This was the colorless beginning of a friendship that was destined speedily to be full of tender lights and shadows, and to flow on with unsuspected depth. For several days Richard saw nothing more of Margaret, and scarcely thought of her. The strangle little figure was fading out of his mind, when, one afternoon, it again appeared at his door. This time Margaret had left something of her sedateness behind; she struck Richard as being both less ripe and less immature than he had fancied; she interested rather than amused him. Perhaps he had been partially insulated by his own shyness on the first occasion, and had caught only a confused and inaccurate impression of Margaret's personality. She remained half an hour in the workshop, and at her departure omitted the formal courtesy.
After this, Margaret seldom let a week slip without tapping once or twice at the studio, at first with some pretext or other, and then with no pretense whatever. When Margaret had disburdened herself of excuses for dropping in to watch Richard mold his leaves and flowers, she came oftener, and Richard insensibly drifted into the habit of expecting her on certain days, and was disappointed when she failed to appear. His industry had saved him, until now, from discovering how solitary his life really was; for his life was as solitary--as solitary as that of Margaret, who lived in the great house with only her father, the two servants, and an episodical aunt. The mother was long ago dead; Margaret could not recollect when that gray headstone, with blotches of rusty-green moss breaking out over the lettering, was not in the churchyard; and there never had been any brothers or sisters.
To Margaret Richard's installation in the empty room, where as a child she had always been afraid to go, was the single important break she could remember in the monotony of her existence; and now a vague yearning for companionship, the blind sense of the plant reaching towards the sunshine, drew her there. The tacitly prescribed half hour often lengthened to an hour. Sometimes Margaret brought a book with her, or a piece of embroidery, and the two spoke scarcely ten words, Richard giving her a smile now and then, and she returning a sympathetic nod as the cast came out successfully.
Margaret at fifteen--she was fifteen now--was not a beauty. There is the loveliness of the bud and the loveliness of the full-blown flower; but Margaret as a blossom was not pretty. She was awkward and angular, with prominent shoulder-blades, and no soft curves anywhere in her slimness; only her black hair, growing low on the forehead, and her eyes were fine. Her profile, indeed, with the narrow forehead and the sensitive upper lip, might fairly have suggested the mask of Clytie which Richard had bought of an itinerant image-dealer, and fixed on a bracket over the mantel-shelf. But her eyes were her specialty, if one may say that. They were fringed with such heavy lashes that the girl seemed always to be in half-mourning. Her smile was singularly sweet and bright, perhaps because it broke through so much somber coloring.
If there was a latent spark of sentiment between Richard and Margaret in those earlier days, neither was conscious of it; they had seemingly begun where happy lovers generally end,--by being dear comrades. He liked to have Margaret sitting there, with her needle flashing in the sunlight, or her eyelashes making a rich gloom above the book as she read aloud. It was so agreeable to look up from his work, and not be alone. He had been alone so much. And Margaret found nothing in the world pleasanter than to sit there and watch Richard making his winter garden, as she called it. By and by it became her custom to pass every Saturday afternoon in that employment.
Margaret was not content to be merely a visitor; she took a housewifely care of the workshop, resolutely straightening out its chronic disorder at unexpected moments, and fighting the white dust that settled upon everything. The green-paper shade, which did not roll up very well, at the west window was of her devising. An empty camphor vial on Richard's desk had always a clove pink, or a pansy, or a rose, stuck into it, according to the season. She hid herself away and peeped out in a hundred feminine things in the room. Sometimes she was a bit of crochet-work left on a chair, and sometimes she was only a hair-pin, which Richard gravely picked up and put on the mantel-piece.
Mr. Slocum threw no obstacles in the path of this idyllic friendship; possibly he did not observe it. In his eyes Margaret was still a child,--a point of view that necessarily excluded any consideration of Richard. Perhaps, however, if Mr. Slocum could have assisted invisibly at a pretty little scene which took place in the studio, one day, some twelve or eighteen months after Margaret's first visit to it, he might have found food for reflection.
It was a Saturday afternoon. Margaret had come into the workshop with her sewing, as usual. The papers on the round table had been neatly cleared away, and Richard was standing by the window, indolently drumming on the glass with a palette-knife.
"Not at work this afternoon?"
"I was waiting for you."