The Beauty Within

He ignored her, instead tilting her chin up and forcing her to meet his piercing gaze. She could escape quite easily, and yet it did not occur to her. ‘It is true,’ he said softly, ‘that your nose is not perfectly straight and so spoils the symmetry of your profile.’

Cressie glowered. ‘I am perfectly aware of that.’

‘And your eyes. They are too wide-spaced, and so not in the proportion to your mouth which Pacioli requires.’

One long finger traced the line he mentioned. His own eyes had a rim of gold at the edges. The lashes were black and thick. His touch was doing strange things to her insides. It made her jittery. Nervous. Was he flirting with her? Definitely not. He was merely punishing her for her unintended insult. ‘And my ears are out of alignment with my nose, the ratio between my chin and my forehead is wrong,’ Cressie said, with an insouciance she most certainly did not feel. ‘As for my mouth …’

‘As for your mouth …’

Signor di Matteo trailed his finger along the length of her bottom lip. She felt the most absurd urge to taste him. He growled something in Italian. His fingers splayed out over her jaw. He bent his head towards her. He was going to kiss her.

Cressie’s heart thudded. He really was going to kiss her. The muscles in her calves tensed in preparation for flight, but she didn’t move. His fingers slid along her jaw to tangle in her hair. She watched, urging herself to escape, but at the same time another part of her brain was enthralled, mesmerised, by that perfectly symmetrical face. Let him, she thought. Let him kiss me, if he dares!

His lips hovered a fraction over hers, just long enough for her to have a premonition of melting, a premonition of what it would be like to cede, to unleash whatever it was he kept restrained. Just long enough for Cressie to come to her senses.

She yanked herself free. ‘How dare you!’ It sounded very unconvincing, even to herself. She was struggling to breathe, praying that the heat which flooded her cheeks, which was surely mortification, was not too apparent. The nerve of him! He was outrageously attractive and he obviously knew it. Also, he was Italian. Everyone knew that Italian men were quite unable to control their passions. Obviously, it was not such a cliché as she had thought.

‘To return to your point, signor, I concede that my mouth is too wide to be considered beautiful,’ Cressie said, relieved to hear that her voice sounded almost composed.

‘Beauty, Lady Cressida, is not exclusively about symmetry. Your mouth is very beautiful, in my humble opinion.’

Giovanni di Matteo did not look the least abashed. ‘You ought not to have kissed me,’ Cressie said.

‘I did not kiss you. And you ought not to have spoken so scathingly of my work, especially since you have never seen it.’

‘Do not assume that I am so ignorant as my father. I have studied it, and I did not speak scathingly! I merely pointed out that you—that painting—that any art—’

‘Can be reduced to a set of principles and rules. I was listening.’ But even as he curled his lip, Giovanni had a horrible suspicion that this wholly unorthodox female had somehow managed to get to the root of his dissatisfaction. In the early days, when he painted for the simple pleasure of creating something unique, he had channelled that tangible connection between canvas and brush and palette and blood and skin and bone, painting from the heart and not the head. It had earned him nothing but mockery from the so-called experts. Naïve. Emotional. Lacking discipline and finesse. The words were branded on his heart. He learned to hone his craft, eradicate all emotion from his work. To his eye it rendered it soulless, but it proved immensely popular. The experts acclaimed it, the titled and influential commissioned it. He chose not to disillusion any of them. Giovanni made his bow. ‘Much as I have enjoyed our discussion, Lady Cressida, I must go and continue with the more prosaic task of capturing the likeness of my current client. I bid you good day.’

He took her hand, raising it to his lips. As he kissed her fingertips, the spark of awareness took him by surprise. Judging by her shocked expression, he was not the only one affected by it.

Chapter Two

Giovanni leapt down from the gig as it drew to a halt in front of Killellan Manor, the country estate of the Armstrong family, airily dismissing the waiting footman’s offer to escort him to the door. He had travelled to Sussex on the mail, which had been met at the nearest posting inn by Lord Armstrong’s coachman. It was a cold but clear day, the clouds scudding across the pale blue sky of early spring, encouraged by the brisk March breeze. Pulling his greatcoat more tightly around himself, he stamped his feet in an effort to stimulate the circulation. There were many things about England he admired, but the weather was not one of them.

Lord Armstrong’s impressive residence was constructed of grey sandstone. Palladian in style, with the main four-storey building flanked by two wings, the façade which fronted on to the carriage way was marred, in Giovanni’s view, by the unnecessary addition of a much later semicircular portico. Enclosed by the high hedges into which the gates were set, the house looked gloomy and rather forbidding.

Wishing to stretch his legs after the long journey before announcing his presence, Giovanni followed the main path past a high-walled garden and the stable buildings to discover a prospect at the front of the house altogether different and much more pleasing to the eye. Here, manicured lawns edged with bright clumps of daffodils and narcissi stretched down, via a set of wide and shallow stone steps, to a stream which burbled along a pebbled river bed towards a watermill. On the far side of the river, the vista was of gently rolling meadows neatly divided by hedgerows. Despite the fact that the rustic bridge looked rather suspiciously too rustic, he couldn’t help but be entranced by this quintessentially English landscape.

‘It is a perfect example of what the poet, Mr Blake, calls England’s green and pleasant land, is it not?’

Giovanni started, for the words came from someone standing immediately behind him. The rush of the water over the pebbles had disguised her approach. ‘Lady Cressida. I was thinking almost exactly that, though I am not familiar with the poet, I’m afraid. Unless—could it be William Blake, the artist?’

‘He is more known for his verse than his art.’

‘That will change. I have seen some of his paintings. They are …’ Giovanni struggled to find an appropriate English word to describe the fantastical drawings and watercolours which seemed to explode out of the paper. ‘Extraordinary,’ he settled on finally and most unsatisfactorily. ‘I find them beautiful, but most certainly they would fail your mathematical criteria.’

‘And this?’ She waved at the landscape. ‘Would you consider this beautiful?’

‘I suspect your father has invested rather a lot of money to ensure that it is. That bridge, it cannot possibly be as old as it appears.’

‘There is also a little artfully ruined folly in the grounds, and you are quite correct, neither are older than I am.’

It had been more than two weeks since their first meeting in London. In the interval, Giovanni had replayed their conversation several times in his head, and that almost-but-not-quite kiss too. It had been a foolish act to take such a liberty with the daughter of the man who was paying his commission, and a man of such palpable influence too. He couldn’t understand why he had been so cavalier. Attempting to recreate Lady Cressida feature by feature using charcoal on paper had proved entirely unsatisfactory. He had been unable to capture the elusive quality that had piqued his interest. Now, as she stood before him, the sun shining directly behind her, making a halo of her wild curls, the dark shadows under her startlingly blue eyes, the faintest trace of a frown drawing her brows together giving her a delicate, bruised look, he could see that it was nothing to do with her features but something more complex which drew him to her. It puzzled him, until he realised that her allure was quite basic. He wanted to capture that ambiguity of hers in oils.

‘You look tired,’ Giovanni said, speaking his thoughts aloud.

‘My brothers are—energetic,’ Cressie replied. Exhausting would be more accurate, but that would sound defeatist. Two weeks of shepherding four small boys intent on making mischief had taken their toll—for the twins, though not formally included in her lessons, insisted on being with their brothers at all times. Until they had become her responsibility, she had been dismissive of Bella’s complaints that the boys wore her down to the bone. They were mere children—all they required was sufficient mental stimulation and exercise, Cressie had thought. She realised now that her contempt had been founded on blissful ignorance.

Her evenings had therefore been spent making a guilty effort to become better acquainted with a stepmother who made it plain that her company was welcome only in the absence of any other, for Cordelia had hastened to London the day after Cressie’s arrival at Killellan, fearful that either Lord Armstrong or Aunt Sophia might change their minds about her impending coming-out season. Cressie was alone for the first time in the house without any of her sisters for company. She was becoming short-tempered and grumpy with the boys, which in turn made her annoyed with herself, for she wanted to like her brothers as well as love them. She tried not to blame them for the lack of discipline which made them unruly to a fault. Every morning she told herself it was just a matter of trying harder. ‘I fear I rather underestimated the effort it takes to keep such active minds and bodies occupied,’ she said, smiling wanly at the portrait painter. ‘Still, I believe teaching will bring its own reward. At least—I hope it will.’

Giovanni looked sceptical. ‘You should demand fair payment from your father. I think you would be amply rewarded if you did so, if only by his reaction.’

‘Goodness, he would be appalled,’ Cressie exclaimed. ‘The fact is I’m doing this for my own reasons, not merely to accommodate my father.’

‘And those reasons are?’

‘No concern of yours, Signor de Matteo. You do not like my father much, do you?’

‘He reminds me of someone I dislike very much.’

‘Who?’

‘That is no concern of yours, Lady Cressida.’

‘Touché, signor.’

‘You do not much like your father either, do you?’

‘You ought not to have to ask such a question. And I ought to be able to answer positively.’ Cressie grimaced. ‘He enjoys making things difficult for me. And I him, if I am honest.’

The mixture of guilt and amusement on her face was endearing. The wind whipped a long lock of hair across her face, and without thinking, Giovanni made to brush it away at the same time as she did. His gloved hand covered her fingers. The contact jolted him into awareness, just as when he had kissed her hand, and the arrested look in her eyes made him aware that she felt it too. Her eyes widened. She shivered. The sun dazzled her eyes, and the moment was gone.

Cressie wrapped her arms around herself as the wind caught her again. She had come out without even a wrap. ‘We should go inside,’ she said, turning away, thrown off balance not just by the tangle of her gown, which the breeze had blown around her legs, but by her own reaction to Giovanni de Matteo’s touch. She was not usually a tactile person, but he made her acutely conscious of her body, and his. She did not want him to see the effect he had on her, though no doubt he had the same effect on every female he encountered. ‘I should take you to meet my brothers now. My stepmother does not like me to leave them with the nursery maid for too long.’

‘Let them wait a little longer. I would like to see something of the house in order to find a suitable place to set up my easel. Lady Armstrong cannot object to you assisting me, can she? And you, Lady Cressida, you cannot object to my company over your brothers’, even if we seem to disagree on almost every subject.’

She couldn’t help laughing, and her laughter dispelled her awkwardness. ‘After the morning I have had in the schoolroom I assure you I would take almost any company over my brothers’, even yours. I most certainly do not object. Come, follow me.’

The portrait gallery ran the full length of the second floor. Light streamed in through windows which looked out over the formal gardens. The paintings were hung in strict ancestral sequence on the long wall opposite. ‘I thought you might wish to set up your studio here,’ Cressie said.

Giovanni nodded approvingly. ‘The light is good.’

‘The yellow drawing room and music room are through these doors, but neither are much used for Bella, my stepmother, prefers the smaller salon downstairs, and since Cassie—Cassandra, my second sister—left home some years ago, I doubt anyone has touched the pianoforte, so you will not be disturbed.’

‘Except by my subjects.’

‘True. I do not know how you prefer to work, whether they must sit still for hours on end, but …’

‘That would be to expect the impossible, and in any event not necessary.’

‘That is a relief. I was wondering whether I would have to resort to tying them to their chairs. Actually, I confess that I have been wondering whether I must resort to doing just that in order to keep them at their lessons. I had hoped that my primer—’ Cressie broke off, tugging at the knot of hair which she had managed to tangle around her index finger, and forced herself to smile brightly. ‘My travails as a teacher cannot possibly be of interest to you, signor. Let us look at the paintings.’

Though her determination to shoulder the blame for her brothers’ failings intrigued him, there was a note in her voice that warned Giovanni off from pursuing the subject. He allowed her to lead him from portrait to portrait, listening while she unravelled for him the complex and many-branched Armstrong family tree, enjoying the cadence of her voice, taking the opportunity to study, not the canvases, but her face as she talked animatedly about the various family members. There was something deep within her that he longed to draw out, to capture. He was certain that beneath the veneer of scientific detachment and tightly held emotions, there was passion. In short, she would make a fascinating subject.

He must find a way of painting her portrait. Not one of his idealised studies, but something with some veracity. He had thought the desire to paint from the heart had died in him, but it seemed it had merely been lying dormant. Lady Cressida Armstrong, of all unlikely people, had awakened his muse.

But tantalising glimpses, mere impressions of her hidden self would not suffice. A certain level of intimacy would be required. In order to paint her he needed to know her—her heart and her mind, though most definitely not her body. Those days were past.

And yet, he could not take his eyes from her body. As she moved to the next painting he noticed how the sunlight, dancing in through the leaded panes in the long windows, framed her dress, which was white cotton, simply made, with a high round neck. The sleeves were wide at the shoulder as was the fashion, tapering down to the wrists, the hem tucked and trimmed with cotton lace. With a draughtsman’s eye he noted approvingly how the cut of the gown enhanced her figure—the neat waist, the fullness of her breasts, the curve of her hips. In this light, he could clearly see the shape of her legs outlined against her petticoats. One of her stockings was wrinkled at the ankle. The sash at her waist was tied in a lopsided knot rather than a bow, and the top-most button at her neck was undone. She employed no maid, Giovanni surmised, and she had certainly not taken the time to inspect herself in the mirror. Haste or indifference? Both, he reckoned, though rather more of the latter.

He followed her to the next painting, but the pleasing roundedness of her fondoschiena, the tantalising shape of her legs, distracted him. He wanted to smooth out the wrinkle in her stocking. There was something about the fragile bones in a woman’s ankle that he had always found erotic. And the swell of a calf. The softness of the flesh at the top of a woman’s thighs. He had tasted just enough of her lips to be able to imagine how yielding the rest of her would be.

Giovanni cursed softly under his breath. Sex and art. The desire for both had been latent until he met her. Painting her was a possibility, but as for the other—he was perfectly content in his celibate state, free of bodily needs and the needs of other bodies.

‘This is Lady Sophia, my father’s sister,’ Lady Cressida was saying. ‘My Aunt Sophia is—you know, I don’t think you’ve been listening to a word I’ve said.’

They were standing in front of the portrait of an austere woman who bore a remarkable resemblance to a camel suffering from a severe case of wind. ‘Gainsborough,’ Giovanni said, recognising the style immediately. ‘Your aunt, you were saying.’

‘What were you really thinking about?’

‘Is there a painting of you among the collection?’

‘Only one, in a group portrait with my sisters.’

‘Show me.’

The painting had been hung between two doors, in the worst of the light. Lawrence, though not one of his best. There were five girls, the eldest two seated at a sewing table, the younger three at their feet, playing with reels of cotton. ‘That is Celia,’ Lady Cressida said, pointing to the eldest, a slim young woman with a serious expression and a protective hand on the head of the youngest child. ‘Beside her is Cassie. As you can see, she is the beauty of the family. Cordelia, my youngest sister who makes her come out this Season, is very like her. Caroline is beside her, and that is me, the odd one out.’

Giovanni nodded. ‘You certainly have very different colouring. What age were you when this was painted?’

‘I don’t know, eleven or twelve, I think. It was before Celia married and left home.’

‘I am surprised that your mother is not in this painting. Lawrence would usually have included the mother in such a composition.’

‘She died not long after Cordelia was born. Celia was more of a mother to us than anyone.’ Lady Cressida’s voice was wistful as she reached out to touch her sister’s image. ‘I haven’t seen her for almost ten years. Nor Cassie, for eight.’

‘Surely they must visit, or you them?’

‘It is a long way to Arabia, signor.’ Obviously sensing his confusion, Lady Cressida hastened to explain. ‘Celia married one of my father’s diplomatic protégés. They were in Arabia, sent on a mission by the British Ambassador to Egypt, when Celia’s husband was murdered by rebel tribesmen. I remember it so well, the news being broken to us here at Killellan. We were told that Celia was being held captive in a harem. My father and Cassie and Aunt Sophia went to Arabia to rescue her only to discover that she didn’t want to be rescued. Fortunately for Celia, it turned out that her desert prince was hugely influential and fantastically rich, so my father was happy to hand her over.’

‘And your other sister—Cassie, did you say?’

‘When she narrowly escaped a most unfortunate connection with a poet, our father packed her off in disgrace to stay with Celia. He should have known that Cassie, a born romantic, would tumble head over heels in love with the exotic East. When he found out that he had lost a second daughter to a desert prince he was furious. But this prince too turned out to have excellent diplomatic connections and was also suitably generous with his riches, so my father magnanimously decided to be reconciled to the idea.’

‘Such a colourful history for such a very English family,’ Giovanni said drily.

She laughed. ‘Indeed! My father decided two sheikhs, no matter how influential, was more than sufficient for any family. I think he fears if any of us visit them, the same fate would befall us, so we must content ourselves with exchanging letters.’

‘And are they happy, your sisters?’

‘Oh yes, blissfully. They have families of their own now too.’ Lady Cressida gazed lovingly at the portrait. ‘It is the only thing which makes it bearable, knowing how happy they are. I miss them terribly.’

‘But you are not quite alone. You have your stepmother.’

‘It is clear you have not been introduced to Bella. My father married her not long after Celia’s wedding. I think he assumed Bella would take on Celia’s role in looking after us three younger girls as well as providing him with an heir but Bella—well, Bella saw things differently. And once James was born, so too did Papa. His only interest is his male heirs.’

‘Sadly, that is the way of the world, Lady Cressida.’

‘Cressie. Please call me Cressie, for no one else here does, now Caro has married and Cordelia has gone to London. I am the last of the Armstrong sisters,’ she said with a sad little smile. ‘I think you have heard more than enough of my family history for one day.’

‘It seems to me a shame that there are no other portraits of you. May I ask—would you—I would like to paint you, Lady—Cressie.’

‘Paint me! Why on earth would you want to do that?’

Her expression almost made him laugh, but the evidence it gave him of her lack of self-worth made him angry. ‘An exercise in mathematics,’ Giovanni replied, hitting upon an inspired idea. ‘I will paint one portrait to your rules, and I will paint another to mine.’

‘Two portraits!’

‘Si. Two.’ An idealised Lady Cressida and the real one. For the first time in years, Giovanni felt the unmistakable tingle of certainty. Ambition long subdued began to stir. Though he had no idea as yet what this second portrait would be, he knew at least it would be his. Painted from the heart. ‘Two,’ Giovanni repeated firmly. ‘Thesis and antithesis. What better way for me to provide you with the proof you need for your theory—or the evidence which contradicts it?’ he added provocatively, and quite deliberately.

‘Thesis and antithesis.’ She nodded solemnly. ‘An interesting concept, but I don’t have the wherewithal to be able to pay you a fee.’

‘This is not a commission. It is an experiment.’

‘An experiment.’

Her smile informed him that he had chosen exactly the right form of words. ‘You understand, it will require us to spend considerable time alone together. I cannot work with any distractions or interruptions,’ he added hastily, realising how ambiguous this sounded. ‘You will need to find a way of ridding yourself of your charges for a time.’

‘Would that I could do so altogether.’ Cressie put her hand over her mouth. ‘I did not mean that, of course. I will find a way, but I think it would be prudent if we keep our experiment between ourselves, signor.’ She grinned. ‘You and I know that we are conducting research in the name of science, but I do not think Bella would view our being locked away alone together with only an easel for company in quite the same light.’

As Bella Frobisher, Lady Armstrong had been a curvaceous young woman when she first met her future husband, with what his sister, Lady Sophia, called ‘fine child-bearing hips’. Those hips had now borne four children, all of them lusty boys, and were, like the rest of Bella’s body, looking rather the worse for wear. A naturally indolent temperament, combined with a spouse who made little attempt to hide his indifference to every aspect of her save her ability to breed, led Bella to indulge her sweet tooth to the full. Her curves were now ample enough to undulate, rippling under her gowns in a most disconcerting manner, her condition having forced her to abandon her corsets. At just five-and-thirty, she looked at least ten years older, dressed as she was in a voluminous cherry-red afternoon dress trimmed with quantities of frothy lace which did nothing for her pale complexion. A pretty face with a pair of sparkling brown eyes was just about visible sunk amid an expanse of fat.