Justice Hall - Laurie R. King [43]
“Marsh’s stepmother enjoyed entertaining,” Alistair said, seeing me stopped in front of one panorama of at least fifty people in fancy-dress, masks in hand. Professional beauties, members of Parliament, one well-known tycoon, and three royals, with a handful of actors for leavening.
“Must have been quite a time.”
“We were already in—we were out of the country by then,” Alistair amended, mindful of ears. “This particular one, I believe Phillida wrote Marsh about. Yes—there’s Darling.” Indeed, the handsome young man, tall and slim and blond in the fancy-dress costume of Napoleon, was standing at her side. We went through the dining room, Alistair pointing out the Cellini ewers and the Adam plasterwork, a fairly uninhibited painting by Caravaggio and a somewhat dim one on the opposite wall by Van Eyck, a huge cabinet displaying several hundredweight of identical Sèvres porcelain, and an attractive but incongruous inlaid screen taking up one corner of the room, no doubt the booty of some family member who’d spent time in India. At the moment it was screening from our eyes two fledgling spies, which fact Alistair either did not notice or, considerably more likely, chose to overlook.
The dining room gave way to a music room of Jacobean plasterwork painted in orange and white, rather like plunging into an enormous bowl of apricot cream; then another drawing room, its walls completely taken up with a series of paintings depicting some momentous historical event that appeared to have involved a landing on a storm-swept beach followed by a lot of red-clad men riding horses with huge hindquarters up a hill towards a vaguely Germanic castle. After this room came the Great Hall, and up its stairway we went, to pass through the columns of chocolate-and-cream alabaster into an absolutely stunning long gallery.
The gallery glowed with light and felt warmer than its actual temperature. Its walls combined a pale yellow silk with white detailing and a collection of family portraits that somehow contrived to look like affectionate friends rather than the stern eyes of a disapproving Past. One could almost imagine them joining in the conversations of family members taking their exercise beneath that densely intricate plaster ceiling, strolling up and down the whole bright length of the room while the rain or snow came down on the terraced gardens outside of the mullioned windows, turning the curve of Justice Pond to a thing of pewter solidity. There was even, I saw, a folly on the top of the distant hill, crumbling artistically.
One of the primary reasons for country houses of this sort, I reflected, has always been intimidation. Less a family home than an assertion of power, the country house was the focus of the estate’s energies: The more powerful the landholder, the grander the house. Badger Old Place might be an organic extension of the countryside—its roots old as the hills themselves—but where it was an essentially domestic piece of architecture, Justice Hall was military history in stone and mortar, a weapon from battlement to Great Hall, intended to keep the peasants and all potential enemies in their place. Well, it was certainly working on me: I was well and truly intimidated, and feeling more and more like a country cousin with cow dung on her boots. Since the invention of Culture in the sixteenth century, these people had been skimming the cream off European art and artistry, bringing it here for the pleasure of the few, perfecting the art of being first and foremost. Lady Phillida drew to herself an aura of privilege in the same way the long gallery drew light; I crept along its edge, feeling every inch the mongrel parvenue.
Holmes came from country squires—minor squires, true, but at least