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 Ting-Ting Wu · Yueh-Min Huang
Rustam Shadiev · Lin Lin
Andreja Istenič Starčič (Eds.)
LNCS 11003

Innovative Technologies
and Learning
First International Conference, ICITL 2018
Portoroz, Slovenia, August 27–30, 2018
Proceedings

123
Lecture Notes in Computer Science 11003
Commenced Publication in 1973
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Editorial Board
David Hutchison
Lancaster University, Lancaster, UK
Takeo Kanade
Carnegie Mellon University, Pittsburgh, PA, USA
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University of Surrey, Guildford, UK
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Stanford University, Stanford, CA, USA
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Weizmann Institute of Science, Rehovot, Israel
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More information about this series at http://www.springer.com/series/7409
Ting-Ting Wu Yueh-Min Huang
•

Rustam Shadiev Lin Lin

•

Andreja Istenič Starčič (Eds.)

Innovative Technologies
and Learning
First International Conference, ICITL 2018
Portoroz, Slovenia, August 27–30, 2018
Proceedings

123
Editors
Ting-Ting Wu Rustam Shadiev
National Yunlin University Nanjing Normal University
of Science and Technology Nanjing
Yunlin China
Taiwan
Lin Lin
Yueh-Min Huang University of North Texas
Kun Shan University Denton, TX
Tainan City USA
Taiwan
Andreja Istenič Starčič
and University of Ljubljana
Ljubljana
National Cheng Kung University Slovenia
Tainan City
Taiwan

ISSN 0302-9743 ISSN 1611-3349 (electronic)

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 Preface

The International Conference of Innovative Technologies and Learning provides a

platform for those working on educational technology to get together and exchange
experiences. Benefiting from the use of a variety of emerging innovative technologies,
the e-learning environment has become highly diversified along the way. Diversified
innovative technologies have fueled the creation of advanced learning environments by
adopting appropriate pedagogies. Moreover, these technologies not only facilitate
learning but also actively help students reach maximized learning performances.
However, owing to the rapid evolution of these new technologies, how to make use
of them by complying with effective pedagogies to create adaptive or smart learning
environments has always been a challenge. Therefore, this conference intends to
provide a platform for those researchers in education, computer science, and educa-
tional technology to get together and share their experiences in effectively applying
cutting-edge technologies to learning as well as initiating future projects. It is hoped
that the findings of each work presented at the conference will enlighten researchers or
education practitioners to create more effective learning environments. ICITL is always
open to the public for sharing their works.
This year’s conference, ICITL 2018, was held in Portoroz, a Slovenian Adriatic
seaside resort located in the Municipality of Piran of southwestern Slovenia, one of
Slovenia’s major tourist areas. This year we received 160 submissions from 17
countries worldwide. After a rigorous double-blind review process, 66 papers were
selected as full papers and four papers were selected as short papers, yielding an
acceptance rate of 44%. These contributions cover the latest findings in the areas,
including: (1) application and design of innovative learning software, (2) augmented
and virtual reality in education, (3) collaborative learning, (4) design and framework of
learning systems, (5) educational data analytics techniques and adaptive learning
applications, (6) instructional strategies, (7) learning analytics and education data
mining, (8) mind, brain, and education, (9) pedagogies to innovative technologies,
(10) personalized and adaptive learning, (11) social media and online learning,
(12) technology-enhanced language learning, and (13) innovative thinking education,
and future trend developments. Moreover, ICITL 2018 featured two keynote presen-
tations by renowned scholars: Prof. Chin-Chung Tsai, Prof. Cathleen Norris, and Prof.
Elliot Soloway. They offered insight into the interplay between students’ concepts of
learning and curricula in an open world.
We would like to thank the Organizing Committee for their effort and time spent to
ensure the success of the conference. We would also like to express our gratitude to the
Program Committee members for their timely and helpful reviews. And last but not
least, we would like to thank all the authors for their contribution in maintaining a
VI Preface

high-quality conference – we count on your continued support in playing a significant

role in the innovative technologies and learning community in the future.

August 2018 Yueh-Min Huang

Ting-Ting Wu
Lin Lin
Rustam Shadiev
Andreja Istenic Starcic
 Organization

Conference Co-chairs
Yueh-Min Huang National Cheng-Kung University, Taiwan
Andreja Istenic Starcic University of Ljubljana, Slovenia

Program Co-chairs
Ting-Ting Wu National Yulin University of Science and Technology,
Taiwan
Lin Lin University of North Texas, USA
Rustam Shadiev Nanjing Normal University, China

Program Committee
Ann-Therese Arstorp The Norwegian Directorate for Education and Training,
Norway
Charoenchai Wongwatkit Mae Fah Luang University, Thailand
Charuni Samat Khon Kaen University, Thailand
Chi-Cheng Chang National Taiwan Normal University, Taiwan
Chengjiu Yin Kobe University, Japan
Daniel Spikol Malmo University, Sweden
Demetrios G Sampson Curtin University, Australia
Di Zou The Education University of Hong Kong, SAR China
Edward J. Coyle Georgia Institute of Technology, USA
Eric Bruillard Université Paris Descartes, France
Frode Eika Sandnes Oslo and Akershus University College of Applied
Sciences, Norway
Gabriella Dodero Free University of Bozen-Bolzano, Italy
George Ghinea Brunel University, UK
Gunnar Sivertsen Nordic Institute for Studies in Innovation, Research
and Education, Norway
Haoran Xie The Education University of Hong Kong, SAR China
Ian Solomonides Victoria University, Australia
Maria Dardanou The Arctic University of Norway, Norway
Mariann Solberg The Arctic University of Norway, Norway
Kinshuk University of North Texas, USA
Lisbet Rønningsbakk The Arctic University of Norway, Norway
Michael Spector University of North Texas, USA
Neil Yen University of Aizu, Japan
Roza Valeeva Kazan Federal University, Russia
Rong-Huai Huang Beijing Normal University, China
VIII Organization

Sumalee Chaijaroen Khon Kaen University, Thailand

Tim Engels University of Antwerp, Belgium
Thrasyvoulos Tsiatsos Aristotle University of Thessaloniki, Greece
Tristan E. Johnson Northeastern University, USA
Wai Hong Chan The Education University of Hong Kong, SAR China
Wu-Yuin Hwang National Central University, Taiwan
Yao-Ting Sung National Taiwan Normal University, Taiwan

Main Organizer

Co-organizers
 Contents

Augmented and Virtual Reality in Education

ARPiano Efficient Music Learning Using Augmented Reality. . . . . . . . . . . . 3

Fernando Trujano, Mina Khan, and Pattie Maes

Improving the Skills Training by Mixed Reality Simulation Learning:

A Pilot Case Study of Nasogastric Tube Care. . . . . . . . . . . . . . . . . . . . . . . 18
ChinLun Lai and Yu-mei Chang

Using Scaffolding Strategy and Real-Time Assessment Programming

Tool to Develop a VR-Based Application . . . . . . . . . . . . . . . . . . . . . . . . . 28
Yu-Lin Jeng, Qing Tan, and Ya-Chang Wang

Virtual Reality and Knowledge Rediscovery in Sub-Sahara Africa:

A Review of Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Newton Buliva

Collaborative Learning

Understanding the Effects of Online Collaborative Knowledge-Building

Activities on Pre-service Teachers’ Views of “Learning”:
A Case Study Using Triple Cross-Validation Analysis . . . . . . . . . . . . . . . . . 51
Chih Hui Seet and Huang-Yao Hong

Attitude Toward Online Peer-Assessment Activity: Experiential

Learning Theory Viewpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Wan-Hsuan Yen and Chi-Cheng Chang

Sharing the World and Sharing the Word. Using Technology

for Pre-service Teachers’ International Collaboration . . . . . . . . . . . . . . . . . . 71
Lisbet Rønningsbakk

Construction of Artificial Intelligence Mechanical Laboratory

with Engineering Education Based on CDIO Teaching Strategies . . . . . . . . . 81
Yu-Ting Tsai, Chi-Chang Wang, Hsin-Shu Peng, Jin H. Huang,
and Ching-Piao Tsai

Design and Framework of Learning Systems

Using Educational Websites and Platforms in Russia: Cognitive Needs

of Children and Problems of Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Gulshat Shakirova and Elvira Sabirova
X Contents

Reducing Language Speaking Anxiety Among Adult EFL Learners

with Interactive Holographic Learning Support System . . . . . . . . . . . . . . . . 101
YingLing Chen

The Exploration of Facial Expression Recognition in Distance

Education Learning System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Ai Sun, Yingjian Li, Yueh-Min Huang, and Qiong Li

Designing and Implementing a Robot in a Digital Theater

for Audience Involved Drama-Based Learning . . . . . . . . . . . . . . . . . . . . . . 122
Gwo-Dong Chen, Tzu-Chun Hsu, and Mahesh Liyanawatta

Instructional Strategies

Using Constructivist Instructional Design for Flipped Classroom

to Enhancing Cognitive Learning Performance . . . . . . . . . . . . . . . . . . . . . . 135
Issara Kanjug, Niwat Srisawasdi, Sumalee Chaijaroen,
and Parnpitcha Kanjug

Synthesis of Theoretical Framework of Constructivist Creative Thinking

Massive Open Online Courses (MOOCs) for Higher Education. . . . . . . . . . . 146
Benjaporn Sathanarugsawait and Charuni Samat

Learning Analytics and Education Data Mining

Multimodal Learning Recommendation - Using Adaptive Neuron-Fuzzy

Inference System for Microlearning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Kun-Te Wang, Ming-An Lin, Tien-Chi Huang, and Neil Yuwen Yen

Exploring Learners’ Cognitive Behavior Using E-dictionaries:

An Eye-Tracking Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Xuesong Zhai, Nanxi Meng, Jing Yuan, Yalong Yang, and Lin Lin

Understanding Inquiry-Based Searching Behaviors Using Scan Path

Analysis: A Pilot Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Wan-Ting Sun, Feng-Ru Sheu, and Meng-Jung Tsai

Big Data Analysis in Drug Offense Crime to Advice Education

Training Course in Police Academy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Kuo-Ching Wu, Yeong-Ching Lin, and Chun-Yi Lu

Mind, Brain and Education

Design and Development of Learning Innovation Enhancing Learning

Potential Using Brain-Based Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Sumalee Chaijaroen and Charuni Samat
 Contents XI

Designing of the Learning Innovation Enhance Learning Potential

of the Learners Using Brain-Based Learning. . . . . . . . . . . . . . . . . . . . . . . . 196
Charuni Samat, Patcharee Saengjan, Sumalee Chaijaroen,
Issara Kanjug, and Pornsawan Vongtathum

Exploring the Correlation Between Attention and Cognitive Load

of Students When Attending Different Classes . . . . . . . . . . . . . . . . . . . . . . 205
Shu-Chen Cheng, Yu-Ping Cheng, Chien-Hao Huang,
and Yueh-Min Huang

Human Connectedness to Nature: Comparison of Natural

vs. Virtual Experiences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Mary D. Smith, Sean Getchell, and Megan Weatherly

Pedagogies to Innovative Technologies

Developing the Capability Indicators for CNC Machine R&D Staff

in Taiwan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Dyi-Cheng Chen and Tzu-Wen Chen

Enhancing Student Engagement: One Game at a Time. . . . . . . . . . . . . . . . . 231

Sunet Eybers and Marie Hattingh

eModeration: The Validation of a User Experience Evaluation Framework . . . 241

Corne J. van Staden, Judy A. van Biljon, and J. H. Kroeze

Synthesis of Designing Framework for Constructivist Learning

Environments Model to Enhancing Programming Problem Solving
for Connecting Internet of Thing Devices. . . . . . . . . . . . . . . . . . . . . . . . . . 253
Nutthakarn Moeikao and Charuni Samat

Multidisciplinary Learning Material and Effect in a Technological

University – A Case Study of Technology and Life Application
in General Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Kuen-Ming Shu and Chi-Cheng Chang

Educational Technology in Resource-Constrained Environments:

A Nigerian Case Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Japari Ngilari

The Effect of STEAM Course Applied to Science Education

on Learners’ Self-efficacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Jan-Pan Hwang, Chun-Yi Lu, and Mei-Yao Chang

Future Classroom Labs in Norwegian Pre-service Teacher Education. . . . . . . 288

Ann-Thérèse Arstorp
XII Contents

Motion Capture Technology Supporting Cognitive, Psychomotor,

and Affective-Social Learning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Andreja Istenic Starcic, William Mark Lipsmeyer, and Lin Lin

Personalized and Adaptive Learning

Teachers’ Strategies in Digital and Flexible Online Studies . . . . . . . . . . . . . 301

Synnøve Thomassen Andersen

A Sentence-Wide Collocation Recommendation System with Error

Detection for Academic Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Yen-Lun Chu and Tzone-I Wang

Features of Personalized Teaching a Foreign Language at Non-linguistic

Faculties of the University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Elvira Sabirova, Niyaz Latypov, Agzam Valeev, and Roza Valeeva

Factors Related to the Use of Online Learning Resources: The Perception

of Environmental and Contextual Barriers of Students with Special
Educational Needs and Their Peers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Maja Lebenicnik and Andreja Istenic Starcic

Development of Videos for Flipped Classroom. Using Self-study

as Methodology to Improve the Quality:
Presentation of a Work in Progress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Tove Leming

Social Media and Online Learning

Exploring Influence of Cultural Constructs and Social Network

on Cross-Cultural Learning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Rustam Shadiev, Narzikul Shadiev, and Mirzaali Fayziev

Understanding the Extent of and Factors Involved in the Use of YouTube

as an Informal Learning Tool by 11- to 13-Year-Old Children . . . . . . . . . . . 351
Neliswa Dyosi and Marie Hattingh

Social Media and the High School Environment . . . . . . . . . . . . . . . . . . . . . 362

Morgan Carter and Andreja Istenic Starcic

The Online Learning Resources Definition and Students’ Use in Higher

Education Across Disciplines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Maja Lebenicnik and Andreja Istenic Starcic
 Contents XIII

Technologies Enhanced Language Learning

WASS: Web-Based Annotation and Search System to Facilitate English

Vocabulary Learning in Vocational High School. . . . . . . . . . . . . . . . . . . . . 383
Yu-Suan Ji, Nguyen-Thi Huyen, Wu-Yuin Hwang, and George Ghinea

A Study on the Effect of Using Digital Games for Self-learning

of English in Elementary School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Ching-I Cheng, Shih-Wei Wang, and Ling-Wei Lin

Mobile Applications for English Learning Performance Upgrade. . . . . . . . . . 403

Liliia A. Latypova, Oksana V. Polyakova, and Dilyana D. Sungatullina

Exploring the Relationships Between EFL Learners’ Usage

of Technology and Their Approaches to Learning English . . . . . . . . . . . . . . 412
Ching-Fang Juan, Hsin-I She, Chia-Yin Hung, Silvia Wen-Yu Lee,
Jyh-Chong Liang, Kuo-En Chang, and Chin-Chung Tsai

Application and Design of Innovative Learning Software

Exploration of Learning Effectiveness and Cognitive Load on Interactive

and Non-interactive E-book Introducing into Nursing Education . . . . . . . . . . 423
Lei Chang, Ting-Ting Wu, and Chen-Ying Su

Exploring Learning Behavior Transformation Patterns in an AR English

System: A Study of Gender Differences. . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Yu-Che Huang, Ting-Ting Wu, Yueh-Ming Huang,
and Frode Eika Sandnes

Exploration of Computational Thinking Based on Bebras Performance

in Webduino Programming by High School Students. . . . . . . . . . . . . . . . . . 443
Jian-Ming Chen, Ting-Ting Wu, and Frode Eika Sandnes

Effects of Problem-Solving Strategy Based Interactive E-Book on

Measurement Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Yu-Hsien Huang, Po-Han Wu, and Hsu-Cheng Chiang

Usability Evaluation of the Game Based E-Book System on Natural

Science Teaching System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Meng-Chun Tsai, Hao-Chiang Koong Lin, and Chad Lin

Augmented Reality Applied to Smartphones and Wearable

Devices - Virtual Furniture Simulation System . . . . . . . . . . . . . . . . . . . . . . 473
Yi-Cheng Liao, Tao-Hua Wang, Hao-Chiang Koong Lin,
and Kuan-Yu Lin
XIV Contents

A Board Game Designing of Serious Mini Game in Complementary Colors . . . 482

Ya-Lun Yu and Ting-Ting Wu

The Study of Creativity, Creativity Style, Creativity Climate Applying

Creativity Learning Strategies - An Example of Engineering Education . . . . . 490
Wei-Shan Liu, Yu-Tzu Wu, and Ting-Ting Wu

The Effectiveness of Health Communication for Implement Multimedia

E-Book into Large and Small Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Yi-Chen Lu, Ting-Ting Wu, and Chen-Ying Su

Exploring Perceived Value Creation of MOOCs Service

Systems - A Preliminary Investigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Tonny Meng-Lun Kuo and Jyun-Cheng Wang

The Creation of Interactive Visual Music with Kandinsky Abstract Arts . . . . 518
Yu-Hsuan Lin, Chad Lin, Chia-Wei Chang, and Hao-Chiang Koong Lin

Robot Assisted Reading: A Preliminary Study on the Robotic

Storytelling Service to Children in the Library . . . . . . . . . . . . . . . . . . . . . . 528
Wei-Wei Shen and Jim-Min Lin

An Extensive Reading System Built on the Basis of Comprehensible Input

Principles - A Key to Rescuing the Lower-Level EFL University
Students’ Vocabulary Ability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Wei-Wei Shen, Jim-Min Lin, and Zeng-Wei Hong

Educational Data Analytics Techniques and Adaptive Learning Applications

Research on Instructional Design Strategies for Training Students’

Problem Solving Ability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Zengzhao Chen, Ting Qian, Jing Zhang, Qianfan Yu, and Guilin Liu

Research on Collaborative Filtering Recommendation of Learning

Resource Based on Knowledge Association . . . . . . . . . . . . . . . . . . . . . . . . 561
Hao Li, Fanfan Du, Mingyan Zhang, Libin Wang, and Xue Yu

Research on Result Integration Mechanism Based on Crowd Wisdom

to Achieve the Correlation of Resources and Knowledge Points . . . . . . . . . . 568
Xu Du, Fan Zhang, Mingyan Zhang, Shuai Xu, and Mengjin Liu

Two-Stage Predictive Modeling for Identifying At-Risk Students . . . . . . . . . 578

Brett E. Shelton, Juan Yang, Jui-Long Hung, and Xu Du

Behavior Data Analysis for Physical Exercise Through Sports Bracelets . . . . 584
Chuan-Yi Chang, Jun-Ming Su, and Jia-Sheng Heh
 Contents XV

AI Applications on Music Technology for Edutainment . . . . . . . . . . . . . . . . 594

Von-Wun Soo, Chih-Fang Huang, Yu-Huei Su, and Mei-Ju Su

Building a Reconfigurable Subject-Free Learning Game System . . . . . . . . . . 600

Jun-Ming Su and Chia-Hao Wang

Innovative Thinking Education and Future Trend Development

Discussion on the Teaching and Learning Innovation

of Higher-Order Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Chun-cheng Chen, Ming-chang Wu, and Ting-Ting Wu

An Adjustable Safety Device with Quick Return Structure

for the Weightlifting Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Keter Sheu and Chun-chen Chen

An Innovative Trend of Sport Event in Environmental Perspective . . . . . . . . 625

Chun-Chu Yeh and Chin-Huang Huang

Concept Development of Personified Digital Prosthesis Teaching

Model–Fused Application of Acupoint-Located Method
by Anatomical Landmark and 3D Composition Method . . . . . . . . . . . . . . . . 631
Tzu-ching Weng and Nyan-myau Lyau

Exploration on Innovative Teaching and Information Technology

Integration in College Physical Education. . . . . . . . . . . . . . . . . . . . . . . . . . 640
Long-Yu Lin

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Augmented and Virtual Reality in
Education
 ARPiano Efficient Music Learning
Using Augmented Reality

Fernando Trujano ✉ , Mina Khan, and Pattie Maes

( )

Massachusetts Institute of Technology, Media Laboratory, 77 Massachusetts Avenue,

Cambridge 02139, USA
Trujano.Fernando@gmail.com

Abstract. ARPiano uses a MIDI keyboard and a multifunction knob to create a

novel mixed reality experience that supports visual music learning, music visu‐
alizations and music understanding. At its core, ARPiano provides a framework
for extending a physical piano using augmented reality. ARPiano is able to
precisely locate a physical keyboard in order to overlay various objects around
the keyboard and on individual keys. These augmented objects are then used for
music learning, visualization and understanding. Furthermore, ARPiano demon‐
strates a novel way to utilize the keys in a piano as an interface to interact with
various augmented objects.

Keywords: Augmented reality · Piano · Learning · Education · Music

1 Introduction

This paper describes ARPiano, a mixed reality application that augments a physical
keyboard. ARPiano uses a MIDI (Musical Instrument Digital Interface) keyboard and
a multifunction knob to create a novel mixed reality experience that supports visual
music learning, music visualizations and music understanding. ARPiano is able to
precisely locate a physical keyboard in order to overlay various objects around the
keyboard and on individual keys. These augmented objects are then used for music
learning, visualization and understanding. Furthermore, ARPiano demonstrates a novel
way to utilize the keys in a piano as an interface to interact with various augmented
objects.

1.1 Goals
ARPiano is designed to allow for better visual music learning, music visualization and
music understanding.

Music Learning. The main goal of ARPiano is to facilitate visual music learning using
augmented reality. Traditional music learning focuses on reading symbols in the form of
sheet music. However, these symbols are abstract and there is no intuitive correlation
between the symbol and the note that it represents. For example, notes of different lengths
are differentiated by whether the symbols are filled in or not (quarter note and half notes)

© Springer Nature Switzerland AG 2018

T.-T. Wu et al. (Eds.): ICITL 2018, LNCS 11003, pp. 3–17, 2018.
https://doi.org/10.1007/978-3-319-99737-7_1
4 F. Trujano et al.

or whether they have an extra tick attached to them (eighth notes and sixteenth notes). This
notation is not immediately intuitive and requires that the user learn the symbols in order
to make sense of them. Current theories of learning show that using multiple modalities in
learning is an effective strategy to form mental constructs and schemas [1–4]. The visual
aspect of traditional music learning depends on these abstract symbols and could be
stronger.
ARPiano aims to facilitate visual music learning by providing a deeper connection
between the song the user is learning and what they are seeing. This is accomplished by
intuitive and spatially accurate visuals, real time feedback, and performance statistics.
ARPiano visually renders a song in the form of a sequence of cuboids where the length
of the rectangle represents the length of the note and the position relative to the keyboard
represents the note value.

Music Visualization and Understanding. ARPiano also allows for music visualiza‐
tion and music understanding. Music visualization is accomplished by emitting a sprite
from the physical key location whenever the key is pressed. This provides the user with
a visual counterpart to what they are hearing and allows them to better see patterns in
the music. Additionally, while the user is playing, ARPiano is able to augment the inter‐
face to point out specific musical artifacts, such as chords, which aids in music under‐
standing.

2 Previous Work

Music learning software is not a new field and there are many applications available that
try to facilitate music learning by creating visuals or providing performance statistics.
However, none of the applications provide spatially accurate visuals.

2.1 Smart Music

Smart Music [5] is a music learning software that provides helpful feedback on a player’s
performance. A user is displayed the sheet music as well as a bar indicating the current
measure that they are on. While playing a song, Smart Music uses a microphone to
determine whether the user is playing the correct notes. While Smart Music provides
helpful statistics to the user, such as which sections had the most mistakes, it still relies
on sheet music and does not offer a more intuitive musical representation of a song.

2.2 Synthesia

Synthesia [6] is a piano learning software that, like ARPiano, renders songs in the form
of a piano roll. Each note in the song is represented by a rectangle that slowly approaches
its corresponding key on a virtual keyboard on the display. This representation is more
intuitive than sheet music and allows the user to see patterns in the song. Synthesia is
also able to track a player’s performance and provide statistics to help them guide their
practice. While Synthesia provides an intuitive visual representation of the song, it does
 ARPiano Efficient Music Learning Using Augmented Reality 5

so on a traditional 2D display and requires that the user look back and forth between the
virtual keyboard on the display and the physical keyboard they are playing on.

2.3 Andante/Perpetual Canon

Andante [7] and Perpetual Canon [8] are part of a collection of research projects devel‐
oped by Xiao Xiao from the MIT Media Lab. They augment a piano with a projector
and are able to provide visualizations of pre-recorded or live music. These projects did
not however, focus on music learning or analyzing what is being played.

3 Design

ARPiano is implemented as a Unity application that runs on a Hololens and wirelessly

receives messages from a server running on a PC. The application augments the physical
keyboard with sprites and annotations and receives input from the keyboard in order to
support various interactions. ARPiano adopts a modular design in the form of Keyboard
Components (see Sect. 4).

3.1 Integrated Sensors

ARPiano uses a MIDI Keyboard and a multifunction knob for input. Both of these
devices communicate over USB. Since the Hololens does not have any USB ports,
additional steps had to be taken to integrate these devices into a Mixed Reality experi‐
ence. The application also uses the built in Hololens camera to get the initial position of
the keyboard in three dimensional space.
The keyboard sends MIDI commands to the computer over USB and is the main
interface for ARPiano. When a key is pressed the keyboard emits the corresponding
sound and sends a MIDI message to the connected computer. MIDI is well established
and documented so many libraries exist to parse these messages. I used the open source
Midi Jack Unity plugin [9] to parse each incoming MIDI message into its corresponding
channel, note and velocity. The computer then sends each event (either noteOn or
noteOff) to the Hololens using the HoloToolkit sharing service. These messages are then
used by the Hololens to support various interactions.
The multifunction knob serves as an additional controller to change several param‐
eters of the keyboard. An augmented interface can be rendered on top of the controller
to show which parameter is being changed (see Sect. 4.3). I used the Griffin Power mate
to map knob rotations and presses to different keypress events. These events are then
picked up by the computer using Unity’s Input library and sent to the Hololens via the
Sharing Service. The Hololens then decides what to do depending on the current state
of the keyboard.
Lastly, ARPiano uses the built in Hololens camera to detect the three dimensional
position of the first and last keyboard keys as described in the following subsection.
6 F. Trujano et al.

3.2 Physical and Augmented Keyboard

At its core, ARPiano consists of a main Keyboard class that handles incoming messages
from the server and is responsible for the initial calibration. The keyboard class is
responsible for parsing these messages and making them available to Keyboard Compo‐
nents (see Sect. 4). Each message consists of the pressed note (as a midi integer) and
the velocity of the pressed note (as a float).
Calibration of the physical keyboard allows the Hololens to know precisely where
each key on the keyboard is in three dimensional space. This process is done by placing
two key-sized Vuforia markers on the first and last key of the keyboard. When the
application is first opened, the user is instructed to look at the first and last key of the
keyboard until the keys turn green, indicating successful detection of the markers
(Fig. 1). In order to accommodate keyboards with different number of keys, the user
then presses the first and last key. This finalizes the calibration procedure and allows the
Keyboard class to accurately determine the correct position of the keyboard and each
individual key therein.

Fig. 1. Calibration ensures that the Hololens knows the exact location of the physical keyboard.
The markers show the perceived location of the first and last keys. (Color figure online)

The Keyboard Class exposes several methods such as GetNotePosition which returns
the position of a key in the physical space given the corresponding midi number. This
allows components like NoteSpawner to place sprites in the position of a corresponding
key (see Sect. 4.4). The Keyboard class also allows KeyboardComponents to subscribe
to three different events: calibrationComplete, noteOn, and noteOff.

3.3 Component Menu

The Component Menu utilizes the keyboard keys as an interface to enable or disable
individual Keyboard Components. To open the menu, the user must press and hold the
first key in the keyboard. While the key is being held, a loading ring appears on top to
indicate how much longer until the menu opens. ARPiano avoids accidental opening of
the menu by requiring the user to hold the lowest key for a couple of seconds, which
does not happen often in regular music.
Once the menu is opened, all keyboard components are paused and icons repre‐
senting keyboard components are rendered on the keyboard. Each icon consists of a
colored rectangle that spans four white keys on the keyboard along with a three dimen‐
sional representation of the keyboard component, as seen in Fig. 2. The rectangle appears
 ARPiano Efficient Music Learning Using Augmented Reality 7

green or white depending on whether the corresponding component is enabled or disa‐

bled. To change the state of a component, the user simply needs to press any of the keys
under the icon. Once the state of a component changes, the menu closes. Alternatively,
the user can press the first key again to close the menu.

Fig. 2. 3D icons representing Keyboard Components are overlayed on top of the keyboard. From
left to right, the icons represent: Keyboard Labels, Note Spawner, Chord Suggestion, Chord
Detector and Song Tutorial. In this figure, the Note Spawner component is enabled. (Color figure
online)

4 Keyboard Components

ARPiano is designed to allow for easy addition of new features in the form of Keyboard
Components. A Keyboard Component subscribes to messages from the main Keyboard
class and can be enabled or disabled independently of other Keyboard Components.
Keyboard Components use helper methods from the Keyboard class to correctly position
objects relative to the keyboard or the desired key.
At this time, ARPiano consists of six different Keyboard Components that enable
music learning, understanding and visualization. The main goal of ARPiano is to facil‐
itate visual music learning through augmentations on the physical keyboard. This is
accomplished by the Chord Suggestion, Keyboard Labels and Song Tutorial Compo‐
nents. Music visualization complements the music listening experience by providing a
visual counterpart to the song being played. It can also provide a history to each note
and allow for easier recognition of patterns in a song. In ARPiano the Note Spawner
and Flashy Visualizer Components visualize the notes as they are being played. Music
understanding reinforces the music learning aspect by creating deeper connections
between what is being played and what is being learned. ARPiano allows users to better
understand music by pointing out interesting note intervals through different colors and
annotations. The Note Spawner and Chord Detector components aid in music under‐
standing.

4.1 Chord Suggestion

The Chord Suggestion component gives hints to a user as they are learning different
chords. When a key is pressed, other keys next to it are highlighted to indicate that those
keys, together with the pressed key, form part of a chord (Fig. 3). More specifically, the
pressed key is treated as the root key in the cord and the third and fifth notes of the triad
8 F. Trujano et al.

are highlighted. Different color highlights indicate different chord qualities, though at
this time only major and minor chords are supported.

Fig. 3. The Chord Suggestion component highlights keys that can form chords. In this figure,
both major (green highlight) and minor (pink highlight) chords are suggested with shared keys
being highlighted blue. (Color figure online)

The Chord Suggestion component works by doing MIDI math on the pressed midi
notes. Since the intervals between the notes in the triads are fixed regardless of the root
note, this is a straightforward calculation.

4.2 Keyboard Labels

The Keyboard Labels component adds note labels to each key of the keyboard to assist
the user in recognizing the position of notes in the keyboard (Fig. 4). The Component
loops from the first key of the keyboard (as determined during the calibration procedure)
to the last key and adds the corresponding note label. In MIDI, each note is represented
as an integer with Middle-C being 60 and subsequent indices corresponding to the next
semitones (so 61 corresponds to C#, for example). Knowing this, it is possible to label
all of the keys in the keyboard.

Fig. 4. The Keyboard Labels component augments each key by labeling its corresponding note.

4.3 Song Tutorial

The Song Tutorial Component is the most complex Keyboard Component in ARPiano.
It enables music learning by allowing the user to play any MIDI song in a visual and
intuitive way. The component works by rendering a virtual piano roll of the song that
precisely matches the physical piano. That way, as the piano roll moves down, the user
can press the indicated keys in a similar way to popular music games like Guitar Hero.
The speed and current position of the song can be adjusted using the multifunction knob
and interactive performance statistics are displayed at the end in order to increase prac‐
tice efficiency.
 ARPiano Efficient Music Learning Using Augmented Reality 9

PianoRoll. The piano roll consists of a series of TutorialNotes depicted as cuboids

whose position in the left/right axis represent the key to be played while the position in
the vertical axis represents the time when the key should be played. Furthermore, the
length of the cuboid represents the amount of time the note should be held for, and black
keys are differentiated from white keys by the their position and color (Fig. 5). The piano
roll starts on top of the keyboard and slowly moves down, causing some Tutorial Notes
to lay directly on top of the keys of the keyboard. Each time a Tutorial Note does this,
the user is instructed to press the key on the keyboard. By following these simple
instructions, a melody can be played.

Fig. 5. SpectatorView image of AR PianoRoll representation of Beethoven’s Für Elise

The piano roll is rendered by taking any MIDI song and translating it to a Tone.js
compatible JSON file. Tone.js is a java script library to parse and create MIDI files, and
includes an automatic script to convert a midi file to a json file [10]. It was chosen
specifically to avoid working with MIDI files to speed up development as I was already
familiar with parsing JSON files in Unity. From the MIDI file, the JSON file is able to
obtain a list of notes, each consisting of a time, duration, and midi integer. These can be
easily mapped into their corresponding Tutorial Note cuboids using the main Keyboard
class.
As the piano roll moves down, the user must press the correct keys in order to play
the melody. In addition to the auditory feedback the user gets from the piano, Tutorial
Notes change color to indicate whether they were correctly played or not. Note verifi‐
cation, as described above, is accomplished by maintaining a list of notes are currently
touching the keyboard and thus, should be played. If a note in this list is played, it is
marked as correct and turns green, otherwise if the note leaves the keyboard without
being played, it is marked as incorrect and turns red. This visual feedback provides
another way for the user to gauge their performance in real time as they are playing the
song.

Song Adjustments. The Song Tutorial Component allows the user to adjust the current
position of the piano roll and the speed at which it moves down by turning a multifunction
knob. The song can also be paused and resumed by pressing the knob. More specifically,
I connected a Griffin Power mate to the server computer and mapped various types of
rotations and presses to different keyboard presses that get forwarded to the Hololens
10 F. Trujano et al.

through the sharing service. The knob supports two kinds of rotations: a regular rotation,
and a pressed rotation. These are both sent to the Hololens.
The knob is augmented with two sets of half rings around it that represent two song
parameters. The outer ring depicts the current position of the song and the inner ring
represents the speed at which it is being played. When the knob is turned, the corre‐
sponding ring value changes and its exact value is shown on top of the ring (Fig. 6). The
knob UI is an interesting demonstration of how augmented reality can create a multi‐
function interface using a single device. The knob is kept on the keyboard close by so
that it can be reached easily. During music practice, a user is able to use the visual
feedback and quickly “scroll” back to a difficult section in order to practice it at a slower
tempo, for example.

Fig. 6. The knob can be used to see and control the position of the song being played (left) or
the speed at which it is being played (right)

Song Tutorial Results. After a song is played, the Song Tutorial component displays
helpful statistics about the performance in the form of Song Tutorial Results. These
results use the keyboard as an interactive canvas to visually show different statistics. An
arrow is rendered on the last key to signify that pressing it will render the next available
result. Currently, ARPiano supports two types of results: mistakes over time, and
mistakes per key.
The first graph maps each key in the keyboard to a section of the song and color
codes the keys depending on the number of mistakes that occurred during that section.
This allows the user to quickly see which sections of the song need more practicing, as
seen in Fig. 7. Additionally, pressing a key will automatically scroll to that section of
the song so the user can practice it immediately.
The second graph color codes each key to the ratio of times that that key was pressed
correctly. This allows the user to quickly identify which hand needs more practice.
Pressing a key will reveal the exact number of times that that key was supposed to be
played, and the number of times it was actually played.
Song Tutorial Results demonstrate a novel way to utilize the keyboard as an inter‐
active canvas while providing useful statistics to help maximize practice efficiency.
 ARPiano Efficient Music Learning Using Augmented Reality 11

Fig. 7. At the end of a Song Tutorial, the keyboard is transformed into a visual representation of
the user’s performance. In this graph, it is clear that the user made more mistakes in a specific
section near the beginning of the song.

4.4 Note Spawner and Flashy Visualizer

The Note Spawner and Flashy Visualizer both emit sprites when a key is pressed from
the location of the pressed key. These components subscribe to the noteOn and noteOff
events and use the Keyboard’s helper methods to position the sprites at the correct loca‐
tion.
The Flashy Visualizer, as the name implies, aims to complement a live music
performance by providing colorful visuals corresponding to the notes being played. This
Component renders various sprites when a key is pressed, or when a combination of
keys is pressed (such as a chord) in order to provide a visual counterpart to the notes
being played.
The Note Spawner emits a cuboid from the pressed key that slowly travels up. The
length of the emitted sprite represents the length that the note was held for while the
speed at which the sprite moves up represents the velocity of the corresponding key
press. The NoteSpawner creates a temporal dimension to the music being played while
allowing the user to see patterns within the song (Fig. 8).

Fig. 8. The Note Spawner component emits cuboids as the user plays the keyboard in order to
visualize rhythmic and tonal patterns in the song.

The Note Spawner Component can be configured to spawn notes whose color corre‐
sponds to that of a color wheel overlayed on top of the circle of fifths. This harmonic
12 F. Trujano et al.

coloring provides an interesting visualization of the note intervals so a close relationship

in sound is described visually by a close relationship in color [11]. Using these colors,
tonal patterns can be seen in many songs, such as Chopin’s Prelude, Opus 28, No. 3 in
G major, which remains entirely in a single tonal area [4]. The note positions and lengths
in combination with the harmonic coding provide a way to observe the tonal and rhyth‐
mical patterns of a song in a way that sheet music can simply not capture.

4.5 Chord Detector

The Chord detector component makes the user more aware of chords by creating an
annotation of the chord name every time a chord is played (Fig. 9). By reminding the
user of the chord name whenever a chord is played a deeper connection can be formed
between the notes and the corresponding chord. I hypothesize that this aids in music
understanding by making the user more aware of common chord intervals. Similarly to
the Chord Suggestor, the Chord Detector works by analyzing the intervals of all notes
being pressed. On each key press, the Chord Detector analyzes every subset of three
notes and tries to match them to a major or minor chord. Once the chord is detected, an
annotation with the chord name is rendered on top of the root note. The positioning of
the annotation allows the user to see which inversion of the chord was played.

Fig. 9. The Chord Detector component analyzes the keys as they are pressed in order to label
chords when they are played. This figure also shows how multiple components (ChordDetector
and KeyboardLabels) can be enabled at once.

5 Evaluation

I designed a preliminary experiment to evaluate the efficiency of the visual music

learning aspect of ARPiano. More specifically, I wanted to analyze the strengths and
weaknesses of ARPiano by asking non-piano players to try to play various melodies
without practicing them ahead of time. As a baseline comparison, I used the Synthesia
software described in Sect. 2.2.
Each participant was asked to play 4 songs in total, 2 using ARPiano, and 2 using
Synthesia. I chose the following songs: Twinkle twinkle (easy difficulty, both parts),
Beethoven’s Ode to joy (easy difficulty, both parts), Beethoven’s Für Elise (medium
difficulty, melody only), and Bach’s Minuet in G (medium difficulty, melody only).
The songs were chosen because of their popularity and varying degrees of difficulty.
 ARPiano Efficient Music Learning Using Augmented Reality 13

For each participant, the starting method (ARPiano or Synthesia) and song pairing
(one from each difficulty level) was randomly selected such that each song got
played an equal amount of times on each method.
Users were briefly instructed on how to use each method and played a short chromatic
exercise using the method in order to make sure they understood how to use the method
correctly. After the method tutorial, each user played two songs using the selected
method, filling out a quick survey in between songs.
After the first method was completed, the same exercise was conducted with the
other method and the other two songs.

5.1 Study Results

I conducted this study with 14 participants (11 Female, 2 Male, 1 Agender) aged between
18–22. 57% participants had played instruments before (35.7% had played one instru‐
ment, 21.4% had played two), and exactly 50% of participants could read sheet music.
None of the participants reported having played the piano before.
All participants agreed (7.1%) or strongly agreed (92.9%) that they “found ARPiano
fun to use”. In comparison, 35.5% of participants agreed (28.6%) or strongly agreed
(7.1%) that they “found Synthesia fun to use”. 35.5% of participants agreed that they
would use Synthesia again to learn piano while 85.7% of participants agreed (21.4%) or
strongly agreed (64.3%) that they would use ARPiano again. 85.7% of participants
agreed (35.7%) or strongly agreed (50%) that “ARPiano was intuitive to use” while only
42.8% of participants agreed (21.4%) or strongly agreed (21.4%) that “Synthesia was
intuitive to use”.
After each performance, participants were ask to rate their performance based on
their initial expectations. 78.57% of ARPiano players reported performing about the
same (42.85%) or better than (25%) or much better than (10.72%) what they originally
expected. In comparison, only 21.4% of Synthesia players reported performing about
the same (14.3%) or better than (7.1%) what they originally expected, with 46.4% of
them performing “much worse than” what they expected.
On average, users performed better using ARPiano and commented on the conven‐
ience of having the note sprites land on the corresponding physical key instead of on a
virtual keyboard on the monitor. One participant was even able to play both songs (Ode
to Joy and Bach Minuet) with fewer than 2 errors in each. Interestingly, for song sections
with consecutive notes (key-wise), participants were often able to play the melodies
correctly with both methods. However, ARPiano performed much better in sections
where the notes were not consecutive. With Synthesia, users often missed any jumps in
the notes because they were unable to determine how far to move their hand to hit the
correct note and there was not enough time to look back and forth between the keyboard
and the monitor. With ARPiano, users were able to see exactly where their hand should
move to without having to look away from the keyboard.
It should be noted that the limited field of view of the Hololens made it difficult to
play notes that were more than an octave an a half away from each other. For example,
there is a section of Für Elise where a single high note must be played. All ARPiano
players missed the jump since they could not see the note coming into the keyboard.
14 F. Trujano et al.

Synthesia players saw the jump, but usually hit the wrong note. These types of mistakes
should decrease as AR technology improves.

6 Challenges

While ARPiano was designed to overcome many Hololens specific challenges, there
were still different challenges to overcome in order to make ARPiano a reality. These
include UI specific challenges when working with AR, imperfect Vuforia tracking and
a lack of a music theory background.
For ARPiano all UI Elements must be relative to the keyboard. This means that to
move something to the right it is not sufficient to move it in it’s x direction as the
definition of “right” depends on the initial position and rotation of the keyboard. I solved
this by exposing the position, rotation, and directional vectors (forward, up, right) of the
physical keyboard to other classes, and making all UI elements relative to that. However,
this was not always sufficient as the Vuforia markers provided imperfect tracking.
For the most part, the Vuforia marker positioning was accurate to a centimeter which
was good enough for the purposes of positioning objects relative to the keyboard. The
rotation of the markers however, was not as accurate and caused issues with some UI
elements, such as the piano roll in the Song Tutorial component. To support tilting of
the piano roll, I initially rendered the piano roll vertically and rotated it around the right
vector of the keyboard. I then moved the entire piano roll in a vector such that the first
note would hit it’s correct position. In theory, this should make all notes hit the correct
position. However, due to small imperfections on the axis of rotation (i.e., the rotation
of the keyboard as determined by the Vuforia markers) a small drift was introduced and
the Tutorial Notes quickly became out of place, making it impossible to continue playing
the song. I solved this challenge by expanding the Tutorial Note Class and making each
note move towards its end location individually of all other notes. This effectively
cancels out the imperfections on the rotation and guaranteed that all notes would always
hit the correct spot on the keyboard.
This project required a surprising amount of knowledge of music theory. I had to
familiarize myself with the underlying music theory to be able to implement components
such as the Chord Detector. Some helper functions, particularly those in the keyboard
class pertaining to the structure of notes in the keyboard, are written naively and inef‐
ficiently. While these do not have an adverse effect on performance, I’m sure I could
find a more elegant way to write them if I had a stronger music theory background.

7 Future Work

ARPiano explores the different applications and benefits that an augmented instrument
can provide. These applications range from music learning to music visualization and
understanding. As it stands, with its various Keyboard Components, ARPiano is able to
show the potential of an augmented keyboard to the above applications. However, the
possibilities of an augmented instrument are far greater than those implemented in the
current version of ARPiano.
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 ‘Faint heart never won fair lady,’ she said. ‘I know she likes you.’
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promise of your love.’
‘I have no love to give you. If you could see into the bottom of my
heart, you would be horrified at its emptiness. The warmest feeling I
have is gratitude to my friends the Dulcimers. Yes, I think that is the
only human feeling you would discover in my heart. That is why I like
to live among these books. They are a world in themselves. They
give me delight, and ask no love in return.’
‘But I am not like the books, Beatrix; I ask for your love, and I shall
not be easily denied.’
And then he told her his dream about Culverhouse Castle. How
she was to reign there—not like his mother, in silence and seclusion,
but in all the power of youth, beauty, and wealth, a queen of county
society, the centre and focus of a happy world of her own, loved,
admired, and revered.
‘I,’ exclaimed Beatrix—‘I, who have been suspected of poisoning
my father?’
‘That shameful slander has never penetrated beyond this
contemptible hole,’ said Kenrick, very disrespectful to Little Yafford in
the warmth of his indignation. ‘For God’s sake, Beatrix, do not let
that foul scandal weigh in your mind. Perhaps that is the reason you
reject me,’ he added, slow to believe that he had been mistaken
when he fancied himself beloved.
‘No,’ answered Beatrix, ‘but the only man I ever loved rejected me
for that reason.’
‘Oh,’ said Kenrick, deeply mortified.
After this confession he could no longer doubt that he had
mistaken Beatrix’s feelings towards him. He was silent for some
minutes, and then he exclaimed suddenly,—
‘That man was my cousin Cyril?’
‘He was.’
‘Then my cousin Cyril is a mean hound.’
‘Do you want me to hate you?’ cried Beatrix, angrily. ‘He is not
mean. He is all that is good and noble. Why should his pure life be
sullied by the taint that has fallen upon mine? He, a clergyman, could
not afford to take a wife whom men have suspected of evil. He is like
Cæsar. His wife must be above suspicion. He loved me once. He will
love me always, perhaps, a little better than all other women, as I
shall love him to the end of life above all other men. But he has
chosen something better in this life than a woman’s love. He has
given himself to the service of God. No unholy thing must come
within the veil of the temple. Nothing stained, not even with the
suspicion of sin, must enter there. A priest’s wife must be spotless.’
‘If he could suspect you,’ exclaimed Kenrick, vindictively, ‘he is
unworthy——’
‘Oh, for pity’s sake do not suggest that,’ interrupted Beatrix. ‘I
cannot believe that he could suspect me, having once known and
loved me. It was not his suspicion, but the evil thoughts of others,
that parted us.’
‘Then he is a coward,’ cried Kenrick, honestly angry. ‘A man’s
choice of his wife is a question of life or death for himself. He is both
craven and fool if he allows other people to be the arbiters of his
fate.’
 ‘But you do not understand,’ urged Beatrix, pleading for the man
who had broken her heart. ‘It is his office——’
‘His office be——’
He might have said something very shocking if Mrs. Dulcimer had
not come in at this moment. She found Beatrix in tears, and Kenrick
pacing up and down the room with a distracted air. These two facts
indicated that something decisive had happened, and Mrs. Dulcimer
saw from Kenrick’s face that the something was of an unsatisfactory
nature.
‘How provoking!’ she thought. ‘It really seems as if no plan of mine
is to succeed.’
Beatrix did not appear at the tea-table. She sent an apology by
Rebecca. She had a headache, and would go to bed early. Kenrick
was absent-minded, and out of spirits. The meal, usually so cheerful,
was eaten in silence; Mr. Dulcimer had picked up a queer little
seventeenth century copy of Boileau at Great Yafford that morning,
and looked at the tail-pieces and initials as he took his tea.
‘Stop and smoke your cigar here, Ken,’ said Mrs. Dulcimer when
tea was over, and Sir Kenrick was about to follow his host to the
library.
‘But don’t you dislike smoke in this room?’
‘Not for once in a way. Your cigars are very mild, and Rebecca will
air the room well to-morrow morning. I want to have a chat with you.’
‘Delighted,’ said Kenrick, sitting down opposite Mrs. Dulcimer’s
work-table.
He had a shrewd suspicion of what was coming, but he felt that it
would comfort him to pour his woes into a friendly ear. He knew very
well that Mrs. Dulcimer had set her heart upon his marrying Miss
Harefield.
‘What had you been doing to make Beatrix cry?’ asked the Vicar’s
wife, coming straight to the point.
‘I had asked her to be my wife.’
 ‘What, they were tears of joy then?’ cried Mrs. Dulcimer.
‘Quite the contrary. She had rejected me flatly.’
‘Oh, Kenrick! But why?’
‘She did not condescend to enter very minutely into her reasons,
but I believe the principal one is that she doesn’t care for me.’
‘Oh, Kenrick,’ cried Mrs. Dulcimer, in exactly the same tone as
before. ‘What a pity!’
‘Yes, it’s regrettable. If my first thought were her fortune and the
good it would do to Culverhouse, I should deserve my fate. But that
is only my second thought. I love her very dearly. If she were the
poorest little nursery governess in the county I should love her just
the same, and would take her back to India with me, and work for
her and be happy with her all the days of my life.’
‘But her money would pay off those mortgages; as Lady
Culverhouse she would have a leading position in your part of the
country.’
‘She would be admired and adored,’ said Kenrick.
‘It would be in every way such a suitable match,’ protested Mrs.
Dulcimer, a remark she was in the habit of making about every pair
of young people whose footsteps she wished to direct to the
hymeneal altar. ‘Really human nature is very perverse.’
She remembered how ignominiously she had failed in her desire
to benefit Cyril and Bella; and here was this more important scheme
apparently doomed to failure.
‘It is very difficult to serve one’s fellow-creatures,’ she said
presently. ‘But this is not a business to be given up lightly, Kenrick.
This foolish girl is Mr. Dulcimer’s ward, and it is his duty to see her
advantageously settled in life. Now Clement is the very last man to
think of such a thing. He considers he has done his duty when he
has given Beatrix the run of his library.’
‘Yes,’ said Kenrick. ‘It is dear Dulcimer’s only fault to consider
books the beginning, middle, and end of life.’
 ‘Something must be done,’ declared Mrs. Dulcimer, with a sudden
accession of energy. ‘Beatrix ought to marry, and she ought to marry
a man of position. I cannot imagine a more suitable husband than
yourself. Come, Kenrick, be frank with me. You have not told me
everything. There must be some other reason. Don’t you remember
an admission Beatrix made at that dreadful inquest? There was a
love affair of which her father disapproved. Nothing but a prior
attachment could prevent her accepting you. I feel convinced it must
be that.’
‘It is that,’ answered Kenrick. ‘You can keep a secret, I suppose,
Mrs. Dulcimer?’
‘My dear Kenrick, I have kept hundreds.’
This was true, but Mrs. Dulcimer forgot to add how short a time
she had kept them. The Vicar’s wife’s secret of to-day was the town-
crier’s secret of to-morrow.
‘Then I’ll trust you with the clue to the mystery. There is a prior
attachment—to my cousin Cyril.’
‘Good heavens!’ exclaimed Mrs. Dulcimer. ‘Then that is why he
was so indifferent to poor Bella Scratchell, the very girl for him.’
‘He is a contemptible cur,’ said Kenrick.
He went on to abuse his cousin roundly. It was a good thing for
him, no doubt, that Cyril had behaved so badly, for it gave Kenrick
just the chance that Beatrix would put the false lover out of her mind
and marry the true one. He told Mrs. Dulcimer everything.
‘Something must be done,’ she said finally, and she made up her
mind that she, Selina Dulcimer, was the right person to undertake
the task.
 CHAPTER XII.
something must be done.
Before Sir Kenrick’s leave came to an end Mrs. Piper had gone to
the land where there are no sordid cares, no gnawing doubts as to
the honesty of servants, no heart-corroding regrets at the
wastefulness and expenditure of a large household. Mrs. Piper had
gone to that undiscovered country where we may fairly hope that for
those who have lived harmlessly upon earth all is peace. Mr. Piper
drove his smart little pony cart about the country roads and through
the village street as usual, but he wore an altered countenance and
crape to the top of his tall hat. He no longer had a noisy greeting for
every one, no longer quoted Jeremy Bentham or William Cobbett.
Never was widower more disconsolate than Ebenezer Piper.
Honestly and truly he mourned the careful partner of his youth and
maturity.
‘There wasn’t a finer girl in Great Yafford when me and she was
married,’ he said dolefully, after a brief eulogium of his faithful
Moggie’s domestic virtues.
Mrs. Piper’s monument was to be the glory of the village
churchyard. Mr. Dulcimer was too indulgent and easy to insist upon a
rigid æstheticism in the memorials which the living erected in honour
of the dead. There was a good deal of bad taste in God’s Acre at
Little Yafford, but Mr. Piper was destined to put the cap on the edifice
by the gaudiest and most expensive mausoleum that ever the chief
stonemason of Great Yafford had devised or executed.
It was to be a sarcophagus of the jewel casket shape, with four
twisted columns, like candlesticks, at the corners, and a tall urn
surmounting the lid. Each of the columns was of a different coloured
marble, the urn was dark red serpentine, with a malachite serpent
coiled round it. The urn was supposed to contain Mrs. Piper’s dust,
the serpent indicated that physicians and doctors’ stuff had not been
wanting in the effort to keep Mrs. Piper longer upon earth. Scattered
over the fluted lid of the sarcophagus were to be flowers sculptured
out of coloured marble, and cemented on to the white groundwork.
The sides of the sarcophagus were to be decorated with shields,
richly emblazoned with the Piper arms. Mr. Piper’s arms were his
own composition; his crest a ladder; his motto, Ex sese.
Altogether the monument was to be a wonderful thing, and Mr.
Piper felt a pride in contemplating the sketches which the mason had
caused to be made, and in picturing to himself the effect of the whole
when this great work of art should be finished.
The Piper children, in black frocks, and in a state of semi-
orphanage, were a little more troublesome than they had been in
coloured frocks, and with an invalid mamma as a court of appeal.
They brought the ghost of their lost parent into every argument.
‘I’m sure ma wouldn’t have wished me to learn three verbs in one
morning,’ said Elizabeth Fry.
‘I think ma would have let me off my lessons if I had a sick
headache,’ remonstrated Mary Wolstencroft.
‘I shall do my duty to you whether you like it or no,’ said Bella,
resolutely.
‘Ah, you’d better take care!’ cried Brougham. ‘Ma’s in heaven,
where she can see everything you’re up to, and won’t she make it
disagreeable for you when you get there! If you ever do,’ added the
boy, in a doubtful tone; ‘but I don’t think you stand much chance if
you go on making our lives a misery with Latin grammar.’
Now that poor Mrs. Piper had laid down her load of earthly care,
Miss Scratchell restricted her visits to the Park to purely professional
limits. She entered the schoolroom punctually at nine, and she left it
as punctually at half-past one. She no longer assisted at the
children’s early dinner, a meal which Mr. Piper, when at home,
shared under the name of luncheon. Bella had a keen sense of the
proprieties, and did not care to sit down to luncheon with a
disconsolate widower, or to give Mr. Piper any opportunity to pour his
griefs into her ear, as he would fain have done very often. Mr. Piper
was of a soft and affectionate nature, and when he told his griefs to a
young woman he could not refrain from taking her hand, and even
occasionally squeezing it. This Bella could not possibly permit. She
therefore carefully avoided all conversations about the late Mrs.
Piper, and, as far as was practicable, she avoided Mr. Piper himself.
‘It seems very ’ard,’ complained the widower, ‘that the time when a
man feels lonesomest is a time for everybody to avide him. You
might as well stop, Miss Scratchell, and eat your bit of dinner with
me and the children. You won’t get lamb and sparrowgrass at home.’
‘I know I shall not,’ replied Bella; ‘but I would rather not stay, thank
you, Mr. Piper.’
‘Why not?’
‘My mother wants me at home.’
‘She can’t want you more now than she did when pore Mrs. P——
was alive. You never refused to stop then.’
‘I did not like to refuse dear Mrs. Piper, when she was an invalid,
and wanted every one’s sympathy.’
‘You’re a good-’earted girl,’ said Piper, approvingly. ‘I know what
your motive is. You think it ain’t proper to eat your bit of dinner with
me, now I’m a widower, though there’s all the children to keep you in
countenance. You think it might set the old tabbies up street talking.’
‘It certainly does not require much to do that,’ replied Bella,
smiling. ‘But I really am wanted at home, Mr. Piper, and I mustn’t
stop talking here. I am going to drink tea at the Vicarage this
evening.’
‘Ah!’ sighed Air. Piper, ‘you’re a rum girl. It seems to me that
everybody wants you. I shall send you round a bundle of my early
sparrowgrass.’
‘Pray don’t take the trouble.’
‘Yes, I shall. It costs me about eighteen-pence a stick, so
somebody may as well have the enjoyment of it. But ’orticulture is
my ’obby.’
 It must be observed that although Mr. Piper was a student of
Cobbett, and had taught himself a little Latin, he had never been
able to conquer the mysteries of his own tongue. He still spoke as
bad English as in the days when he was a factory hand, and had
never read a passage of Cobbett’s strong racy prose, or pondered
over a thesis of Bentham’s.
Bella and Beatrix were good friends still, but not such friends as
they had been a year or even six months ago. There was a restraint
on both sides. Beatrix could not have told why it was, but it seemed
to her that there was a change in herself, and a still greater change
in Bella. Bella knew very well what it was that made her
uncomfortable in Miss Harefield’s society. It was the sealed letter in
its hiding-place in Bella’s shabby old bedroom. That sealed letter
weighed like a load of iron upon Bella’s conscience when she found
herself in Beatrix’s company; and yet she was glad that she had
done this thing, if it had been the means of parting Cyril and Beatrix.
She would like to have seen them parted even more irrevocably,
so that under no circumstances could time or chance bring them
together again. She was in this temper of mind when she went to
spend the evening at the Vicarage, after her little talk with Mr. Piper
in the stone portico at the Park.
It was about a week since Sir Kenrick had made his offer and had
been rejected. He had taken a wonderful fancy to fishing for pike
after that catastrophe, and had brought home some very handsome
specimens of that ravenous tribe, for the Vicarage cook to stuff and
bake, and serve with savoury sauces for the three o’clock dinner.
‘I think I shall have to protest, like the highland gillies when they
got too much salmon, if Kenrick goes on bringing home pike in this
way,’ said Mr. Dulcimer, when the cover was lifted and the hungry-
jawed scaly monster appeared before him.
Kenrick was off in the early gray to his fishing grounds, so he and
Beatrix only met of an evening. He was very polite to her, and
evidently bore no malice. Hope was not altogether extinguished in
his breast. He had much confidence in Mrs. Dulcimer, who had said
that something must be done. Kenrick had not the faintest idea what
this inveterate match-maker meant to do, but he felt that her
friendship would stick at nothing which a clergyman’s wife might do
without peril to her soul.
‘Bella,’ said Mrs. Dulcimer after tea, ‘I want to show you the things
I’ve made for the missionary basket. You might be able to help me a
little, perhaps.’
‘I shall be delighted, dear Mrs. Dulcimer,’ answered Bella, inwardly
lamenting that it had pleased God to call her to that station of life in
which her friends always felt themselves justified in asking her to
work for them.
A young woman of fortune like Miss Harefield might be as idle or
as selfish as she pleased. Nobody ever thought of asking for
payment in kind for any favour they showed her; but everybody who
did any kindness to penniless Bella Scratchell wanted to extort
recompense for his or her civility in needlework or some sort of
drudgery.
‘Come up to my room and look at the things, dear,’ said Mrs.
Dulcimer; and then it occurred to Bella that her hostess had
something particular to say to her. She had heard from Cyril that day,
perhaps, or had got news of him by a side wind. Bella’s heart beat
ever so fast at the idea.
They went up to Mrs. Dulcimer’s bedroom, a large old-fashioned
chamber, with an immense four-post bedstead and flowery chintz
curtains, a muslin-draped dressing-table, adorned with a great many
china pots, and a pin-cushion that was a noteworthy feature. Mrs.
Dulcimer’s devotional books—with a great many markers in them,
looking as if they were read immensely—were arranged on either
side of the looking-glass. She used to read Taylor’s ‘Holy Living’
while Rebecca put her hair in papers of an evening. She did not read
the ‘Holy Dying.’ It seemed a great deal too soon for that.
There was a bright fire, and the chintz-covered sofa was wheeled
in front of it. Between the fire and the sofa was Mrs. Dulcimer’s work-
table, and on the table the missionary basket full of ingenious trifles,
useful or useless. Babies’ socks, muffatees, pincushions of every
shape and design, and a variety of the aggravating family of mats.
‘Bella,’ said Mrs. Dulcimer, when they were seated on the sofa, ‘I
have something particular to say to you.’
And then the Vicar’s wife told Bella her plan for marrying Kenrick
and Beatrix, and how Beatrix had refused Kenrick on account of her
attachment to his cousin.
‘Isn’t it a pity, Bella?’ she asked, after lengthily expounding all this.
‘Yes,’ answered Bella, looking thoughtful, ‘they would have suited
each other very well, I should think.’
‘Think!’ cried Mrs. Dulcimer. ‘There’s no thinking about it. They
were made for each other.’
Mrs. Dulcimer’s couples always were made for each other. It is
odd how many of them turned out misfits.
Bella was reflecting that if Beatrix were happily married to Sir
Kenrick Culverhouse, her sin about the sealed letter would weigh
less heavily on her conscience—or, indeed, need not weigh at all.
What can any one ask more than happiness? And, in the eye of the
world, Kenrick was a much more suitable husband for a young
woman of fortune than Cyril could possibly be.
‘Now I have been thinking,’ continued Mrs. Dulcimer, sinking to a
mysterious undertone, ‘that perhaps if Beatrix could be made to think
that Cyril was fickle and inconstant, and that before he left Little
Yafford he had got to care for someone else—you, for instance,’
whispered Mrs. Dulcimer, making a little stab at Bella with her
forefinger, ‘it might cure her of her foolish attachment to him. It is
ridiculous that she should go on caring for a man who doesn’t love
her, when there is a noble young fellow who does love her
passionately, and can make her Lady Culverhouse. If she could only
be made to think that Cyril was fond of you, Bella, without actual
falsehood,’ concluded Mrs. Dulcimer, with a strong emphasis upon
the qualifying adjective, as much as to say that in so good a cause
she would not mind sailing rather near the wind.
 ‘I’m sure I don’t know how it is to be done,’ said Bella, with a
meditative air. ‘Beatrix is so self-opinionated. It is not as if she were a
weak-minded pliable girl. She is as hard as rock.’
‘But you are so clever, Bella. You could manage anything. If I were
to say now that I always thought Cyril was very fond of you—and I
did think so for a long time, as you know, dear—and if you were to
say something that would sustain that idea. We need neither of us
tell an actual story.’
‘Of course not,’ answered Bella, piously. ‘Do you suppose I would
tell a story, dear Mrs. Dulcimer?’
‘Indeed no, my love. I know how truthful you are.’
Thus it was agreed between the Vicar’s wife and her ductile
protégée that, somehow or other, Beatrix was to be persuaded that
her lover had been doubly false to her; false in abandoning her
because evil tongues maligned her, false in preferring another
woman.
 CHAPTER XIII.
‘a smile of thine shall make my bliss.’
By what serpentine twists and windings Bella Scratchell reached the
end she had in view need not be recorded. She was by nature a
creature of many curves, and all her progress in life was devious and
indirect. Enough that she succeeded in making Beatrix Harefield
believe her lost lover false and fickle, and thus undermined the girl’s
respect for the man who had renounced her. So long as Beatrix
could believe that Cyril had sacrificed his heart’s desire to his duty as
priest and teacher, she would have continued to reverence and love
him. Present or absent, he would have remained the one central
figure in her life. From the moment she was persuaded to think him
the shallow lover of a day—or indeed, worse than this, a lover who
had been drawn to her by the lure of her wealth, and who at the
bottom of his heart had always preferred Bella’s lilies and roses—
from that moment she despised him, and concentrated all the forces
of her mind in the endeavour to forget him.
‘I will never pray for him or his work again,’ she vowed to herself,
and the vow had all the savagery of a pagan oath. ‘His name shall
never pass my lips or find a place in my heart. It shall be to me as if
such a man had never lived.’
From this time there was a marked change in her manner. It was
brighter, gayer, harder than it had been before. That mournful
resignation which had distinguished her since her father’s death
gave place to a proud indifference, a careless scorn of all things and
all men, save the few friends she liked and trusted. That disgust of
life which attacks most of us at odd times, and which sometimes
afflicts even the young, had seized upon her. All things in this world
were hateful to her. Solomon, sated with wealth and glory, could not
have felt the emptiness of earthly joys more deeply than this girl of
nineteen, whose lips had scarcely touched the cup of life. She knew
herself rich, and with all good things at her disposal—beautiful
enough to command the love of men; and yet, because that one man
whom she loved had proved false and unworthy, she turned with a
sickened soul from all that earth held of hope or pleasure. Unhappily
she had not yet learned to look higher for comfort. She was not
irreligious. She firmly believed all her Church taught her to believe,
but she had not learned, like Hezekiah, to lay her trouble before the
Lord. She locked up her grief in her own heart, as something apart
from her spiritual life; and she went on conforming outwardly to all
the duties of religion, but deriving no inward solace from her faith.
Beatrix was in this mood when Mrs. Dulcimer, delighted at Bella’s
speedy success, but opining, nevertheless, that something more
must be done, was seized with a happy idea.
‘Kenrick,’ she exclaimed at tea one evening, when Kenrick had
announced his intention of going to have one more peep at
Culverhouse Castle before he embarked on board the P. and O.
steamship that was to carry him on the first stage of his journey to
India—‘Kenrick,’ cried Mrs. Dulcimer, with an excited air, ‘I really
think it is the oddest thing in the world.’
‘What, dear Mrs. Dulcimer?’ asked Kenrick, while everybody else
looked curious.
‘Why, that after knowing you all these years, and hearing you talk
so much about Culverhouse Castle, we should never have seen it.’
‘I don’t know whom you mean by we,’ said Mr. Dulcimer, ‘but I beg
to say that I spent three weeks at Culverhouse in one of my long
vacations, and a capital time I had there. The Avon is one of the
finest salmon rivers I ever fished in.’
‘Ah, that was in Kenrick’s father’s time,’ said Mrs. Dulcimer; ‘but
though you may be perfectly quainted with the place, Clement, I
have never seen it.’
‘That is your own fault,’ exclaimed Kenrick. ‘Nothing would make
me happier than to receive you there. It would be something in the
style of the famous reception at Wolf’s Crag, perhaps, especially if it
were in the close time for salmon; but you should have a hearty
welcome, and I shouldn’t feel my position so keenly as the Master of
Ravenswood felt his.’
‘There would be no Lucy Ashton in the case,’ put in the Vicar,
innocently.
‘And should we really not put you out if we came?’ asked Mrs.
Dulcimer.
‘Not the least in the world. You would have to live as plainly as
Eton boys, that is all. My housekeeper can roast a joint and boil a
potato. I think she might even manage a bit of fish, and a rhubarb
tart. We would not quite starve you, and I know you would be
charmed with the dear old place; but if you are coming you must
make up your minds very quickly. My time is up on the 24th.’
‘We could make up our minds in half an hour, if Clement would
consent,’ answered Mrs. Dulcimer, ‘It would be such a delightful
change for Beatrix. Mr. Namby has been recommending her a
change of air and scene for ever so long; and it is much too cold for
the sea-side. A week in Hampshire would do her a world of good.’
‘Pray do not think of me,’ said Beatrix, ‘I had rather go home while
you are away.’
‘I thought this was your home now, Beatrix,’ remonstrated the
Vicar.
‘It is the only house that has ever seemed like home,’ the heiress
answered, sadly.
‘Of course you will go with us, if we go,’ exclaimed Mrs. Dulcimer.
‘You are our adopted daughter, and we expect you to go everywhere
with us. We don’t even consult you. It is quite a matter of course. I
have set my heart on seeing Culverhouse Castle, and the visit will be
the very thing to do you good. I am sure Mr. Namby would say so if I
asked him about it. So, Clement dear, if you would let Mr. Rodger do
duty for just one Sunday, we might spend ten days at Culverhouse
very easily.’
Mr. Rodger was the new curate, a painstaking youth, with sandy
hair and a large round face like the setting sun.
 Mr. Dulcimer was at first disinclined to listen to his wife’s
suggestions. The journey was long and expensive, and there
seemed to be no justifiable reason for undertaking it; but the Vicar
was an indulgent husband, and he was very fond of salmon fishing,
so the discussion ended by his giving his consent, and it was
arranged that he and the two ladies should join Sir Kenrick at the
castle two days after the young man’s arrival there.
Beatrix consented to go to Culverhouse, just as she would have
consented to go to Buxton, Harrogate, or Scarborough, if Mrs.
Dulcimer had wished her to go there. That disgust of life which had
taken possession of her, since the overthrow of her faith in Cyril, left
her indifferent to all things. She let her maid pack a portmanteau,
and get all things ready for the journey. The girl, Mary, who had
waited upon her at the Water House, had accompanied her to the
Vicarage. She was not an accomplished attendant, but she was
faithful, and Beatrix liked her.
Culverhouse Castle was six miles from a railway station; one of its
chief merits, as Kenrick asserted proudly. He was standing on the
platform when the train arrived, and received his guests with as
much enthusiasm as if he had not seen them for a year or so. He
had a carriage ready to drive them across to Culverhouse.
It was a lovely drive in the spring evening, the sun setting behind
the wooded hills, and all the soft rustic scene steeped in warm yellow
light. Culverhouse was on the edge of the New Forest, and the road
from the station to the castle went through a region of alternate
pasture and woodland. Meadows and banks were yellow with
primroses; the earliest ferns were showing their tender green; the
dog-violets shone like jewels amongst the grass; and the woods
were full of white wind-flowers that shivered at every whisper of the
April breeze. To Beatrix it all seemed very lovely. She breathed more
freely in this unknown world, where nobody had ever spoken evil of
her. There was an infinite relief in having left Little Yafford.
When Culverhouse Castle rose before them on the other side of
the river, Beatrix thought it the loveliest place she had ever seen.
The Avon widened to a smooth lake, and beyond it rose the grave
old Gothic towers, like a castle in a fairy tale. Beatrix turned to
Kenrick, with the kindest smile she had ever bestowed upon him.
‘It is a delicious old place,’ she exclaimed. ‘I cannot wonder that
you are proud of it.’
Kenrick was delighted. His face glowed with pride of race and love
for the house of his birth. They were driving through the little village
street, all the old men and women, young men and maidens, doing
them obeisance as they passed. Then they crossed the bridge and
drove under the gateway, which was a couple of centuries older than
the castle itself, and a minute later Kenrick passed into the banquet-
hall of his ancestors, with Beatrix on his arm. He had offered his arm
to Mrs. Dulcimer, but that match-making matron had bidden him take
care of Miss Harefield, so he had the happiness of leading Beatrix
across the threshold. ‘Jest as if they’d been married and he’d been
a-bringin’ she home,’ old Betsy Mopson said afterwards to her
husband, gardener and man-of-all-work. ‘Her be a rare beauty, her
be.’
Kenrick had done wonders in his two days of preparation. He had
got in a brace of apple-faced young women, from the village, one a
housemaid out of place, the other her younger sister, still on her
promotion, but ready to do anything she was bidden. The old rooms
had been furbished up. Traces of decay were still visible in every
part of the house, but dust and cobwebs had been swept away, and
a general air of freshness and purity pervaded the good old rooms.
Beatrix was enraptured with everything. She seemed to forget her
sorrows amidst these new surroundings. Her life had been spent in a
prison-house, and this first taste of liberty was sweet. After all,
perhaps, even for her, deserted and cast off by the one man she had
ever loved, life held something worth having.
Kenrick led his young guest all round the ruins next morning,
before breakfast. They were both early risers, and had found each
other in the garden before Mr. and Mrs. Dulcimer had left their
rooms. They went into the cloistered quadrangle, where the roses
flourished in summertime, and where now the wallflowers flashed
golden and ruby upon the old gray stones, with colours as vivid as
the stained glass that had once filled the place with rainbow light.
Kenrick showed Beatrix the plan of the vanished abbey—the nave
here, the transept there, the chancel and apse beyond. Everything
was indicated by stones embedded at intervals in the close-cropped
turf, where the sheep browsed happily, unconscious of the sanctified
splendour that had preceded them, the white-robed choir, and
swinging censers, the banners and jewelled crosiers that had passed
beneath the Gothic arches which had once spanned that fair
pasture. Kenrick seemed as sorry for the evanishment of the abbey
as if he had been a papist of the deepest dye.
‘It is dreadful to think that a great part of the house is built out of
the abbey stones,’ he said. ‘I sometimes wonder it doesn’t tumble on
our heads. But tradition says the monks of Culverhouse were lazy
and ignorant, and that there was only one book, an ancient treatise
upon Hunting and Fishing, found in this abode of monastic learning,
when its treasures were confiscated.’
Beatrix had explored every inch of the grounds before the long-
disused gong, which in days past had called poor lonely Lady
Culverhouse to her anchorite repasts, sounded hoarsely from the
hall. Mr. and Mrs. Dulcimer were standing in the porch, scenting the
morning air, when Kenrick and his companion went in.
‘How well the dear girl looks!’ said the Vicar’s wife; ‘the change
has done her good already. You are enjoying Culverhouse, are you
not, Beatrix?’
‘I am very glad to be away from Little Yafford,’ Beatrix answered,
frankly.
‘In that case you ought never to go back,’ said Kenrick.
‘What a selfish remark!’ exclaimed Mrs. Dulcimer, hypocritically.
‘How do you suppose I am to exist without Beatrix, after having had
her as my adopted daughter for the last three months?’
‘What do you think of the weather for salmon-fishing?’ asked the
Vicar, contemplating the bright blue sky with a discontented look that
was hardly becoming in a Christian. ‘We could do with a little more
cloud, couldn’t we, Ken? But, as time is short, we must make the
best of things. I shall expect you to set off with me directly after
breakfast.’
‘I shall be delighted,’ answered Kenrick; but he did not mean to
give up his day to salmon-fishing.
He contrived to set the Vicar going, in a spot where there was
every chance of good sport, and then, under the pretence of having
orders to give about the dinner, ran home across the low-lying water
meadows like a boy let loose from school. He found Mrs. Dulcimer
expounding the chief features of the mansion—which she had never
seen before—to Beatrix, while Betty Mopson stood by in attendance
upon them, and made a running commentary, in a Hampshire
dialect, which was like a foreign language to the strangers from the
north.
‘Hah! Lady Culverhouse wur a good ’ooman,’ said Mrs. Mopson.
‘Thur bean’t many like she. This be the room where hur died. Her
wur a rale lady. And Sir Kenrick, him takes after she.’
Kenrick came in time to hear his praises. He sent Betty back to her
kitchen.
‘We shall not get a decent luncheon if you waste all your morning
chattering here, Betty,’ he said, and Betty departed, grinning and
ducking, and with a fixed idea that the young lady with the dark
‘haiyur,’ was to be the next Lady Culverhouse.
Kenrick spent a happy day in attendance upon the two ladies. He
forgot everything, in the intoxicating delight of the present, forgot that
this holiday in life was to be of the briefest, and that a fortnight hence
he was to be tossing off Gibraltar in a Peninsular and Oriental
steamer. Beatrix seemed happy also, or, at least, she appeared to be
in a condition of placid contentment which was not unpromising.
The Vicar was successful with his rod, and came home radiant.
Betty Mopson had surpassed herself in the preparation of a
substantial English dinner. Everything went smoothly and well with
Sir Kenrick.
Next day he carried off his guests to see some of the lions of the
neighbourhood—a fine old abbey church sorely neglected—a castle