She knows that she still features in your paintings. I’m sure you could tell her more or less anything you pleased.’
‘I cannot leave London at present, even for a day. Not with things the way they are – the Grosvenor and so forth.’
‘Jamie—’
‘We can do better, I believe. Wait here a moment.’
There was a shuffling of feet and a sigh from the doctor. The bedroom door began to open. Maud closed her eyes, pulling the sheets up to her chin, feigning sleep. She heard Jimmy’s boot creak on the loose floorboard by the bed; she smelled oil paint and tobacco. His fingertips touched the counterpane, just above her shoulder.
‘Maudie,’ he said, ‘I’ve had a thought.’
*
The Harmony in Amber and Black was a full-length female figure and breathtakingly slender: Maud’s figure as it had been around two years before, shaped by a corset that she hadn’t been able to wear since Christmas. The pose was simple, front facing with the arms at the sides. It had been made soon after she’d taken up residence at Lindsey Row, commissioned by Frederick Leyland as a portrait of his daughter Florence. The gown was close-fitting and modern, cut from a tawny chiffon that Jimmy had captured most skilfully, drawing out the tone with the sharp whiteness of the ruffed collar and cuffs, the black bow at the breast, and the neat black gloves, which melted, very nearly, into the hazy blackness of the background. Since she’d seen it last, however, a few months previously, the portrait had undergone a rather crucial alteration – for where the face of Florence Leyland had been was now that of Maud herself. This was why Owl had mentioned the Amber and Black upon meeting her the week before. She hadn’t realised exactly which painting he’d meant until a good while later. It hadn’t seemed terribly important – a mistake, most probably. Who, in all honesty, could keep track of Jimmy’s titles? He certainly couldn’t. Maud often thought that their principal purpose was to sow confusion.
And yet it hadn’t been a mistake. She hadn’t sat for this, or seen Jimmy at work on the canvas. It must have been done from an older drawing, or from memory – and recently, while she’d been away. He’d made the change especially for its exhibition in the Grosvenor Gallery.
‘Heavens, Miss Franklin,’ said Miss Corder, in the manner of someone intending to be overheard. ‘You are with your sisters.’
Maud thought of Edie, toiling in her husband Lionel Crossley’s book-keeping office; of her widow’s peak and ink-stained fingertips; of the tearful reluctance of their farewell. But Miss Corder meant the paintings, of course – The Harmony in Amber and Black and the other one. The Owl’s consort was about six yards away, across the Grosvenor’s west gallery. It was the largest room in the place, as big as a decent-sized dance hall, and fitted out with great extravagance. White marble statues stood against crimson damask; a long skylight was set into a barrelled ceiling of midnight blue, studded with golden stars. Even against such a background, however, Miss Corder made for an arresting sight. Her jacket was a bright silver-grey, impossibly tight, and trimmed with deepest green, while her hat had a brim nearly three feet wide, upon which lolled an enormous creamy orchid.
‘A hallowed moment,’ she continued. ‘Muse and masterpieces reunited. Such a rare privilege for us all.’
People were turning around. The Grosvenor held a wealthy-looking, vaguely artistic crowd, wandering and murmuring before the paintings that had been chosen for display. These were present in much lower numbers than was usual, arranged on the walls only one or two canvases high. The Whistler contribution had been hung over at the right end. The surrounding pictures, so dense with shapes and colours, and the luxury of the gallery itself, made Jimmy’s look strikingly empty: pure, in a way, both peaceful and mysterious. But after only a couple of minutes, it was already plain that they were receiving a rather different sort of attention to the rest. There were smirks, whispered remarks and snatches of suppressed laughter. Jimmy’s paintings were being mocked.
Maud started towards the velvet curtains that had been hung across the entrance. Miss Corder moved to intercept her, and they met awkwardly in a hot square of sunlight.
‘I’m leaving,’ Maud said, trying to step past. ‘Tell Jimmy I’ll be waiting at home.’
‘You are too modest. Why, without you, without your particular talents, these works simply would not exist. Your strength and grace has permitted—’
‘I know,’ Maud interrupted. ‘I know.’
This had been Jimmy’s proposal, in place of the seaside: a visit to the first exhibition of the Grosvenor Gallery. Maud hadn’t been keen. Rising from the bed, preparing a bath and dressing in something appropriate for the Grosvenor’s Mayfair address had all seemed like a desperate chore. She was very aware also that the predicted change in their fortunes had failed to arrive. The undertaking was proving a disappointment, for Jimmy at least. He’d been insistent, however, so eventually Maud had agreed. She’d told herself that this was the life she had chosen; that if she was to be Whistler’s Madame, she had to keep abreast with Whistler’s affairs. Only after they’d left the house – her garments kept loose in certain areas and discreetly reinforced in others – had Jimmy revealed that he wouldn’t actually be going to the gallery. Miss Corder, who’d called the week before, was to accompany her instead. He had something important to attend to, he’d said, and would meet them later at the Café Royal, an old haunt of theirs. This disclosure had been carefully timed. A hansom had already pulled up; she’d been climbing inside. It had been too late to turn back.
Miss Corder had been standing ready at the Grosvenor’s entrance. She’d kissed Maud on the cheek and told her how extremely well she was looking, then paid for their tickets with a ten-shilling note. Maud had followed her up the broad marble staircase, trying to accept her fate and muster some enthusiasm. Now, though, she’d reached her limit. She was tired out and sore. She was cross with everything. She was heading off to bed.
Her companion stayed close, blocking her path. Miss Corder’s face was as unaccountable as the rest of her – really rather plain in a way, with its prominent nose and heavy, slightly protuberant lips; yet something was there, cleverness perhaps, or nerve, that lent it an odd appeal. A beauty, even. Her eyes, lilac in the sunlight, held a query; then they flitted away, back to the gallery, and her brow knitted with displeasure.
‘These people here don’t understand,’ she said, the volume of her voice unaltered. ‘They don’t look at the paintings for themselves. They have been drinking from a tainted source, you see, imbibing foolishness and conceited ignorance, and it has clouded their vision. Clouded it quite fatally.’
Those nearby were staring openly now, umbrage adding to their curiosity, as was surely Miss Corder’s intention. Four years with Jimmy had schooled Maud thoroughly in this variety of anger: the kind that insisted upon making a public display and clashing hard with that which had provoked it. Something here made her pause, however. Early the previous morning, the day after Willie’s visit, she’d been woken by the sound of Jimmy shouting, really shouting, down in the studio. He’d been alone, as far as she’d been able to tell. The words ‘impudence’ and ‘imposture’ had kept recurring. Sensing that an explanation might be at hand, she asked Miss Corder what she meant.
The lilac eyes widened. ‘You don’t know. Of course you don’t. He can’t bear to tell you of it, most probably. Your Jimmy has been maligned, Miss Franklin. Attacked in the crudest manner.’
She turned, moving her face out of the sun, and pointed a green-gloved finger at a nearby canvas. It was one of the larger Nocturnes, a couple of years old now – the Gold and
