looked back to the jade figurines. She imagined herself smashing them one by one in the fireplace. ‘Our host,’ she stated, ‘is asking if I paint.’
Elizabeth ignored her. ‘You can see something there though, Gabriel, can’t you? As we discussed in the Garrick?’ Her voice was brisk; she was attempting to close a deal. She nodded towards the women on the sofa. ‘Her colouring is lighter than that of Miss Wilding and these others, but then variety is so often the key to success. Perhaps a blonde would—’
‘See something?’ Hannah interrupted. ‘Elizabeth, what on earth are you—’
The painter-poet was growing uncomfortable. ‘Now look here, Bess,’ he said, tugging at his neat little beard, ‘I have told you that I don’t want it. I don’t want the bother or the notice it will bring. I have decided upon my course and will not waste time with second thoughts.’
‘What is he talking about?’ Hannah demanded – although a couple of good guesses were forming in her mind. ‘What doesn’t he want?’
As always, Elizabeth refused to acknowledge defeat. ‘For goodness’ sake, Gabriel, you must not be so damnably stuck in your ways. Hannah may not be quite your normal type but without change, without development, we become stagnant, do we not? Such a painting would serve as the ideal culmination for my account of your career. It would bind author and subject, don’t you see, in a most compelling manner. Interest is sure to be enormous. I predict a serialisation – in the Athenaeum at the very least – and a volume on the stands by the end of the year. Come now, don’t be such a confounded mule. Give your consent and I can promise—’
Tudor House’s errand boy, a gangling youth in cap and braces, filled the doorway that led out to the hall, torn between hailing his master and gaping at the women on the sofa. Provided with the excuse he needed to escape them, their host backed away, reeling off an apology before snapping a reprimand at his boy. Elizabeth watched him go; there was nothing she could do. She shook a crease from her lilac dress, taking care not to meet her daughter’s eye.
‘Explain this,’ Hannah said. ‘Now.’
Elizabeth was unrepentant. ‘If you cannot grasp it for yourself, Hannah, then I have truly failed.’
The artistic gentlemen were filing in from the garden. A spotless mahogany easel was carried through and erected by the piano; the painter-poet fiddled nervously with the gas fittings, opening valves to illuminate the room as much as possible; and finally, at his signal, the canvas was brought before them.
Hannah had never seen an example of their host’s work. She knew about his central role in the Pre-Raphaelite controversy, of course, but that was two decades old; and furthermore, the major paintings it had produced all seemed to be by other hands. He’d become a mysterious figure, enjoying reputation without scrutiny, believed to be selling his startling canvases to a network of buyers across the British Isles yet shunning any form of public exhibition or exposure. Accordingly, although determined to extract a confession from Elizabeth, Hannah could not resist glancing over.
Unframed, unvarnished even, the painting had come straight from the studio upstairs. It depicted the head and shoulders of a young woman, roughly life-sized and quite naked. Her skin was flawless, suffused with warmth, free from the faintest wrinkle or blemish. Flowers crowded around her, the colours unearthly in their richness – honeysuckle blooms rendered in curls of burning orange, roses that ranged from blushing cerise to the ruby blackness of blood. This woman’s beauty had been refined somewhat, but Hannah recognised her immediately. The wide-set green eyes, the slightly heavy jaw, the red, pouting mouth: it was the girl from the sofa, Miss Wilding, who’d mocked her a minute earlier. Indeed, with the unveiling of the picture its model had shifted to the front of her cushion and was preening like an actress at her curtain-call. A cold thought struck through Hannah: that is what my mother had planned for me.
This was no straightforward portrait, however. Allegorical items were jammed into every corner. Behind the woman hung a gold-leaf halo, fringed unaccountably with buttery moths; off to the right was a bluebird, spreading its wings for flight. In one slender hand she held the apple of temptation, of original sin, and in the other Cupid’s arrow, angled so that it pointed directly at her left nipple – this was Eve and Venus combined, a fleshy goddess neither pagan nor Christian.
To Hannah the result was absurd, overripe and weirdly lifeless, but the artistic gentlemen could scarcely contain their delight. Flushed with wine, they proclaimed the composition to be masterful in its simplicity, the brushwork consummate, and the overall effect so intoxicating that it almost brought one to a swoon. Miss Wilding was showered with compliments and joking avowals of love, and told that she had been captured precisely.
‘The title is Venus Verticordia,’ announced the painter-poet with a flourish, bolstered by his friends’ flattery, ‘the heart-turner, the embodiment of desire – the divine essence of female beauty.’
‘And that she is!’ exclaimed a notable novelist, moving in for a detailed inspection. ‘Dear God, Gabriel, that she dashed well is!’
Hannah resolved to leave. She walked away from the sideboard and cut through the middle of the company. Clement said her name; others laughed and swapped remarks, assuming that her exit was provoked by a fit of feminine jealousy. She didn’t care. Let these idiots think what they pleased. She wanted only to be gone.
Elizabeth caught her on the chequered tiles of the hall. ‘Go no further, Hannah. We are not finished here.’
‘No, Elizabeth,’ Hannah replied, remaining steady, ‘we most certainly are.’
‘The Venus has upset you.’ Elizabeth was perfectly calm. Hannah’s stormings-out didn’t offend her; she would usually applaud them, in fact, as evidence of her daughter’s fighting spirit. ‘It is a crude specimen, I grant you, but you must see that if you were to sit for Gabriel the two of you would be alone for many hours. There would be ample time for you to explain your ideas and win his support.’
This was too much; Hannah’s composure deserted her. ‘Skylarks!’ she spat. ‘Ghirlandaio! You were trying to sell me. Is that where we stand, Elizabeth? Am I merely an object for you to bargain with?’
Elizabeth looked towards the front door; her profile, once featured on the cover plate of a dozen bestselling volumes and still formidably handsome, was outlined against the deep crimson wallpaper. ‘I am disappointed that you choose to take such a naïve view.’
‘What in blazes is naïve about it? Your plan was to deliver me to this Chelsea hermit of yours – to have him fashion me into a bare-breasted fancy for some banker to pant over in his study – so that he’d permit you to write a book about him and breathe life back into your wretched career!’
Hannah was shouting now. Parakeets flapped and squawked in their cages; a stripe-tailed mammal scurried into a rear parlour. All conversation in the drawing room had ceased somewhere around ‘bare-breasted fancy’. Gentlemen’s shoes thudded across the faded rug; they were acquiring an audience. Aware that their host would be in it, and had probably heard her daughter’s pronouncements, Elizabeth rose to his defence.
‘The Venus may not be to your taste, Hannah – and you are, let us be honest here, very particular – but you must surely appreciate the thinking behind it. Beauty, that is Gabriel’s creed: the creation of an art that is independent from religion, from morality, from every conventional form. An art that exists only for itself.’
‘An art, you mean, that has been entirely
