скачать книгу бесплатно
Regency Pleasures: A Model Débutante
Louise Allen
From genteel poverty to high society Talitha Grey expected to spend her life as a milliner. Then a sudden inheritance catapulted her into the ton! Talitha will make her debut under Lady Perry’s wing – and must hide her shameful secret from her kind guardian. The only difficulty is Lady Perry’s nephew, the gorgeous, suspicious Lord Arndale, who sees far too much… And from highwayman’s bride to lord ’s wife!Katherine Cunningham married an unknown highwayman awaiting execution to save her brother from a debtor’s prison. But her new husband proved to be innocent and a lord. She won’t hold Nicholas to such a mistaken match – but he seems determined to make their marriage real…Two classic and delightful Regency tales!
Don’t miss these other Regency delights from Mills & Boon® Historical romance’s bestselling authors!
REGENCY PLEASURES
Louise Allen
REGENCY SECRETS
Julia Justiss
REGENCY RUMOURS
Juliet Landon
REGENCY REDEMPTION
Christine Merrill
REGENCY PROTECTORS
Margaret McPhee
REGENCY IMPROPRIETIES
Diane Gaston
REGENCY MISTRESSES
Mary Brendan
REGENCY REBELS
Deb Marlowe
REGENCY SCANDALS
Sophia James
REGENCY MARRIAGES
Elizabeth Rolls
REGENCY INNOCENTS
Annie Burrows
REGENCY SINS
Bronwyn Scott
About the Author
LOUISE ALLEN has been immersing herself in history, real and fictional, for as long as she can remember and finds landscapes and places evoke powerful images of the past. Louise divides her time between Bedfordshire and the north Norfolk coast, where she spends as much time as possible with her husband at the cottage they are renovating. With any excuse she’ll take a research trip abroad—Venice, Burgundy and the Greek islands are favourite atmospheric destinations. Please visit Louise’s website—www.louiseallenregency.co.uk—for the latest news!
REGENCY
Pleasures
Louise Allen
A Model Débutante
The Marriage Debt
www.millsandboon.co.uk (http://www.millsandboon.co.uk)
A Model Débutante
Louise Allen
To the Fufflers
For all the support and laughter
Chapter One
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 a stage of near completion when the artist had flung his brushes from him with a cry of despair at ever realising his inner vision. They were stacked away now and from time to time he would attack one of them again for a day or two, then give up in frustration.
It was fortunate, both for the artist and for Tallie, that he was not only the possessor of a modest inheritance, but also had a flourishing and lucrative business in portraiture, an occupation he despised as mere craftsmanship. On three days a week he indulged his classical passion. For the rest of the time he painted Society portraits in the rather more salubrious studio on the first floor of the ramshackle house. It was a tribute to his work that the ton were prepared to make the journey to the shabby house in the decidedly unfashionable street just off Leicester Square to have their likenesses taken.
Tallie was mentally casting her accounts in an effort to decide whether she could see the winter out without replacing her hair-brown walking dress and pelisse or whether her other, publicly acknowledged, occupation required her to make an investment in a new outfit.
This financial review was more than enough to account for the crease between her brows, but the frown vanished to be replaced with an expression of real anxiety at the sound of the knocker thudding four floors below, soon followed by the sound of a number of male voices echoing up the uncarpeted stairwell.
With an exclamation of impatience at the interruption, Mr Harland cast down his palette with a clatter and, clambering down from his post, flung open the attic door.
Tallie ran to his side and out onto the tiny bare landing, clutching her flimsy draperies around her. Clearly up the stairway from below she could hear the voice of Peter, Mr Harland’s colourman. Peter inhabited the ground-floor rooms with his pots and jars, his bags of pigments and flasks of oils and there magically ground vivid colours out of strange materials.
‘Mr Harland doesn’t receive clients on Wednesdays, gentlemen. Tuesdays and Thursdays are his days. You can’t go up there now, sir!’
‘Dammit, I wrote to say I would call to arrange my aunt’s portrait and I have no intention of trailing back another day at Harland’s convenience.’ The drawling voice was arrogantly dismissive of the colourman’s protests. ‘Are you saying he is not here?’
‘Yes, sir, I mean, no, sir, he is here, but he—’
‘Perhaps he is with someone?’ It was a new voice, carrying easily up to Tallie far above. A coolly sardonic, rather bored voice that made the previous speaker sound affectedly high-handed.
‘The man has just said that Harland does not have clients on a Wednesday, Nick. Step out of my way, fellow, I have no intention of standing here bandying words with you all afternoon.’
‘But the master’s working with a model, sir! You can’t go up there!’ From the rising note of Peter’s voice, the speaker had pushed past him and was already on the stairs.
‘What? A female model? Now that is more the thing! Come on, you fellows, this should be good sport.’ The voice had lost its drawling arrogance and held a note of excitement that made Tallie’s chilled skin crawl. They were coming up, and it appeared that there were several men in the group.
Tallie had disrobed in a room on the floor below, having learned from experience of the effect that the dusty attic had on her small wardrobe, and her only covering was the fragile length of linen. She cast round wildly, her heart thudding. The attics, although essentially one large open space, rambled around corners made by the construction of racks of canvases and piles of dusty props, and in one corner, shielded by the largest rack, there was a large cupboard with a door to it.
‘I will hide in the closet,’ she said urgently to the artist, who was exclaiming in irritation at the interruption. ‘Whatever you do, Mr Harland, do not let them know I am here or I will be quite ruined.’
He nodded distractedly. ‘Yes, yes, into the closet with you. I wonder if any of the gentlemen would care to buy an historical canvas?’
Tallie did not stop to argue, but ran on bare feet across the splintery boards. She whisked round the corner of the racking as the voices outside neared the attic and jerked open the cupboard door. The key that had been on the outside clattered to the floor.
Tallie scrabbled for it, but it was nowhere to be seen. With a sob of frustration she abandoned the search and pulled the door to behind her. The closet was lit by a tiny window, begrimed with dirt and cobwebs, but sufficient for her to see that the space contained nothing in which she might cover herself and nothing to wedge the door with. Not, she realised despairingly, that wedging it would have done any good for it opened outwards.
The men had reached the attic now. Through the warped boards that framed the closet she could hear at least four voices. The arrogant man and the sardonic man she recognised from their voices far below; their companions had equally well-bred tones and in them she could recognise a kind of febrile excitement at the thought of what they were going to find in the studio.
Tallie felt quite ill with apprehension and scrabbled to pull her linen draperies around herself in some gesture towards a decent covering. Her fingers closed on air and chilled skin. The length of fabric had gone. Wildly she cast around the little closet as though three yards of white cloth could be hiding in an empty space, then she recalled the slight tug at her shoulder as she had hastened around the racking.
Harland’s voice was clearly audible as she stood there, shivering with cold and fear, her ear pressed against the door panels. He sounded flustered. ‘Gentlemen, as you can see, I am alone, but really not in a fit state to receive. However, now you are here, what can I do for you, Mr Hemsley? Something about a portrait of your aunt, I believe you wrote?’
‘Alone?’ The owner of the arrogant voice—Mr Hemsley, she deduced—appeared to take no notice of the artist’s question. ‘Your man said you had a model up here.’
‘He is mistaken. I was working from the nude earlier, but—’
‘Nude, I’ll say! See here, you fellows!’ This voice was younger, excited.
‘Take care, my lord! That platform is not very stable!’ So, one of them had climbed up to the canvas.
‘Bloody hell.’ It was Hemsley, his voice strangely flat with what even Tallie in her innocence could recognise as lust. Then the excitement came back to his tone. ‘I’ll bet she’s still here, Harland, you dog. Come on, men, yoicks and tally-ho!’
‘For heaven’s sake, Hemsley.’ The sardonic man sounded utterly uninterested. ‘How much longer do you intend hanging around in this squalid attic? Oh, very well, if nothing will satisfy you but to search, let us search. I will look over here, you and the others take the rest. Doubtless we will discover some large spiders, a dead starling or two and any number of mice.’
The voice was getting closer as he spoke. Tallie thought wildly of seizing the door handle and holding on if he tried to open it, but the possibility of being dragged out into the open in such an undignified way only added to the horror. The approaching footsteps halted. From the far side of the attic there was the sound of boisterous searching, excited cries and the occasional ‘Do be careful of those canvases, gentlemen!’ from the agitated artist.
The footsteps resumed, rounded the corner of the racking if her straining ears were correct, and stopped outside the closet. Tallie turned her back on the door, moved as far away from it as she could and, wrapping her arms around her shrinking body, awaited the worst.
Her hair fell on either side of her bowed head giving her the fragile illusion of shelter and anonymity. But even that vanished as the door creaked open, sending light from the studio flooding into the small space. It defeated the glimmer from the closet window and spilt the shadow of a man across the floor beside Tallie’s feet.
He did not move. Tallie could hear his breathing, steady and even, but she had also heard the sudden catch in it when he had first seen her. He was under control again now, standing there silently watching her. She could not drag her eyes away from the long shadow.
The unseen regard felt as though it was burning into her back. Tallie was well aware of just what he was seeing and a wave of scalding humiliation washed up her body. She was going to be sick, she knew it.
Oh, get it over with! she screamed silently. How can you torture me like this? At any moment he was going to call out and the whole pack of them would be there, leering, touching, jeering. Like an animal at bay she turned in upon herself, her mind too frozen with terror and shame to allow her coherent thought.
The shadow at her feet shifted. The man moved and something touched her shoulders lightly. It was a hand resting warm on the shrinking skin. The soft whisper of cloth brushed down her back and over her buttocks. Tallie choked on a scream and his voice—very soft, quite dispassionate—said, ‘Here, your wrap was caught on a nail. Be very quiet and everything will be all right, I promise you.’
I promise you. She believed him. The hand was lifted, but she realised he was standing very close just behind her, close enough to whisper in her ear without the sound penetrating outside, close enough for her to feel the warmth of his breath. There was the sound of a long indrawn breath and Tallie had the strange sense that he was inhaling the scent of her. When he spoke again there was an edge to the controlled voice, the merest hint that he was finding her proximity unsettling.
‘I am putting the key in the lock on the inside; as soon as I am gone, turn it.’ No, she was imagining it: he sounded practical, aloof, unaffected by the sight of the naked girl shivering before him at his mercy.
The door shut, cutting off the bright light. He had gone, leaving the tiny space feeling vast and empty. Over the sound of her own pounding heart she had not heard him move. The voices of the other hunters sounded suddenly loud outside. ‘What are you about, Nick? Run her to earth, have you?’
‘That closet is locked.’ He seemed to be speaking rather louder than necessary and Tallie, wrenching herself out of her frozen state with an effort, twisted the key in the lock, the sharp click masked by the noise outside. ‘The key was outside,’ the man Nick said.
Oh, clever, Tallie thought as her legs gave way under her and she sank slowly down the wall until she was huddled on the floor. The closet is locked and the key was outside, so it couldn’t have been locked from the inside. All perfectly truthful and all perfectly deceiving.
‘Gentlemen, gentlemen, will you not come down to the first floor, where you will be more comfortable, and we can discuss the question of Lady Agatha’s portrait, Mr Hemsley.’ The voices, the excitement dying out of them now their hunt had ended in disappointment, receded down the stairs as the men followed Mr Harland.
Tallie stayed huddled on the floor until her breathing settled a little and the wave of nausea subsided. Then she realised that she was so cold that she could hardly move. With agonising slowness, like an old woman recovering from a fall, she clawed her way up the wall until she was on her feet again. The sharp noise of the key in the lock as she turned it made her jump, but with ears straining she pushed the door open and tiptoed out into the cold attic. Far below she could just make out voices. Mr Harland had them all safely in his first-floor studio, thank goodness, probably offering them the good Madeira he kept for clients.
Tallie crept down the stairs to the next floor and into the near-empty bedchamber that she used to change in. The water in the basin on the washstand was icy as she rinsed her dusty fingers, but the blessed security of her clothing as she pulled it on warmed her from the inside, even though the old wool dress was chill from the room. The scent of the jasmine water she habitually wore touched her nostrils. In the absence of her body heat it was a faint ghost of an aroma.
Her hair snagged and tugged as she pulled the comb through it, but she had to braid it tightly and pin it up so that her hat covered the pale blonde shimmer of it modestly. To an onlooker familiar with the detail of ladies’ fashions, the bonnet that she set on her now-subdued hair would have seemed surprisingly elegant in contrast to the shabby gown and pelisse. The straw was the finest pale Luton plait and the trimming, although modest enough, was of elegantly pleated grosgrain ribbon.
Safely and respectably dressed at last, Tallie ventured out onto the landing and peered over the rail. In the hall beneath she could see the tops of the hats of four gentlemen, a variety of well-tailored shoulders and the bare heads of Mr Harland and Peter, who had poked his dishevelled grey head out of his workshop door as the visitors left.
