Part 16

By eight o'clock next morning all Heidelberg was electrified with the news. Daniel Van der Berg, dean of the woollen-drapers, possessed of wealth and position such as few enjoyed, who could believe that he had been the terrible assassin?

A hundred different explanations were offered. Some said the rich dean had been a somnambulist, and therefore not responsible for his

## actions--others, that he had murdered from pure love of blood--he could

have had no other motive for such a crime. Perhaps both theories were true. In the somnambulist the will is dead, he is governed by his animal instincts alone, be they pacific or sanguinary, and in Master Daniel Van der Berg, the cruel face, the flat head swollen behind the ears--the green eyes--the long bristling mustache, all proved that he unhappily belonged to the feline family--terrible race, which kills for the pleasure of killing.

THE END OF THE DEAN'S WATCH

*THE PORTRAITS OF ERCKMANN AND CHATRIAN*

[Illustration: EMILE ERCKMANN. After a portrait by Otto de Frere, about 1856.]

The popular names of Erckmann-Chatrian, names which recall so many stirring and patriotic tales, represent, to our great regret, only a very obscure and unaesthetic iconography. We have but very few pictures of the authors of _Madame Therese_ and _L'Ami Fritz_. Simple and rural in their tastes, Erckmann and Chatrian, without at any time parading that celebrity in which so many authors of "smart" literature take so much pride, when in the most brilliant epoch of their fame still preserved that rustic simplicity which characterized their first appearance. With their genial and upright natures these two Alsatians never thought to put themselves before their works. They were men of a bygone age, Nature's philosophers, wise men without vanity. Our task in respect of them has been difficult, but we hope not altogether infelicitous. It is not without a certain satisfaction that, by the side of other personalities so often popularized, we have been able by dint of persevering research to discover two or three portraits of these writers.

Thus we have given as frontispiece two pictures of these Siamese twins of literature, ingenuously painted, in timid and awkward strokes, by one of those travelling professors of the familiar art of charcoal and pencil, such as were to be seen in the villages of Alsace about fifty years ago. It portrays the "Amis Fritz" and the worthy pastors seated round the tables in the old Gothic inns.

A detached portrait of Erckmann by Otto de Frere, of about the year 1864 or 1865, gives us an opportunity of studying more closely one of the collaborators. Emile Erckmann, born in 1822, at Phalsbourg, has in the portrait before us already passed his fortieth year. The calm features and high bald forehead of the professor leave an impression of gravity and thoughtfulness. A pair of spectacles which he wears adds to his pedagogical appearance. Emile Erckmann represents the philosophic and the contemplative side of this romantic couple. Born in a town which has given so many chiefs to the French army, he brought to their joint work a deep and profound study of the Alsatian land, together with the silent tenacity of his race. The confined life of his province, rural and industrious in times of peace, implacable and ardent in the hour of strife, finds in him an able and truthful historian.

[Illustration: Erckmann. About 1868.]

The first portrait of Emile Erckmann is contemporary with _Madame Therese_, one of the most admirable and best known of their _romans nationaux_. A second portrait, which is reproduced here, seems a trifle older and of about the year 1868. That year the Theatre de Cluny in Paris produced a piece adapted by the two friends from the novel _Le Juif Polonais_. Erckmann at that time wore a beard. His dress, like his appearance, is without care, but in that serious face and behind those spectacles there shines the profound and concentrated look of one accustomed to gaze upon the waters and the mountains of the Vosges; and the expression, brilliant as a fixed star, obliterates all that is crude and inharmonious in this face, which otherwise reminds one of a German schoolmaster. In contradistinction to Chatrian, who spent nearly the whole of his life in Paris and its environs, Erckmann seems to pine for the green woods and scenery of that beautiful country where the healthy and simple people are so much in harmony with nature. Thus is he shown to us here. His features remind us both of Taine and Cherbuliez, though he possessed nothing in common with them beyond that serene look full of reflection and deduction. Erckmann worked in Alsace; Chatrian, on the contrary, whose administrative duties kept him all day at his desk in Paris, could indulge his taste for novel-writing only in the evenings, occasionally stealing a few hours in the day out of the time which he was bound to devote to his Government work. To the calm and quietude of his companion Chatrian added the animation of an ardent and inventive spirit. To the reflective and poetic talent of Erckmann, he opposed the hastiness of his own dashing and spontaneous genius. To his pen, no doubt, can be assigned all those parts where the story, leaving the description of rustic life, plunges boldly into dramatic action.

A double portrait, from a photograph taken about 1874, depicts them in the constrained attitude characteristic of the work of Daguerre and his followers. Doubtless they were together in that little house at Raincy, where they often met to discuss the plot of some new work, and where the photographer must have invaded their privacy.

[Illustration: ERCKMANN AND CHATRIAN. About 1874. (After a photograph)]

"Only once did I see that little garden at Raincy," writes one of their friends, "but I can see again the kindly, portly Erckmann seated under the shade of a cherry-tree, a picture which later on I saw reproduced again at the Theatre Francais in _L'Ami Fritz_--Erckmann with his calm face and shrewd eyes, smoking his pipe, and throwing out philosophical theories between the whiffs of tobacco. He is, as it were, the dream, and Chatrian the reality in this partnership. Erckmann would willingly have kept to the fantastic tales of their early days, but it was Chatrian, the type of the soldier, with the mustache and face of a somewhat harsh-looking non-commissioned officer, and a strict disciplinarian, who directed the collaboration towards the Napoleonic era and the national chronicles. This, in a measure, explains the portraits and helps us to show them both, united in a work simultaneously conceived, both simple and great in their baffling expression, happy in knowing themselves understood by the multitude of the poor and humble. That photograph dates from the representation of _L'Ami Fritz_ in the Theatre Francais.

After the defeat of the Alsatians these poets, deeply touched, sing to us in their heartfelt words of the picturesqueness of their mountains and forests, henceforth to be under German rule. At that moment (and it is also the last portrait we have been able to find) Erckmann is aged, his beard and mustache are silvered, his appearance no longer that of a professor, but rather that of an old officer whom the close of the war has thrown out of employment. Chatrian, on the other hand, though only four years his junior, with hair and beard still abundant, seems alive with vigour and strength. His glance is keen, frank, and loyal, his face open and bold, his attitude full of energy. No picture could express better than this the striking contrast between two temperaments so widely dissimilar, and yet so well designed to supplement each other and form a complete whole.

[Illustration: ERCKMANN AND CHATRIAN. After a caricature by Andre Gill, 1879.]

Andre Gill, in a typical and humorous caricature, has admirably shown the expressions of the two writers as their faces appear above a jug of beer, each with an Alsatian pipe in his mouth. A peaceful happiness marks their brotherly features. They are enjoying the dramatic successes of the _Rantzau_ and Madame Therese. The final disagreement, which did not happen until 1890, at Villemomble, and which ended only with Chatrian's death, had not yet come, like a detestable intruder, to separate those two strong characters. Their dreams, their work, and their successes were still joint property at the time Andre Gill drew this caricature. The two writers have been termed the "Siamese twins" of historical romance. One cannot understand why these two figures, so full of contrast, were never delineated in painting nor sculpture, in view of the large measure of success which directed attention to their names. Such incomprehensible mysteries do sometimes occur in the lives of celebrated men, and we fail to find the solution of the enigma, which forces us to admit that Erckmann and Chatrian left us no portraits, no important engravings, no great popular lithographs, nor any medallions or busts. If ever posterity thinks of raising a monument to the memory of these two curious writers, the artist to whom the task is assigned will have some difficulty in finding any other valid and interesting documents than the few pictures which are collected here.

OCTAVE UZANNE.

THE END