Back Lamentation
Chapters (56)
  1. Chapter One
  2. Chapter Two
  3. Chapter Three
  4. Chapter Four
  5. Chapter Five
  6. Chapter Six
  7. Chapter Seven
  8. Chapter Eight
  9. Chapter Nine
  10. Chapter Ten
  11. Chapter Eleven
  12. Chapter Twelve
  13. Chapter Thirteen
  14. Chapter Fourteen
  15. Chapter Fifteen
  16. Chapter Sixteen
  17. Chapter Seventeen
  18. Chapter Eighteen
  19. Chapter Nineteen
  20. Chapter Twenty
  21. Chapter Twenty-one
  22. Chapter Twenty-two
  23. Chapter Twenty-three
  24. Chapter Twenty-four
  25. Chapter Twenty-five
  26. Chapter Twenty-six
  27. Chapter Twenty-seven
  28. Chapter Twenty-eight
  29. Chapter Twenty-nine
  30. Chapter Thirty
  31. Chapter Thirty-one
  32. Chapter Thirty-two
  33. Chapter Thirty-three
  34. Chapter Thirty-four
  35. Chapter Thirty-five
  36. Chapter Thirty-six
  37. Chapter Thirty-seven
  38. Chapter Thirty-eight
  39. Chapter Thirty-nine
  40. Chapter Forty
  41. Chapter Forty-one
  42. Chapter Forty-two
  43. Chapter Forty-three
  44. Chapter Forty-four
  45. Chapter Forty-five
  46. Chapter Forty-six
  47. Chapter Forty-seven
  48. Chapter Forty-eight
  49. Chapter Forty-nine
  50. Chapter Fifty
  51. Chapter Fifty-one
  52. Chapter Fifty-two
  53. Chapter Fifty-three
  54. Epilogue
  55. A CKNOWLEDGEMENTS
  56. 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.