Mrs Whistler. Matthew Plampin

prosperity stood as a well-deserved reward. While Jimmy had been establishing himself in London, and making his first attempts to have a painting shown at the Royal Academy, Willie had been at war. He’d seen war at its most ferocious and bloody. There was a photograph of him, younger and leaner, in an embroidered officer’s coat, serving as a military surgeon in the army of General Lee. Jimmy’s pride in this could not be overstated. He remained an unrepentant champion of the Confederate cause – to such an extent in fact that Maud had learned to avoid the subject – and derived a fierce excitement from imagining what his brother had endured.

      ‘Boys, they were,’ he’d say, ‘mere boys, conscripted from farm and city alike. Brought into those hospital tents by the dozen, injured in ways one can barely conceive – shredded, Maudie, by the Union’s shot and shell. And expiring faster than they could be put in the ground.’

      Willie himself never so much as hinted at any of this. You could scour his bland, plump face for as long as you liked and find no trace of it. But he had an authority about him, along with his reserve. Maud answered his questions promptly; she could hear a trace of meekness in her voice. He put a hand to her forehead and pressed two fingers gently against her neck to take her pulse. Then he thanked her, rose from his chair and retreated to the landing. Briefly, Maud caught sight of Jimmy, waiting just past the doorway. She heard Willie tell him that there was no cause whatsoever for alarm.

      ‘Could you leave her something?’ Jimmy asked. ‘For the restlessness – the moods?’

      ‘Not necessary. Miss Franklin is doing well, Jamie. As one might expect from one so young. She’ll soon be fully restored, I should think.’ Willie paused. ‘She would benefit from some diversion, though. Perhaps you might consider taking her down to Hastings.’

      This was not an innocent suggestion. Jimmy and Willie’s elderly mother lived in Hastings, lodged in a cliff-top boarding house overlooking the sea. Willie had found the place, had handled the move and was footing the bill. He seldom saw Jimmy without mentioning how much the old woman longed to have him visit her; how the train was quick, three hours was all; how a trip there need only take a day, with some planning. Maud had met Mrs Whistler several times. She’d actually been residing at Lindsey Row when Maud had first come to stand for Jimmy, a domestic situation that now seemed unthinkable. It had surprised her that this singular gentleman, foreign in so many respects, could have family about him in London. Exiles, ain’t they, another model had told her. The losing side.

      Mrs Whistler had left the city within a few months, at Willie’s urging – the smoke and endless fogs were bad for her health, he’d said – thus clearing the way for Maud to take up the role of Madame. Jimmy did venture down to see her a couple of times a year. Willie made it plain that he didn’t think this was nearly enough.

      Maud lay motionless, listening closely, her feelings set at a degree of opposition. Such a journey would certainly be difficult. She found, though, that she wanted to see Jimmy’s mother again. She wanted him to take her. Apart from anything else, it would be interesting to find out what tale he’d spin. She’d be cast as a follower, she supposed, as well as a model; a chaste disciple, convalescing from some unnamed illness, brought along by her kindly mentor to benefit from the sea air.

      Jimmy wouldn’t hear of it. ‘Now is not the time, doc. She’s damned tired. You’ve seen it for yourself.’

      ‘Mother likes her,’ Willie persisted. ‘She asks after her sometimes. 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