They had impoverished themselves for the security of strangers. The offerings of gratitude would not keep life in the good sisters. They began to spin flax for a livelihood. Avice bore her lot meekly. Not so Idonea, into whose soul the sense of ingratitude was eating like a canker. But Avice said gently, “If we gave our wealth to build a bridge expecting a return, what answer can we make to our Lord when we go to Him? Let us be content that our individual losses will be the gain of thousands after us.” And that put an end to Idonea’s rebellion. At length the aged prior, who had built Monks’ Bridge between the counties of Stafford and Derby for a people as ungrateful, stirred up William Harpur to remember the poor kinswomen on whose lands he was flourishing, and he offered them a home at Ticknall. The offer came too late to save them. The Ladies Bellamont died as they had lived, together, and were buried with their two symbolic crosses on their breasts. And then, thanks chiefly to the prior, who reverenced them, a marble monument could be erected to their memories with their sleeping effigies upon it. It was inscribed “The Builders of the Bridge.” But the prior would fain have added, “They built unseen another bridge over the troubled waters of life—a bridge from earth to heaven.” THE END. FOOTNOTES: [4] The Derwent. [5] A penny a day was a good wage then. Money had a different value. HISTORICAL SKETCHES OF MUSICAL FORMS. SKETCH II.—OPERA (SECULAR MUSICAL DRAMA). BY MYLES B. FOSTER, Organist of the Foundling Hospital. Although it is stated that the ancient Greeks intoned their tragedies, and introduced, besides, some form of melody (μέλος), the whole question of the existence of opera at that period of artistic prosperity, when all forms of learning were so powerfully nourished, is a matter for speculation. Their authors certainly give us wonderful accounts of the great effects that this music had, and state that it formed an essential part of their drama, but beyond these records, in all probability much exaggerated, we have no data. Opera we must assume to be a comparatively recent invention. To the end of the sixteenth century, composers had written all their finest work for the Church, and had, very rightly, devoted their best efforts to the praise and worship of the Giver of all musical ideas and beauties.