And she teased Margaret till at last she prevailed on her to come and look at it.
“Better let her be, mother,” said Kate, “How can she relish gold, with a heart in her bosom liker lead?” But Catherine persisted.
The result was, Margaret looked down at all her wealth with wondering eyes. Then suddenly wrung her hands and cried with piercing anguish, “TOO LATE! TOO LATE!” And shook off her leaden despondency, only to go into strong hysterics over the wealth that came too late to be shared with him she loved.
A little of this gold, a portion of this land, a year or two ago, when it was as much her own as now; and Gerard would have never left her side for Italy or any other place.
“Too late! Too late!”
CHAPTER XCI
Not many days after this came the news that Margaret Van Eyck was dead and buried. By a will she had made a year before, she left all her property, after her funeral expenses and certain presents to Reicht Heynes, to her dear daughter Margaret Brandt, requesting her to keep Reicht as long as unmarried.
By this will Margaret inherited a furnished house, and pictures and sketches that in the present day would be a fortune: among the pictures was one she valued more than a gallery of others.
It represented “A Betrothal.” The solemnity of the ceremony was marked in the grave face of the man, and the demure complacency of the woman. She was painted almost entirely by Margaret Van Eyck, but the rest of the picture by Jan. The accessories were exquisitely finished, and remain a marvel of skill to this day. Margaret Brandt sent word to Reicht to stay in the house till such time as she could find the heart to put foot in it, and miss the face and voice that used to meet her there; and to take special care of the picture “in the little cubboord:” meaning the diptych.