Music was still the firmest bond that united her to her lover.  So long as her art remained faithful, he could not abandon her.  This conviction was transformed into certainty when the final performance began, and the Ratisbon choir, under the direction of Damian Feys, commenced the mighty hymn with which the composer, Jean Courtois, had greeted the Emperor Charles in Cambray: 

“Venite populi terrai”—­“Come hither, ye nations of the earth”—­this motet for four voices called imperiously to all mankind like a joyous summons.

“Ave Cesar, ave majestas sacra,” sounded in solemn, religious tones the greeting to the greatest of monarchs.  It seemed to transport the listener to the summit of the cathedral, as the choir now called to the ruler that the earth was full of his renown.  The Ratisbon singers and the able Feys did their best, and this mighty act of homage of all the nations of the earth by no means failed to produce its effect upon him to whom it was addressed.

While Barbara listened, deeply agitated, she did not avert her eyes from her lover’s face, which was brightly illumined by a pyramid of candles on each side of the two thrones.

Every trace of weariness, indifference, and discomfort had vanished from Charles’s features.  His heart, like hers—­she knew it—­was now throbbing higher.  If he had just been enduring pain, this singing must have driven it away or lessened it, and he had certainly felt gratefully what power dwells in the divine art.

This noble composition, Barbara realized it, would again draw her near her lover, and the confirmation of this hope was not delayed, for as soon as the last notes of the motet and the storm of applause that followed had died away, the Emperor, amid the renewed roar of the artillery, rose and looked around him—­surely for her.

The good citizens of Ratisbon!  No matter how much more bunting they had cut up in honour of the Saxon duke than of the Emperor, how bombastic were the verses composed and repeated in praise of Maurice, this paean of homage put all their efforts to shame.  It suited only one, lauded a grandeur and dignity which stood firm as indestructible cliffs, and which no one here possessed save the Emperor Charles.

Who would have ventured to apply this motet to the brave and clever Saxon, high as he, too, towered above most of his peers?  What did the nations of the earth know about him?  How small was the world still that was full of his renown!

This singing had reminded both princes of Barbara, and they looked for her.  The Emperor perceived her first, beckoned kindly to her, and, after conversing with her for a while so graciously that it aroused the envy of the other ladies in the tent, he said eagerly:  “Not sung amiss for your Ratisbon, I should think.  But how this superb composition was sung six years ago at Catnbray, under the direction of Courtois himself!—­that, yes, that is one of the things never to be forgotten.  Thirty-four singers, and what power, what precision, and, moreover, the great charm of novelty!  I have certainly been permitted to hear many things——­”