Hope and Martha, too, had come up from the Oriole Inn, the former still a little inarticulate and somber but happily having lost the old-young, pinched look about the mouth and the bitterness about the eyes which had been hers that night in Sylvia's garden when she had charged the owner so sternly with possessing "Hundreds of roses when Hope hasn't even one;" a charge which Sylvia had never since been able to forget for long. It was to her a symbol of the mesh of inequality and injustice of the world in which she herself was caught and struggled. For Sylvia wanted to share her roses. She always had wanted to, as Martha had long since learned. Hope was even sweeter and lovelier at twenty than she had been at fifteen, still a little frail in appearance though perfectly well. This summer there was an added grace about her, a sort of suppressed joyousness, a glow which transformed her rather ethereal charm into an even more appealing human guise. During the sunny summer days past when Stephen Kinnard had been using her as the incarnation of gardens, Hope herself had bloomed from a shy bud of a rose into a half-blown flower, though perhaps only Martha's keen, devoted eyes saw what had happened.
Professor Lane and his wife, Sylvia's original "Christmas Mother," were unfortunately unable to be present, though they sent warm greetings and hearty congratulations from the Western university to which the professor had recently been called. With them, too, was Elizabeth, also of the original famous family, who had come of late to be almost like a daughter in their childless home.
Gus Nichols was here, however, a slim, dark youth, extremely quiet, though not in the least awkward; unobtrusive, grave, giving the impression somehow of banked fires behind those solemn dark eyes of his, which followed Sylvia Arden wherever she passed. Though Gus was thoroughly American in dress and manner and articulation, the trail of his Italian ancestry was upon him. Even after all these years he looked "different," an odd contrast to the grim conservative old man, Angus McIntosh, whose adopted son and idol he was. Gus had been studying abroad for several years, had indeed just returned to America, ready to start his career on the concert stage. If this profession elected by the boy were at all a bitter pill for the old Scotchman to swallow he made no protest about it and had even furthered the lad's ambition. Mr. McIntosh was not one to indulge in half-way measures and Sylvia had long since driven home her point that if he was to transform Gus Nichols, office boy, into Augustus Nichols, his adopted son, he had no right to change the currents of the boy's being in the process. He quite understood that if Gus "had to play the music that was in him," he _had_ to. That was the end of it. Angus McIntosh was enough of a predestinarian to perceive that. At any rate, Sylvia and her Christmas family had inoculated the fast hardening old man with a certain infusion of human tolerance and human understanding and he had all the reward for his kindness that he desired and more in the boy's usually silent but none the less deep gratitude and devotion.