As soon as she had exhausted the house and the park, she thought it was her duty to pay visits all around the neighborhood. Although they rode and drove fast, "all around the neighborhood" was a goodly distance. The castle was flooded with return visits, and that they might not miss one another, it soon came to days being fixed for them.
Charlotte, in the meantime, with her aunt, and the man of business of the bridegroom, were occupied in determining about the settlements, and it was left to Ottilie, with those under her, to take care that all this crowd of people were properly provided for. Gamekeepers and gardeners, fishermen and shopdealers, were set in motion, Luciana always showing herself like the blazing nucleus of a comet with its long tail trailing behind it. The ordinary amusements of the parties soon became too insipid for her taste. Hardly would she leave the old people in peace at the card-table. Whoever could by any means be set moving (and who could resist the charm of being pressed by her into service?) must up, if not to dance, then to play at forfeits, or some other game, where they were to be victimized and tormented. Notwithstanding all that, however, and although afterward the redemption of the forfeits had to be settled with herself, yet of those who played with her, never any one, especially never any man, let him be of what sort he would, went quite empty-handed away. Indeed, some old people of rank who were there she succeeded in completely winning over to herself, by having contrived to find out their birthdays or christening days, and marking them with some particular celebration. In all this she showed a skill not a little remarkable. Every one saw himself favored, and each considered himself to be the one most favored, a weakness of which the oldest person of the party was the most notably guilty.
It seemed to be a sort of pride with her that men who had anything remarkable about them—rank, character, or fame—she must and would gain for herself. Gravity and seriousness she made give way to her, and, wild, strange creature as she was, she found favor even with discretion itself. Not that the young were at all cut short in consequence. Everybody had his share, his day, his hour, in which she contrived to charm and to enchain him. It was therefore natural enough that before long she should have had the Architect in her eye, looking out so unconsciously as he did from under his long black hair, and standing so calm and quiet in the background. To all her questions she received short, sensible answers; but he did not seem inclined to allow himself to be carried away further, and at last, half provoked, half in malice, she resolved that she would make him the hero of a day, and so gain him for her court.
It was not for nothing that she had brought that quantity of luggage with her. Much, indeed, had followed her afterward. She had provided herself with an endless variety of dresses. When it took her fancy she would change her dress three or four times a day, usually wearing something of an ordinary kind, but making her appearance suddenly at intervals in a thorough masquerade dress, as a peasant girl or a fish-maiden, as a fairy or a flower-girl; and this would go on from morning till night. Sometimes she would even disguise herself as an old woman, that her young face might peep out the fresher from under the cap; and so utterly in this way did she confuse and mix together the actual and the fantastic, that people thought they were living with a sort of drawing-room witch.
But the principal use which she had for these disguises were pantomimic tableaux and dances, in which she was skilful in expressing a variety of character. A cavalier in her suite had taught himself to accompany her action on the piano with the little music which was required; they needed only to exchange a few words and they at once understood each other.
One day, in a pause of a brilliant ball, they were called upon suddenly to extemporize (it was on a private hint from themselves) one of these exhibitions. Luciana seemed embarrassed, taken by surprise, and contrary to her custom let herself be asked more than once. She could not decide upon her character, desired the party to choose, and asked, like an improvisatore, for a subject. At last her piano-playing companion, with whom it had been all previously arranged, sat down at the instrument, and began to play a mourning march, calling on her to give them the Artemisia which she had been studying so admirably. She consented; and after a short absence reappeared, to the sad tender music of the dead march, in the form of the royal widow, with measured step, carrying an urn of ashes before her. A large black tablet was borne in after her, and a carefully cut piece of chalk in a gold pencil case.
One of her adorers and adjutants, into whose ear she whispered something, went directly to call the Architect, to desire him, and, if he would not come, to drag him up, as master-builder, to draw the grave for the mausoleum, and to tell him at the same time that he was not to play the statist, but enter earnestly into his part as one of the performers.
Embarrassed as the Architect outwardly appeared (for in his black, close-fitting, modern civilian's dress, he formed a wonderful contrast with the gauze crape fringes, tinsel tassels, and crown), he very soon composed himself internally, and the scene became all the more strange. With the greatest gravity he placed himself in front of the tablet, which was supported by a couple of pages, and drew carefully an elaborate tomb, which indeed would have suited better a Lombard than a Carian prince; but it was in such beautiful proportions, so solemn in its parts, so full of genius in its decoration, that the spectators watched it growing with delight, and wondered at it when it was finished.
All this time he had not once turned toward the queen, but had given his whole attention to what he was doing. At last he inclined his head before her, and signified that he believed he had now fulfilled her commands. She held the urn out to him, expressing her desire to see it represented on the top of the monument. He complied, although unwillingly, as it would not suit the character of the rest of his design. Luciana was now at last released from her impatience. Her intention had been by no means to get a scientific drawing out of him. If he had only made a few strokes, sketched out something which should have looked like a monument, and devoted the rest of his time to her, it would have been far more what she had wished, and would have pleased her a great deal better. His manner of proceeding had thrown her into the greatest embarrassment. For although in her sorrow, in her directions, in her gestures, in her approbation of the work as it slowly rose before her, she had tried to manage some sort of change of expression, and although she had hung about close to him, only to place herself into some sort of relation to him, yet he had kept himself throughout too stiff, so that too often she had been driven to take refuge with her urn; she had to press it to her heart and look up to heaven, and at last, a situation of that kind having a necessary tendency to intensify, she made herself more like a widow of Ephesus than a Queen of Caria. The representation had to lengthen itself out and became tedious. The pianoforte player, who had usually patience enough, did not know into what tune he could escape. He thanked God when he saw the urn standing on the pyramid, and fell involuntarily as the queen was going to express her gratitude, into a merry air; by which the whole thing lost its character, the company, however, being thoroughly cheered up by it, who forthwith divided, some going up to express their delight and admiration of the lady for her excellent performance, and some praising the Architect for his most artistlike and beautiful drawing.
[Illustration: LUCIANA POSING AS QUEEN ARTEMISIA P. Grotjohann]