
“Well, perhaps she’s no scholar of art, but—,” Colin began.
“Scholar? Darling, she’s absolutely hopeless. Why, even you know who Tintoretto is, don’t you, Lady Ashton?”
“Of course,” I said, my lack of knowledge of Renaissance art making it impossible for me to add anything more.
“You understand, I hope, why Tintoretto couldn’t have done the doors?” she asked, her green eyes dancing as she looked at me.
“My expertise is in classical art, countess,” I said. “I’m afraid I’m unable to discuss the nuances of the Italian Renaissance.”
“Nuance has nothing to do with it. Tintoretto was a painter. Ghiberti was a sculptor. He did the doors—Michelangelo called them ‘gates of paradise.’” She pushed against Colin’s arm playfully. “You are going to have to educate her. I can’t have you married to someone who’s as foolish as the baroness. It would be unconscionable.”
“You’ve nothing to fear on that count,” he said. “Emily’s brilliant.”
“Spoken like a man in love.” She had turned so that her back was almost to me, cutting me out of the conversation.
“Will you excuse me?” I asked. There are moments when one is overwhelmed with a feeling of awkwardness, when grace and sophistication and even coherence are goals more remote than that of a woman in evening dress climbing Mount Kilimanjaro or of my mother convincing me to adopt her definition of a successful life. This was one of those moments, and I had no desire to prolong it. As I stood up, my heel caught the silk hem of my gown, and I tripped. Not daring to look at the countess, I mustered as much dignity as possible following what was a decidedly inelegant recovery and headed for the tea table.
Every inch of the mahogany surface was covered by dainty china platters heaped with sandwiches, biscuits, and cakes. Although I did not doubt for an instant that it was all delectable, none of it appealed to a stomach seared by embarrassment. I poured myself a cup of tea, my unsteady hands sloshing the golden liquid onto the saucer, and took a seat on the other side of the parlor.
