"There was a little dancing. Though no hilarity reigned, still in every face there was an inner content; it was a beautiful day, and the sun himself, who had been hidden for many days, poured his mild beams upon us in the morning as we went to the wedding, as if he would bless our union. There was nothing disturbing on this day, and so let it be inscribed in this book as the most beautiful and the most important day of my life. A period in my existence has now closed. I have endured very many sorrows in my young years, but also many joys which I shall never forget. Now begins a new life, a beautiful life, that life which one loves more than anything, even than self; but heavy responsibilities also rest upon me, and Heaven grant me strength to fulfil them truly and as a good wife. Heaven has always stood by me and will not cease now. I have always had a great belief in God, and shall always keep it." As for the old Wieck, his bitterness must have been almost suicidal. He did not forgive his daughter even after the birth of her first child, on September 1, 1841, the year also of Schumann's first symphony. It was only after a second child was born, in April, 1843, that Schumann could write to a friend: "There has been a reconciliation between Clara and old Wieck, which I am glad of for Clara's sake. He has been trying to make it up with me too, but the man can have no feelings or he could not attempt such a thing. So you can see the sky is clearing. I am glad for Clara's sake." But the cherishing of such a grudge even with such foundation was not like Schumann, and a year later, from Petersburg, where he had accompanied Clara on a triumphal tour and where they had the most cordial recognition from the Czar and Czarina, he addressed old Wieck as "Dear Father," and described to him with contagious pride the immense success of his wife. A little later he reminded him that "It is the tenth birthday Of our _Zeitschrift_, I dare say you remember." And yet again he writes to him as "Dear Papa," adding "best love to your wife and children, till we all meet again happily." And so ended the feud between the two men. The romance of Robert and Clara did not end at the little village church, but rather they seemed to issue thence into a very Eden of love and art commingled. The gush of song from his heart continued, he dedicated to her his "Myrthen" and collaborated with her in the twelve songs called "Love's Springtime." As Spitta, his biographer, writes: