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.