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Besides the tale of the Arghisch monastery which I have quoted in a former chapter, there are many other Roumanian legends which tell us how every new church, or otherwise important building, became a human grave, as it was thought indispensable to its stability to wall in a living man or woman, whose spirit henceforth haunted the place. In later times, people having become less cruel, or more probably because murder is now attended with greater inconvenience to those concerned, this custom underwent some modifications, and it became usual, in place of a living man, to wall in his shadow. This is done by measuring the shadow of a person with a long piece of cord, or a tape made of strips of reed fastened together, and interring this measure instead of the person himself, who, unconscious victim of the spell thus cast upon him, will pine away and die within forty days. It is, however, an indispensable condition to the success of this proceeding that the chosen victim be ignorant of the part he is playing, wherefore careless passers-by near a building in process of erection may chance to hear the warning cry, “Beware lest they take thy shadow!” So deeply ingrained is this superstition that not long ago there were still professional shadow-traders, who made it their business to provide architects with the victims necessary for securing their walls. “Of course the man whose shadow is thus interred must die,” argues the Roumanian, “but being unaware of his doom, he feels neither pain nor anxiety, so it is less cruel than to wall in a living man.”
Similar to the legend of the Arghisch monastery is that told of the fortress of Deva, in Transylvania, which twelve architects had undertaken to build for the price of half a quarter of silver and half a quarter of gold. They set to work, but what they built each morning fell in before sunset, and what they built overnight was in ruins by next morning. Then they held counsel as to what was to be done in order to give strength to the building; and so it was resolved to seize the first of their wives who should come to visit her husband, and, burning her alive, mix up her ashes with the mortar to be used in building.
Soon after this the wife of Kelemen, the architect, resolving to visit her husband, ordered the carriage to be got ready. On the way she is overtaken by a heavy thunder-storm, and the coachman, an old family servant, warns her against proceeding, for he has had an ominous dream regarding her. She, however, persists in her resolve, and soon comes in sight of the building. Her husband, on seeing her, prays to God that the carriage might break down or the horses fall lame, in order to hinder her arrival; but all is in vain, and the carriage soon reaches its destination. The sorrowing husband now reveals to his wife the terrible fate in store for her, to which she resigns herself, only begging leave to say farewell to her little son and her friends. This favor is granted, and returning the following day, she is burned.
Her ashes mixed with the mortar give solidity to the walls; the building is completed, and the architects obtain the high price for which they had contracted.
Meanwhile the unhappy widower, returning home, is questioned by his little son as to where his mother stays so long. At first the father is evasive, but subsequently confesses the truth, on learning which the child falls dead of a broken heart.
Also, at Hermanstadt we are shown a point in the old town wall where a live student, dressed in ampel and toga, the costume of those days, was walled in, in order to “make fast” the fortified wall.
If we compare these legends with the traditions of other countries we find many instances of a like belief: so at Arta, in Albania, where, according to Grimm, a thousand masons labored in vain at a bridge, whose walls invariably crumbled away overnight. There was heard the voice of an archangel saying, “If ye do not wall in a living person the bridge will never stand; neither an orphan nor yet a stranger shall it be, but the own wife of the master builder.” The master loves his wife, but yet stronger is his ambition to see his name made famous by the bridge; so when his wife comes to the spot he pretends to have dropped a ring in the foundations, and asks her to seek for it, in doing which she is seized upon and walled up. In dying she speaks a curse upon the bridge, that it may ever tremble like the head of a flower on its stalk.
In Serbia there is a similar legend of the fortress Skoda; and at Magdeburg, in Germany, the same is told of Margaretha, bondwoman of the Empress Editha, wife of the Emperor Otto, who voluntarily gave up her illegitimate child to be walled up in the gate-way of the newly fortified town. Fifty years later, devoured by remorse, Margaretha appears before the judges to confess her crime, and crave Christian burial for the bones of her child. The wall being now opened at the place she indicates, there steps forth a small wizened figure with long, tangled gray beard and shrunken limbs—no other than the child who, walled up here for half a century, had been miraculously kept alive by the birds of the air bringing him food through an opening in his narrow prison.