“What’s a remittance man?” I asked when Feely had flounced from the kitchen.

“I don’t know, luv, I’m sure,” Mrs. M had replied. “His mother’s that lady as paints over in Malden Fenwick.”

“Paints?” I had asked. “Houses?”

“Houses? Bless you! No, it’s pitchers she paints. The gentry on ’orseback and that. P’raps she’ll even paint you someday in your turn. You and Miss Ophelia and Miss Daphne.”

At which I had let out a snort and dashed from the room. If I were to be painted in oils, shellacked, and framed, I would be posed in my chemical laboratory and nowhere else.

Hemmed in by beakers, bell jars, and Erlenmeyer flasks, I would be glancing up impatiently from my microscope in much the same way as my late great-uncle Tarquin de Luce is doing in his portrait, which still hangs in the picture gallery at Buckshaw. Like Uncle Tar, I would be visibly annoyed. No horses and gentry for me, thank you very much.

A light pall of smoke still hung over the churchyard. Now that most of the onlookers had wandered off, the charred and smoldering remains of the Gypsy’s tent were clearly visible beside the path. But it wasn’t so much the scorched circle in the grass that interested me as what had been hidden behind it: a brightly painted Gypsy caravan.

It was butter yellow with crimson shutters, and its lathwork sides, which sloped gently outwards beneath a rounded roof, gave it the look of a loaf of bread that has puffed out beyond the rim of the baking pan. From its spindly yellow wheels to its crooked tin chimney, and from its arched cathedral windows to the intricately carved wooden brackets on each side of the door, it was something that might have come rumbling out of a dream. As if to perfect the scene, an ancient, swaybacked horse was grazing in a picturesque manner among the leaning gravestones at the far corner of the churchyard.