"That is true, No Eusebio," the young man answered with a smile, as he squeezed the hand of the old man, whom those of our readers who have perused the "Trappers of Arkansas" have doubtless recognised, "I bring a friend."
"He is welcome," No Eusebio answered; "we will try to give him as hearty a welcome as he deserves, to the best of our ability."
"Oh, oh, gossip!" Tranquil remarked, gaily; "I am no troublesome guest, I shall not put you out of your way much."
"Come in, my friend," said Loyal Heart; "I should not like to keep my mother waiting any longer."
"The Señora is so restless when you are out late."
"Announce us; No Eusebio, we follow you."
The servant turned to obey, but the rastreros had long ago announced the hunter's return to his mother, by rushing madly into the house, hence the lady appeared in the doorway at the moment when the three men prepared to enter. At the moment when we meet Doña Garillas again, she was no longer the young and charming woman, with such pure and soft beauty, whom we saw in the prologue of the "Trappers;" eight years had pasted over her; eight long years of agony, alarm, and grief. She was still young and lovely, it is true, but this beauty had ripened beneath the burning blast of adversity. Her pale forehead and calm features won that expression of crushing resignation which the old sculptor succeeded in rendering on the admirable bust of Melancholy. When she saw her son her eyes sparkled, but that was all.
"Caballero," she said, in a gentle and melodious voice as she smiled on the Canadian, "enter this modest abode, where you have been impatiently expected for a long time. Although our hearth be small, we always keep a nook for a friend."
"Señora," the hunter replied with a bow, "your reception overcomes me with joy. I trust I shall prove deserving of the kindness you show me."
They entered the rancho, whose interior corresponded exactly with the exterior. A candil, suspended from a beam, illumined a rather large room, the furniture of which consisted merely of a few equipals, two butacas, and a chiffonier, all clumsily made with the hatchet. On the white-washed walls hung four of those coloured engravings with which Parisian commerce inundates both hemispheres. The first represented Napoleon at the St. Bernard; the second, Iturbide, that Mexican general who was for six months emperor, and died, like Murat, shot by his own subjects; the third, our Saviour on the cross between the two thieves; and the fourth, Nuestra-Señora-de-los-Dolores. Before the last two hung lamps that burned night and day.