Beginning at the beginning, I read until past midnight. The contents, after all, were not remarkable. It was a collection of copies of papers relating to various matters of accounts and law, all pertaining to a certain Beardsley family, of high and ancient fame in the Colony, and afterwards in the State. Somewhat beyond the middle, however, I lighted upon a document which attracted my more particular attention. It was a transcript from the State Records, and, as the date showed, from a very early volume of them, now missing from the office of the Secretary of State. It immediately occurred to me that this volume was strongly suspected to have been purloined by one Isaac Beardsley, an unscrupulous man, of some influence, who used, for amusement, to potter about in various antiquarian enterprises of no moment, but who had now been dead for some fifteen years. I then also recollected that he had an only child, a graceless gallows-bird of a son, who broke his father's heart, then wasted his substance in riotous living, and, after being long a disgrace and nuisance at home, had sunk out of sight amid the lowest strata of vice and crime in New York.
The document was a complaint to the "Generall Court" against "Goodman Joab Brice"the complainant being designated by the honorable prefix of "Mr.""for y't hee, the s'd Goodman Brice, had sayd in y'e hearing of" various persons mentioned, "and to the verry face of y'e s'd Mr. Isaac Beardslie, y't y'e s'd Mr. Beardslie did grind y'e faces of the poor, and had served him, the s'd Brice, worse than anie Turk w'd serve his slaves; and this with fearfull and blasphemous curses, and prayres that God would return evill upon the heads of this complaynant and his children after him," etc.
The transcript was long, alleging various similar offences. Its perusal recalled to my mind several hints and obscure allusions, and one or two brief histories of the proceedings in this case, which may be found in ancient books relating to the Colony. These proceedings between Beardsley and Brice were famous in their day, and were thought little creditable to the head of the Beardsley family. That he himself partook of the general opinion is shown by the circumstance that the matter was diligently hushed up in that day; and those most familiar with the ancient records of the State averred, that upon the pages of the missing volume was spread matter amply sufficient to account for its theft and destruction by the late Col. Isaac Beardsley.
The details of this ancient quarrel have perished out of remembrance. The chief substance of it was, however, a lawsuit which ended in the rich man's obtaining possession of the poor man's land. Brice, a yeoman of vindictive, obstinate, and fearless character, had insulted his opponent, who was a magistrate, had threatened his life, and otherwise so bore himself that his oppressor procured him to be whipped at the cart's tail, and to be held to give large sureties for the peace, with the alternative penalty of banishment. The bitter vehemence of Brice's curses was remarkable even among the dry phrases of the complaint; and tradition relates that his fearful imprecations even caused his dignified opponent, the magistrate, to turn pale and tremble.
I was sure, too, that among the stores of the Library I had seen some memorial of Brice as well as of Beardsley; but could not at the time call up any remembrance more definite than an impression that this memorial was something which had belonged to a descendant of Joab Brice, who had been in his youth a soldier in the old French War, and later a subaltern in the "State line" during the Revolution.
The Library room, in which I was reading, is a large, lofty hall, fitted with dark bookcases, heavy and huge as if for giants, singularly perfect in point of inconvenience and inaccessibility, and good only in that they bore a certain architectural proportion to the great height and expanse of the dark room. My desk was so placed that my back was toward the entrance, which was the balustraded opening, in the Library floor, of a wide staircase; and close at my side and before me were racks with muskets and spears, cases of curiosities, and other appurtenances of the room. It being now past the middle of the night, when sleep is heaviest, the stillness was perfect. My two shaded lamps made a small sphere of dusky yellow light, which I felt to be surrounded and, as it were, compressed by the thick darkness, which I could easily fancy to be something tangible and heavy, settling noiselessly down from beneath the lofty arches of the roof. The ancient penmanship and curious contents of the faded pages before me carried my thoughts backward into the old Colonial times, with their rigid social distinctions, lofty manners, and ill-concealed superstition; and I mused upon grim old magistrates, wizened witches, stately dames, rugged Indian-fighters, and all their strange doings and sayings in the ancient days, until, between drowsiness and imagining, I fell into a tangled labyrinth of romance, history, and reverie.
Then all at once I seemed half to awake, and fell into one of those fits of foolish nervous apprehension to which many even of the coolest and bravest are liable in deep solitude and darkness,and if they, how much more an excitable person like myself! My heart throbbed for no reason, and, sitting with my head bowed down upon my hands, I fancied the most impossible dangers,of men taking aim at me with the antique firearms out of the far dark corners, or casting heavy weights upon me through the skylight overhead. How easily, I fancied, could it happen. Did not the cellar-door open just now?
I half arose, almost frightened. I believe I should have taken an old rapier and a light and gone to look, but for very shame. And besides, there were two thick floors between me and the door, and that itself was set in the heavy wall between the cellar of this wing of the building and that under its main body; so that if it had been opened, I could not have heard it. Accordingly I resumed my posture and my painful intense musing. But now I could have almost sworn that I heard soft steps coming up the staircase, and whispers floating upon the air of the great solitary room:I did!
But not soon enough. At the sound of a distinct, heavy footstep behind me, I sprang up and turned about, but only to find myself pinioned by one of the arms of a rough-looking, vicious-faced man, who pressed his other hand tightly over my mouth. A confederate was busy at the case of coins.
Although only a librarian, I have in my day been something of an athlete; much more than the person who had rushed into so sudden an intimacy reckoned upon. And I was pretty well strung up, too, with my nonsensical fancies.
Being face to face with me, therefore, my assailant had mastered my right arm, and was clasping my back with his left hand, while his right was over my month. So driving back my left elbow, I struck him a sharp and cruel blow in the right side, just above the hip-bone. It is a bad place to strike; I would not hit there, unless unfairly attacked. The sudden pain jerked a groan out of him, and surprised him into slackening his hold; so that I wrenched myself loose, and gave him a straight, heavy, right-hand hit in the nose, sending him reeling against the old chest that came over in the Mayflower, which saved him from a fall.
At one and the same moment, both the thieves drew knives and made at me together, and I, springing backwards, seized from the wooden rack of weapons the first which my hand reached. It was a musket. Instinctively, for there was no time to reason, I cocked, presented in a sort of charge-bayonet attitude, the only one possible, and pulled trigger. The old weapon went off with a deafening report, sending out a blinding sheet of flame in the darkness. One thief fell headlong at my very feet; the other, turning, fled blindly towards the staircase. I ought to have caught him; but, in the unreflecting anger of the moment, coming up with him at the stair-head, I struck at him with such good will and good effect, that he fell down stairs faster than I cared to chase him in the dark. Scrambling up at the bottom, he hurried out by the way he had come, and fled; while I returned to my prisoner.
He was quite dead. The charge, a bullet, had passed in just above the region of the heart, killing him instantly. I searched him, but found only a knife, a little money, and some tobacco; nothing which could identify him. He was well-made, middle-aged, and of a thoroughly vile and repulsive countenance.
The necessary legal formalities were gone through as quickly and quietly as possible, and the entrances by which the burglars had come in well secured. They had evidently reconnoitred within and without the building during the day, and selected a back way into the cellar, through which they found no trouble in ascending to the Library.
Some days afterwards, I bethought me to examine the old musket. It was a heavy, old-fashioned "queen's arm," with no unusual marks, as I thought; but upon a silver plate, let into the hollow of the butt, I found, coarsely and strongly engraved, "JOAB BRYCE, 1765."
Upon mentioning this circumstance to our Recording Secretary, and wondering how the gun came to be loaded, he told me that the fault was his. The weapon, he said, had been deposited in the Library by a son of the old revolutionary soldier; and he added, that this son had informed him that the old man, who seems to have inherited something of the peculiar traits of his ancient race, having had this charge in his gun at the conclusion of the siege of Yorktown, where he was present with a New England regiment, had managed afterwards to avoid discharging or drawing it, and had left it by will to his eldest son to be kept loaded as it was; with the strange clause, that the charge "might sarve out a Beardsley, if it couldn't a Britisher."
The depositor, the Secretary further told me, had religiously kept the old gun, and, with a curious, simple strictness of adherence to the spirit of his father's directions, had oiled the lock, picked the flint, wired the touch-hole, and put in fresh priming, when he brought the weapon to the Library.
"I meant to have unloaded it, of course," pursued the excellent Secretary, "but it passed out of my mind."
A week or two afterwards, I found in one of those obscure columns of "minion solid," in which the great New York papers embalm the memory of their current metropolitan crime, the following notice:
"We are informed that the burglar lately killed in an attempt to rob the Historical Library has been found to be the notorious cracksman, 'Bill Young'; but that his real name was Isaac Beardsley."
* * * * *DAYLIGHT AND MOONLIGHT
In broad daylight, and at noon,
Yesterday I saw the moon
Sailing high, but faint and white,
As a school-boy's paper kite.
In broad daylight, yesterday,
I read a poet's mystic lay;
And it seemed to me at most
As a phantom, or a ghost.
But at length the feverish day
Like a passion died away,
And the night, serene and still,
Fell on village, vale, and hill.
Then the moon, in all her pride,
Like a spirit glorified,
Filled and overflowed the night
With revelations of her light.
And the poet's song again
Passed like music through my brain;
Night interpreted to me
All its grace and mystery.
SOMETHING ABOUT PICTURES
It is not surprising that pictures, with all their attraction for eye and mind, are, to many honest and intelligent people, too much of a riddle to be altogether pleasant. What with the oracular dicta of self-constituted arbiters of taste, the discrepancies of popular writers on Art, the jargon of connoisseurship, the vagaries of fashion, the endless theories about color, style, chiaro 'scuro, composition, design, imitation, nature, schools, etc., painting has become rather a subject for the gratification of vanity and the exercise of pedantic dogmatism, than a genuine source of enjoyment and culture, of sympathy and satisfaction,like music, literature, scenery, and other recognized intellectual recreations. In these latter spheres it is not thought presumptuous to assert and enjoy individual taste; the least independent talkers will bravely advocate their favorite composer, describe the landscape which has charmed or the book which has interested them; but when a picture is the subject of discussion, few have the moral courage to say what they think; there is a self-distrust of one's own impressions and even convictions in regard to what is represented on canvas, that never intervenes between thought and expression, where ideas or sentiments are embodied in writing or in melody. Nor is this to be ascribed wholly to the technicalities of pictorial art, in which so few are deeply versed, but in a great measure to the incongruous and irrelevant associations which have gradually overlaid and mystified a subject in itself as open to the perception of a candid mind and healthy senses as any other department of human knowledge. Half the want of appreciation of pictures arises from ignorance, not of the principles of Art, but of the elements of Nature. Good observers are rare. The peasant's criticism upon Moreland's "Farm-yard"that three pigs never eat together without one foot at least in the troughwas a strict inference from personal knowledge of the habits of the animal; so the surgeon found a head of the Baptist untrue, because the skin was not withdrawn somewhat from the line of decollation. These and similar instances show that some knowledge of or interest in the thing represented is essential to the appreciation of pictures. Sailors and their wives crowded around Wilkie's "Chelsea Pensioners," when first exhibited; French soldiers enjoy the minutiae of Vernet's battle-pieces; a lover can judge of his betrothed's miniature; and the most unrefined sportsman will point out the niceties of breed in one of Landseer's dogs. To the want of correspondence so frequent between the subject of a picture and the observer's experience may, therefore, be attributed no small degree of the prevalent want of sympathy and confident judgment. "Gang into an Exhibition," says the Ettrick Shepherd, "and only look at a crowd o' cockneys, some with specs, and some wi' quizzing-glasses, and faces without ae grain o' meaning in them o' ony kind whatsomever, a' glowering, perhaps, at a picture o' ane o' Nature's maist fearfu' or magnificent warks! What, I ask, could a Prince's-Street maister or missy ken o' sic a wark mair than a red deer wad ken o' the inside o' George's-Street Assembly-Rooms?"
The incidental associations of pictures link them to history, tradition, and human character, in a manner which indefinitely enhances their suggestiveness. Horace Walpole wove a standard collection of anecdotes from the lives and works of painters. The frescoes of St. Mark's, at Florence, have a peculiar significance to the spectator familiar with Fra Angelico's life. One of the most pathetic and beautiful tragedies in modern literature is that which a Danish poet elaborated from Correggio's artist career. Lamb's great treasure was a print from Da Vinci, which he called "My Beauty," and its exhibition to a literal Scotchman gave rise to one of the richest jokes in Elia's record. The pen-drawing Andre made of himself the night before his execution,the curtain painted in the space where Faliero's portrait should have been, in the ducal palace at Venice,and the head of Dante, discovered by Mr. Kirkup, on the wall of the Bargello, at Florence,convey impressions far beyond the mere lines and hues they exhibit; each is a drama, a destiny. And the hard but true lineaments of Holbein, the aërial grace of Malbone's "Hours," Albert Durer's mediaeval sanctities, Overbeck's conservative self-devotion, a market-place by Ostade, Reynolds's "Strawberry Girl," one of Copley's colonial grandees in a New England farmer's parlor, a cabinet gem by Greuze, a dog or sheep of Landseer's, the misty depths of Turner's "Carthage," Domenichino's "Sibyl," Claude's sunset, or Allston's "Rosalie,"how much of eras in Art, events in history, national tastes, and varieties of genius do they each foreshadow and embalm! Even when no special beauty or skill is manifest, the character of features transmitted by pictorial art, their antiquity or historical significance, often lends a mystery and meaning to the effigies of humanity. In the carved faces of old German church choirs and altars, the existent facial peculiarities of race are curiously evident; a Grecian life breathes from many a profile in the Elgin marbles, and a sacred marvel invests the exhumed giants of Nineveh; in the cartoons of Raphael, and the old Gobelin tapestries, are hints of what is essential in the progress and the triumphs of painting. Considered as a language, how definitely is the style of painters associated with special forms of character and spheres of life! It is this variety of human experience typified and illustrated on canvas, that forms our chief obligations to the artist; through him our perception of and acquaintance with our race, its individuality and career, its phases and aspects, is indefinitely enlarged. "The greatest benefit," says a late writer, "we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies. Art is the nearest thing to life; it is a mode of amplifying our experience and extending our contact with our fellow-creatures beyond the bounds of our personal lot."