Chapters (56)
- Chapter One
- Chapter Two
- Chapter Three
- Chapter Four
- Chapter Five
- Chapter Six
- Chapter Seven
- Chapter Eight
- Chapter Nine
- Chapter Ten
- Chapter Eleven
- Chapter Twelve
- Chapter Thirteen
- Chapter Fourteen
- Chapter Fifteen
- Chapter Sixteen
- Chapter Seventeen
- Chapter Eighteen
- Chapter Nineteen
- Chapter Twenty
- Chapter Twenty-one
- Chapter Twenty-two
- Chapter Twenty-three
- Chapter Twenty-four
- Chapter Twenty-five
- Chapter Twenty-six
- Chapter Twenty-seven
- Chapter Twenty-eight
- Chapter Twenty-nine
- Chapter Thirty
- Chapter Thirty-one
- Chapter Thirty-two
- Chapter Thirty-three
- Chapter Thirty-four
- Chapter Thirty-five
- Chapter Thirty-six
- Chapter Thirty-seven
- Chapter Thirty-eight
- Chapter Thirty-nine
- Chapter Forty
- Chapter Forty-one
- Chapter Forty-two
- Chapter Forty-three
- Chapter Forty-four
- Chapter Forty-five
- Chapter Forty-six
- Chapter Forty-seven
- Chapter Forty-eight
- Chapter Forty-nine
- Chapter Fifty
- Chapter Fifty-one
- Chapter Fifty-two
- Chapter Fifty-three
- Epilogue
- A CKNOWLEDGEMENTS
- H ISTORICAL N OTE
They had led us to where we were now. Old Mrs Cotterstoke’s first husband, the children’s father, had had an interest in paintings and artworks, and the house was full of fine tapestries, several portraits and, best of all, a large wall painting in the dining room, painted directly onto the plaster. I had visited the house, empty now save for an old servant kept on as a watchman, and seen it. I appreciated painting – I had drawn and painted myself in my younger days – and this example was especially fine. Made nearly fifty years before, in the old King’s reign, it depicted a family scene: a young Mrs Cotterstoke with her husband, who wore the robes of his trade and the high hat of the time, seated with Edward and Isabel, young children, in that very room. The faces of the sitters, like the summer flowers on the table, and the window with its view of the London street beyond, were exquisitely drawn; old Mrs Cotterstoke had kept it regularly maintained and the colours were as bright as ever. It would be an asset when the house was sold. As it was painted directly onto the wall, at law the painting was a fixture, but the peculiar wording of the old lady’s Will had meant Isabel had argued that it was rightfully hers, and should be professionally removed, taking down the wall if need be – which, though it was not a supporting wall, would be almost impossible to do without damaging the painting. Edward had refused, insisting the picture was a fixture and must remain with the house. Disputes over bequests concerning land – and the house counted as land – were dealt with by the Court of King’s Bench, but those concerning chattels – and Isabel argued the painting was a chattel – remained under the old ecclesiastical jurisdiction and were heard by the Bishop’s Court. Thus poor Coleswyn and I were in the middle of arguments about which court should have jurisdiction before we could even come to the issue of the Will. In the last few months the Bishop’s Court had ruled that the painting was a chattel. Isabel had promptly instructed me to apply to King’s Bench which, ever eager to assert its authority over the ecclesiastical courts, had ruled that the matter came within its jurisdiction and set a separate hearing for the autumn. Thus the case was batted to and fro like a tennis ball, with all the estate’s assets tied up.
‘That brother of mine will try to have the case delayed again, you wait and see,’ Isabel said, in her customary self-righteous tone. ‘He’s trying to wear me down, but he won’t. With that lawyer of his. He’s a tricky, deceitful one.’ Her voice rose indignantly, as it usually did after a couple of sentences.