Evelyn Innes. George Moore

short and high; the line of the chin deflected, giving an expression of wistfulness to the face in certain aspects. Her father was still bent in examination of the photograph when she entered. It was very like her, and at first sight Nature revealed only two more significant facts: her height—she was a tall girl—and a beautiful undulation in her walk, occasioned by the slight droop in her shoulders. She was dressed in dark green woollen, with a large hat to match.

      "Well, darling! and how have you been getting on?"

      The vague pathos of his grey face was met by the bright effusion of hers, and throwing her arms about him, she kissed him on the cheek.

      "Pretty well, dear; pretty well."

      "Only pretty well," she answered reproachfully. "No one has been here to interrupt you; you have had all the afternoon for finishing that virginal, and you've only been getting on 'pretty well.' But I see your necktie has come undone."

      Then overlooking him from head to foot—

      "Well, you have been making a day of it."

      "Oh, these are my old clothes—that is glue; don't look at me—I had an accident with the glue-pot; and that's paint. Yes; I must get some new shirts, these won't hold a button any longer."

      The conversation paused a few seconds, then running her finger down the keys, she said—

      "But it goes admirably."

      "Yes; I've finished it now; it is an exquisite instrument. I could not leave it till it was finished."

      "Then what are you complaining of, darling? Has Father Gordon been here? Has he discovered any new Belgian composer, and does he want all his music to be given at St. Joseph's?"

      "No; Father Gordon hasn't been here, and as for the Belgian composers, there are none left; he has discovered them all."

      "Then you've been thinking about me, about my voice. That's it," she said, catching sight of her own photograph. "You've been frowning over that photograph, thinking"—her eyes went up to her mother's portrait—"all sorts of nonsense, making yourself miserable, reproaching yourself that you do not teach me to vocalise, a thing which you know nothing about, or lamenting that you are not rich enough to send me abroad, where I could be taught it." Then, with a pensive note in her voice which did not escape him, she said—

      "As if there was any need to worry. I'm not twenty yet."

      "No, you're not twenty yet, but you will be very soon. Time is going by."

      "Well, let time go by, I don't care. I'm happy here with you, father. I wouldn't go away, even if you had the money to send me. I intend to help you make the concerts a success. Then, perhaps, I shall go abroad."

      His heart went out to his daughter. He was proud of her, and her fine nature was a compensation for many disappointments. He took her in his arms and thankfully kissed her. She was touched by his emotion, and conscious that her eyes were threatening tears, she said—

      "I can't stand this gloom. I must have some light. I'll go and get a lamp. Besides, it must be getting late. I wonder what kind of a dinner Margaret has got for us. I left it to her. A good one, I hope. I'm ravenous."

      A few minutes after she appeared in the doorway, holding a lamp high, the light showing over her white skin and pale gold hair. "Margaret has excelled herself—boiled haddock, melted butter, a neck of mutton and a rice pudding. And I have brought back a bag of oranges. Now come, darling. You've done enough to that virginal. Run upstairs and wash your hands, and remember that the fish is getting cold."

      She was waiting for him in the little back room—the lamp was on the table—and when they sat down to dinner she began the tale of her day's doings. But she hadn't got farther than the fact that they had asked her to stay to tea at Queen's Gate, when her tongue, which always went quite as fast as her thoughts, betrayed her, and before she was aware, she had said that her pupil's sister was in delicate health and that the family was going abroad for the winter. This was equivalent to saying she had lost a pupil. So she rattled on, hoping that her father would not perceive the inference.

      "There doesn't seem to be much luck about at present," he said. "That's the third pupil you've lost this month."

      "It is unfortunate … and just as I was beginning to save a little money." A moment after her voice had recovered its habitual note of cheerfulness. "Then what do you think I did? An idea struck me; I took the omnibus and went straight to St. James's Hall."

      "To St. James's Hall!"

      "Yes, you old darling; don't you know that M. Desjardin, the French composer, has come over to give a series of concerts. I thought I should like him to try my voice."

      "You didn't see him?"

      "Yes I did. When I asked for him, the clerk said, pointing to a gentleman coming downstairs, that is Monsieur Desjardin. I went straight up to him, and told him who I was, and asked him if he had ever heard of mother. Just fancy, he never had; but he seemed interested when I told him that everyone said my voice was as good as mother's. We went into the hall, and I sang to him."

      "What did you sing to him?"

      "'Have you seen but a white lily grow?' and 'Que vous me coûtez cher, mon coeur, pour vos plaisirs.'"

      "Ah! that music must have surprised him. What did he say?"

      "I don't think I sang very well, but he seemed pleased, and asked me if I knew any modern music. I said 'Very little.' He was surprised at that. But he said I had a very fine voice, and sang the old music beautifully, but that it would be impossible for me to sing modern music without ruining my voice, until I had been taught. I asked him if it would not be well to try to earn a little money by concert singing, so that I might go abroad later on. He said, 'I am glad that all my arrangements are made, otherwise I might be tempted to offer you an engagement. One engagement leads to another, and if you sing before your voice is properly placed'—'posée' was the word he used—'you will ruin it.'"

      "Is that all?"

      "Yes, that's all." Then, noticing the pained look that had come into her father's face, she added, "It was nice to hear that he thought well of my voice."

      But she could tell what he was thinking of, and regretting her tongue's indiscretion, she tried to divert his thoughts from herself. His brooding look continued, and to remove it she had to fetch his pipe and tobacco. When he had filled it for the third time he said—

      "There is the Bach and the Handel sonata waiting for us; we ought to be getting to work."

      "I'm quite ready, father. I suppose I must not eat any more oranges," and she surveyed her plate full of skins.

      Mr. Innes took up the lamp, Evelyn called to the servant to get another, and followed him into the music-room. The lamps were placed on the harpsichord. She lighted some candles, and in the moods and aspirations of great men they found a fairyland, and the lights disappeared from the windows opposite, leaving them still there.

      The wings of the hours were light—weariness could not reach them—and at half-past eleven Mr. Innes was speaking of a beautiful motet, "O Magnum Mysterium," by Vittoria. His fingers lingered in the wailing chords, and he said—

      "That is where Wagner went for his chorus of youths in the cupola. The critics haven't discovered it yet; they are still talking of Palestrina."

CHAPTER TWO

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      Jesuits from St. Joseph's were not infrequently seen at Mr. Innes's concerts. The worthy fathers, although they did not see their way to guaranteeing a yearly grant of money sufficient to ensure adequate performances of Palestrina's finest works, were glad to support, with occasional guineas, their organist's concerts. Painters and men of letters were attracted by them; musicians seldom. Nor did Mr. Innes encourage their presence. Musicians