‘It would,’ she answered in a low voice.
‘Then I understand,’ he said, taking her hand, ‘this is my consolation for all the afflictions of yesterday?’ She did not say no; and he, drawing her arm within his, continued: ‘I am a happy man, although again a captive.’
The announcement of their engagement added much to the happiness which everybody felt in the reconciliations effected that morning. There was a merry twinkle in the Squire’s eyes. He was a cunning fellow when prompted by his wife, and had guessed what would happen when he chose Miss Euphemia as his ambassador to the Major. The only person who felt in the least uncomfortable was John Elliott of Arrowby, who was now confessedly the originator of all the mischief. The only reproach he had to endure from his wife was the expression accompanied by a pitying smile, ‘Poor John!’
There were festivities on a grand scale at Todhurst when Nellie and Maynard were wedded; but the marriage of Euphemia Panton and Major Dawkins was a very quiet affair—as the lady thought. She had only three bridesmaids and about twenty other friends to witness the ceremony. The Major was content to be supported by an old companion in arms and Matthew Willis.
The happy couple disappeared for six months. On returning to England, their first visit was to Todhurst. For a moment the Squire and his wife found it difficult to recognise their old friends. The Major was now a quiet elderly-looking gentleman with gray hair and moustache; and Mrs Dawkins was a subdued-looking lady, whose hair suggested that she had certainly arrived at years of discretion. They had both come to accept with resignation the inevitable signs that time passes and old age draws on; and they were happy. They had not been so in the days when they vainly struggled to hide the progress of years. The Major could never forget that morning of agony when the Russian leather case could not be found. Probably his account of it, combined with the fact that it was no longer possible to hide from each other their dabblings in the fine arts, helped his wife to agree with him that it was best to make no attempt to improve upon nature. The Major had given up all his youthful ways, much to his own comfort; and he was firmly resolved never again to play the part of the officious friend of the family.
THE MONTH:
SCIENCE AND ARTS.
One of the most important applications of photography is the production of printing-blocks, which, under various names, are in great request for book and newspaper illustration. It is not generally known that some of the finest illustrations which adorn high-class magazines are produced without the intervention of the engraver at any stage of the process. They are photographed direct from drawings, in some cases even from nature; and from the photograph a printing-block ready for the press is produced automatically. Oil-paintings and water-colour drawings can also be thus reproduced with the greatest fidelity. A few years back, this was impossible, for the photograph did not translate the colours in their true tone-relation to one another. Thus, yellow and red would be reproduced as black, while blue would photograph white. All this has been changed by the introduction of what is known as the isochromatic process, by which colours are rendered as a skilful artist working in Indian ink or blacklead pencil would render them.
As an outcome of this capacity of the photographic chemicals, the Royal Academy of Arts has made a new departure in the issue of an Illustrated Catalogue of the principal works exhibited at Burlington House. This is a handsome folio volume, containing one hundred and fifty fac-similes of pictures by Royal Academicians and outsiders. It is not only precious as a work of art, for every touch of the painter’s brush is recognised and reproduced, but it forms a valuable record for future reference. The particular system adopted is that known as the Goupil photogravure process, which is worked by Messrs Boussod Valadon & Company of Paris and London. This firm have published in a similar manner selected pictures from the Paris Salons of the last two years; and we are glad that our Academy authorities have followed such a good example.
Four crematory furnaces are in course of erection at the far-famed Parisian cemetery, Père Lachaise, and will be ready for operation in a short time. These furnaces, which have the outward appearance of ornamental ovens, are built on the model of those in use at Rome and Milan. The cost of cremation will be fifteen francs only—to rich and poor alike. It is said that already sculptors and metal-workers are busy in designing and producing cinerary urns for the preservation of the ashes from these furnaces. These vessels will, at the option of the relatives of the dead, be removed to family vaults, or will be deposited in a building which is to be erected by the city of Paris for their reception.
The late discussion in the Times as to the permanence of water-colour drawings has led the Lords of the Committee of Council on Education to appoint a Commission to inquire into the whole subject, under the efficient chairmanship of Sir F. Leighton, the President of the Royal Academy. With him will work several well-known artists. Captain Abney and Dr Russell, who for some time have been engaged in testing the action of light upon pigments, will act as scientific advisers to the Commission.