Vision and sound had vanished, only still dim echoes fell
Of pleading voices rising on the night-wind’s scarce-felt swell:
“Miserere, miserere,
Hear, O God! the prisoners’ sighing;
Spare thy heritage, O Saviour!
Dearest Lord of love undying.”
THE DOOM OF THE BELL.
Two men were sitting in a garret at the very top of one of the craziest old houses in Bruges—not a house dating from the fifteenth century, such as those we admire to this day, but a house that was already two hundred years old when those were built. It stood on the brink of the canal beyond which are now the public gardens that have displaced the ramparts of the once turbulent and independent city. Then the houses crowded into the wide fosse of not too fragrant water, and leaned their balconied gables over it. This was not in the busy or the splendid quarter; it was far from the cathedral and the Guildhall. And in those prosperous times of the Hanseatic League, of the Venetian and Genoese merchant-princes visiting and marrying among their full peers of the city of Bruges—the times of the grand palaces built by those royal and learned traders—these two men I speak of were poor, obscure, and with little prospect of ever being anything else. Yet one of them had it in him to do as great things as the Van Eycks, and to take the art-loving city by storm, if he could only get “a chance.” It was the same in the year 1425 as it is now, and men in picturesque short-hose and flat caps were marvellously like those we see in ugly chimney-pots and tight trousers. The rivalry of other artists—none very eminent—and the ungetable patronage of rich men stood in this young painter’s way, and he got disheartened and disgusted. This garret was his studio, his bedroom, and his kitchen. It was cheap, and the light could be managed easily and properly to suit his painting; but it was not one of those elaborately artistic studios, a picture in itself, which we associate with the idea of the “old masters.” The things that were there had evidently drifted there and got heaped up by accident—homely things most of them, and disposed with the carelessness natural to a man who had little belief or hope in his future. There was an air about the whole place as well as its owner that seemed to say as plainly as any words, “What is the use?” But the other man was a contrast to him. He was much older; a wiry form, and eager, small eyes, and an air of resistance to outward circumstances, “as if he could not help it,” but not in the sense of what is popularly called an “iron will,” were his chief distinguishing marks. He was neither artist nor merchant, and he lived “by his wits.” In those days, just the same as now, that meant something bordering on dishonesty; and such men were known as useful, but scarcely reputable. This individual was seated on a low trunk or chest of polished wood, but not carved, nor even adorned with curious hinges or iron-work; the other stood opposite, leaning on the high sill of a window in the gable, looking down into the canal.
“Peter,” said the latter after a pause, “have you heard of any one dying lately in the great houses, or, for that matter, in the rookeries?”
“No, not dying—at least, not lately,” said the other slowly.