The “Arquebuss” men were again introduced; and, immediately on beholding their patron, professed themselves perfectly satisfied. The bargain was concluded, the land ceded, and the picture hung up in the great cathedral of Antwerp, where, with the exception of the short period that French spoliation carried it to the Louvre, it has remained ever since, a monument of the artist’s genius, the greatest and most finished of all his works. And now that I have done my story, I’ll try and find out that little quaint hotel they call the “Fischer’s Haus.”
Fifteen years ago, I remember losing my way one night in the streets of Antwerp. I couldn’t speak a word of Flemish: the few people I met couldn’t understand a word of French. I wandered about, for full two hours, and heard the old cathedral clock play a psalm tune, and the St. Joseph tried its hand on another. A watchman cried the hour through a cow’s horn, and set all the dogs a-barking; and then all was still again, and I plodded along, without the faintest idea of the points of the compass.
In this moody frame of mind I was, when the heavy clank of a pair of sabots, behind, apprised me that some one was following. I turned sharply about, and accosted him in French.
“English?” said he, in a thick, guttural tone.
“Yes, thank heaven” said I, “do you speak English?”
“Ja, Mynheer,” answered he. Though this reply didn’t promise very favourably, I immediately asked him to guide me to my hotel, upon which he shook his head gravely, and said nothing.
“Don’t you speak English?” said I.
“Ja!” said he once more.
“I’ve lost my way,” cried I; “I am a stranger.”
He looked at me doggedly for a minute or two, and then, with a stern gravity of manner, and a phlegm, I cannot attempt to convey, he said—