story about his own wildness and its gradual development into vice and rape and murder. Had all these lies come from Anthony Rochford’s father? After thirteen years, without any contrary story being told, were the details now etched in stone? Had Rochford told the story tonight with the sole purpose of blackening the name of a cousin he assumed was not alive to speak for himself? So that no one would question the moral as well as the legal right of his father to take over the title?
Lady Hodges had moved to include Viscountess Dirkson and another lady in the group, and Lady Estelle had turned away with her friend when two young men, Dirkson’s son, Gabriel believed, and the friend’s husband, drew their attention. The Duchess of Netherby had approached to say good evening to Rochford. He was bowing over her hand and raising it to his lips.
“Lady Jessica,” Gabriel said, seizing the opportunity, “do you play the pianoforte?” There was a grand pianoforte in one corner of the drawing room, though no one had yet gone near it.
She raised her eyebrows in that haughty way of hers. “Well,” she said, “I do, but I do not lay claim to any great talent. My music teacher told me one day when I was still a child that I played as though I had ten thumbs instead of just two and eight fingers. All my governess could say in my defense was that it was unkind of him to speak so candidly. And when I ran to Avery to complain, all he did was look at me with that pained expression he is so good at and ask me what my point was.”
Everyone in the group laughed.
“We love you anyway, Jessica,” her aunt, Lady Dirkson, said, her eyes warm with merriment. “And that was a cruel thing to say, and not at all accurate.”
“Definitely not ten thumbs, Jess,” Peter Wayne, her cousin, assured her. “More like eight thumbs and two little fingers.”
“Perhaps you would care to tackle a duet,” Gabriel suggested.
“You play?” Lady Jessica asked.
He did. He had never had lessons and no one had ever encouraged him, though his aunt had come quietly into the room a few times at Brierley while he was playing and quietly listened and quietly went away again. Cyrus’s late wife had had a pianoforte in Boston, sadly out of tune. Gabriel had had it tuned after Cyrus’s death and had played it for his own entertainment.
“A little,” he admitted.
“You must certainly play for us, then,” Lady Hodges said with her characteristic warm smile, and she raised an arm to summon her husband. “There is some sheet music inside the bench.”
He had never learned to read music.
“Shall we?” he asked, reaching out a hand toward Lady Jessica.
“Oh dear,” she said, eyeing his hand with obvious misgiving. But she set her own in it and allowed him to lead her toward the pianoforte. Lord Hodges had opened the cover over the keys and was propping open the lid. Lady Hodges was removing a pile of music from inside the bench and setting it on top.
“There,” she said. “I am sure you can find something you know, Jessica. And anytime I have heard you play I have found your performance quite competent.”
She smiled at them both, took her husband’s arm, and went off to mingle with their guests.
Lady Jessica looked through the pile of music while Gabriel stood half behind her, his hands at his back.
“Thank you for the roses,” she murmured.
“I have always considered a single rose more lovely than a whole vaseful,” he said.
She paused over one sheet of music, opened it, closed it again, and set it on top of the pile of discards.
“It enables one to concentrate the whole of one’s attention upon the beauty of a single bloom,” he said. He was sounding pompous.
“That reminds me of the poem that begins, To see the world in a grain of sand,” she said. “Do you know it?”
“By William Blake?” he said. “Yes. Another of the lines, I believe, is, Hold infinity in the palm of your hand. It is the same idea in a different image. And a single rose can be more breathtaking than a whole garden.”
“I could never quite understand Mr. Blake’s point when I was a girl,” she said. “A grain of sand is merely a grain of sand, I used to think.”
She played a ballad, “Barbara Allen,” though she did not sing the words. She played competently and