were always nervously seeking hidden keys and he was quick with enthusiasm,—instinct with life. His bride of a year or more,—dark, too, in her whiter way,—was of the calm and quiet type. Her soft contralto voice thrilled us often as she sang, while her silences were full of understanding.
Several times we met in public gatherings and then they bade me to their home,—a nest of a cottage, with gate and garden, hidden in London's endless rings of suburbs. I dimly recall through these years a room in cozy disorder, strewn with music—music on the floor and music on the chairs, music in the air as the master rushed to the piano now and again to make some memory melodious—some allusion real.
And then at last, for it was the last, I saw Coleridge-Taylor in a mighty throng of people crowding the Crystal Palace. We came in facing the stage and scarcely dared look around. On the stage were a full orchestra, a chorus of eight hundred voices, and some of the world's famous soloists. He left his wife sitting beside me, and she was very silent as he went forward to lift the conductor's baton. It was one of the earliest renditions of "Hiawatha's Wedding Feast." We sat at rapt attention and when the last, weird music died, the great chorus and orchestra rose as a man to acclaim the master; he turned toward the audience and then we turning for the first time saw that sea of faces behind,—the misty thousands whose voices rose to one strong shout of joy! It was a moment such as one does not often live. It seemed, and was, prophetic.
