linen, lay a skeleton, the fleshless skull enveloped in a mass of shining, golden hair.

"My God! who can this be ?" gasped Simon.

"I do not know; but see, here is writing on the wall," said Millicent, whose glance had turned from the ghastly picture.

Simon followed her look, and saw, cut by some sharppointed instrument, several long lines of writing. The letters were the quaint characters of olden time, and dampness had caused the broken surface to gather a darkgreen mold, while the rest of the wall was yellow, thus making the letters stand out in bold relief.

The writing, when deciphered, read as follows:

"That is more than eight years ago. I have kept the time by marks on the wall. My father has visited me every day until five days back, and I have had no food since then. He has never spoken to me, though I have prayed for his forgiveness, and he has seen that I was growing weaker all the time.

"I feel I am dying of hunger and thirst, and am too weak to call for help with any hope of being heard. I do not know why he should so cruelly let me perish here; but if I die I shall see my husband and my baby. May God bless them and my father, and MILLICENT."

I lived, seeing no one but the two old servants and my father for nineteen years. I never saw my mother to remember her, for she died when I was a babe. I was never allowed to go beyond the orchardwall, and did not do so until I was nineteen years old then ore day I rambled into the wood north of the house, and there met a young man.

"He said that his name was Harold Mortimer, and that he was a distant relative of our family, my father being at enmity with his people. He had come to see him, to try and make peace, but had been coldly repulsed. During his visit he had seen me, and he determined to speak to me.

"He was very handsome and very kind, and we met frequently after this. Then he told me of love, and spoke of going away, and I found that his presence was dearer than life, and that I loved him. We knew that my father would never consent to our marriage, and plighted our troth in secret. We could get no one to marry us, he being a stranger, and there was no minister near, so I took my mother's Bible to the wood, and with our hands clasped on the sacred book we knelt and swore to be husband and wife from that time till God should part us by death.

"I had a happy week, meeting my husband every day, and then my father found us together. He said some hard and cruel words, and I fainted. When I grew conscious again I was in this room, and here I have remained ever since. Where my husband is I do not know, though, from some strange visions that have come to

Simon Berkeley had died five days before this was

less God ended her sufferings very quickly after she wrote out the record of her sad story.

The hard old man, who had kept her a prisoner, had not intended that she should die thus, but death chilled his heart ere he could reveal her secret prison.

Beneath the writing stood a heavy oaken chest. The iron of the lock was rusted away, and when Simon had finished reading the first Millicent's story, he stooped and opened this. It contained caskets, and little sacks falling to pieces from age, and these held gold and jewels, the fashion and coinage being centuries old.

When these lay revealed, the strange feeling that had led them on slowly faded away, and the wind that had raged outside the building began to die away.

"It is the dowry of the dead Millicent, and she has given it to you," said Simon. "There is more than enough here to redeem the land, and make Berkeley House the grand old home it once was."

She clung closer to him.

"It will help you, too, for we have no need to wait to be married now," she said, "and we will be so happy that the sad soul who lived so lonely here may grow glad from our joy."

As she spoke, she took up a tress of the golden hair lying on the bed.

"This shall be an heirloom that must never leave the house," she continued, as they turned away and went back to the room they had left to begin their search.

The wind had changed when they reached the apartment. The storm-clouds were rolling eastward over the wild sea, their great masses edged with a rich silver light. The moon was sailing high in the heavens, and a sweet restfulness pervaded the room.

On Christmas Day they were married, and when Spring came workmen repaired the old house, the incumbrances on the land were cleared away, and the Berkeley mansion was once again the manor of as fine an estate as the country possessed.

One wonder that perplexed the people of the neighborhood was the appearance of a heavy granite shaft in the Berkeley burial-place, on which was cut this inscription:

JOHANN SEBASTIAN BACH was born on the 21st of March 1685, at Eisenbach, a pretty little town of Thuringia, where his father was Court organist. His organ-playing began to excite much attention both far and near. His sole aim was to improve the condition of church music; but this seemed impossible at Arnstadt, and he abided the time when he could effect his improvements elsewhere. He had not to wait long. The organist of St. Blasius's Church at Mühlhausen died, and the situation was offered to Bach. In less than a year, however, during which time Bach married, the St. Blasius's organistship was given up for that of Court organist at Weimar-a post which Duke Wilhelm Ernest had offered him.

As an organist and clavichord-player, Bach's fame was at this time prodigious, and gained for him the patronage of Frederick the Great. The great master's playing amazed not only the King but the musicians who attended him.

We turn from the composer to his works. Bach was a prolific writer. The long list of his works includes two hundred and thirty complete cantatas for solo, chorus and orchestra; three complete sacred oratorios, "The Passions"; seven complete masses; twenty-one short church services, with Latin words; four complete funeral cantatas ; eighteen cantatas for birthday and other congratulatory occasions; twenty-eight motets for double chorus; fortyeight preludes and fugues for the clavecin; numerous toccotas; six French suites for the clavecin; six shorter suites; thirty-nine long works for the organ; twentynine shorter pieces for the organ; six trios for organ, with pedal obligato; fifteen inventious in two parts; fifteen symphonies in three parts; six sonotas for the violoncello; six sonotas for violin, without bass; various concertos for one, two, three and four harpsichords, or pianos; seven overtures for instruments; the four volumes of the "Clavier-Uebung "; the "Art of Fugue"; pieces for the flute; and a host of single pieces, far too numerous to be mentioned.

Bach's latter days were gloomy and dark. He became blind, and died on the 28th July, 1750.

Of all those glorious names inscribed on the roll of master-musicians, not one, perhaps, is more revered, or is more familiar to the English people, either by his name or his works, than that of the great man who has immortalized his name with most of the grand narratives of Holy Writ, by wedding to them such sublime music as the reading and study of these sacred writings inspired within him. Nearly two hundred years have rolled by since he penned his heavenly melodies, and yet they always come to our ears as fresh and as welcome as Spring flowers. What a preacher and poet! What thousands of hearts must have been turned by his tone-preaching ! Where is the prelate who can move our souls as they are moved by Handel's "Messiah "?

George Friedrich Handel was born on the 23rd of February, 1685, at Halle, in Saxony, in which town his father was then practicing as a surgeon. At a very early age the child manifested such unmistakable signs of musical genius that his father, among others, could not fail to observe them. It is not surprising that in a very short time he became a skillful and surprising extempore player of the clavichord, notwithstanding he was but seven years old.

In the year 1703, after the death of his father, he set out for Hamburg. On his arrival, he succeeded in obtaining an appointment in the Opera House orchestra as a violinist. During his sojourn in Hamburg, Handel produced his first dramatic work, "Almira; Or, The Vicissitudes of Royalty."

In Hamburg Handel remained for about three years, during which time he accumulated sufficient means to enable him to pay a visit to Italy in the early part of the year 1706.

Handel then proceeded to the Eternal City, where he found the whole populace waiting to do him homage. Cardinal Ottoboni, a great dilettante and a noble and generous man, was one of the foremost of those who showed their esteem for young Handel. For His Eminence Handel composed "La Resurrezione," and "Il Trionfo del Tempo."

He arrived in London in the Winter of the year 1710, and was soon engaged to compose music for "Rinaldo

and Armida," a work founded on Tasso's "Gerusalemme
Liberata."
Its first representation took place on the 24th
February, 1711, and proved an immense success.

In the year 1720, the assistance of Handel was sought to get together a cast of Italian singers, and to direct the "New Italian Opera," which a body of English noblemen had determined to try to revive in London. Handel was engaged, and soon got together a splendid troupe, including the celebrated songstress Margarita Durastanti.

The new society, under the title of the Royal Academy of Music, began its first season in the Haymarket house on April 2d, 1720, and enjoyed unprecedented success. Among the earliest operas presented was a new effusion by the talented conductor, entitled "Radamistus." This work took the house by storm. Many persons fainted on account of the heat and closeness of the house, and hundreds were turned back at the doors.

This same year Handel's first English oratorio, "Esther," was written, and for which he was paid one thousand pounds. After being performed two or three times at Cannons, it was laid aside, and did not appear till some time later.

The "Suites de pièces pour le clavecin," composed for his favorite pupil, the Princess Anne, also came to light about this time. In this collection we find that exquisite little piece, universally known under the title of the "Harmonious Blacksmith."

Nearly every one knows the anecdote associated with this delicious bit of music; but for the benefit of those who do not, it may be related:

One day, as Handel was making his way to the chapel at Cannons, he was overtaken by a shower of rain, which compelled him to seek shelter in the shop of a blacksmith, whom he knew as being the parish clerk. While there he caught the melody which the blacksmith was humming while at his work, and to which every stroke of his hammer on the anvil made an agreeable bass. On returning home, the great musician, it is said, made out of it the piece referred to.

The success attending the revival of "Esther" led him, no doubt, to think of his "Acis"; and on the 5th June we find it announced that "Acis and Galatea,' with several additions, will be performed by a great number of the best voices and instruments."

After this Handel visited Oxford, and there brought out his "Athalia," which was also received "with vast applause before an audience of 3,700 persons." The great composer now received an invitation to set music to Dryden's "Alexander's Feast."

He did not remain idle, but at once set to work with prodigious activity, and after producing the famous Organ Concertos, he put his pen to the first of that series of colossal works which he continued to the year of his death.

"Saul" was the first of the immortal masterpieces of this, Handel's greatest, creative period. It was begun on the 3d July, 1738, and completed on the 27th September following.

The performance of "Saul" proved most successful, and it was frequently repeated before the season closed.

"Israel in Egypt" was the next work which the immortal genius produced. It was begun on October 1st, 1738, and in the short space of twenty-seven days this enormous work, containing no less than twenty-eight colossal choruses, four recitatives, and three duets, was completed !

On the 4th April, 1739, "Israel in Egypt" was given to the world, and proved a signal failure! Indeed, so much so, that for the next performance, some days after, it was

found necessary to announce that "the oratorio will be shortened and intermixed with songs." Alas! for the taste of a public which could not tolerate the "Israel" without a coating of Italian love-lays. "Saul" was pro

The year 1739 was a fruitful one. duced; "Israel in Egypt"; the music to Dryden's "Ode on St. Cecilia's Day"; and the twelve grand concertos for violin, tenor, violoncello, and harpsichord accompaniment. Early in the following year came his admirable rendering of Milton's "L'Allegro" and "Il Penseroso."

On the 18th of November, 1741, Handel arrived in Dublin. On the night of the first concert, the Music-hall in Fishamble Street was crowded to suffocation. One after another his works were unfolded before these vast audiences; and at the performances of his "Acis" and "L'Allegro," the crush was so great that the doors had to be closed, and a bill put up to the effect that "no more money could be taken." Handel had brought over with him his oratorio the "Messiah," and to that " generous and polite nation," as he calls the Irish people, had been reserved the first opportunity of passing judgment upon this sublimest of oratorios. To their honor be it recorded, the verdict was one of enthusiastic approval; and though nearly one hundred and fifty years, with its ravages and changes, have passed away since the audience which filled the Music-hall in Fishamble Street, Dublin, set that seal upon it, the "Messiah" is to this day the most popular of all oratorios.

The "Messiah" was begun on the 22d of August, 1741, and completed on the 14th of the next month, so that this great masterpiece was composed in the marvelously short space of twenty-three days.

Toward the latter part of the year 1742 Handel returned from his pleasant visit to Ireland, and on the 18th of February, 1743, gave his new oratorio, "Samson," at the Theatre Royal, Covent Garden.

"Judas Maccabæus " was brought out at Covent Garden on the 1st of April, 1747, and the public smiled upon it! It was composed in honor of the return of the Duke of Cumberland, "the butcher," from his recent victory at Culloden. With the Jews of the day it was a favorite, for it sets forth one of the most interesting episodes in their history.

This same year has the merit of producing "Joshua, a work of but thirty days.

"Theodora " appeared on the 16th of March, 1749, but was badly received.

"Jephtha," his last oratorio, was produced in February, 1752, and under most painful circumstances. For a year Handel had had the score before him, and could not get through it. Again and again he seized his pen, yet only to lay it down again by reason of the dimness of his eyes. Poor Handel! his sight was fast going. Two operations were performed which partly relieved him, when his indomitable ardor led him to work on "Jephtha" again. He completed it. Alas! the last few pages of the score show too clearly the progress the fearful malady had made. Another unsuccessful operation, and darkness came over him. For a few years the great master lingered on, with the infirmities of age gradually creeping upon him. He died on Good Friday, April 14th, 1759.

Glück has been called "The regenerator of the opera." On the borders of Bohemia stands the small town of Weissen wangen, and here, on the 2d of July, 1714, Christopher Willibald Glück was born.

His parents were in anything but easy circumstances, and, notwithstanding the love of music which young Glück early manifested, they could afford no money for