He watches Margaret. She is perhaps twenty-five. She has a sleek, darting head, like the head of the little fox which More says he has tamed; all the same, he keeps it in a cage for safety.
The servants come in. It is Alice's eye they catch as they place the dishes; here, madam, and here? The family in the picture don't need servants, of course; they exist just by themselves, floating against the wall. ‘Eat, eat,’ says More. ‘All except Alice, who will burst out of her corset.’
At her name she turns her head. ‘That expression of painful surprise is not native to her,’ More says. ‘It is produced by scraping back her hair and driving in great ivory pins, to the peril of her skull. She believes her forehead is too low. It is, of course. Alice, Alice,’ he says, ‘remind me why I married you.’
‘To keep house, Father,’ Meg says in a low voice.
‘Yes, yes,’ More says. ‘A glance at Alice frees me from stain of concupiscence.’
He is conscious of an oddity, as if time has performed some loop or snared itself in a noose; he has seen them on the wall as Hans froze them, and here they enact themselves, wearing their various expression of aloofness or amusement, benignity and grace: a happy family. He prefers their host as Hans painted him; the Thomas More on the wall, you can see that he's thinking, but not what he's thinking, and that's the way it should be. The painter has grouped them so skilfully that there's no space between the figures for anyone new. The outsider can only soak himself into the scene, as an unintended blot or stain; certainly, he thinks, Gardiner is a blot or stain. The Secretary waves his black sleeves; he argues vigorously with their host. What does St Paul mean when he says Jesus was made a little lower than the angels? Do Hollanders ever make jokes? What is the proper coat of arms of the Duke of Norfolk's heir? Is that thunder in the distance, or will this heat keep up? Just as in the painting, Alice has a little monkey on a gilt chain. In the painting it plays about her skirts. In life, it sits in her lap and clings to her like a child. Sometimes she lowers her head and talks to it, so that no one else can hear.
More takes no wine, though he serves it to his guests. There are several dishes, which all taste the same – flesh of some sort, with a gritty sauce like Thames mud – and then junkets, and a cheese which he says one of his daughters has made – one of his daughters, wards, step-daughters, one of the women of whom the house is full. ‘Because one must keep them employed,’ he says. ‘They cannot always be at their books, and young women are prone to mischief and idleness.’
‘For sure,’ he mutters. ‘They'll be fighting in the streets next.’ His eyes are drawn unwillingly to the cheese; it is pitted and wobbling, like the face of a stable boy after a night out.
‘Henry Pattinson is excitable tonight,’ More says. ‘Perhaps he should be bled. I hope his diet has not been too rich.’
‘Oh,’ says Gardiner, ‘I have no anxieties on that score.’
Old John More – who must be eighty now – has come in for supper, and so they yield the conversation to him; he is fond of telling stories. ‘Did you ever hear of Humphrey Duke of Gloucester and the beggar who claimed to be blind? Did you ever hear of the man who didn't know the Virgin Mary was a Jew?’ Of such a sharp old lawyer one hopes for more, even in his dotage. Then he begins on anecdotes of foolish women, of which he has a vast collection, and even when he falls asleep, their host has more. Lady Alice sits scowling. Gardiner, who has heard all these stories before, is grinding his teeth.
‘Look there at my daughter-in-law Anne,’ More says. The girl lowers her eyes; her shoulders tense, as she waits for what is coming. ‘Anne craved – shall I tell them, my dear? – she craved a pearl necklace. She did not cease to talk about it, you know how young girls are. So when I gave her a box that rattled, imagine her face. Imagine her face again when she opened it. What was inside? Dried peas!’
The girl takes a deep breath. She raises her face. He sees the effort it costs her. ‘Father,’ she says, ‘don't forget to tell the story of the woman who didn't believe the world was round.’
‘No, that's a good one,’ More says.
When he looks at Alice, staring at her husband with painful concentration, he thinks, she still doesn't believe it.
After supper they talk about wicked King Richard. Many years ago Thomas More began to write a book about him. He could not decide whether to compose in English or Latin, so he has done both, though he has never finished it, or sent any part of it to the printer. Richard was born to be evil, More says; it was written on him from his birth. He shakes his head. ‘Deeds of blood. Kings' games.’
‘Dark days,’ says the fool.
‘Let them never come again.’
‘Amen.’ The fool points to the guests. ‘Let these not come again either.’
There are people in London who say that John Howard, grandfather of the Norfolk that is now, was more than a little concerned in the disappearance of the children who went into the Tower and never came out again. The Londoners say – and he reckons the Londoners know – that it was on Howard's watch that the princes were last seen; though Thomas More thinks it was Constable Brakenbury who handed the keys to the killers. Brakenbury died at Bosworth; he can't come out of his grave and complain.
The fact is, Thomas More is thick with the Norfolk that is now, and keen to deny that his ancestor helped disappear anyone, let alone two children of royal blood. In his mind's eye he frames the present duke: in one dripping, sinewy hand he holds a small golden-haired corpse, and in the other hand the kind of little knife a man brings to table to cut his meat.
He comes back to himself: Gardiner, jabbing the air, is pressing the Lord Chancellor on his evidence. Presently the fool's grumbling and groaning become unbearable. ‘Father,’ Margaret says, ‘please send Henry out.’ More rises to scold him, take him by the arm. All eyes follow him. But Gardiner takes advantage of the lull. He leans in, speaks English in an undertone. ‘About Master Wriothesley. Remind me. Is he working for me, or for you?’
‘For you, I would have thought, now he is made a Clerk of the Signet. They assist Master Secretary, do they not?’
‘Why is he always at your house?’
‘He's not a bound apprentice. He may come and go.’
‘I suppose he's tired of churchmen. He wants to know what he can learn from … whatever it is you call yourself, these days.’
‘A person,’ he says placidly. ‘The Duke of Norfolk says I'm a person.’
‘Master Wriothesley has his eye on his advantage.’
‘I hope we all have that. Or why did God give us eyes?’
‘He thinks of making his fortune. We all know that money sticks to your hands.’
Like the aphids to More's roses. ‘No,’ he sighs. ‘It passes through them, alas. You know, Stephen, how I love luxury. Show me a carpet, and I'll walk on it.’
The fool scolded and ejected, More rejoins them. ‘Alice, I have told you about drinking wine. Your nose is glowing.’ Alice's face grows stiff, with dislike and a kind of fear. The younger women, who understand all that is said, bow their heads and examine their hands, fiddling with their rings and turning them to catch the light. Then something lands on the table with a thud, and Anne Cresacre, provoked into her native tongue, cries, ‘Henry, stop that!’ There is a gallery above with oriel windows;
