The Story of a Mine

They said “Bueno” altogether, and for the moment appeared to be upheld by a religious enthusiasm,—a joint confession of faith that meant death, destruction, and possibly forgery, as against the men who thought otherwise.

This spiritual harmony did away with all practical consideration and doubt. “I have a little niece,” said Victor, “whose work with the pen is marvellous. If one says to her, ‘Carmen, copy me this, or the other one,’—even if it be copper-plate,—look you it is done, and you cannot know of which is the original. Madre de Dios! the other day she makes me a rubric[3 - The Spanish “rubric” is the complicated flourish attached to a signature, and is as individual and characteristic as the handwriting.] of the Governor, Pio Pico, the same, identical. Thou knowest her, Miguel. She asked concerning thee yesterday.”

With the embarrassment of an underbred man, Miguel tried to appear unconcerned, but failed dismally. Indeed, I fear that the black eyes of Carmen had already done their perfect and accepted work, and had partly induced the application for Victor’s aid. He, however, dissembled so far as to ask:

“But will she not know?”

“She is a child.”

“But will she not talk?”

“Not if I say nay, and if thou—eh, Miguel?”

This bit of flattery (which, by the way, was a lie, for Victor’s niece did not incline favorably to Miguel), had its effect. They shook hands over the table. “But,” said Miguel, “what is to be done must be done now.” “At the moment,” said Victor, “and thou shalt see it done. Eh? Does it content thee? then come!”

Miguel nodded to Manuel. “We will return in an hour; wait thou here.”

They filed out into the dark, irregular street. Fate led them to pass the office of Dr. Guild at the moment that Concho mounted his horse. The shadows concealed them from their rival, but they overheard the last injunctions of the President to the unlucky Concho.

“Thou hearest?” said Miguel, clutching his companion’s arm.

“Yes,” said Victor. “But let him ride, my friend; in one hour we shall have that that shall arrive YEARS before him,” and with a complacent chuckle they passed unseen and unheard until, abruptly turning a corner, they stopped before a low adobe house.

It had once been a somewhat pretentious dwelling, but had evidently followed the fortunes of its late owner, Don Juan Briones, who had offered it as a last sop to the three-headed Cerberus that guarded the El Refugio Plutonean treasures, and who had swallowed it in a single gulp. It was in very bad case. The furrows of its red-tiled roof looked as if they were the results of age and decrepitude. Its best room had a musty smell; there was the dampness of deliquescence in its slow decay, but the Spanish Californians were sensible architects, and its massive walls and partitions defied the earthquake thrill, and all the year round kept an even temperature within.

Victor led Miguel through a low anteroom into a plainly-furnished chamber, where Carmen sat painting.

Now Mistress Carmen was a bit of a painter, in a pretty little way, with all the vague longings of an artist, but without, I fear, the artist’s steadfast soul. She recognized beauty and form as a child might, without understanding their meaning, and somehow failed to make them even interpret her woman’s moods, which surely were nature’s too. So she painted everything with this innocent lust of the eye,—flowers, birds, insects, landscapes, and figures,—with a joyous fidelity, but no particular poetry. The bird never sang to her but one song, the flowers or trees spake but one language, and her skies never brightened except in color. She came out strong on the Catholic saints, and would toss you up a cleanly-shaven Aloysius, sweetly destitute of expression, or a dropsical, lethargic Madonna that you couldn’t have told from an old master, so bad it was. Her faculty of faithful reproduction even showed itself in fanciful lettering,—and latterly in the imitation of fabrics and signatures. Indeed, with her eye for beauty of form, she had always excelled in penmanship at the Convent,—an accomplishment which the good sisters held in great repute.

In person she was petite, with a still unformed girlish figure, perhaps a little too flat across the back, and with possibly a too great tendency to a boyish stride in walking. Her brow, covered by blue-black hair, was low and frank and honest; her eyes, a very dark hazel, were not particularly large, but rather heavily freighted in their melancholy lids with sleeping passion; her nose was of that unimportant character which no man remembers; her mouth was small and straight; her teeth, white and regular. The whole expression of her face was piquancy that might be subdued by tenderness or made malevolent by anger. At present it was a salad in which the oil and vinegar were deftly combined. The astute feminine reader will of course understand that this is the ordinary superficial masculine criticism, and at once make up her mind both as to the character of the young lady and the competency of the critic. I only know that I rather liked her. And her functions are somewhat important in this veracious history.

She looked up, started to her feet, leveled her black brows at the intruder, but, at a sign from her uncle, showed her white teeth and spake.

It was only a sentence, and a rather common-place one at that; but if she could have put her voice upon her canvas, she might have retrieved the Garcia fortunes. For it was so musical, so tender, so sympathizing, so melodious, so replete with the graciousness of womanhood, that she seemed to have invented the language. And yet that sentence was only an exaggerated form of the ‘How d’ye do,’ whined out, doled out, lisped out, or shot out from the pretty mouths of my fair countrywomen.

Miguel admired the paintings. He was struck particularly with a crayon drawing of a mule. “Mother of God, it is the mule itself! observe how it will not go.” Then the crafty Victor broke in with, “But it is nothing to her writing; look, you shall tell to me which is the handwriting of Pio Pico;” and, from a drawer in the secretary, he drew forth two signatures. One was affixed to a yellowish paper, the other drawn on plain white foolscap. Of course Miguel took the more modern one with lover-like gallantry. “It is this is genuine!” Victor laughed triumphantly; Carmen echoed the laugh melodiously in child-like glee, and added, with a slight toss of her piquant head, “It is mine!” The best of the sex will not refuse a just and overdue compliment from even the man they dislike. It’s the principle they’re after, not the sentiment.

But Victor was not satisfied with this proof of his niece’s skill. “Say to her,” he demanded of Miguel, “what name thou likest, and it shall be done before thee here.” Miguel was not so much in love but he perceived the drift of Victor’s suggestion, and remarked that the rubric of Governor Micheltorena was exceedingly complicated and difficult. “She shall do it!” responded Victor, with decision.

From a file of old departmental papers the Governor’s signature and that involved rubric, which must have cost his late Excellency many youthful days of anxiety, was produced and laid before Carmen.

Carmen took her pen in her hand, looked at the brownish-looking document, and then at the virgin whiteness of the foolscap before her. “But,” she said, pouting prettily, “I should have to first paint this white paper brown. And it will absorb the ink more quickly than that. When I painted the San Antonio of the Mission San Gabriel for Father Acolti, I had to put the decay in with my oils and brushes before the good Padre would accept it.”

The two scamps looked at each other. It was their supreme moment. “I think I have,” said Victor, with assumed carelessness, “I think I have some of the old Custom-House paper.” He produced from the secretary a sheet of brown paper with a stamp. “Try it on that.”

Carmen smiled with childish delight, tried it, and produced a marvel! “It is as magic,” said Miguel, feigning to cross himself.

Victor’s role was more serious. He affected to be deeply touched, took the paper, folded it, and placed it in his breast. “I shall make a good fool of Don Jose Castro,” he said; “he will declare it is the Governor’s own signature, for he was his friend; but have a care, Carmen! that you spoil it not by the opening of your red lips. When he is fooled, I will tell him of this marvel,—this niece of mine, and he shall buy her pictures. Eh, little one?” and he gave her the avuncular caress, i. e., a pat of the hand on either cheek, and a kiss. Miguel envied him, but cupidity outgeneraled Cupid, and presently the conversation flagged, until a convenient recollection of Victor’s—that himself and comrade were due at the Posada del Toros at 10 o’clock—gave them the opportunity to retire. But not without a chance shot from Carmen. “Tell to me,” she said, half to Victor and half to Miguel, “what has chanced with Concho? He was ever ready to bring to me flowers from the mountain, and insects and birds. Thou knowest how he would sit, oh, my uncle, and talk to me of the rare rocks he had seen, and the bears and the evil spirits, and now he comes no longer, my Concho! How is this? Nothing evil has befallen him, surely?” and her drooping lids closed half-pathetically.