It is a moderately-large, two-windowed room; the white window-curtains are pulled down, and on them I can see the shadows of vine-branches waving to and fro. I watch the motion with delight; it is an image of my thoughts that float and waver thus without being able to fix themselves on any point. I look again into the room, and my eyes find an object on which they rest. It is a picture which hangs directly opposite to me on a plain light-gray wall; it represents a young and beautiful woman with a child in her arms. The eyes of the young mother, who is calm and almost sad, as though she were pondering over some wondrous mystery, are mild and gentle; while those of the boy, under his full brow, have a dignity beyond his years, and look out into the far distance with an air of majesty as if their glances comprehended the world.
I can scarcely turn my eyes from the picture. My admiration is pure and artless; I have no knowledge of the original; I do not know that it is an exquisite copy in crayons of the most celebrated painting of the Master of masters; I only know that never in my life have I seen anything so beautiful.
Under this picture hangs a little étagère with two rows of neatly-bound books. Under the étagère stands a bureau of antique form with brass handles, and on it lie drawing-materials, and, between two terra-cotta vases, a little work-basket with ends of red worsted hanging over its edge.
Between the windows and the bureau, evidently set on one side, is an easel, upon which is a drawing-board with the face inwards; and on the other side of the door a cottage piano, the upper part of which has a peculiar, lyre-shaped figure.
I do not know what it is that suddenly brings to my mind Constance von Zehren. Perhaps it is that the lyre-shaped instrument reminds me of a guitar; and indeed this must be the reason, for in nothing else does the room bear any resemblance to Constance's. As there all was neglect and confusion, here all is orderly and cheerful; no torn threadbare carpet covers the white floor upon which the windows throw squares of sunlight, and the shadows of the vine-branches play, but fainter than upon the curtains. No, I am not at Castle Zehren. In all that castle there was no apartment like this, so bright, so cheerful, so clean; and now I remember Castle Zehren is burnt down--to the very ground, some one told me--so I cannot be at Castle Zehren; but where am I, then?
I turn my eyes to the beautiful young mother of the picture, as if she could answer me; but looking at her, I forget what it was that I had intended to ask. I have only the feeling that one can sleep peacefully when such eyes are watching him; and I wonder that the fair boy does not rest his head upon the shoulder or the bosom of his mother, close his great thoughtful eyes, and sleep sweetly--oh! so sweetly!
The long sweet sleep wonderfully strengthens me. When I awake, I at once raise my head, rest myself upon my elbow, and stare with surprise at the brown furrowed face, the blue eyes, the great hooked nose, and the long gray moustache of Sergeant Süssmilch, who sits at my bed-side.
The old man, on his part, looks at me with no less surprise. Then a pleasant smile shoots from the moustache through a pair of the deepest furrows up to the blue eyes, where it stays and blinks and twinkles joyously. He brings three fingers of his right hand to his forehead, and says, "Serviteur!"
This comes so drolly from him that I have to laugh, for I can laugh now, and the old fellow laughs too, and says, "Had a good nap?"
"Splendid," I answer. "Have I been sleeping long?"