The second pupil who became a factor--a very considerable factor--in Bell's career was a fifteen-year-old girl named Mabel Hubbard, who had lost her hearing, and consequently her speech, through an attack of scarlet-fever when a baby. She was a gentle and lovable girl, and Bell, in his ardent and headlong way, lost his heart to her completely; and four years later, he had the happiness of making her his wife. Mabel Hubbard did much to encourage Bell. She followed each step of his progress with the keenest interest. She wrote his letters and copied his patents. She cheered him on when he felt himself beaten. And through her sympathy with Bell and his ambitions, she led her father--a widely known Boston lawyer named Gardiner G. Hubbard--to become Bell's chief spokesman and defender, a true apostle of the telephone. Hubbard first became aware of Bell's inventive efforts one evening when Bell was visiting at his home in Cambridge. Bell was illustrating some of the mysteries of acoustics by the aid of a piano. "Do you know," he said to Hubbard, "that if I sing the note G close to the strings of the piano, that the G-string will answer me?" "Well, what then?" asked Hubbard. "It is a fact of tremendous importance," replied Bell. "It is an evidence that we may some day have a musical telegraph, which will send as many messages simultaneously over one wire as there are notes on that piano." Later, Bell ventured to confide to Hubbard his wild dream of sending speech over an electric wire, but Hubbard laughed him to scorn. "Now you are talking nonsense," he said. "Such a thing never could be more than a scientific toy. You had better throw that idea out of your mind and go ahead with your musical telegraph, which if it is successful will make you a millionaire." But the longer Bell toiled at his musical telegraph, the more he dreamed of replacing the telegraph and its cumbrous sign-language by a new machine that would carry, not dots and dashes, but the human voice. "If I can make a deaf-mute talk," he said, "I can make iron talk." For months he wavered between the two ideas. He had no more than the most hazy conception of what this voice-carrying machine would be like. At first he conceived of having a harp at one end of the wire, and a speaking-trumpet at the other, so that the tones of the voice would be reproduced by the strings of the harp.