The Incomparable Countess. Mary Nichols
and gloves to her and yet another carried her painting things out to her carriage and put them on the seat before letting down the step so that she could take her seat. John Harker, her groom and driver, set the beautifully matched horses to a steady trot, along Upper Brook Street, before turning into Duke Street and pulling up at the front door of Corringham House.
‘I shan’t need you any more today, John,’ she told the groom, as a footman came out of the tall mansion and took her case, canvas and easel from the carriage and carried it indoors.
‘Yes, my lady.’ He drove away to the mews and she followed the footman into the house, where she took off her hat, a scrap of straw with a small brim and a large feather, and handed it to Rose, her maid, before following the footman up to the studio. He leaned the easel against the wall and put the case on a table in the middle of the room.
‘Thank you, Creeley,’ she said. ‘Please tell Cook I will have my dinner in half an hour.’
‘Very well, my lady.’
He went about his business and she was alone, alone in a room so full of memories, it was almost unbearable. But she had learned to bear them, even sometimes to welcome them. Her painting had become her life. It was not that she needed the income from it; her husband, the late Earl of Corringham, had left her well provided for, but a streak of independence, which had always stood her in good stead, had made her want to do something for herself. And besides, it kept her from brooding.
She wandered round the room, looking at the pictures she had produced over the last seventeen years. Her early efforts did not have the finesse of her more recent work, but they had a raw emotion and a realism she had since learned to suppress; ladies did not paint distasteful pictures. The tasteful ones, the ones she had been commissioned to do, were gracing the drawing rooms and boudoirs of half the ton; the ones in this room were those she would not sell.
She stopped to look at a painting of the Duke of Loscoe—the Marquis of Risley as he was then, for his father had still been alive—painted when he was twenty-three and she was in love with him. It was three-quarter length and showed him as a pugilist: bare-chested and wearing tight breeches. It revealed his animal strength in every line, his self-confidence, his masculinity, his handsome broad forehead and dark, copper-coloured curls, one of which hung over his forehead, as it would have done in the ring. Sparring at Jackson’s boxing emporium had been a pastime of his. ‘It keeps me on my toes,’ he had told her between kisses.
It was a good likeness, but it was not a picture she could ever put on display; genteel ladies would be horrified that he had posed before a lady in such a state of undress and their husbands would wonder just what sort of lady she was to allow it. Besides, the dark eyes and expressive mouth said too much of the relationship between artist and subject.
Impatient with herself, she took the picture down and stood it on the floor with its face to the wall, but it left a mark where it had been hung and she began sorting through other pictures stacked around the room to find a replacement. Not all could be called portraits and not all were fashionable; there were subjects taken from nature: flowers, birds and animals, bright and lifelike and, in the case of a fox hunted to death, very bloody. And there were landscapes and street scenes too, and some of those from districts High Society ladies would never have dreamed of entering.
Taking her life in her hands, she had taken her sketch pad to some of the less salubrious parts of the capital and drawn what she saw: the miserable tenements, the squalor, the ragged children and their poverty-stricken parents, just as they were. Surprisingly no harm had come to her, possibly because she paid the people handsomely for the privilege of drawing them. Afterwards, at home in her studio, she had converted the sketches to paintings. She knew they were good, but hardly drawing-room pictures. One day she would exhibit them and prick the conscience of the haut monde with what was going on under their noses and which they chose to ignore.
While sorting through them, she came upon another of the Duke, a hurried sketch done on the day they had gone picnicking at Richmond, not long before that final parting. He had taken his coat off and was lying on the grass with his arms behind his head, watching her work, a dreamy smile on his face and a softness in his amber eyes which betokened his love for her. Or did it? She had never been sure.
‘Drat him!’ she said aloud and hurriedly picked up a portrait she had done of the Prince of Wales in that ridiculous uniform he had devised for his own regiment and hung it on the wall. Then she left the room and went to her bedchamber, where her maid was waiting for her.
She was helped out of her paint-stained gown and stood in her shift while Rose poured hot water from the ewer into a bowl. There was a full-length mirror beside the washstand and she found herself looking into it, wondering what the Duke would make of her if he could see her now. She could not describe her figure as sylph-like, but she was certainly not fat and her dark hair was still thick and black as a raven’s wing. Her violet eyes were said to be her best feature; Marcus always said they were speaking eyes. Did they still give her away or had she since learned how to veil her innermost thoughts and feelings under a cloak of urbanity?
‘What will you wear, my lady?’ Rose asked.
The choice was vast; her wardrobe was extensive and tastefully fashionable, though she did not go in for some of the extremes that were the latest mode. She would not, for instance, be seen dead in that dreadful turban of Lady Willoughby’s, nor the scant muslin that even the mature ladies of the haut monde considered the height of fashion.
‘The pink silk with the bands of green and mauve, I think.’
‘But that’s old, my lady. The last time you wore it, you said—’
‘Oh, I know, Rose, but it is comfortable and I am not going out tonight and shall be dining alone and perhaps later I will finish the portrait of Lady Willoughby. I do not want to spoil a good gown.’
It was unusual for her to be alone. She had many friends of both sexes, led a very full social life, was never short of invitations and entertained widely. Her guests came from a variety of backgrounds and had a wide range of interests, including politics, music, art and science, and she had the happy knack of making them all deal well together. Tonight, she was glad to be alone; it suited her mood.
Sitting over a light meal of chicken, ham and fresh vegetables bought in Covent Garden that morning, she reviewed her life. It had not been so bad after all, though when, at the age of seventeen, her hopes and dreams had been shattered by Marcus’s betrayal, she had thought it at an end. How could he? she had cried into her pillow night after night, how could he say he loved her and then marry someone else, just because his father told him to? She had accused him of having no backbone, of playing with her, leading her on with kisses and protestations of love which were as false and ephemeral as snow in summer. And she would certainly not entertain the idea of being his chère amie if that was what he had in mind.
She had told him she hated him, never wanted to see him again, and he had gone from her life to marry his Scottish heiress, whose dowry included a Highland castle. What had he wanted a castle for? He had been heir to a vast estate in Derbyshire, a London mansion, a house in Bath, as well as a hunting lodge in Leicestershire. It was all his now, of course, and he was one of the richest men in the kingdom. Not that she had ever considered his prospects; it was the man she had loved.
It had been her come-out year and she had wasted it sighing after a rake-shame. Most of the other young eligibles that year had found their partners and in any case could not be compared with the man she had lost. Her mother, who had spent a vast amount bringing her out, had been furious with her. ‘Money wasted,’ she had said. ‘You are far too particular, Fanny, and without reason too. Oh, I know you have looks, but what is that to the point when you have no fortune? I cannot afford to bring you to London again next year. It has to be this year or never.’
‘Mama, I cannot help it if no one has offered for me.’
‘Nor will they when you have allowed yourself to be monopolised by Risley. Talk of the ton that has been and mortifying enough without the added humiliation of going back to the country without the sniff of a betrothal.’
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