The Queen's Sorrow (8 page)

Whenever he was too tired to think, he sketched what he saw in the room: the immense fireplace and, in detail, the Tudor roses carved into it; an expanse of wall-panelling and its delicately carved frames; sections of the decorative plasterwork on the ceiling; several floor tiles of differing heraldic designs; and the table clock from all angles. One evening, he began sketching Nicholas: unapproachable Nicholas. And perhaps that was why, the dare of it. Nicholas: approachable only like this, in surreptitious glances from across the room. And, anyway, Rafael found himself thinking,
he
stares at
me
, from that first evening, from the doorway, and ever since. Nicholas had never yet spoken in Rafael’s presence, nor smiled. What he did – all he did – was stare. There was no blankness to that stare, it was full of intent:
Leave me alone
. Whenever their paths crossed, Nicholas stared Rafael down; stared until Rafael – smile abandoned – looked away.

Not now, though, for once. Not when the boy was relatively off-guard, weary at the end of the day and wedged under the wing of his mother. He was kneeling beside her, playing with a tin of buttons. Well, not playing. Play must have been his mother’s intention – ‘Here, look!’ – and he was obliging her to the extent that he was doing something with the buttons, but all he was doing was gazing at them as he dabbled his fingertips in the tin. Rafael had considered him an unnaturally still child – never running around, always clinging to Cecily – but now he noticed how much the apparently motionless Nicholas was in fact moving: chewing his lip, and shifting his shoulders – one, two, one, two – in a strange, rigid wiggle. The poor boy was so taken over by this restlessness that there was nothing of him left for button-playing.

Francisco would be lost to those buttons, he’d love them. He’d line them up on the floor, transforming them in his imagination into something else, creating a drama for them and probably talking them through it. He was always occupied. What he was actually doing might well not be clear to an observer. He’d be sitting straight-backed with that downward incline of his head, his attention on his hands, and his hands busy.

Cecily shifted on her cushion and her son’s gaze snapped up to her. However unwelcoming those eyes were to anyone but his mother, there was no denying that they were extraordinary: huge, almond-shaped, and a proper blue, not what passed for blue in most eyes here in England but was really an absence of colour, a mere shallow pooling of what passed for light.

Francisco’s smile was famous, lightning-quick and lightning-bright, all eyes and teeth, almost absurd in its intensity. People would laugh aloud when first faced with it, and turn to Rafael, incredulous and celebratory:
What a beautiful smile!
Truly it was a gift: such a smile could never be learned. Rafael recalled it from Francisco’s earliest days: Leonor turning around to walk away, and there over her shoulder was the baby and in a flash that cheeky, laughable smile. Nothing withheld, nothing watchful or measured in it. Such a smile anticipated no knock-backs, no caution on behalf of the beholder, nothing but the absolute best in response. It was wonderful to witness and Rafael understood the seriousness of being the guardian of it.

Naïvely, he’d not intended Cecily to see his sketch of her son. But on one of her trips from the room with her silks, she glanced over and exclaimed. Instantly, though, came a hesitancy, as if it might have been presumptuous of her even to have recognised the subject. Rafael sat there with it in his lap, helpless, exposed. Was it a gift? Just because that hadn’t been his intention … It was a gift, wasn’t it, this sketch of her boy. Had to be.

‘Nicholas,’ she said, sounding amazed. ‘Look.’ And then that hesitancy again: to Rafael, ‘May I?’

He handed it to her, and she knelt beside her boy to show him. ‘It’s you.’

He stared at it, no less wary than when confronting Rafael himself, studying it, intent and grave, as if looking for something, before surrendering it back to his mother. She received it with a slight reluctance. In turn she went to hand it to Rafael, but he declined with a smile and a raising of his hands.
He hoped to strike the right note – a glad giving up of it, but not too dismissive of it, either – but didn’t know that he’d been all that successful. She withdrew gingerly, looked for somewhere to place it and laid it face-up on the table, where it seemed, to Rafael, vulnerable.

The following evening, he sketched Cecily’s hand; not the one busy with the needle but the other, the steadying one, her left. The one on which she wore a wedding band. And he wondered: was she a widow? He’d been presuming so, but maybe there was a husband working away somewhere – perhaps for Mr Kitson, abroad, or at the country house. Rafael hadn’t a clue as to the ways people lived and worked here in England. Perhaps it was normal for spouses to live – to work – apart. If she was a widow, how long had she been bereaved? The child was only four. Clearly she’d had him late in life, and Rafael wondered if there were others, elsewhere, grown up. Rafael imagined opening the conversation:
You
know, my wife and I, we only ever had the one, and late
. They had so nearly not had him; he had so nearly never happened.

There would become a graininess to the dusk and soon they’d see that it’d already happened: the lovely, velvety mix of light and dark would finally have lost balance in favour of darkness. However hard Rafael tried to see the moment happen, he never succeeded. It was, he knew, in the nature of it: it had to happen unseen or it couldn’t happen at all. This evening, as on all others, they’d been sinking into the shadows, letting themselves and the room be taken. But soon Cecily would get up and begin lighting candles, and the candlelight would gently scoop them up, set them apart and make them observers of those shadows.

He could see how unscarred her hands were: unburned, uncalloused; no signs of hardship. Certainly she endured none in this house. She was a seamstress who didn’t do the laundry; she shopped for food rather than pulling it from the soil or kneading or cooking it. But she’d have come from somewhere. She’d have survived things; there would have been things to survive, there were always things to have to survive. Had she always lived and worked in houses like this? There was no trace of her personal history on her hands, except for the marriage. It shone, the evidence of that. How long had she been here, gliding through this household, fabric over her arm, and ready when required to claim the favoured position of housekeeper? For ever, said her demeanour, but – Rafael felt – a little too deliberately. The child gave her away. That child wasn’t at home, here.

Rafael concentrated again on his sketch. There was plenty for him to do, from the fan of bones across the back of the hand to the indentations on the knuckles. His own wife’s hands, by comparison, were small and featureless. Not that he’d ever actually sketched them, but, then, he didn’t have to, he knew them. Dainty, was how he’d thought of Leonor’s hands, if he’d thought anything of them at all, although the realisation surprised him because he’d never thought of
her
as dainty. She was small, yes, but strong.

Prettily bejewelled, was what he remembered now of Leonor’s hands. Cecily’s wedding ring, her only ring, was loose. It moved as she moved her hand, dropping back towards the knuckle and revealing a stripe of pallor. She was fussing Nicholas’s hair now and Rafael could almost feel the reassuring clunk of that ring – its solidity and smoothness – as
if on his own head. The slight resistance of it, its switching back and forth. He wondered if her feet were like her hands, long and distinctly boned. And then he wondered what he was doing, wondering about her feet. The dusk must be addling him. He wasn’t thinking of her feet, of course: what he was thinking of was proportion and line. Because that was what he did, in life. In his work. Angles. She had begun to walk around the room now with her taper, bestowing glowing pools, and he let himself think of the strong arches beneath those soft-sounding feet of hers.

Then she took him utterly by surprise in coming up and looking over his shoulder. No escape.

The surprise, now, was hers. ‘My hands?’

He cringed. ‘Yes.’

She looked down for a while longer at the drawing, then began to look at her own, real hands – raising and slowly rotating them – as if for comparison. As if seeing them when before, perhaps, they’d gone unremarked. But also as if they weren’t hers. He said, ‘I’m sorry.’

‘Oh! – no.’ The briefest, faintest of smiles to reassure him. Then, tentatively, the tip of her index finger down on to the paper, on to a stroke of charcoal, where it paused as if resisting following the line. Then back, locked away into a demure clasp of her hands. She gave him another brief smile, this time as if in formal thanks. This sketch, he didn’t offer her. It was just a study, after all. A technical exercise. That’s all it was.

Thereafter, chastened, he made a show of sketching the far end of the Hall, rigorous in his shading, frowning at his efforts. Cecily had returned to her embroidery, her son was drowsily stroking the dog, and the old man rattled with
snores. When Rafael judged an acceptable interval had elapsed, he made his excuses. Cecily’s upwards glance was dazed from the close work she’d been doing and – reminded, herself, of time having passed – she switched that glance from Rafael to Nicholas, to check on him. And there he was, fallen asleep. Rafael hadn’t noticed, either. He wasn’t surprised, though: the child had quite a nasty cold. Cecily huffed, exasperated: he’d have to be woken to go to bed.

Rafael slammed down the impulse to offer to lift him. It would be too familiar of him. But it must have occurred to Cecily, too, because now she was looking at him as if she didn’t quite dare ask. He’d have to do it, then; but here came a flush of pleasure that he could do something, could offer her something. Still mindful, though, of overstepping the mark, he gestured:
Shall I …?

Her response was a hopeful wince:
Could you? Would you
mind?

He set down his sketches and charcoal, convinced that he was going to do it wrong, do it awkwardly and wake the boy, who’d be alarmed to find himself being pawed by the Spanish stranger. Approaching him, Rafael sized him up, deliberated how to ensure least disturbance and greatest lifting power. Cecily fluttered around him as if offering assistance, but in fact doing nothing of the kind – although there was nothing much she could do except wipe her son’s nose. Rafael crouched, slotted his hands under Nicholas’s arms and drew him to his chest. ‘Come on, little man,’ he found himself soothing, just as he would with Francisco. The boy offered no resistance and Rafael nearly overbalanced. Righting himself, he strained for the lift, bore the weight
then settled him, marvelling how the little body could feel both so unlike Francisco’s and, somehow, at the same time, identical. His heart protested at the confusion. Breathing in the muskiness of the boy’s hair, he nodded to Cecily to lead the way.

She led him from the Hall to a staircase and up the narrow stone steps to a first-floor door, opened the door, ushered him inside, and drew a truckle bed from beneath the main bed. He made sure not to look around – that would be improper – as he lowered Nicholas on to the mattress. Nicholas frowned, turned on to his side and drew up his knees; Cecily bent over him, wiping his nose again and then busy with blankets. Rafael retreated, risking a glance back from the doorway and getting a preoccupied smile in thanks. She’d be staying in the room. He made his way to his own.

The next day, visitors arrived: Mr Kitson’s secretary – in London on business – with four smartly dressed men whom Rafael didn’t recognise. They, too, talked all through dinner, but just amongst themselves, perhaps on business matters, which left Rafael’s usual crowd in respectful near-silence. Suffering the beginning of Nicholas’s cold, Rafael was content to sit back. He listened not for the actual words but to the sounds, and he found that he was beginning to be able to distinguish between those sounds: yes, there were the blunt ones, particularly concerning things to hand – the food, and the dog, in whom they all took an interest as if it were a child, in fact in place of any interest in the actual child – but then they’d turn into conversation which had more flow, and Rafael would catch notes of French and Latin. It was a ragbag of a language, English.

They’d gone by the following suppertime. After that meal, Rafael retired as usual to the cushions alongside Cecily and her son, and Richard – the old man – and dog, to sketch from memory the front elevation of the house, for Francisco.
This is where I’m staying. This – up here – is my window
. After a while, it occurred to him that Cecily might be watching him: occasionally there was a quick lift and turn of her head in his direction. Once, he’d managed to meet her gaze but she’d glanced back down, expressionless, as if hoping to get away with it. Having sketched her, he’d unsettled her, which he was sorry to see. She was anxious to know what he was up to, to see if she was once again his subject. But it would be too open an acknowledgement for him to take the initiative and show her his drawing. Instead, he took to putting it down every now and then in what he estimated to be her view, while he blew his nose; and then, when that didn’t seem to have worked, he laid it aside while he paced to stretch his aching legs. After that, there were no more surreptitious glances.

Later that week, he found himself dabbling at the cleft between the thumb and forefinger of her left hand. In isolation, the fold wouldn’t be recognisable: just a smudge of charcoal. Nothing, really. A space.

There was something about her brow, though, with its broadness that he’d noticed when he’d first seen her. There was something appealing about that. The eyes wide-spaced, unlike so many English faces, which tended towards the pinched. Hers was an open face. He half-sketched, doodled, seeing how little she had by way of eyebrows or eyelashes. Cursory and incomplete, they were, as if only the briefest
attempts had been made at them. He had to be so very light with the charcoal to draw their absence.