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Chapter Seven
The Dress-Maker must be an expert anatomist; and must, if judiciously chosen, have a name of French termination; she must know how to hide all defects in the proportions of the body, and must be able to mould the shape by the stays, that, while she corrects the body, she may not interfere with the pleasures of the palate.
The Book of English Trades,
and Library of the Useful Arts, 1818
Achild.
She had a child.
A little girl with dark, curling hair who ran at her, laughing. Noirot’s arms went around her and tightened to hold her close. “My love, my love,” she said, and the way she said it made a knot in his chest.
He was distantly aware of other feminine voices, but his attention was locked upon the scene: Noirot crouched on the pavement, crushing the little girl to her, and the child, whose face he could see so clearly over her mother’s shoulder, eyes closed, her face alight and dawn-rosy, her happiness radiating in almost visible waves.
He didn’t know how long he stood there, oblivious to all else about him: the busy street, the people detouring round the mother and child on the pavement. He scarcely noticed his own servants, carrying her things into the place, then returning to the carriage. He was only dimly aware of the two women who had come out of the shop behind the little girl.
He stood and watched the mother and child because he couldn’t turn away, because he didn’t understand and scarcely believed what his senses told him.
After some time, some very short time perhaps, Noirot rose and, taking her daughter’s hand, started toward the shop. The child said, “Who is that, Mama?”
Noirot turned around and saw him standing, like a man at the window of a peepshow, entranced by a foreign world, unable to look away.
He collected his wits and took a step toward them. “Mrs. Noirot, perhaps you’d be so kind as to make me known to the young lady.”
The child looked up at him, eyes wide. They were not her mother’s eyes, but b1ue, vividly blue. They seemed vaguely familiar, and he tried to remember where he might have seen those eyes before. But where could that have been? Anywhere. Nowhere. It didn’t signify.
Noirot looked from the girl to him and back to the girl, who said, “Who is it, Mama? Is it the king?”
“No, it isn’t the king.”
The child tipped her head to one side, looking past him at the carriage. “That is a very grand carriage,” she said. “I should like to drive about in that carriage.”
“I don’t doubt that,” said her mother. “Your grace, may I present my daughter, Miss Lucie Cordelia Noirot.”
“I beg your pardon, Mama,” the child said. “That isn’t my name, you know.”
Noirot looked at her. “Is it not?”
“My name is Erroll now. E-R-R-O-L-L.”
“I see.” Noirot began again. “Your grace, may I present my daughter—” She broke off and looked enquiringly at the child. “You’re still my daughter, I take it?”
“Yes,” said Erroll. “Of course, Mama.”
“I’m relieved to hear it. I had quite grown used to you. Your grace, may I present my daughter Erroll. Erroll, His Grace, the Duke of Clevedon.”
“Miss ... erm ... Erroll,” he said. He bowed gravely.
“Your grace,” the girl said. She curtseyed. It was nothing half so stunning as her mother’s style of curtsey, but it was gracefully done nonetheless. He wondered at it and at her remarkable self-possession.
Then he recalled whose daughter she was, and wondered why he wondered.
Then he recalled who it was who had a child.
A child, Noirot had a child!
How had she failed to mention such a thing? But what was wrong with him that he was so shocked? She was Mrs. Noirot—and while the title “Mrs.” was used, cavalierly enough, by unwed shopkeepers, actresses, and whores alike, he needn’t have assumed she wasn’t a married woman, with a family and ... a husband ... who did not seem to be in evidence. Dead? Or perhaps there was no husband, merely a scoundrel who’d fathered and abandoned this child.
