It is typical of the human butterfly Saxham dealt with, that his clothes pleased Margot. She liked their characteristic mingling of elegance with simplicity. Some fashionable doctors got themselves up like elderly bloods, others affected garments dating from the year One. There was neither perfume upon Saxham's handkerchief nor flue upon his coat-sleeve. His shirt of soft white cashmere, his slightly starched linen cuffs and narrow double collar were fastened with plain buttons of mother o' pearl, the black silk necktie was blameless of pin or ring. The handsome gold chronometer he carried because it had been presented to him by the Staff and patients of St. Teresa and St. Stanislaus. The chain attached to it—rather worn and shabby now—was of woven red-brown hair.
The hair of his wife. A creamy-pale Niphetos rose stood where her hands had placed it near his writing-pad, in a tall, slender beaker of green-and-gold Venetian glass. His eyes drank at the beauty of the lovely scarce-unfolded blossom. Perhaps the resemblance of the fair flower to the beloved giver softened the lines of the stern square face into the smile that Margot liked, as he found her eyes again, saying:
"Perhaps I could better answer your question by telling you how another patient bore herself in—circumstances akin to yours. Will it tire you? I promise not to be unduly prolix. And to listen commits you to no course of action. Now, shall I go on?"
"I'd love you to go on!"
Always in extremes, the little wayward creature. She flushed and sparkled at the Doctor as he took from its place on his writing-table a triptych photograph-frame in gold-mounted mother-o'-pearl, folded the leaves so as to reveal but one of the portraits, and held under Margot's eyes the delicately-tinted photograph of a girl of twenty. The portrait had been taken the year following Saxham's return from South Africa with his young wife.
"How beautiful!" Margot exclaimed.
"Beautiful, as you say, but does she look happy?"
Margot wrinkled her dainty eyebrows, puzzling out the question. Did she look happy, the girl of the portrait, whose face and figure might have served one of the old Greek masters as model for an Artemis to be carved upon a gem? Well, perhaps not quite happy, now one came to look again.
The black-lashed eyes of golden hazel were full of wistful sadness, there was a faintly indicated fold between the fine arched eyebrows, much darker than the rippling red-brown hair, whose luxuriance seemed to weigh down the little Greek head. The closely-folded, deeply-cut lips spoke dumbly of sorrow, the nymph-like bosom seemed rising on a breath of weariness. Something was lacking to complete her beauty. So much was plain even to Margot. But not until the Doctor showed by the side of the first, the second portrait, did she realise what that Something was.
In the first portrait both face and figure were shown in profile. In the second, bearing a date of two years later, the beautiful, sensitive face of the young woman was turned towards you. Still rather grave than smiling, she held in her arms a sturdy baby boy of some twelve months, upon whose downy head her chin lightly rested. The clasp of her slender arms about her child, the poise of her still nymph-like figure, expressed fulness of life, buoyant energy, and happiness in fullest measure. What was previously lacking was now made clear.