The cottage in which Margaret lived with her aunt, Miss Forsythe, was not far from our house. In summer it was very pretty, with its vine-shaded veranda across the front; and even in winter, with the inevitable raggedness of deciduous vines, it had an air of refinement, a promise which the cheerful interior more than fulfilled. Margaret's parting word to my wife the night before had been that she thought her aunt would like to see the “chrysalis earl,” and as Mr. Lyon had expressed a desire to see something more of what he called the “gentry” of New England, my wife ended their afternoon walk at Miss Forsythe's. It was one of the winter days which are rare in New England, but of which there had been a succession all through the Christmas holidays. Snow had not yet come, all the earth was brown and frozen, whichever way you looked the interlacing branches and twigs of the trees made a delicate lace-work, the sky was gray-blue, and the low-sailing sun had just enough heat to evoke moisture from the frosty ground and suffuse the atmosphere into softness, in which all the landscape became poetic. The phenomenon known as “red sunsets” was faintly repeated in the greenish crimson glow along the violet hills, in which Venus burned like a jewel. There was a fire smoldering on the hearth in the room they entered, which seemed to be sitting-room, library, parlor, all in one; the old table of oak, too substantial for ornament, was strewn with late periodicals and pamphlets--English, American, and French--and with books which lay unarranged as they were thrown down from recent reading. In the centre was a bunch of red roses in a pale-blue Granada jug. Miss Forsythe rose from a seat in the western window, with a book in her hand, to greet her callers. She was slender, like Margaret, but taller, with soft brown eyes and hair streaked with gray, which, sweeping plainly aside from her forehead in a fashion then antiquated, contrasted finely with the flush of pink in her cheeks. This flush did not suggest youth, but rather ripeness, the tone that comes with the lines made in the face by gentle acceptance of the inevitable in life. In her quiet and self-possessed manner there was a little note of graceful timidity, not perhaps noticeable in itself, but in contrast with that unmistakable air of confidence which a woman married always has, and which in the unrefined becomes assertive, an exaggerated notion of her importance, of the value added to her opinions by the act of marriage. You can see it in her air the moment she walks away from the altar, keeping step to Mendelssohn's tune. Jack Sharpley says that she always seems to be saying, “Well, I've done it once for all.” This assumption of the married must be one of the hardest things for single women to bear in their self-congratulating sisters.