Part 33 (2/2)

”It will be lovely, Tony,” she encouraged him. ”I mind the day we walked in the cemetery for the first time and you looked at the angel so long.”

”Yes.” He was kneeling, bending forward, putting the clay on with his thumb.

”Ever since then”--Molly's tone was meditative--”that angel seems like a friend to me. Many's the time when there's a hard thing to do he seems to open the door and I go through, and it's not so hard.”

She was imaginative, Fairfax knew it. She was superst.i.tious, like the people of her country. The things she said were often full of fancy, like the legends and stories of the Celts; but now he hardly heard her, for he was working, and she went back to her task by the lamp, and, under the quiet of her presence and its companions.h.i.+p, his modelling grew. He heard her finally stir, and the clock struck seven, and they had had no supper. Until she crossed the floor, he did not speak. Then he turned--

”I'll work on a little longer. I want to finish this hand.”

”Take your time, Tony. I'll be going home slowly, anyway.”

She was at the door, stood in it, held it half-open, her arm out along the panel looking back at him. Her figure was in the shadow, but the light fell on her face, on her hair and on her hand. The unconscious charm of her pose, her slow pause, her att.i.tude of farewell and waiting, the solemnity of it, the effect of light and shadow, struck Fairfax.

”Molly,” he cried, ”wait!”

But she had dropped her arm. ”You'll be coming along,” she said, smiling, ”and it's getting late.”

He found that the spell for work was broken after she left, though a fleeting idea, a picture, an image he could not fix, tantalized him. He followed his wife. He had pa.s.sed the most peaceful hour in his Ca.n.a.l Street studio since he had signed the lease with the money of his mother's ring. He would have told Molly this, but Rainsford was there for supper.

CHAPTER x.x.xI

Molly came and sat with him Sat.u.r.day afternoons and Sundays. Fairfax made studies of his wife as she sewed, a modern conception of a woman sitting under a lamp, her face lifted, dreaming. He told Rainsford that when the lease was up he should vacate the studio, for he could not go on with his scheme for the monument. He had the memories of Molly's coming to him during the late autumn and winter afternoons. The remembrance of these holidays soothed and pardoned many faults and delinquencies. She seemed another Molly to the Sheedy counter girl, the Troy collar factory girl, and an indefinable Presence came with her, lingered as she sewed or read some book she had picked up, and if Fairfax the artist watched the change and transformation of her face as it refined and thinned, grew more delicate and meditative, it was Fairfax the man who recalled the picture afterward.

She was exceedingly gentle, very silent, ready with a word of encouragement and admiration if he spoke to her. She knew nothing of the art he adored, but seemed to know his temperament and to understand. She posed tranquilly while the short days met the early nights; she disguised her fatigue and her ennui, so that he never knew she grew tired, and the Presence surrounded her like an envelope, until Antony, drawing and modelling, wondered if it were not the soul of the child about to be born to him, and if from the new emotion his inspiration would not stir and bless him at the last?

What there was of humour and fantasy in her Irish heart, how imaginative and tender she was, he might have gathered in those hours, if he had chosen to talk with her and make her his companion. But he was reserved, mentally and spiritually, and he kept the depths of himself down, nor could he reveal his soul which from boyhood he had dreamed to give to One Woman with his whole being. He felt himself condemned to silence and only partially to develop, and no one but Molly Fairfax, with her humility and her admiration, could have kept him from unholy dreams and unfaithfulness.

His life on the engine was hard in the winter. He felt the cold intensely, and as his art steadily advanced, his daily labour in the yards grew hateful, and he pushed the days of the week through till Sunday should come and he be free. His face was set and white when Rainsford informed him that it would be impossible to give him ”Sat.u.r.days off” any longer. Antony turned on his heel and left the office without response to his chief, and thought as he strode back to his tenement: ”It's Peter's personal feeling. He's in love with Molly, and those days in the studio gall him.”

Molly, who was lying down when he came in, brushed her hand across her eyes as if to brush away whatever was there before he came. She took his hat and coat; his slippers and warm jacket were before the stove.

”Rainsford has knocked me off my Sat.u.r.days,” he said bitterly.

She stopped at the hook, the things in her hand. ”That's hard on you, Tony, and you getting on so well with your work.”

She didn't say that she could not have gone on any more ... that the walk she took the week before to Ca.n.a.l Street had been her last; but Fairfax, observing her, rendered keen by his own disappointment, understood. He called her to him, made her sit down on the sofa beside him.

”Peter has been better to you than I have,” he said sadly. ”I've tired you out, my dear, and I've been a selfish brute to you.”

He saw that his words gave her pain, and desisted. He was going to be nothing more from henceforth but an engineer. He would shut the studio and take her out on Sundays. She received his decision meekly, without rebuffing it, and he said--

”Molly, if I had not come along, I reckon you would have married Peter Rainsford. There! Don't look like that!”

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