had been set and the artist had clambered up onto his scaffold that she realised that the lofty attic room was almost as chill as the February streets outside.
‘Oh. Hmm. Well, another ten minutes and then we will stop.’ The boards groaned again as he walked back to the canvas. ‘In any case, I need more of that red for the skin tones, and the azure for the sky. The cost of lapis is extortionate …’
Tallie stopped listening as he grumbled on, his words indistinguishable. A slightly worried frown creased her brow as she resumed her own thoughts. At least in this pose she did not have to guard her expression, for she was standing with only a hint of her right profile visible from behind, her long, slightly waving, blonde hair falling free to midway down her back.
Her feet were bare. A fine filet of gold cord circled her brow, its trailing ends forming a darker accent in her hair, and the linen drapery revealed her left side, the curve of her hip, the swell of her buttock and the length of her leg. All of which normally delightful features were now unmistakeably disfigured by a rash of goose bumps.
Still, at half a guinea a sitting she could hardly complain, for Tallie had no option but to make her own living and the guineas from Mr Harland paid the rent. The fact that she was engaged in an occupation that was entirely beyond the pale for any lady, and which would be regarded by almost every right-thinking person as scarce better than prostitution, did not concern her.
She entirely trusted Mr Harland’s intentions towards her, for it was not even that he was making himself behave in an entirely proper manner. No, she knew he was entirely uninterested in not only her but, apparently, all females. She had heard that some men preferred their own sex, but this did not appear to be the case either. It seemed that his mind was filled with a single-minded obsession for his art and it allowed no room for any other strong feeling.
The second ground for Tallie’s lack of concern about her employment was that she was well aware that no work of Mr Harland’s in which she featured was ever likely to grace the walls of an exhibition. It was not that his obsession for the classical ran counter to the modern taste, as the excitement at the news that the Elgin Marbles were to be exhibited showed. No, it was simply that his canvases were too vast and his perfectionism too obsessive to allow him ever to finish one, let alone submit it to critical judgement.
The Diana picture was the fourth in which Tallie had featured: each had reached a stage of near completion when the artist had flung his brushes from him with a cry of despair at ever realising his inner vision. They were stacked away now and from time to time he would attack one of them again for a day or two, then give up in frustration.
It was fortunate, both for the artist and for Tallie, that he was not only the possessor of a modest inheritance, but also had a flourishing and lucrative business in portraiture, an occupation he despised as mere craftsmanship. On three days a week he indulged his classical passion. For the rest of the time he painted Society portraits in the rather more salubrious studio on the first floor of the ramshackle house. It was a tribute to his work that the ton were prepared to make the journey to the shabby house in the decidedly unfashionable street just off Leicester Square to have their likenesses taken.
Tallie was mentally casting her accounts in an effort to decide whether she could see the winter out without replacing her hair-brown walking dress and pelisse or whether her other, publicly acknowledged, occupation required her to make an investment in a new outfit.
This financial review was more than enough to account for the crease between her brows, but the frown vanished to be replaced with an expression of real anxiety at the sound of the knocker thudding four floors below, soon followed by the sound of a number of male voices echoing up the uncarpeted stairwell.
With an exclamation of impatience at the interruption, Mr Harland cast down his palette with a clatter and, clambering down from his post, flung open the attic door.
Tallie ran to his side and out onto the tiny bare landing, clutching her flimsy draperies around her. Clearly up the stairway from below she could hear the voice of Peter, Mr Harland’s colourman. Peter inhabited the ground-floor rooms with his pots and jars, his bags of pigments and flasks of oils and there magically ground vivid colours out of strange materials.
‘Mr Harland doesn’t receive clients on Wednesdays, gentlemen. Tuesdays and Thursdays are his days. You can’t go up there now, sir!’
‘Dammit, I wrote to say I would call to arrange my aunt’s portrait and I have no intention of trailing back another day at Harland’s convenience.’ The drawling voice was arrogantly dismissive of the colourman’s protests. ‘Are you saying he is not here?’
‘Yes, sir, I mean, no, sir, he is here, but he—’
‘Perhaps he is with someone?’ It was a new voice, carrying easily up to Tallie far above. A coolly sardonic, rather bored voice that made the previous speaker sound affectedly high-handed.
‘The man has just said that Harland does not have clients on a Wednesday, Nick. Step out of my way, fellow, I have no intention of standing here bandying words with you all afternoon.’
‘But the master’s working with a model, sir! You can’t go up there!’ From the rising note of Peter’s voice, the speaker had pushed past him and was already on the stairs.
‘What? A female model? Now that is more the thing! Come on, you fellows, this should be good sport.’ The voice had lost its drawling arrogance and held a note of excitement that made Tallie’s chilled skin crawl. They were coming up, and it appeared that there were several men in the group.
Tallie had disrobed in a room on the floor below, having learned from experience of the effect that the dusty attic had on her small wardrobe, and her only covering was the fragile length of linen. She cast round wildly, her heart thudding. The attics, although essentially one large open space, rambled around corners made by the construction of racks of canvases and piles of dusty props, and in one corner, shielded by the largest rack, there was a large cupboard with a door to it.
‘I will hide in the closet,’ she said urgently to the artist, who was exclaiming in irritation at the interruption. ‘Whatever you do, Mr Harland, do not let them know I am here or I will be quite ruined.’
He nodded distractedly. ‘Yes, yes, into the closet with you. I wonder if any of the gentlemen would care to buy an historical canvas?’
Tallie did not stop to argue, but ran on bare feet across the splintery boards. She whisked round the corner of the racking as the voices outside neared the attic and jerked open the cupboard door. The key that had been on the outside clattered to the floor.
Tallie scrabbled for it, but it was nowhere to be seen. With a sob of frustration she abandoned the search and pulled the door to behind her. The closet was lit by a tiny window, begrimed with dirt and cobwebs, but sufficient for her to see that the space contained nothing in which she might cover herself and nothing to wedge the door with. Not, she realised despairingly, that wedging it would have done any good for it opened outwards.
The men had reached the attic now. Through the warped boards that framed the closet she could hear at least four voices. The arrogant man and the sardonic man she recognised from their voices far below; their companions had equally well-bred tones and in them she could recognise a kind of febrile excitement at the thought of what they were going to find in the studio.
Tallie felt quite ill with apprehension and scrabbled to pull her linen draperies around herself in some gesture towards a decent covering. Her fingers closed on air and chilled skin. The length of fabric had gone. Wildly she cast around the little closet as though three
