his glasses and the way his sleek, dark suit fit perfectly.
When he was blocked from her view by other people, she focused her attention on picking out his voice. He chatted amiably, switching seamlessly from Italian to French to German and back to Italian again.
(Even his German was sexy.)
She grew warm as she remembered what Gabriel looked like under his suit, his form naked and strained above her. She wondered if he was having similar thoughts whenever he looked at her, and in the midst of her private musings, he made eye contact and winked. His momentary display of playfulness put her in mind of their interlude on the terrace that morning, and a pleasant tremor traveled up and down her spine.
Gabriel sat politely through Dottore Vitali’s introduction, which took no less than fifteen minutes as he painstakingly rehearsed the professor’s accomplishments. To the casual observer, Gabriel appeared relaxed, almost bored. His nervousness was telegraphed by the way he unconsciously shuffled his lecture notes, notes that were merely an outline to the remarks that would come from his heart. He’d made a few last minute changes to his lecture. He couldn’t speak of muses, love, and beauty without acknowledging the brown-eyed angel who’d bravely given herself to him the evening before. She was his inspiration, and she’d been so since she was seventeen. Her quiet beauty and generous goodness had touched his heart. He’d carried her image with him as a talisman against the dark demons of addiction. She was everything to him, and by God, he’d say so publicly.
After much flattery and applause, he took his place behind the podium and addressed the crowd in fluid Italian. “My lecture this evening will be somewhat unusual. I am not an art historian, yet I will be speaking to you about Sandro Botticelli’s muse, La Bella Simonetta.” At this, his eyes sought Julia’s.
She smiled, trying to suppress the blush that threatened her cheeks. She knew the story of Botticelli and Simonetta Vespucci. Simonetta was referred to as the Queen of Beauty in the court of Florence, prior to her death at the tender age of twenty-two. To be compared to Simonetta by Gabriel was very high praise, indeed.
“I am tackling this controversial topic as a professor of literature, choosing Botticelli’s artwork as a representation of various female archetypes. Historically speaking, there have been many debates as to how close Simonetta was to Botticelli and to what degree she was the actual inspiration for his paintings. I hope to skirt some of those disagreements in order to focus your attention on a straightforward visual comparison of a few figures.
“I shall begin with the first three slides. In them, you will recognize pen and ink illustrations of Dante and Beatrice in Paradise.”
Gabriel couldn’t help but admire the images himself, transported as he was to the first time he’d welcomed Julianne into his home. That was the night he’d realized how much he wanted to please her, how beautiful she looked when she was happy.
As he gazed at the quiescence of Beatrice’s expression, he compared her countenance with Julia’s. She sat with rapt attention, her lovely head turned in profile as she admired Botticelli’s handiwork. Gabriel wanted to make her look at him.
“Notice Beatrice’s face.” His voice grew soft as his eyes met those of his sweetheart. “The most beautiful face…
“We begin with Dante’s muse and the figure of Beatrice. Although I’m sure she needs no introduction, allow me to point out that Beatrice represents courtly love, poetic inspiration, faith, hope, and charity. She is the ideal of feminine perfection, at once intelligent and compassionate, and vibrant with the kind of selfless love that can only come from God. She inspires Dante to be a better man.”
Gabriel paused a moment to touch his tie. It did not need straightening, but his fingers lingered against the blue silk. Julia blinked at the gesture, and Gabriel knew that he’d been understood.
“Now consider the face of the goddess Venus.”
All eyes in the room except Gabriel’s focused on the Birth of Venus. He looked over his notes eagerly as the audience admired one of Botticelli’s greatest and largest works.
“It appears that Venus has Beatrice’s face. Once again, I’m not interested in a historical analysis of the models for the painting. I’m simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body.