of the family, who venerated him as their greatest man. The chimney-piece, originally in stone with a very high mantle-shelf, had been made over in marble during the last century; on it now stood an old clock and two candlesticks with five twisted branches, in bad taste, but of solid silver. The four windows were draped by wide curtains of red damask with a flowered black design, lined with white silk; the furniture, covered with the same material, had been renovated in the time of Louis XIV. The floor, evidently modern, was laid in large squares of white wood bordered with strips of oak. The ceiling, formed of many oval panels, in each of which Van Huysum had carved a grotesque mask, had been respected and allowed to keep the brown tones of the native Dutch oak.
In the four corners of this parlor were truncated columns, supporting candelabra exactly like those on the mantle-shelf; and a round table stood in the middle of the room. Along the walls card-tables were symmetrically placed. On two gilded consoles with marble slabs there stood, at the period when this history begins, two glass globes filled with water, in which, above a bed of sand and shells, red and gold and silver fish were swimming about. The room was both brilliant and sombre. The ceiling necessarily