When she had gone, Lyman rose, stretching himself putting up three fingers to hide his yawn. To further loosen his muscles, he took a couple of turns the length of he room, noting with satisfaction its fine appointments, the padded red carpet, the dull olive green tint of the walls, the few choice engravings—portraits of Marshall, Taney, Field, and a coloured lithograph—excellently done—of the Grand Canyon of the Colorado—the deep-seated leather chairs, the large and crowded bookcase (topped with a bust of James Lick, and a huge greenish globe), the waste basket of woven coloured grass, made by Navajo Indians, the massive silver inkstand on the desk, the elaborate filing cabinet, complete in every particular, and the shelves of tin boxes, padlocked, impressive, grave, bearing the names of clients, cases and estates.
He was between thirty-one and thirty-five years of age. Unlike Harran, he resembled his mother, but he was much darker than Annie Derrick and his eyes were much fuller, the eyeball protruding, giving him a pop-eyed, foreign expression, quite unusual and unexpected. His hair was black, and he wore a small, tight, pointed mustache, which he was in the habit of pushing delicately upward from the corners of his lips with the ball of his thumb, the little finger extended. As often as he made this gesture, he prefaced it with a little twisting gesture of the forearm in order to bring his cuff into view, and, in fact, this movement by itself was habitual.
He was dressed carefully, his trousers creased, a pink rose in his lapel. His shoes were of patent leather, his cutaway coat was of very rough black cheviot, his double-breasted waistcoat of tan covered cloth with buttons of smoked pearl. An Ascot scarf—a great puff of heavy black silk—was at his neck, the knot transfixed by a tiny golden pin set off with an opal and four small diamonds.
At one end of the room were two great windows of plate glass, and pausing at length before one of these, Lyman selected a cigarette from his curved box of oxydized silver, lit it and stood looking down and out, willing to be idle for a moment, amused and interested in the view.
His office was on the tenth floor of the EXCHANGE BUILDING, a beautiful, tower-like affair of white stone, that stood on the corner of Market Street near its intersection with Kearney, the most imposing office building of the city.
Below him the city swarmed tumultuous through its grooves, the cable-cars starting and stopping with a gay jangling of bells and a strident whirring of jostled glass windows. Drays and carts clattered over the cobbles, and an incessant shuffling of thousands of feet rose from the pavement. Around Lotta's fountain the baskets of the flower sellers, crammed with chrysanthemums, violets, pinks, roses, lilies, hyacinths, set a brisk note of colour in the grey of the street.
But to Lyman's notion the general impression of this centre of the city's life was not one of strenuous business activity. It was a continuous interest in small things, a people ever willing to be amused at trifles, refusing to consider serious matters—good-natured, allowing themselves to be imposed upon, taking life easily—generous, companionable, enthusiastic; living, as it were, from day to day, in a place where the luxuries of life were had without effort; in a city that offered to consideration the restlessness of a New York, without its earnestness; the serenity of a Naples, without its languor; the romance of a Seville, without its picturesqueness.
As Lyman turned from the window, about to resume his work, the office boy appeared at the door.
“The man from the lithograph company, sir,” announced the boy.
“Well, what does he want?” demanded Lyman, adding, however, upon the instant: “Show him in.”