Page:Death Comes for the Archbishop.pdf/189

 trying climates, and fair hair—a little silvered, and perhaps worn in too many puffs and ringlets for the sharpening outline of her face. She spoke French well, Spanish lamely, played the harp, and sang agreeably.

Certainly it was a great piece of luck for Father Latour and Father Vaillant, who lived so much among peons and Indians and rough frontiersmen, to be able to converse in their own tongue now and then with a cultivated woman; to sit by that hospitable fireside, in rooms enriched by old mirrors and engravings and upholstered chairs, where the windows had clean curtains, and the sideboard and cupboards were stocked with plate and Belgian glass. It was refreshing to spend an evening with a couple who were interested in what was going on in the outside world, to eat a good dinner and drink good wine, and listen to music. Father Joseph, that man of inconsistencies, had a pleasing tenor voice, true though not strong. Madame Olivares liked to sing old French songs with him. She was a trifle vain, it must be owned, and when she sang at all, insisted upon singing in three languages, never forgetting her husband’s favourites, “La Paloma” and “La Golandrina,” and “My Nelly Was A Lady.” The negro melodies of Stephen Foster had already travelled to the frontier, going along the river highways, not in print, but passed on from one humble singer to another.