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"What name?" the clerk asked briskly, after Gilbert Gildersleeve had selected his state-room from the plan, with some show of interest as to its being well amidships and not too near the noise of the engines. "Billington," the barrister answered, without a glimmer of hesitation. "Arthur Standish Billington, if you want the full name.
"Nay, elder, I am not all out a cannibal and ogre," replied the captain. "So now I will choose me Hopkins and Howland and Billington, and Eaton and Browne and Cooke and Soule, seven hearts of oak and arms of steel: it is enough." "And not one of us Fortune men, Captain?" demanded Robert Hicks, a stalwart fellow who afterward became almost a rebel to the colony's authority.
These seasons were marked by the performance of the fine operas of Winter, of some of the masterpieces of Cimarosa, and by the first introduction into England of the music of Mozart, the "Clemenza di Tito," in which Mrs. Billington and Braham appeared, having been the earliest acquaintance of the English public with the greatest of the German operatic composers.
In 1804 Grassini was engaged to sing in London alternately with Mrs. Billington. At her first benefit she sang in conjunction with the English diva in Winter's new opera, "Il Ratto di Proserpina," Billington as Ceres, and Grassini as Proserpina.
The chiefs of the colony were soon reassembled about the grotesque figures of the suffering duelists, and with their approval, the governor having demanded and received ample professions of contrition, and promises of amendment, ordered Billington to release the prisoners, who shamefacedly crept away to their master's house, and thus ended the first and for many years the only duel fought upon New England soil.
Cecilia, and one day Haydn called just as it was being finished. Haydn contemplated the picture very attentively, then said suddenly, "But you have made a great mistake." The painter started up aghast. "How! what?" "Why," said Haydn, "you have represented Mrs. Billington listening to the angels; you should have made the angels listening to her!" Mrs. Billington blushed with pleasure.
Billington realized all her property, and with her jewels and plate, of which she possessed a great quantity, departed for the land of song, taking with her Miss Madocks. She paid a bitter penalty for her revived tenderness toward Felican, for the ruffian subjected her to such treatment that she died from the effects of it, August 25, 1818.
"Why, under the new law," responded Billington "the law of which, I may say, you are the creator we shall only have to induce some innocent countryman to believe that he has heard the result of a horse-race being sent over the wire in advance of the pool rooms, and persuade him to turn over his roll for the purpose of betting it on a horse that is presumably already cooling off in the paddock and we can keep his money, for he has parted with it for an illegal or an inimical purpose to wit, cheating the bookies."
"Who has been speculating with what little money he had left, has lost his margins, and is now forced into an act of crime to protect his speculation," said Holmes. "The broker is the notorious William C. Gallagher, who runs an up-town bucket-shop for speculative ladies to lose their pin-money and bridge winnings in, and your depositor's name is Billington Rand, Esq. otherwise yourself."
Madame Mara passed her declining years teaching singing near her native place, and died at Reval, in 1833. Two years earlier, on her eighty-third birthday, Goethe offered her a poetic tribute. At a London farewell concert given by Madame Mara in 1802, she was assisted by Mrs. Elizabeth Billington, who has been ranked first among English-born queens of song.
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