whose characteristics came out even more forcibly at the hour of death. On the lip was that smile of gay and insolent levity, on the brow that gallant if reckless contempt of physical danger, which had signalized the hero-coxcombs of the old regime. Even the rude dress was worn with a certain air of foppery, and the bright hair was carefully adjusted, as if for the holiday of the headsman. As the eyes of the young noble wandered over the fierce faces of that horrible assembly, while a roar of hideous triumph answered the look, in which for the last time the gentilhomme spoke his scorn of the canaille, the child’s father lowered the collar of his cloak, and slowly raised his hat from his brow. The eye of the marquis rested upon the countenance thus abruptly shown to him, and which suddenly became individualized amongst the crowd,—that eye instantly lost its calm contempt. A shudder passed visibly over his frame, and his cheek grew blanched with terror. The mob saw the change, but not the cause, and loud and louder rose their triumphant yell. The sound recalled the pride of the young noble; he started, lifted his crest erect, and sought again to meet the look which had appalled him. But he could no longer single it out among the crowd. Hat and cloak once more hid the face of the foe, and crowds of eager heads intercepted the view. The young marquis’s lips muttered; he bent down, and then the crowd caught sight of his companion, who was being lifted up from the bottom of the tumbril, where she had flung herself in horror and despair. The crowd grew still in a moment as the pale face of one, familiar to most of them, turned wildly from place to place in the dreadful scene, vainly and madly through its silence imploring life and pity. How often had the sight of that face, not then pale and haggard, but wreathed with rosy smiles, sufficed to draw down the applause of the crowded theatre; how, then, had those breasts, now fevered by the thirst of blood, held hearts spellbound by the airy movements of that exquisite form writhing now in no stage-mime agony! Plaything of the city, minion to the light amusement of the hour, frail child of Cytherea and the Graces, what relentless fate has conducted thee to the shambles? Butterfly of the summer, why should a nation rise to break thee upon the wheel? A sense of the mockery of such an execution, of the horrible burlesque that would sacrifice to the necessities of a mighty people so slight an offering, made itself felt among the crowd. There was a low murmur of shame and indignation. The dangerous sympathy of the mob was perceived by the officer in attendance. Hastily he made the sign to the headsman, and as he did so, a child’s cry was heard in the English tongue,—“Mother! Mother!” The father’s hand grasped the child’s arm with an iron pressure; the crowd swam before the boy’s eyes; the air seemed to stifle him, and become blood-red; only through the hum and the tramp and the roll of the drums he heard a low voice hiss in his ear “Learn how they perish who betray me!”
As the father said these words, again his face was bare, and the woman, whose ear amidst the dull insanity of fear had caught the cry of her child’s voice, saw that face, and fell back insensible in the arms of the headsman.
CHAPTER I. A FAMILY GROUP
One July evening, at the commencement of the present century, several persons were somewhat picturesquely grouped along an old-fashioned terrace which skirted the garden-side of a manor-house that had considerable pretensions to baronial dignity. The architecture was of the most enriched and elaborate style belonging to the reign of James the First: the porch, opening on the terrace, with its mullion window above, was encased with pilasters and reliefs at once ornamental and massive; and the large square tower in which it was placed was surmounted by a stone falcon, whose talons griped fiercely a scutcheon blazoned with the five-pointed stars which heralds recognize as the arms of St. John. On either side this tower extended long wings, the dark brickwork of which was relieved with noble stone casements and carved pediments; the high roof was partially concealed by a balustrade perforated not inelegantly into arabesque designs; and what architects call “the sky line” was broken with imposing effect by tall chimney-shafts of various form and fashion. These wings terminated in angular towers similar to the centre, though kept duly subordinate to it both in size and decoration, and crowned with stone cupolas. A low balustrade, of later date than that which adorned the roof, relieved by vases and statues, bordered the terrace, from which a double flight of steps descended to a smooth lawn, intersected by broad gravel-walks, shadowed by vast and stately cedars, and gently and gradually mingling with the wilder scenery of the park, from which it was only divided by a ha-ha.
Upon the terrace, and under cover of a temporary awning, sat the owner, Sir Miles St. John of Laughton, a comely old man, dressed with faithful precision to the costume which he had been taught to consider appropriate to his rank of gentleman, and which was not yet wholly obsolete and eccentric. His hair, still thick and luxuriant, was carefully powdered, and collected into a club behind; his nether man attired in gray breeches and pearl-coloured silk stockings; his vest of silk, opening wide at the breast, and showing a profusion of frill, slightly sprinkled with the pulvilio of his favourite Martinique; his three-cornered hat, placed on a stool at his side, with a gold-headed crutch-cane (hat made rather to be carried in the hand than worn on the head), the diamond in his shirt-breast, the diamond on his finger, the ruffles at his wrist,—all bespoke the gallant who had chatted with Lord Chesterfield and supped with Mrs. Clive. On a table before him were placed two or three decanters of wine, the fruits of the season, an enamelled snuff-box in which was set the portrait of a female (perhaps the Chloe or Phyllis of his early love-ditties), a lighted taper, a small china jar containing tobacco, and three or four pipes of homely clay,—for cherry-sticks and meerschaums were not then in fashion, and Sir Miles St. John, once a gay and sparkling beau, now a popular country gentleman, great at county meetings and sheep-shearing festivals, had taken to smoking, as in harmony with his bucolic transformation. An old setter lay dozing at his feet; a small spaniel—old, too—was sauntering lazily in the immediate neighbourhood, looking gravely out for such stray bits of biscuit as had been thrown forth to provoke him to exercise, and which hitherto had escaped his attention. Half seated, half reclined on the balustrade, apart from the baronet, but within reach of his conversation, lolled a man in the prime of life, with an air of unmistakable and sovereign elegance and distinction. Mr. Vernon was a guest from London; and the London man,—the man of clubs and dinners and routs, of noon loungings through Bond Street, and nights spent with the Prince of Wales,—seemed stamped not more upon the careful carelessness of his dress, and upon the worn expression of his delicate features, than upon the listless ennui, which, characterizing both his face and attitude, appeared to take pity on himself for having been entrapped into the country.
Yet we should convey an erroneous impression of Mr. Vernon if we designed, by the words “listless ennui,” to depict the slumberous insipidity of more modern affectation; it was not the ennui of a man to whom ennui is habitual, it was rather the indolent prostration that fills up the intervals of excitement. At that day the word blast was unknown; men had not enough sentiment for satiety. There was a kind of Bacchanalian fury in the life led by those leaders of fashion, among whom Mr. Vernon was not the least distinguished; it was a day of deep drinking, of high play, of jovial, reckless dissipation, of strong appetite for fun and riot, of four-in-hand coachmanship, of prize-fighting, of a strange sort of barbarous manliness that strained every nerve of the constitution,—a race of life in which three fourths of the competitors died half-way in the hippodrome. What is now the Dandy was then the Buck; and something of the Buck, though subdued by a chaster taste than fell to the ordinary members of his class, was apparent in Mr. Vernon’s costume as well as air. Intricate folds of muslin, arranged in prodigious bows and ends, formed the cravat, which Brummell had not yet arisen to reform; his hat, of a very peculiar shape, low at the crown and broad at the brim, was worn with an air of devil-me-care defiance; his watch-chain, garnished with a profusion of rings and seals, hung low from his white waistcoat; and the adaptation of his nankeen inexpressibles to his well-shaped limbs was a masterpiece of art. His whole dress and air was not what could properly be called foppish, it was rather what at that time was called “rakish.” Few could so closely approach vulgarity without being vulgar: of that privileged few, Mr. Vernon was one of the elect.
Farther on, and near the steps descending into the garden, stood a man in an attitude of profound abstraction, his arms folded, his eyes bent on the ground, his brows slightly contracted; his dress was a plain black surtout, and pantaloons of
