bravely and resignedly as she had suffered the first great calamity of her incurable disorder. Valentine never showed that he thought her altered; Valentine's kindness was just as affectionate and as constant as it had ever been in the happier days of their marriage. So encouraged, Lavinia had the heart to bear all burdens patiently; and could find sources of happiness for herself, where others could discover nothing but causes for grief.
The room she inhabited was already, through Valentine's self-denying industry, better furnished than any other room in the house; but was far from presenting the same appearance of luxury and completeness to which it attained in the course of after-years.
The charming maple-wood and ivory bookcase, with the prettily-bound volumes ranged in such bright regularity along its shelves, was there certainly, as early as the autumn of 1838. It would not, however, at that time have formed part of the furniture of Mrs. Blyth's room, if her husband had not provided himself with the means of paying for it, by accepting a certain professional invitation to the country, which he knew before, and would enable him to face the terrors of the upholsterer's bill.
The invitation in question had been sent to him by a clerical friend, the Reverend Doctor Joyce, Rector of St. Judy's, in the large agricultural town of Rubbleford. Valentine had produced a water-color drawing of one of the Doctor's babies, when the family at the Rectory were in London for a season, and this drawing had been shown to all the neighbors by the worthy clergyman on his return. Now, although Mr. Blyth was not over-successful in the adult department of portrait-art, he was invariably victorious in the infant department. He painted all babies on one ingenious plan; giving them the roundest eyes, the chubbiest red cheeks, the most serenely good-humored smiles, and the neatest and whitest caps ever seen on paper. If fathers and their male friends rarely appreciated the fidelity of his likenesses, mothers and nurses invariably made amends for their want of taste. It followed, therefore, almost as a matter of course, that the local exhibition of the Doctor's drawing must bring offers of long-clothes-portrait employment to Valentine. Three resident families decided immediately to have portraits of their babies, if the painter would only travel to their houses to take the likenesses. A bachelor sporting squire in the neighborhood also volunteered a commission of another sort. This gentleman arrived (by a logical process which it is hopeless to think of tracing) at the conclusion, that a man who was great at babies, must necessarily be marvelous at horses; and determined, in consequence, that Valentine should paint his celebrated cover-hack. In writing to inform his friend of these offers, Doctor Joyce added another professional order on his own account, by way of appropriate conclusion to his letter. Here, then, were five commissions, which would produce enough—cheaply as Valentine worked—to pay, not only for the new bookcase, but for the books to put in it when it came home.
Having left his wife in charge of two of her sisters, who were forbidden to leave the house till his return, Mr. Blyth started for the rectory; and once there, set to work on the babies with a zeal and good-humor which straightway won the hearts of mothers and nurses, and made him a great Rubbleford reputation in the course of a few days. Having done the babies to admiration, he next undertook the bachelor squire's hack. Here he had some trouble. The sporting gentleman would look over him while he painted; would bewilder him with the pedigree of the horse; would have the animal done in the most unpicturesque view; and sternly forbade all introduction of 'tone,' 'light and shade,' or purely artistic embellishment of any kind, in any part of the canvas. In short, the squire wanted a sign-board instead of a picture, and he at last got what he wanted to his heart's content.
One evening, while Valentine—still deeply immersed in the difficulties of depicting the cover-hack—was returning to the Rectory, after a day's work at the Squire's house, his attention was suddenly attracted in the high street of Rubbleford, by a flaming placard pasted up on a dead wall opposite the market-house.
He immediately joined the crowd of rustics congregated round the many-colored and magnificent sheet of paper, and read at the top of it, in huge blue letters:—'JUBBER'S CIRCUS. THE EIGHTH WONDER OF THE WORLD.' After this came some small print, which nobody lost any time in noticing. But below the small print appeared a perfect galaxy of fancifully shaped scarlet letters, which fascinated all eyes, and informed the public that the equestrian company included 'MISS FLORINDA BEVERLEY, known,' (here the letters turned suddenly green) 'wherever the English language was known, as The Amazonian Empress of Equitation.' This announcement was followed by the names of inferior members of the Company; by a program of the evening's entertainments; by testimonials extracted from the provincial press; by illustrations of gentlemen with lusty calves and spangled drawers, and of ladies with smiling faces, shameless petticoats, and pirouetting legs. These illustrations, and the particulars which preceded them were carefully digested by all Mr. Blyth's neighbors; but Mr. Blyth himself passed them over unnoticed. His eye had been caught by something at the bottom of the placard, which instantly absorbed his whole attention.
In this place the red letters appeared again, and formed the following words and marks of admiration:—
THE MYSTERIOUS FOUNDLING!
AGED TEN YEARS!!
TOTALLY DEAF AND DUMB!!!
Underneath came an explanation of what the red letters referred to, occupying no less than three paragraphs of stumpy small print, every word of which Valentine eagerly devoured. This is what he read:—
'Mr. Jubber, as proprietor of the renowned Circus, has the honor of informing the nobility, gentry, and public, that the above wonderful Deaf and Dumb Female Child will appear between the first and second parts of the evening's performances. Mr. J. has taken the liberty of entitling this Marvel of Nature, The Mysterious Foundling; no one knowing who her father is, and her mother having died soon after her birth, leaving her in charge of the Equestrian Company, who have been fond parents and careful guardians to her ever since.
'She was originally celebrated in the annals of Jubber's Circus, or Eighth Wonder of the World, as The Hurricane Child of the Desert; having appeared in that character, whirled aloft at the age of seven years in the hand of Muley Ben Hassan, the renowned Scourer of Sahara, in his daring act of Equitation, as exhibited to the terror of all England, in Jubber's Circus. At that time she had her hearing and speech quite perfect. But Mr. J. deeply regrets to state that a terrific accident happened to her soon afterwards. Through no fault on the part of The Scourer (who, overcome by his feelings at the result of the above-mentioned frightful accident, has gone back to his native wilds a moody and broken-hearted man), she slipped from his hand while the three horses bestrode by the fiery but humane Arab were going at a gallop, and fell, shocking to relate, outside the Ring, on the boarded floor of the Circus. She was supposed to be dead. Mr. Jubber instantly secured the inestimable assistance of the Faculty, who found that she was still alive, and set her arm, which had been broken. It was only afterwards discovered that she had utterly lost her sense of hearing. To use the emphatic language of the medical gentlemen (who all spoke with tears in their eyes), she had been struck stone deaf by the shock. Under these melancholy circumstances, it was found that the faculty of speech soon failed her altogether; and she is now therefore Totally Deaf AND Dumb—but Mr. J. rejoices to say, quite cheerful and in good health notwithstanding.
'Mr. Jubber being himself the father of a family, ventures to think that these little particulars may prove of some interest to an Intelligent, a Sympathetic, and a Benevolent Public. He will simply allude, in conclusion, to the performances of the Mysterious Foundling, as exhibiting perfection hitherto unparalleled in the Art of Legerdemain, with wonders of untraceable intricacy on the cards, originally the result of abstruse calculations made by that renowned Algebraist, Mohammed Engedi, extending over a period of ten years, dating from the year 1215 of the Arab Chronology. More than this Mr. Jubber will not venture to mention, for 'Seeing is Believing,' and the Mysterious Foundling must be seen to be believed. For prices of admission consult bottom of bill.'
Mr. Blyth read this grotesquely shocking narrative with sentiments which were anything rather than complimentary to the taste, the delicacy, and the humanity of the fluent Mr. Jubber. He consulted the bottom of the bill, however, as requested; and ascertained what were the prices of admission—then glanced at the top, and
