The Serpent In The Garden_ A Novel Part 1

Serpent in the Garden.

By Janet Gleeson.

Author's Note

PINEAPPLES have long fascinated British gardeners. According to John Evelyn, the first pineapple seen in England was given to Oliver Cromwell in 1657. Among the earliest gardens where pineapples were successfully grown was Matthew Decker's at Richmond in the early eighteenth century. Pineapples were widely grown in Britain by the middle of the century. The gardens at Heligan, Cornwall, include an eighteenth-century pineapple pit that, since the restorations, is once again in production. By the middle of the century extravagant pineries containing a hundred plants or more were not unusual. The century's fascination with the fruit is doc.u.mented in many publications, including A General Treatise of Husbandry and Gardening A General Treatise of Husbandry and Gardening by Richard Bradley, which was published in 1724, and by Richard Bradley, which was published in 1724, and Ananas; or, A Treatise on the Pine-Apple Ananas; or, A Treatise on the Pine-Apple by John Giles (1767). Many of these publications included designs for pineapple frames or pits as well as tips on heating. by John Giles (1767). Many of these publications included designs for pineapple frames or pits as well as tips on heating.

Apart from eighteenth-century accounts detailed above, I am indebted to Charleston Kedding: A History of Kitchen Gardening Charleston Kedding: A History of Kitchen Gardening by Susan Campbell (1996); by Susan Campbell (1996); The Lost Gardens of Heligan The Lost Gardens of Heligan by Tim Smit (1997); and by Tim Smit (1997); and Early Nurserymen Early Nurserymen by John Harvey (1974). The role played in this story by Capability Brown is entirely fict.i.tious, but his career and lively character is well described in by John Harvey (1974). The role played in this story by Capability Brown is entirely fict.i.tious, but his career and lively character is well described in Capability Brown and the Eighteenth-Century English Landscape Capability Brown and the Eighteenth-Century English Landscape by Roger Turner (1985). by Roger Turner (1985).

Joshua Pope is a fict.i.tious character but his working techniques and practices are those of portraitists of the age, which are well doc.u.mented. I am grateful to Rica Jones from the restoration department at the Tate Gallery, London, for her help in my research into this subject. I have also relied upon The Portrait in Britain and America The Portrait in Britain and America by Robin Simon (1987), by Robin Simon (1987), Paint and Purpose Paint and Purpose, edited by Stephen Hackney et al. (1999), George Romney George Romney by Alex Kidson (2002), by Alex Kidson (2002), The Artist's Craft The Artist's Craft by James Ayres (1985), and by James Ayres (1985), and The Art of Thomas Gainsborough The Art of Thomas Gainsborough by Michael Rosenthal et al. (1999). by Michael Rosenthal et al. (1999).

Finally, special thanks are due to my agent, Christopher Little; to Sally Gaminara, Patrick Janson-Smith, Simon Taylor, and Simon Thorogood at Transworld and to Ruth Fecych at Simon & Schuster, for their encouragement, criticism, and support; and to my family, Paul, Lucy, Annabel, and James, for their forbearance when the fridge was empty and supper late.

Chapter One.

JOSHUA POPE was not expecting a visitor to call. It was an October evening in the year 1786, and as was his habit when circ.u.mstances permitted, he intended to pa.s.s the evening at his easel. He had donned his morocco slippers and Indian nightgown, and taken a light supper-a slab of cold pie and a bottle of claret-to his parlor in Saint Peter's Court.

Outside, an autumn tempest was roaring. A keen east wind howled through Saint Martin's Lane and the surrounding alleys and streets. Rain flailed roofs with such insistence it drowned the cries of streetwalkers, scavengers, and watchmen in this vicinity of London. The wind creaked the signboards on Slaughter's Coffee House, the Coach and Horses Inn, and outside the gilded showrooms of cabinetmaker Thomas Chippendale. The tempest picked debris from the gutter and threw it against the windows of the house once occupied by the eminent painter Francis Hayman; it dislodged slates from the roofs of the great architect James Paine and the renowned tenor John Beard as easily as those on a hovel. It penetrated to the very fabric of Joshua Pope's rooms, rattling doors and panes, guttering candles, blowing his papers about.

Thanking G.o.d for the comforts of a good supper and a plentiful supply of fuel, Joshua Pope rubbed his hands together, threw another log on the fire, and sat, with feet outstretched to the flames, to consume his repast. Half an hour later, feeling as lively as a bubble in a gla.s.s of champagne, he loosened the silk sash about his girth and strode to the back of the parlor, where he threw open the double doors that led to his painting room. Utterly satisfied at the prospect of pa.s.sing a few uninterrupted nocturnal hours at what he enjoyed best, he put on his smock, selected a hog's hair brush and three medium-sized sable brushes from a pot, and picked up his palette, upon which paint had already been charged. He turned to his canvas-a delightful composition, undoubtedly one of his best (but he always told himself this)-and smiled contentedly. He was about to embark upon the sweetening-the final stages of painting, when highlights and deepened shadows bring the composition to life. The prospect was enjoyable and he painted with a pa.s.sion, filling in the background with broad sweeps, penciling detail, scratching, hatching, rubbing in oil, until he had achieved the desired effect.

He was still at his work at about eleven o'clock when, above the gale, he heard someone tapping at his parlor door. He dropped his sable brush in surprise. "Who's there?" he cried. He was expecting no one.

A clear female voice replied. "I come in search of Mr. Joshua Pope, the renowned painter of portraits. I believe you are that gentleman."

Joshua was both irked and intrigued by this announcement. If she wished to commission a portrait, could she not make an appointment like anyone else? If viewing his work was what she desired, she should visit on a Sunday and join the mob that, knowing of his fas.h.i.+onable status, arrived every week to gawp and pa.s.s nonsensical comment upon his latest masterpiece.

But then he couldn't help wondering how she had got here and why she had come at this time of night, in such inclement weather. In any event, he could not leave an interloper to wander his house. He would have to attend to her.

With no premonition of danger, Joshua put down his palette and picked up a candlestick. His visitor stood in the gloom of the landing: a lady of medium build, dressed from head to toe in black. Her clothes, though dull, were of fine quality-kid gloves, skirts of sarcenet silk, cuffs of Brussels lace, all surmounted by a heavy velvet cloak. Being fastidious in his own dress, Joshua approved of fine costume, and his visitor's made him feel more kindly disposed toward her. He raised his candle to peer at her face. Her features were hidden from his scrutiny by the shadow cast by the hood of her cloak.

He waited for her to introduce herself, but when she said nothing, the flicker of annoyance he had felt earlier returned. "I do not know how you have arrived here, and I am not in the habit of receiving unsolicited calls at this late hour. But since you are here, you may as well come in and tell me who you are and what you want." Joshua gruffly gestured toward a chair positioned by a candelabrum in which half a dozen candles burned.

But the caller wanted none of it. She would not approach the light. She stood on the threshold, clutching her cloak as if Joshua might wrench it from her. Her eyes flitted about with the speed of a b.u.t.terfly, scanning the walls as if she were looking for something she hoped would be there, or had heard of this room many times before and wished to rea.s.sure herself of the accuracy of every detail. Then, without so much as a by-your-leave, she walked through the parlor to the easel in the painting room and examined the work upon it. But although the portrait was one of which Joshua was exceedingly proud, her face signaled disappointment. She uttered no word of praise, nor did she offer any opinion.

Riled by her reticence and what he deemed a complacent air, Joshua's temper-usually mild-wore thin. He was accustomed to compliments upon the excellence of his work. If his eminent contemporaries Sir Joshua Reynolds and Thomas Gainsborough could discern the subtlety in his gradations of tone, the deftness of his detail, why did she not show admiration? He addressed her with the utmost correctness, but the speed with which he spoke belied his frustration. "Forgive me for not knowing whom I have the honor of receiving. May I repeat my earlier request. Perhaps, madam, you would be kind enough to make yourself known and explain your purpose."

She seemed to flinch a little at his directness. "I have heard you are a portrait painter of distinction," she ventured. "You have painted several of my acquaintances." Here she mentioned two or three names, some he dimly remembered from a decade or more ago. "I was curious to see your work-perhaps with a view to a commission-and to discover a little about the profession. I should like to see more. Tell me, what talent is needed to be a successful painter of faces? Do you observe more clearly than others? Are you more sensitive to character or better at perceiving what is true and what is sham?"

Joshua was an adept when it came to recognizing dissimulation. He often said that a portraitist's skill lay as much in reading faces as representing them. The lameness of her excuse was thus immediately apparent, and since the hour was late, he saw no reason to play along with her. "Why, madam," he said, "this is scarcely the hour for an exhibition. As to the second part of your question, the painter of faces doesn't see more clearly than any other man-or woman, for that matter. Far from it. To become successful, as some say I have, the portrait painter must be expert at telling untruths. And now, forgive me, madam. I don't know by whose leave you have ventured here at this time of night, but since you refuse to introduce yourself or reveal your purpose, I must ask you to depart."

She gave a mirthless laugh and threw back her hood. "That is a fine way to treat a visitor. There, does this satisfy you?" she said.

She was a woman in her middle years, somewhat younger than he was. Her hair was streaked with gray and elegantly coiffed in a ringlet coiled over one shoulder. From an artist's perspective her countenance had many of the elements that const.i.tute perfection. Her face was oval, her lips were full, her nose small and straight, her eyes wide-set and almond shaped. But her beauty was marred by a crosshatching of lines on her skin, haggard cheeks, dark circles beneath her eyes, which all bespoke years of tribulation. Undoubtedly she had suffered reversals of fortune. There was, too, a certain inflexibility in the set of her mouth and her unblinking stare.

He peered hard at those eyes. Surely he remembered their unusual form. Was she familiar? Had he met her before? He was certain now that he had; yet he could not place her. He shook his head. He had looked on so many faces it was little wonder that, at this time of night, after three gla.s.ses of claret, his recollections became confused.

"So you believe a painter of faces should be a liar? Is that what you mean?" she pressed, laughing again in a sharper tone. "Why, you must think me a fool to say so."

"Far from it, madam. I meant it with all my heart," he fairly barked at her. He was unaccustomed to being challenged, still less by a woman. Should he eject her now, or wait to hear her out?

She recoiled, as if his harsh tone offended her. "If that was so, every charlatan and trickster would be as famous as your namesake Sir Joshua Reynolds, the president of the Royal Academy," she murmured.

Joshua composed himself and managed to reply more civilly. "Ah, but there are other qualities required that most vagabonds do not possess. I term myself a 'phizmonger'-a peddler of faces-and do so with good reason."

"What reason is that?"

"Why, to be a phizmonger one must mirror fact, read souls, not to mention master one's medium-oil or pastel or whatever one chooses. What I mean, dear lady, is that the painter of likenesses represents what he sees and yet does more. He encourages confidence, he is sympathetic, he interprets, softens. He shows his subjects what they are and what they would be."

As Joshua spoke these words, the absurdity of the situation struck him. It was nearly midnight. How ridiculous to be conversing with an uninvited stranger who refused to give her name or state her business. No sooner had this thought occurred than the woman approached directly, settling her penetrating gaze upon him, as if she sought to plunge to the depths of his soul. Her eyes, caught in the candlelight, were bluish gray, hard as gunmetal, yet flooded with an intensity that forced him to look away. As he did so he caught sight of her shadow on the wall. Her profile was monstrously distorted-a brooding gargoyle's silhouette of misshapen features and wild, wiry hair, a form such as a nightmare might conjure.

He forced himself to meet the woman's eye. In her glare he now saw an almost tangible hunger, but for what, he did not know. Dreadful thoughts flashed through his brain. What manner of person comes calling in the dead of night but one of evil intent? He had willingly let this unknown woman into his sanctum. He had enabled her to perpetrate any dreadful deed she chose.

Joshua shuddered and turned to the window. Not a light showed. The sky was dense and starless, the storm audible yet invisible. Pressing his nails deep into the palms of his hands, he told himself he was foolish to have taken fright. What reason had he to fear a mere woman? Not even the woman herself, but her shadow. He had allowed himself to be alarmed by no more than a chimera.

Yet even as he did so a talon of pain gripped his temples. The truth was that something in that distorted profile brought to mind another shadow, one he had seen two decades ago, one that had nearly blighted his life, although until that moment he believed it forgotten. It was that memory more than the woman herself that had set trepidation coursing through his veins like a swig of brandy.

"And was 'softening the truth' what you did when you painted the marriage portrait?" she said quietly.

He turned slowly back and raised his eyes to hers. "I am in my fifty-fourth year. I have been a painter for thirty of them and during that time painted many a marriage portrait. Of which one do you speak?" he asked, though he feared he already knew the answer.

"Herbert Bentnick's." Her voice had dropped to a mere whisper-so soft that when she said this name, Joshua hoped he had misheard. But there was no mistake, for she repeated it again, more defiantly. "That is right: I said Herbert Bentnick."

He had expected this; still, her confirmation set his heart racing. His temples began to pound with such intensity his head might explode. He looked at her more closely. He must recognize her. Why else was she here? "I know I should remember you. Perhaps you are a relative of that family. Is that why you have come?"

She said nothing. Then, just as she seemed on the brink of answering, she wheeled wordlessly away.

Silence settled between them, a taut hush that seemed to Joshua infinitely more unsettling than any demanding look or menacing gesture. He longed for her to break it; he craved a speech or tirade, something that would explain her intention no matter how dreadful it was.

But the only sounds were the creaks and sighs of the storm-buffeted building. Inside, silence, interminable silence, dragged on. Joshua stared at his visitor's immobile back, willing her to turn round. He wanted to shout out, "Speak openly or for G.o.d's sake go now and leave me in peace!" But some instinct held him back and made him mute. He knew that unless he waited she would gain an advantage and he might never discover what had brought her.

At length, after what seemed an eternity had pa.s.sed, she turned back to address him. "The reason I have come, Mr. Pope, is to show you something." She rummaged in the folds of her cloak.

Joshua started at the sudden movement. Was she about to extract a weapon and a.s.sault him? For safety's sake he edged toward the fire and positioned himself close to the poker. But his suspicion was groundless, for the article she took out was nothing more fearsome than a s.h.a.green box.

She opened it. Couched in gray silk was an emerald necklace, one he had not seen for twenty years. The stones were just as he recalled them: a dozen or more, baguette-cut and set in gold links, with a single ruby at the center. Flashes of verdigris, orpiment, and Prussian blue sparkled in the candlelight. He felt sick to the heart to see it. The form of this necklace was as disturbing as ever. It had nearly cost him his life.

"I have come, Mr. Pope, to offer this in return for your cooperation."

Joshua did not regard himself as an avaricious man, yet in that instant he forgot his earlier unease and gasped at the offer. The jewels must be worth close on a thousand guineas-more, perhaps. What could he tell her that made his information so valuable? "Does the jewel belong to you?" he said coolly.

"As you see, it is in my possession. I offer it to you as proof of my intimate involvement with Mr. Bentnick, as well as a generous form of payment."

"That is not the same. How do I know you are ent.i.tled to the jewel? You might have stolen it. After all, it wouldn't be the first time it has been misappropriated."

"I will prove to you I am no thief once you have told me what I wish to know."

"What can I say to you that is so precious as to warrant a jewel of this caliber in payment?"

"I wish to hear your version of the events surrounding the painting of the portrait. What happened then has had a profound impact upon my life. Moreover, I want to know what became of the portrait. No one has seen it in the last twenty years."

By now Joshua's earlier fear had dissipated, to be eclipsed by curiosity. He spoke frankly. "During the course of my career I have of necessity stayed in many homes, and unwittingly become involved with numerous surprising and strange adventures. Of all these, the Bentnick affair is one that still troubles me the most to remember. I have never spoken of it to anyone, although I confess that often when I lie awake in my bed and hear the rain flogging at the window, or when I walk in a beautiful garden and pa.s.s a cascade or a hothouse or a grotto, I remember those sad and singular events."

"Then you accept my proposal, Mr. Pope?"

He pondered awhile. "Yes and no. I will not tell you what I know, for the tale is too long and involved and my memory is not good at this time of night. I will write you an objective account. Return to my rooms one month from today and I will hand it to you." He paused for a moment before adding, "One more condition: I do not desire the necklace in payment. With all I know of its history, nothing on earth would induce me to take it."

She scowled. "What, then, do you require?"

"Merely to know who you are and how you came by the jewel and why you require this information."

Her eyes half closed, her mouth contracted to a thin line. She stepped forward until she was no more than a couple of paces from Joshua. Displeasure emanated from every fiber of her being. He half expected her to scream or fly at him like some demented creature in the madhouse. Yet now that he knew the nature of her requirements, he had no difficulty in facing her.

Perhaps she realized this change, for she dropped her head, as if conceding to his will, and he fancied that, through the thin fabric of her dress, he saw her shoulders shake. "Very well," she said, in a voice so low he had to strain to hear it. "If those are your terms, and you have not discovered the answer when I return, then I can do little but agree to them."

Joshua bowed, maintaining a solemn expression. "I shall expect you thirty days from this evening. Until then, madam, I bid you good night."

With this, he ushered her down the stairs to his front door. He watched her step into her carriage, which immediately sped away into the gloom. Joshua bolted the door behind him. He had no more appet.i.te for work. The visitor had disturbed his concentration. He snuffed the candles in the painting room and made his way to his bedchamber. But even there, with the rhythmic breath of his sleeping wife to soothe him, he found no peace. His mind was awhirl with reminiscence, and he pa.s.sed a fitful night.

Chapter Two.

IT WAS LATE in May in the year 1766, over a breakfast of ham in jelly, sponge cakes, and tea, that Sabine Mercier told Joshua Pope she intended to go for a promenade in the gardens of Astley.

Sabine was a handsome woman in her middle years, lively of movement yet serene of countenance. She had been married and widowed twice before her engagement to Herbert Bentnick, yet dual bereavement had not withered her. A bewitching woman, she was tawny of complexion, with rich brown eyes, black arched brows, a small, flowerlike mouth, and hair so dark and glossy it might have been made from polished ebony.

Joshua had been commissioned to paint the Bentnicks' marriage portrait, and so, in the interests of his art, he observed her as she picked at a sponge cake while describing her excursion-the same one she took every day. He remarked how the very antic.i.p.ation of the visit made her eyes gleam like a Bristol decanter. It intrigued Joshua that a face could be so altered by the thought of plants. Could any leaf or fruit merit such attention? A person might have the capacity to inspire or move a fellow being; even a painting of a person on occasion could arouse a certain sentiment. But a plant? Was there any such thing as what Sabine termed "a plant of great significance"? But then, Joshua smiled condescendingly to himself, it was no surprise Sabine Mercier's tastes were a little particular. She had lived all her life until recently in the West Indies. In such a place she could have learned little of society, and less of art. Plants were a subst.i.tute for civilization.

Sabine's abiding pa.s.sion was for growing pineapples. The so-called pinery at Astley was largely her creation, although the structure itself had been built fifty years earlier by Herbert's grandfather Horace Bentnick, who had been inspired by the nearby orangery at Ham, which he considered the acme of such edifices. The Astley orangery, originally intended as a conservatory for growing pomegranates and myrtles as well as oranges, was cruciform in shape, measuring a hundred feet long, with columns and large marble urns planted with vast specimen orange trees. In the center, set beneath a cupola, was a circular atrium, featuring an ornamental fountain, where on fine spring days one could sit and take refreshment. It was, in short, a veritable cathedral in which exotic plants and scented blooms took the place of stained gla.s.s and statuary.

Herbert had always had a fondness for this legacy from his grandfather, and it was a measure of his infatuation with Sabine that he had allowed her to take over one half of the building, replace many of the plants he and his grandfather had nurtured with pineapples, and rename the building "the pinery."

AT THEIR first encounter, Joshua had innocently asked Sabine what had drawn her to such an unusual pastime as horticulture. Her eyes widened so that the white was visible all round the sable iris, yet there was something distant in her gaze. "What is so unusual about it, Mr. Pope? To me it seems extraordinary that you need even to ask. Do you question that gardening is a prerequisite of civilized society? Or that plants are essential to man's well-being? Can you deny that the introduction of foreign species has contributed immensely to the richness of our landscape? And quite apart from their visual attractions ... man could not exist without plants: he needs them to furnish his home, feed him, heal him. Imagine a table without fruit or vegetables! Why, even the table itself would not exist. The cultivation of plants is far more than a mere hobby; it is an occupation of the greatest moment. Civilization depends upon it."

Joshua mentally raised his eyes to heaven and outwardly nodded politely. Having never given the subject of gardening much thought, he found the vehemence of her arguments faintly amusing, but his artistic faculties were roused. There was a glow in her eye that he wanted to store in his memory and reproduce on canvas. He wanted to see more of her pa.s.sion, to draw her out. So he feigned interest and pressed her further. "Why have you settled upon pineapples in particular?"

Her tone turned from zealous to withering. "Anyone who knows anything of the subject understands that among culinary plants, this fruit surpa.s.ses all others. It is the most succulent and esteemed of foreign species. For any gardener to grow a ripened fruit for the table is the pinnacle of achievement."

She went on to describe how Herbert had asked her to supervise the growing of pineapples at Astley. She had relished the challenge, and even though it was more usual in this country to cultivate pineapples in purpose-built frames and pits, she had confidently overseen the alterations to the vast gla.s.s-and-wood conservatory. The entire structure was warmed by charcoal-fueled stoves, but since pineapples required hotter conditions than oranges and myrtles, she had augmented the heat in her portion of the building by installing channels under the floor to contain tanner's bark-crushed oak used by the local leather tannery to soften animal hides. The decaying process of this matter could be relied on to produce considerable heat, and by carefully stirring the bark, the correct temperature to coax the plants to grow would be reached.

Joshua stifled a yawn and declared it would be an honor if one day she would consent to show the pinery to him. Sabine had scarcely acknowledged his request at the time, but that morning at breakfast she suggested he accompany her. "Madam," he had replied, silently thanking G.o.d for his appointment with Herbert, "you are very kind, and as you know I am all eagerness to admire the pinery. However, this morning circ.u.mstances forbid me. I have arranged a sitting ..."

"Some other time then, Mr. Pope," she had said, smiling as she rose from the table.

SABINE ENTERED the conservatory alone. She reached the central atrium, then turned left as she always did toward the beds where her pineapples were planted. At the beginning of the row, she sniffed, and then sniffed again, this time more cautiously. Something jarred; some new, strange odor permeated the familiar, well-loved warmth: a foreign scent that on the one hand was sickly sweet, yet on the other had an acrid taint that was unsettling, poisonous, intrusive.

She cast about to find its source. At first, all seemed in perfect order. The air was warmed by rotting bark and dung. Her pineapple plants, many of which had been rooted in Barbados and transported to Astley under her supervision, had been repotted in larger containers only last week. They were ranged in tiered beds, so that no more than the upper rims of the pots were visible. From the center of these halos the sharp, silvery gray leaves emerged like the long, pointed shafts of spears.

Sabine walked along the narrow path, examining each pot for signs of interference. In the heart of several crowns, small green fruits, no larger than an infant's fist, had formed. In others, larger fruits were about to ripen. Perspiration rose on her lip and forehead as she entered further into the pinery and the unfamiliar smell became more potent.

Halfway along the path the stench was overwhelming. Sabine began to breathe shallowly. She held a kerchief to her mouth. Yet she could taste as well as smell it. Her stomach heaved, yet at no point did she consider withdrawing to call for a.s.sistance. She was a newcomer to Astley but the pinery was already her domain. If something untoward had taken place here, it was imperative she should witness the extent of it.

At the end of the path a cl.u.s.ter of the precious containers in which half a dozen or more of the largest plants were rooted had been carelessly discarded. Several plants were strewn over the path, like so many unwanted weeds; others lay heaped against the wall. Earth had spilled out of most of the containers and several of the pots had shattered, leaving a tangle of plump white roots exposed to the air.

She stared in disbelief. Her cheeks burned, her palms grew clammy. Where a row of plants had formerly stood lay the source of the foul smell-an interloper.

The man was stretched on his back in the bed of bark and dung. A wall of plants and pots concealed his head. She gazed at him.

At first she a.s.sumed the man had fallen asleep. She could see enough of the body to know that this was not one of the under-gardeners. He looked no more than thirty years of age. His hands were clean, the nails manicured, the clothes of middling quality, but too fine to belong to a laborer. She s.h.i.+vered with a mixture of apprehension and annoyance written on her face. He should not be here. Why had he deemed it necessary to destroy her precious pines? Could he not have collapsed on the path?

She pressed the kerchief closer to her mouth. Then, shaking her head as if chastising herself for her weakness, she stooped down and tugged at his foot to rouse him. "Wake up, man," she commanded.

The foot felt warm but limp. The man's cotton stocking separated from his breeches, exposing a hairy, mud-streaked calf. Still he remained obstinately immobile. Sabine tugged more insistently, and then, when there was still no sign of movement, she inched between the pots toward his head. She could now see the man's tousled brown hair, the underside of his chin, shadowed with stubble. A small beetle scurried over his lips and into a cavernous nostril. She swallowed uncomfortably and looked away.

Sabine resisted the instinct to wipe her palms on her skirts. She could no longer wholly convince herself that the man was merely in a stupor, but nor did she wish to contemplate the alternative. Steeling herself, unable to confront the possibility there was something seriously amiss, she placed her hand on the man's torso and shook him. "Did you hear me, sir? I said wake up! This instant!"

He lay there, insolently unconscious, oblivious to her presence and the destruction he had wrought. Growing more uneasy by the minute, she grabbed at his collar and yanked upward, intending to bring him to a seated position. The man was compact of stature, yet broad chested and surprisingly heavy. It took her several attempts, but finally, from out of the sea of bark and earth and dung, his floppy head, shoulders, and entire torso rose up like some ghastly apparition.

As soon as she had pulled him up, she no longer had any doubt about his true condition. The man was dead. His eyes were open, yet blank. Wisps of brown detritus clung to his lashes and brows. Pooled inside his mouth, staining his tongue and teeth, was a brownish, soupy liquid in which pieces of fibrous matter were suspended. The smell of this substance was acrid and the man had apparently vomited it prior to death. It had coursed down his chin and the front of his torso, subsequently drying to a paste in which morsels of bark were set like glue. The acrid smell of vomit mingled in the humid air with a certain heavy sweetness that she feared might be the stench of death.

Chapter Three.

ON THE SAME fine May morning, not fifty yards distant from this distressing scene, Joshua Pope took up his long-handled sable brush and a palette on which he had mixed blobs of lead white, red ocher, vermilion, and yellow ocher to produce a range of flesh tones. When he began to paint, he abandoned his usual expression of calm curiosity and adopted a brisk yet flamboyant manner that matched the extravagant garb concealed beneath his paint-stained linen smock.

Although only three and thirty years of age, Joshua Pope was already regarded as the equal of any portraitist in the land. He had recently triumphed over Reynolds and Gainsborough in a masterly conversation piece, depicting the royal princes George and Frederick at play, that had been exhibited at the Society of Arts. Critics had deemed his works a little warmer and more profound than Romney's, and being youthful and agreeable and immaculate in his dress, he was more in vogue with polite society than Hudson, Hayman, and Ramsay.