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Of course this was the work of Lottchen. When he left the house, he took with him the key of a small private door, which was so seldom used that, while it remained closed, the key would not be missed, perhaps for many months. Watching the windows, he had chosen a safe time to enter, and had been hard at work all night on these alterations. Teufelsbuerst attributed them to the vampire, and left the picture as he found it, not daring to put brush to it again.

The next night was passed much after the same fashion. But the fear had begun to die away a little in the hearts of the women, who did not know what had taken place in the studio on the previous night. It burrowed, however, with gathered force in the vitals of Teufelsbuerst. But this night likewise passed in peace; and before it was over, the old woman had taken to speculating in her own mind as to the best way of disposing of the body, seeing it was not at all likely to be troublesome. But when the painter entered his studio in trepidation the next morning, he found that the form of the lovely Lilith was painted out of every picture in the room. This could not be concealed; and Lilith and the servant became aware that the studio was the portion of the house in haunting which the vampire left the rest in peace.

Karl recounted all the tricks he had played to his friend Heinrich, who begged to be allowed to bear him company the following night. To this Karl consented, thinking it would be considerably more agreeable to have a companion. So they took a couple of bottles of wine and some provisions with them, and before midnight found themselves snug in the studio. They sat very quiet for some time, for they knew that if they were seen, two vampires would not be so terrible as one, and might occasion discovery. But at length Heinrich could bear it no longer.

“I say, Lottchen, let’s go and look; for your dead body. What has the old beggar done with it?”

“I think I know. Stop; let me peep out. All right! Come along.”

With a lamp in his hand, he led the way to the cellars, and after searching about a little they discovered it.

“It looks horrid enough,” said Heinrich, “but think a drop or two of wine would brighten it up a little.”

So he took a bottle from his pocket, and after they had had a glass apiece, he dropped a third in blots all over the plaster. Being red wine, it had the effect Hoellenrachen desired.

“When they visit it next, they will know that the vampire can find the food he prefers,” said he.

In a corner close by the plaster, they found the clothes Karl had worn.

“Hillo!” said Heinrich, “we’ll make something of this find.”

So he carried them with him to the studio. There he got hold of the lay-figure.

“What are you about, Heinrich?”

“Going to make a scarecrow to keep the ravens off old Teufel’s pictures,” answered Heinrich, as he went on dressing the lay-figure in Karl’s clothes. He next seated the creature at an easel with its back to the door, so that it should be the first thing the painter should see when he entered. Karl meant to remove this before he went, for it was too comical to fall in with the rest of his proceedings. But the two sat down to their supper, and by the time they had finished the wine, they thought they should like to go to bed. So they got up and went home, and Karl forgot the lay-figure, leaving it in busy motionlessness all night before the easel. When Teufelsbuerst saw it, he turned and fled with a cry that brought his daughter to his help. He rushed past her, able only to articulate: