Heart-Histories and Life-Pictures

The maiden's eyes drooped to the ground, and her lips remained sealed.

"A base-born peasant! to dare—"

"Oh, father! he is not base! His heart is noble," replied Nina, speaking from a sudden impulse.

"He confessed himself the son of a peasant! Who is he?"

"He is the son of Blanche Delebarre," returned Nina, timidly. "He has just returned from Florence, an artist of high merit. There is nothing base about him, father!"

"The son of a peasant, and an artist, to dare approach me and claim the hand of my child! And worse, that child to so far forget her birth and position as to favor the suit! Madness! And this is your good Blanche!—your guide in all works of benevolence! She shall be punished for this base betrayal of the confidence I have reposed in her."

Nina fell upon her knees before her father, and with tears and earnest entreaties pleaded for the mother of Pierre; but the old man was wild and mad with anger. He uttered passionate maledictions on the head of Blanche and her presumptuous son, and positively forbade Nina again leaving the castle on any pretext whatever, under the penalty of never being permitted to return.

Had so broad an interdiction not been made, there would have been some glimmer of light in Nina's dark horizon; she would have hoped for some change—would have, at least, been blessed with short, even if stolen, interviews with Pierre. But not to leave the castle on any pretext—not to see Pierre again! This was robbing life of every charm. For more than a year she had loved the young man with an affection to which every day added tenderness and fervor. Could this be blotted out in an instant by a word of command? No! That love must burn on the same.

The Baron Holbein loved his daughter; she was the bright spot in life. To make her happy, he would sacrifice almost anything. A residence of many years in the world had shown him its pretensions, its heartlessness, the worth of all its titles and distinctions. He did not value them too highly. But, when a peasant approached and asked the hand of his daughter, the old man's pride, that was smouldering in the ashes, burned up with a sudden blaze. He could hardly find words to express his indignation. It took but a few days for this indignation to burn low. Not that he felt more favorable to the peasant—but, less angry with his daughter. It is not certain that time would not have done something favorable for the lovers in the baron's mind. But they could not wait for time. Nina, from the violence and decision displayed by her father, felt hopeless of any change, and sought an early opportunity to steal away from the castle and meet Pierre, notwithstanding the positive commands that had been issued on the subject. The young man, in the thoughtless enthusiasm of youth, urged their flight.

"I am master of my art," he said, with a proud air. "We can live in Florence, where I have many friends."

The youth did not find it hard to bring the confiding, artless girl into his wishes. In less than a month the baron missed his child. A letter explained all. She had been wedded to the young peasant, and they had left for Florence. The letter contained this clause, signed by both Pierre and Nina:—

"When our father will forgive us, and permit our return, we shall be truly happy—but not till then."

The indignant old man saw nothing but impertinent assurance in this. He tore up the letter, and trampled it under his feet, in a rage. He swore to renounce his child forever!

For the Baron Holbein, the next twelve months were the saddest of his life. Too deeply was the image of his child impressed upon his heart, for passion to efface it. As the first ebullitions subsided, and the atmosphere of his mind grew clear again, the sweet face of his child was before him, and her tender eyes looking into his own. As the months passed away, he grew more and more restless and unhappy. There was an aching void in bosom. Night after night he would dream of his child, and awake in the morning and sigh that the dream was not reality. But pride was strong—he would not countenance her disobedience.

More than a year had passed away, and not one word had come from his absent one, who grew dearer to his heart every day. Once or twice he had seen the name of Pierre Delebarre in the journals, as a young artist residing Florence, who was destined, to become eminent. The pleasure these announcements gave him was greater than he would confess, even to himself.

One day he was sitting in his library endeavoring to banish the images that haunted him too continually, when two of his servants entered, bearing a large square box in their arms, marked for the Baron Holbein. When the box was opened, it was found to contain a large picture, enveloped in a cloth. This was removed and placed against the wall, and the servants retired with the box. The baron, with unsteady hands, and a heart beating rapidly, commenced removing the cloth that still held the picture from view. In a few moments a family group was before him. There sat Nina, his lovely, loving and beloved child, as perfect, almost, as if the blood were glowing in her veins. Her eyes were bent fondly upon a sleeping cherub that lay in her arms. By her side sat Pierre, gazing upon her face in silent joy. For only a single instant did the old man gaze upon this scene, before the tears were gushing over his cheeks and falling to the floor like rain. This wild storm of feeling soon subsided, and, in the sweet calm that followed, the father gazed with unspeakable tenderness for a long time upon the face of his lovely child, and with a new and sweeter feeling upon the babe that lay, the impersonation of innocence, in her arms. While in this state of mind, he saw, for the first time, written on the bottom of the picture—"NOT GREAT, BUT HAPPY."

A week from the day on which the picture was received, the Baron Holbein entered Florence. On inquiring for Pierre Delebarre, he found that every one knew the young artist.

"Come," said one, "let me go with you to the exhibition, and show you his picture that has taken the prize. It is a noble production. All Florence is alive with its praise."

The baron went to the exhibition. The first picture that met his eyes on entering the door was a counterpart of the one he had received, but larger, and, in the admirable lights in which it was arranged, looked even more like life.

"Isn't it a grand production?" said the baron's conductor.

"My sweet, sweet child!" murmured the old man, in a low thrilling voice. Then turning, he said, abruptly—

"Show me where I can find this Pierre Delebarre."

"With pleasure. His house is near at hand," said his companion.

A few minutes walk brought them to the artist's dwelling.

"That is an humble roof," said the man, pointing to where Pierre lived, "but it contains a noble man." He turned away, and the baron entered alone. He did not pause to summon any one, but walked in through the open door. All was silent. Through a neat vestibule, in which were rare flowers, and pictures upon the wall, he passed into a small apartment, and through that to the door of an inner chamber It was half open. He looked in. Was it another picture? No, it was in very truth his child; and her babe lay in her arms, as he had just seen it, and Pierre sat before her looking tenderly in her face. He could restrain himself no longer. Opening the door, he stepped hurriedly forward, and, throwing his arms around the group, said in broken voice—"God bless you, my children!"

The tears that were shed; the smiles that beamed from glad faces; the tender words that were spoken, and repeated again and again; why need we tell of all these? Or why relate how happy the old man was when the dove that had flown from her nest came back with her mate by her side The dark year had passed, and there was sunshine again in his dwelling, brighter sunshine than before. Pierre never painted so good a picture again as the one that took the prize—that was his masterpiece.

The Young Baron Holbein has an immense picture gallery, and is a munificent patron of the arts. There is one composition on his walls he prizes above all the rest. The wealth of India could not purchase it. It is the same that took the prize when he was but a babe and lay in his mother's arms. The mother who held him so tenderly, and the father who gazed so lovingly upon her pure young brow have passed away, but they live before him daily, and he feels their gentle presence ever about him for good.

THE MARRIED SISTERS

"COME, William, a single day, out of three hundred and sixty-five, is not much."

"True, Henry Thorne. Nor is the single drop of water, that first finds its way through the dyke, much; and yet, the first drop but makes room for a small stream to follow, and then comes a flood. No, no, Henry, I cannot go with you, to-day; and if you will be governed by a friend's advice, you will not neglect your work for the fancied pleasures of a sporting party."

"All work and no play, makes Jack a dull boy, We were not made to be delving forever with tools in close rooms. The fresh air is good for us. Come, William, you will feel better for a little recreation. You look pale from confinement. Come; I cannot go without you."

"Henry Thorne," said his friend, William Moreland, with an air more serious than that at first assumed, "let me in turn urge you to stay."

"It is in vain, William," his friend said, interrupting him.

"I trust not, Henry. Surely, my early friend and companion is not deaf to reason."

"No, not to right reason."

"Well, listen to me. As I said at first, it is not the loss of a simple day, though even this is a serious waste of time, that I now take into consideration. It is the danger of forming a habit of idleness. It is a mistake, that a day of idle pleasure recreates the mind and body, and makes us return and necessary employments with renewed delight. My own experience is, that a day thus spent, causes us to resume our labors with reluctance, and makes irksome what before was pleasant. Is it not your own?"

"Well, I don't know; I can't altogether say that it is; indeed, I never thought about it."

"Henry, the worst of all kinds of deception is self-deception. Don't, let me, beg of you, attempt to deceive yourself in a matter so important. I am sure you have experienced this reluctance to resuming work after a day of pleasure. It is a universal experience. And now that we are on this subject, I will add, that I have observed in you an increasing desire to get away from work. You make many excuses and they seem to you to be good ones. Can you tell me how many days you have been out of the shop in the last three months?"

"No, I cannot," was the reply, made in a tone indicating a slight degree of irritation.

"Well, I can, Henry."

"How many is it, then?"

"Ten days."

"Never!"

"It is true, for I kept the count."

"Indeed, then, you are mistaken. I was only out a gunning three times, and a fishing twice."

"And that makes five times. But don't you remember the day you were made sick by fatigue?"

"Yes, true, but that is only six."

"And the day you went up the mountain with the party?"

"Yes."

"And the twice you staid away because it stormed?"