Part 3

He soon reached his lodgings, hurried up the staircase, and listened fearfully outside the widow's door. Nobody seemed astir, but he could see that a light was burning within. Should he knock? What right had he, a perfect stranger, to intrude at this unreasonable hour? He remembered, too, his bitter thoughts and words about the widow and her children--her "brats!" So he mounted reluctantly to his apartments. How the silence--previously so much desired--oppressed him! He would eagerly have welcomed at that moment a cry, a sob, or any sound of life from the room below. But the sufferer gave no token, and John, in turn, became the sufferer in the worst form of suffering--that of mental anguish.

He could stand it no longer. John determined, at any cost, to see whether or not Willie had returned in safety. So he descended, and knocked at Mrs. Maxwell's door.

"Come in," said a quiet voice, and John opened the door. The first thing that met his gaze was his picture of the angel hanging at the head of a child's cot. Beneath it, calmly asleep, was Dodo--Willie's sister. A frail morsel of humanity she seemed, with pale, almost transparent, complexion--the paler by its contrasting framework of golden hair. Mrs. Maxwell was busily engaged at needlework. She hastily rose when she saw her visitor. "I thought it was Mrs. Baker" (Mrs. Baker was the landlady), she said. "She usually looks in the last thing."

"Pardon me for intruding, but I was anxious to know whether your son had arrived here in safety?"

"Yes, oh yes; some time since. Are you the gentleman who gave him the angel?"

"Yes," said John, simply.

"Thank you so much; you have made my little girl so happy. Children have strange fancies in sickness, and she has been talking about nothing but angels for days past. See," pointing to the sleeping child, "it is the first night she has slept soundly for a whole week."

The holiest feeling John had ever experienced since he knelt as a child at his mother's knee passed over him. He had never before felt so thoroughly that a good action was its own reward.

"May I crave one great favour as a return for so trivial a service? Will you let me see your son?"

The widow immediately arose, took a lamp, and beckoned John to follow her into the next room. There was little Willie fast asleep in his cot. His lips, even in his sleep, were wreathed in a happy smile, and as John bent and reverently kissed them, they murmured softly: "Mr. Daubs!"

When John again mounted to his chamber it was with a light heart. His evil angel--dissatisfaction--had gone out of him, and his good angel--contentment--reigned in its stead.

From that time forth he shared the widow's vigils; he was to her an elder son--to the children, a loving brother. His heart, too, expanded in sympathy for his fellows, and under this genial influence his energies, previously cramped, expanded also. The best proof I can give of this, if proof be necessary, is that the picture which he shortly afterwards exhibited, entitled "The Two Angels," was the picture of the year, and brought to him the fame which had previously so persistently evaded him. One of the happiest moments in his life was when he took Dodo--now quite recovered--and Willie to view his "masterpiece."

THE birthday card, as we know it now, can scarcely have been with us more than fifty or fifty-five years, and there is very little doubt that the more ancient reminder of St. Valentine's Day suggested the idea of putting a verse, appropriate to a birthday, in the place of the often far-fetched sentiments of February the fourteenth. Nearly all our later poets have contributed to birthday literature, and we may presume that the delightful _morceaux_ which came from their pens were written on a card or sheet of paper, and quietly dispatched to the recipient. Eliza Cook, Tom Moore, Burns, Cowper, Johnson, Tom Hood, Charles Lamb, and Mrs. Hemans have given to the world the most beautiful of thoughts within the limits of a four-line verse. Where is a more suggestive sentiment--considered by many the finest of all such verse--than that which Pope addressed to Martha Blount?--

Is that a birthday? 'Tis, alas! too clear 'Tis but the funeral of the former year.

Thackeray, too, could write delightful lines. His daughter--Mrs. Thackeray-Ritchie--sent the following to the writer, written by her father to Miss Lucy Batler in America:--

LUCY'S BIRTHDAY.

Seventeen rosebuds in a ring, Thick with silver flowers beset In a fragrant coronet, Lucy's servants this day bring. Be it the birthday wreath she wears, Fresh and fair and symbolling The young number of her years, The sweet blushes of her spring.

Types of youth, and love, and hope, Friendly hearts, your mistress greet, Be you ever fair and sweet, And grow lovelier as you ope. Gentle nursling, fenced about With fond care, and guarded so, Scarce you've heard of storms without, Frosts that bite, and winds that blow!

Kindly has your life begun, And we pray that Heaven may send To our floweret a warm sun, A calm summer, a sweet end. And where'er shall be her home, May she decorate the place, Still expanding into bloom, And developing in grace.

To-day our birthday poets are limited--not in numbers, for the publishers of cards are inundated with verses--but in those of merit. One firm, indeed, during the last twelve or thirteen years has received no fewer than 150,000 compositions, of which number only some 5,600 have been found usable; not a very great number, when it is remembered that something between ten and twelve millions of cards pass between well-wishers in this country alone every year, and that a similar quantity are exported to the United States, India, China, and the Colonies. From five shillings to two or three guineas represents the market value of a birthday poem, and the shorter such expressions are, the greater is their value. But eminent writers of course obtain much more. Lord Tennyson was once asked to pen a dozen birthday poems of eight lines each. A thousand guineas were offered for the stanzas--but, alas for birthday literature, the great poet declined to write verse on order, even at the rate of ten guineas a line.

The Bishops, too, have been approached on the subject, for verses of a religious tendency are more sought after than any others; those of the late Frances Ridley Havergal are an instance. But the worthy bishops frankly admitted that the gift of poetry had not been allotted to them. The late Bishop of Worcester said: "I have not poetical talent enough to write short poems." Dr. King, Bishop of Lincoln, said: "I am sorry, but I am not a poet." The Bishops of Manchester and Liverpool also honestly confessed to being no poets, whilst Dr. Temple, Bishop of London, said: "I am afraid I should make a great mistake if at my age I began to write short poems;" generously adding, "the Bishop of Exeter is a genuine poet."

Perhaps the most popular writer to-day is the lady whose initials--H. M. B.--have been appended to many millions of cards--Miss Helen Marion Burnside, of whom we give a portrait. Miss Burnside was born at Bromley Hall, Middlesex, in 1843, and at twelve years of age was seized with a severe attack of scarlet fever, the result of which was that she lost her hearing. A year later she commenced to write birthday poetry, and her prolific abilities will be understood, when we mention that she has written, on the average, two hundred birthday poems yearly ever since. Miss Burnside, too, is clever with her brush, and before she was nineteen years of age the Royal Academy accepted one of her pictures of fruit and flowers, and, later, a couple of portraits in crayons.

We now turn to the designs for birthday cards--for though the motto is the principal consideration, a pretty and fanciful surrounding is by no means to be despised.

Royal Academicians really do little in this branch of art. Though both Mr. Poynter and Mr. Sant have applied their brushes in this direction, and Sir John Millais has before now signified his willingness to accept a commission, it is presumed that R.A.'s prefer not to have their work confined to the narrow limits of a birthday card. An R.A. could ask a couple of hundred pounds for a design, and get it. Mr. Alma Tadema, when asked what he would charge to paint a pair of cards, replied--£600. Ordinary designs fetch from three to six guineas, though a distinctly original and novel idea, be it only in the shape of a score of splashes from the brush, is worth from ten to fifteen guineas.

Both the Princess Louise and Princess Beatrice have done some really artistic work, but their efforts have not been made public--save in the instance of the Princess Beatrice, whose Birthday Book is well known. Cards designed by Royalty have passed only between members of the Royal Family. They are very simple and picturesque, flowers and effective landscapes with mountain scenery figuring prominently. It is indisputable that women excel in such designs. Theirs seems to be a light, airy, graceful, and almost fascinating touch; there appears to be no effort--they seem only to play with the brush, though with delightful results. Amongst those ladies who are just now contributing excellent work might be mentioned the Baroness Marie Von Beckendorf, a German lady, whose flowers are delicate and fanciful to a degree. Miss Bertha Maguire is also gifted in the way of flower-painting, whilst Miss Annie Simpson paints many an exquisite blossom combined with charming landscape.

The illustrations we give show a page of what have now become ancient cards, and another of the very latest modern styles.

It will at once be seen how the birthday card has grown out of the valentine. The two designs in the top corner of the first are essentially of a fourteenth of February tendency. Note the tiny god of love, that irrepressible mite of mischief, Cupid, playing with a garland of roses; and there, too, is the heart, a trifle too symmetrical to be natural, with the customary arrow, almost as big as young Cupid himself, cruelly thrust through the very middle of it. The centre card is a French design, embossed round the edges with lace paper, with a silken cross and hand-painted passion flowers laid on the card proper, which is of rice-paper. The remaining specimen is exceedingly quaint in the original, and has passed through more than forty birthdays. It is almost funereal in appearance, as indeed were most of those made at that period; indeed, many of the specimens of old-time birthday cards we have examined are made up of weeping willows, young women shedding copious tears into huge urns at their feet, and what, to all appearance, is a mausoleum in the distance. And above all is written, "Many happy returns of the day!"

The other set of cards, the modern ones, are all suggestive of the good wishes they carry with them. Many of them are of satin with real lace, delicately hand-painted marguerites, pansies, and apple-blossoms, whilst the elaborate fan, with its flowing ribbons, is edged with white swan's-down and gaily decorated with artificial corn and poppies. These are from designs kindly placed at our disposal by Messrs. Raphael Tuck & Sons. The printing of the cards is in itself an art. One of the largest printing establishments in the world devoted to this purpose is that of Messrs. Raphael Tuck & Sons, in Germany, whence comes the greater portion of those required for the English market. In the little village of Rendnitz, just outside Leipsic, from a thousand to twelve hundred people find employment. Here may be found a room containing no fewer than thirty-two of the largest presses, on which colour-lithography is being printed. Every machine does its own work, and the amount of labour required on a single birthday card is such that many cards pass through eighteen or twenty different stages of printing, and in some exceptionally elaborate instances the number has run up to thirty-seven.

The cards are printed on great sheets of board, and from a thousand to fifteen hundred such sheets, so far as one colouring is concerned, constitute a good day's work. These sheets measure 29 inches by 30 inches, and when the various colours are complete, they are cut up by machinery into some twenty or more pieces, according to the size of the card. Nor is the printing of birthday cards confined to cardboard. Effective work has been of late years produced on satin, celluloid, and Japanese paper; and prices range from as low as twopence half-penny a gross to as much as seven and eight guineas for each card. The production of a birthday card, from the time it is designed to the time when it is laid before the public, generally occupies from eight to nine months.

_The Architect's Wife._

FROM THE SPANISH OF ANTONIO TRUEBA.

[ANTONIO TRUEBA, who is still alive, was born on Christmas Eve, 1821, at Sopuerta, in Spain. As in the case of Burns, his father was a peasant, and Antonio, as a child, played in the gutters with the other village urchins, or worked with his father in the fields. But at fifteen, one of his relations, who kept a shop at Madrid, made him his assistant. By day he waited on the customers; by night he studied in his room. Genius like that of Burns and of Trueba cannot be kept down. Like Burns, the boy began to put forth songs, strong, sweet, and simple, which stirred the people's hearts like music, and soon were hummed in every village street. His fame spread; it reached the Court; and Queen Isabella bestowed upon him the lofty title of Queen's Poet. He wrote also, and still writes, prose stories of all kinds, but mostly such as, like the following, belong to the romance of history, and are rather truth than fiction.]

I.

TOWARDS the middle of the fourteenth century, Toledo was laid under siege by Don Enrique de Trastamara; but the city, faithful to the King surnamed "the Cruel," offered a brave and obstinate resistance.

Often had the loyal and valiant Toledans crossed the magnificent bridge of San Martin--one of the structures of greatest beauty of that city of splendid erections--and had cast themselves on the encampment of Don Enrique, which was pitched on the Cigarrales, causing sad havoc to the besieging army.

In order to prevent the repetition of these attacks, Don Enrique resolved upon destroying the bridge.

The Cigarrales, upon which the army was encamped, were beautiful lands enclosing luxuriant orchards, pleasure gardens, and summer residences. The fame of their beauty had inspired Tirso and many Spanish poets to sing its praises.

One night the luxuriant trees were cut down by the soldiers of Don Enrique, and heaped upon the bridge. At day-dawn an immense fire raged on the bridge of San Martin, which assumed huge proportions, its sinister gleams lighting up the devastating hordes, the flowing current of the Tagus, the Palace of Don Rodrigo, and the little Arab Tower. The crackling of the strong and massive pillars, worked with all the exquisite skill of the artificers who created the marvels of the Alhambra, sounded like the piteous cry of Art oppressed by barbarism.

The Toledans, awakened by this terrible spectacle, ran to save the beautiful erection from the utter ruin which menaced it, but all their efforts were unavailing. A tremendous crash, which resounded throughout the creeks and valleys watered by the Tagus, told them that the bridge no longer existed.

Alas! it was too true!

When the rising sun gilded the cupolas of the Imperial City, the Toledan maidens who came down to the river to fill their pitchers from the pure and crystal stream, returned sorrowfully with empty pitchers on their heads; the clear waters had become turbid and muddy, for the roaring waves were carrying down the still smoking ruins of the bridge.

Popular indignation rose to its highest pitch, and overflowed all limits; for the bridge of San Martin was the only path that led to the lovely Cigarrales.

Joining their forces for one supreme effort, the Toledans made a furious onslaught on the camp, and, after blood had flowed in torrents, compelled the army to take flight.

II.

Many years passed since the bridge of San Martin had been destroyed.

Kings and Archbishops had projected schemes to replace it by another structure, of equal strength and beauty; but the genius and perseverance of the most famous architects were unable to carry out their wishes. The rapid, powerful currents of the river destroyed and swept away the scaffolding and framework before the gigantic arches could be completed.

Don Pedro Tenorio, Cardinal Archbishop of Toledo, to whom the city owes her glory almost as much as to her Kings, sent criers throughout the cities and towns of Spain, inviting architects, Christian and Moorish, to undertake the reconstruction of the bridge of San Martin; but with no result. The difficulties to be encountered were judged insurmountable.

At length one day a man and a woman, complete strangers to the place, entered Toledo through the Cambron Gate. They carefully inspected the ruined bridge. Then they engaged a small house near the ruins, and proceeded to take up their quarters there.

On the following day the man proceeded to the Archbishop's Palace.

His Eminence was holding a conference of prelates, learned men, and distinguished knights, who were attracted by his piety and wisdom.

Great was his joy when one of his attendants announced that an architect from distant lands solicited the honour of an audience.

The Cardinal Archbishop hastened to receive the stranger. The first salutations over, his Eminence bade him be seated.

"My Lord Archbishop," began the stranger, "my name, which is unknown to your Eminence, is Juan de Arèvalo, and I am an architect by profession."

"Are you come in answer to the invitation I have issued calling upon skilful architects to come and rebuild the bridge of San Martin, which in former times afforded a passage between the city and the Cigarrales?"

"It was indeed that invitation which brought me to Toledo."

"Are you aware of the difficulties of its construction?"

"I am well aware of them. But I can surmount them."

"Where did you study architecture?"

"In Salamanca."

"And what erection have you to show me as a proof of your skill?"

"None whatever, my lord."

The Archbishop made a gesture of impatience and distrust which was noticed by the stranger.

"I was a soldier in my youth," continued he, "but ill-health compelled me to leave the ardous profession of arms and return to Castille, the land of my birth, where I dedicated myself to the study of architecture, theoretical and practical."

"I regret," replied the Archbishop, "that you are unable to mention any work of skill that you have carried out."

"There are some erections on the Tormes and the Duero of which others have the credit, but which ought to honour him who now addresses you."

"I do not understand you."

"I was poor and obscure," rejoined Juan de Arèvalo, "and I sought only to earn bread and shelter. Glory I left to others."

"I deeply regret," replied Don Pedro Tenorio, "that you have no means of assuring us that we should not trust in you in vain."

"My lord, I can offer you one guarantee which I trust will satisfy your Eminence."

"What is that?"

"My life!"

"Explain yourself."

"When the framework of the centre arch shall be removed, I, the architect, will stand upon the keystone. Should the bridge fall, I shall perish with it."

"I accept the guarantee."

"My lord, trust me, and I will carry out the work!"

The Archbishop pressed the hand of the architect, and Juan de Arèvalo departed, his heart full of joyous expectation. His wife was anxiously awaiting his return. She was young and handsome still, despite the ravages of want and suffering.

"Catherine! my Catherine!" cried the architect, clasping his wife to his arms, "amid the monuments that embellish Toledo there will be one to transmit to posterity the name of Juan de Arèvalo!"

III.

Time passed. No longer could the Toledans say, on approaching the Tagus across the rugged cliffs and solitary places where in former times stood the Garden of Florinda, "Here once stood the bridge of San Martin." Though the new bridge was still supported by solid scaffolding and massive frames, yet the centre arch already rose to view, and the whole was firmly planted on the ruins of the former.

The Archbishop, Don Pedro Tenorio, and the Toledans were heaping gifts and praises on the fortunate architect whose skill had joined the central arch, despite the furious power of the surging currents, and who had completed the gigantic work with consummate daring.

It was the eve of the feast of San Ildefonso, the patron saint of the city of Toledo. Juan de Arèvalo respectfully informed the Cardinal Archbishop that nothing was now wanting to conclude the work, but to remove the woodwork of the arches and the scaffolding. The joy of the Cardinal and of the people was great. The removal of the scaffolding and frames which supported the masonry was a work attended with considerable danger; but the calmness and confidence of the architect who had pledged himself to stand on the keystone and await the consequences of success or lose his life, inspired all with perfect trust.

The solemn blessing and inauguration of the bridge of San Martin was fixed to take place on the day following, and the bells of all the churches of Toledo were joyously ringing in announcement of the grand event appointed for the morrow. The Toledans contemplated with rejoicing from the heights above the Tagus the lovely Cigarrales, which for many years had remained solitary and silent--indeed, almost abandoned--but which on the day following would be restored to life.

Towards nightfall Juan de Arèvalo mounted the central arch to see that all was ready for the opening ceremony. He went humming to himself as he inspected all the works and preparations. But, suddenly, an expression of misgiving overspread his countenance. A thought had struck him--a thought that froze his blood. He descended from the bridge and hastened home.

At the door his wife received him with a joyous smile and a merry word of congratulation. But on beholding his troubled face she turned deadly pale.

"Good heavens!" she cried, affrighted, "are you ill, dear Juan?"

"No, dear wife," he replied, striving to master his emotion.

"Do not deceive me! your face tells me that something ails you?"

"Oh! the evening is cold and the work has been excessive."

"Come in and sit down at the hearth and I will get the supper ready, and when you have had something to eat and are rested you will be at ease again!"

"At ease!" murmured Juan to himself, in agony of spirit, whilst his wife busied herself in the preparation of the supper, placing the table close to the hearth, upon which she threw a faggot.

Juan made a supreme effort to overcome his sadness, but it was futile. His wife could not be deceived.

"For the first time in our married life," she said, "you hide a sorrow from me. Am I no longer worthy of your love and confidence?"

"Catherine!" he exclaimed, "do not, for heaven's sake, grieve me further by doubting my affection for you!"

"Where there is no trust," she rejoined in feeling tones, "there can be no true love."

"Then respect, for your own good and mine, the secret I conceal from you."

"Your secret is a sorrow, and I wish to know it and to lighten it."

"To lighten it? That is impossible!"

"To such a love as mine," she urged, "nothing is impossible."