Fair Margaret Part 24

Margaret expected that Logotheti's house would somehow correspond with his own outward appearance and would be architecturally over-dressed, inside and out, but in this she was greatly mistaken. It was evidently a new house, in a quarter where many houses were new and where some were not in the most perfect taste, though none were monstrosities. It was not exceptionally big, and was certainly not showy; on the whole, it had the unmistakable air of having been built by a good architect, of the very best materials and in a way to last as long as hewn stone can. Such beauty as it had lay in its proportions and not in any sort of ornament, for it was in fact rather plainer than most of its neighbours in the Boulevard Pereire.

The big door opened noiselessly just as the car came up, but Logotheti, who drove himself, did not turn in.

'It's rather a tight fit,' he explained, as he stopped by the curbstone.

He gave his hand to Margaret to get down. As her foot touched the pavement a man who was walking very fast, with his head down, made a step to one side, to get out of the way, and then, recognising her and the Greek, lifted his hat hastily and would have pa.s.sed on. She started with an exclamation of surprise, for it was Lushington, whom she had supposed to be in London. Logotheti spoke first, calling to him in English.

'Hollo! Lushington--I say!'

Lushington stopped instantly and turned half round, with an exclamation intended to express an imaginary surprise, for he had recognised all three at first sight.

'Oh!' he exclaimed coldly. 'Is that you? How are you?'

Margaret offered her hand as he did not put out his. She was a little surprised to see that he did not change colour when he took it, as he always used to do when they met; he did not seem in the least shy, now, and there was a hard look in his eyes.

'All right?' he said, with a cool interrogation, and he turned to Logotheti before Margaret could give any answer.

'Come in and lunch, my dear fellow,' said the Greek affably.

'I never lunch--thanks all the same.' He moved to go on, nodding a good-bye.

'Are you here for long?' asked Margaret, forcing him to stop again.

'That depends on what you call long. I leave this evening.'

'I should call that a very short time!' Margaret tried to laugh a little, with a lingering hope that he might unbend.

'It's quite long enough for me, thank you,' he answered roughly.

'Good-bye!'

He lifted his hat again and walked off very fast. Margaret's face fell, and Logotheti saw the change of expression.

'He's an awfully good fellow in spite of his shyness,' he said quietly.

'I wish we could have made him stay.'

'Yes,' Margaret answered, in a preoccupied tone.

She was wondering whether Logotheti had guessed that there had been anything between her and Lushington. Logotheti ushered his guests in under the main entrance.

'Do you know Mr. Lushington well?' she asked.

'Yes, in a way. I once published a little book, and he wrote a very nice article about it in a London Review. You did not know I was a man of letters, did you?' Logotheti laughed quietly. 'My book was not very long--only about a hundred pages, I think. But Lushington made out that it wasn't all rubbish, and I was always grateful to him.'

'What was your book about?' asked Margaret, as they entered the house.

'Oh, nothing that would interest you--the p.r.o.nunciation of Greek. Will you take off your hat?'

At every step, at every turn, Margaret realised how much she had been mistaken in thinking that anything in Logotheti's house could be in bad taste. There was perfect harmony everywhere, and a great deal of simplicity. The man alone offended her eye a little, the man himself, with his resplendent tie, his jewellery and his patent leather shoes; and even so, it was only the outward man, in so far as she could not help seeing him and contrasting his appearance with his surroundings.

For he was as tactful and quiet, and as modest about himself as ever; he did not exhibit the conquering air which many men would have found it impossible not to a.s.sume under the circ.u.mstances; he showed himself just as anxious to please little Madame De Rosa as Margaret herself, and talked to both indiscriminately. If Margaret at first felt that she was doing something a little eccentric, not to say compromising, in accepting the invitation, the sensation had completely worn off before luncheon was half over, and she was as much at her ease as she could have been in Mrs. Rushmore's own house. She felt as if she had known Logotheti all her life, as if she understood him thoroughly and was not displeased that he should understand her.

They went into the next room for coffee.

'You used to like my Zara maraschino,' said Logotheti to Madame De Rosa.

He took a decanter from a large case, filled a good-sized liqueur gla.s.s for her and set it beside her cup.

'It is the most delicious thing in the world,' cried the little woman, sipping it eagerly.

'May I not have some, too?' asked Margaret.

'Not on any account,' answered Logotheti, putting the decanter back on the other side. 'It's very bad for the voice, you know.'

'I never heard that,' said Madame De Rosa, laughing. 'I adore it! But as my singing days are over it does not matter at all. Oh, how good it is!'

She sipped it again and again, with all sorts of little cries and sighs of satisfaction.

Logotheti and Margaret looked on, smiling at her childish delight.

'Do you think I might have a little more?' she asked, presently. 'Only half a gla.s.s!'

Logotheti filled the gla.s.s again, though she laughingly protested that half a gla.s.s was all she wanted. But he took none himself.

Margaret saw a picture at the other end of the room which attracted her attention, and she rose to go and look at it. Logotheti followed her, but Madame De Rosa, who had established her small person in the most comfortable arm-chair in the room, was too much interested in the maraschino to move. Margaret stood in silence before the painting for a few moments, and Logotheti waited for her to speak, watching her as he always did when she was not looking.

'What is it?' she asked, at last. 'It's quite beautiful, but I don't understand it.'

'Nor do I, in the least,' answered Logotheti. 'I found it in Italy two years ago. It's what they call an encaustic painting, like the Muse of Cortona, probably of the time of Tiberius. It is painted on a slab of slate three inches thick, and burnt in by a process that is lost. You might put it into the fire and leave it there without doing it any harm. That much I know, for I found it built into a baker's oven. But I can tell you no more about it. I have some pretty good things here, but this is quite my best picture. It is very like somebody, too--uncommonly like! Do you see the resemblance?'

'No. I suppose I don't know the person.'

Logotheti laughed and took up a little mirror set in an old Spanish frame.

'Look at yourself,' he said. 'The picture is the image of you.'

'Of me?' Margaret took the gla.s.s, and her cheek flushed a little as she looked at herself and then at the picture, and realised that the likeness was not imaginary.

'In future,' said Logotheti, 'I shall tell people that it is a portrait of you.'

'Of me? Oh please, no!' cried Margaret anxiously, and blushing deeper.

'Don't!'

Logotheti laughed.

'Did you think I was in earnest?' he asked.

The painting represented the head and shoulders of a woman--perhaps of a G.o.ddess, though it had that strangely living look about the eyes and mouth which belongs to all good portraits that are like the originals.

The woman's head was thrown back, her deep-set eyes were looking up with an expression of strange longing, the rich hair flowed down over her bare neck, where one beautiful hand caught it and seemed to press the tangled locks upon her heart.