Regency Pleasures: A Model Débutante. Louise Allen

       February 1816

      Miss Talitha Grey shivered delicately and risked a glance downwards. A single length of sheer white linen draped across her shoulder and fell to the floor at front and back: beneath it her naked skin had a faintly blue tinge. Tallie strongly suspected that it was marred by goose bumps.

      With a resigned sigh she flexed her fingers on the gilded bow in her left hand and fixed her gaze once again on the screen of moth-eaten blue brocade that was doing duty for the skies of Classical Greece. Perhaps if she thought hard enough about it she could imagine that she was bathed in the heat of that ancient sun, her skin caressed by the lightest of warm zephyrs and not by the whistling draughts that entered the attic studio by every door and ill-fitting window frame.

      Tallie exerted her vivid imagination and summoned up the distant sound of shepherds’ pan pipes floating over olive groves to drown out the noise of arguing carters from Panton Square far below. She was con centrating on conjuring up the scent of wood smoke and pine woods to counteract the distressing smells of poor drainage and coal fires when a voice behind her said peevishly, ‘Miss Grey! You have moved!’

      Taking care to hold her pose and not turn her head Tallie said, ‘I assure you I have not, Mr Harland.’

      ‘Something has changed,’ the speaker asserted. Tallie could hear the creak of the wooden platform on which Mr Frederick Harland had perched himself to reach the top of the vast canvas. On it he was depicting an epic scene of ancient Greece with the figure of the goddess Diana in the foreground, her back turned to the onlooker, her gaze sweeping the wooded hillsides and distant temples until it reached the wine-dark Aegean sea.

      There was more creaking, the muttering that was the normal counterpart to Mr Harland’s mental processes and then the floorboards protested as he walked towards her. ‘Your skin colour has changed,’ he announced with a faint air of accusation.

      ‘I am cold,’ Tallie responded placatingly without turning her head. Frederick Harland, she had discovered, took no more and no less interest in her naked form than he did in the colour, form and texture of a bowl of fruit, an antique urn or a length of drapery. When in the grip of his muse he was vague, inconsiderate and sometimes testy, but he was also kindly, paid her very well and was reassuringly safe to be alone with—whatever her state of undress.

      ‘Cold? Has the fire gone out?’

      ‘I believe it has not been lit today, Mr Harland.’ Tallie wished she had thought to insist on a taper being set to the fire before they had started the session, but her mind had been on other things and it was not until the pose 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