By the fog-wrapped canals of Venice, he waits....

The bleak life that Sarah Connolly has always known is finally showing signs of light, thanks to a friend who has helped her leave a past of desperate penury in London for a life of quiet servitude.  But in Venice, Sarah soon discovers there is a darker side to the family she has suddenly been thrust among, and walking just beyond her newfound hope is a shadowy figure.  What lurks behind his mask is a darkness that compels her...and a passion that makes her doubt everything she wants.

Sebastian Grimsthorpe, Lord Wortham, once enjoyed a carefree life, but it ended in an explosion of betrayal and violence.  Escaping death, he embraced the appearance of it, concealing himself in shadows and behind masks so that he can exact a pitiless revenge upon the man who so nearly destroyed everything he holds dear.  But his quest will take an unexpected turn when he is suddenly shaken by a woman whose tragic eyes mystify him — and seduce him into a world of secrets and deceptions.

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PRAISE FOR THE VEIL OF NIGHT

"Intelligent.  Passionate.  Filled with dark secrets and illuminating love.  This is what romance is about!" — USA Today Bestselling Author Robin Schone

"Anyone who has ached for the Gothics of the past shouldn't miss this book!" — Karen Harbaugh, Author of Dark Enchantment

"A powerful love story, compelling and beautifully written." — Alison Kent, Author of Larger than Life

   

  

PROLOGUE

He would not get away with it!

The thought surged through Sebastian Grimsthorpe, Earl of Wortham, as he leapt from the seat of his gig, tossing the traces to the hovering groom the instant his boots crunched down on the cobbles. 

"I won’t be long." He strode across the fog-stifled street to the discreetly elegant entrance of the Whitsun Club, his steps jerky with scarcely controlled rage.

He flung back the door, ignoring the polite protests of the porter behind his shining mahogany desk, and advanced straight through the vestibule into the dining room. Rich cherry tables dotted the room, modest under the ceiling’s embellishments of gilt and crystal that were the remnants of an earlier age. Today, Sebastian had no time to admire the atmosphere of aged dignity and cigar smoke. Today, he had only one thing on his mind.

Bertrand de Lint sat at his usual table just as Sebastian expected, laughing jovially with a friend over port and beefsteak. Sebastian had planned to confront him quietly, hustle him out of the back of the club, and . . . something. He hadn’t thought that far ahead.

But coming face-to-face with the criminal for the first time since Adela’s attack overwhelmed his discretion. Anger narrowed his vision until everything but de Lint’s complacent face was engulfed by darkness, his muscles clenching against the furious rush.

"De Lint, you bastard!" Sebastian scarcely recognized the roar as his.

Silence fell like an axe. Fifty pairs of eyes looked up from their quiet meals and focused upon Sebastian, but he ignored them all. In the startled hush, the clink of de Lint’s silverware against his plate and the muted scrape of his chair across the Aubusson carpet filled the room. The man stood unhurriedly, surveying his accuser with a quiet, sardonic quirk of his brows.

"Really, Wortham," he drawled. "If this is about that prank with that chit of yours again, this is hardly the place — "

"You lying bastard!" Sebastian drowned him out, not wanting to hear what new calumny de Lint had invented to smear his daughter’s name. For the first time in the dozen years that he’d known the man, a flicker of uncertainty showed itself in de Lint’s amber gaze, and Sebastian took a grim satisfaction in it as he plunged on. "That was a farce of an inquest. How you could have the audacity to come here — "

De Lint’s lip curled in contempt. "I said nothing but the truth, which surprised no one, knowing what her mother was. Blood will tell, you know, old boy. You might as well let it go."

"No!" Sebastian surged forward, closing the space between them in a heartbeat, his momentum shoving de Lint back until the shorter man crashed against the wall hard enough to shiver the china on the nearby tables. “She is a child, damn you. A child!”

De Lint looked down at his rumpled coat, clenched in Sebastian’s fist, then up to his attacker’s face. A hard light glinted in his eyes. “She wasn’t a child when I had her — "

Sebastian’s fist across the man’s jaw cut him short. The sudden, violent smack of flesh on flesh unfroze the rest of the room, and the watchers sprang into action. Hands hauled at Sebastian’s coat and collar, yanking him away from de Lint, hustling him across the dining room and toward the door. Sebastian fought on, splitting one man’s brow and giving another a sharp elbow in the sternum. 

His ears rang with remonstrances against his behavior, all the same old voices saying all the expected things, the things that he might have said himself before the events of the last month: "Quite abominable, old chap." "Not the thing at all, you know." "Really, Wortham, to assault a man in his own club — " In their voices, he heard echoes of what his fellows had said ever since he made the accusation on behalf of his illegitimate daughter, and despair welled up black and thick around him.

He stopped struggling.

Sebastian’s glare remained fixed upon his adversary as he was jostled through the door. De Lint straightened himself, pulling wrinkles from his clothes and brushing away the signs of their encounter, as if he could clean himself of the smirch of Sebastian’s accusations just as easily.

And, deep in his heart, Sebastian knew that as far as society was concerned, he already had. A punch thrown in a venerable and well-respected club — that was a scandal. But a bastard child of a debauched earl and a Spanish whore was nothing to the men of the Whitsun Club or any of their ilk. The rape of such a girl might feed the gossip papers, but she was outside the comfortable world of gentility, and so her fate could have no impact upon it. Not unless Sebastian forced it upon them.

"This isn’t over yet." Sebastian didn’t raise his voice, but it cut easily through the uproar that came in the wake of the altercation. "Adela will have justice one way or another. I swear it!"

De Lint simply lifted an eyebrow, and that was Sebastian’s last glimpse of him before he was pushed around the corner back into the vestibule.

"Go away," he growled at the men who crowded around him in the tiny space. His friends, de Lint’s friends — he didn’t know which, but now they could not be both. The men did not move, and so he turned toward the club’s entrance, dislodging the last of the hands that gripped him in the movement. "I am fine. I am leaving. Go."

They fell back as he pushed to the door. He stepped out and let it swing shut behind him as he paused on the stoop, turning his face up to the gray, dirty London drizzle that was just beginning to fall. It suddenly felt cleaner to him than anything he’d experienced in a long time, and that thought stirred a deep disquiet he was loath to examine too closely.

"You’ll be banned, you know," a familiar voice said casually at his elbow, and Sebastian gave a sideways glance. Stephen Holland had slipped out after him and was now standing by his side, concern in his eyes despite the way his hands were shoved carelessly into his pockets. A friend still, then.

"I don’t care," Sebastian said.

Holland shrugged, in response to the words or to the rain soaking his evening coat, Sebastian couldn’t tell. "I really don’t see what you intended to accomplish in there."

Sebastian’s frustration surged up again. "He’s going to get away with it. I cannot permit that."

Holland was silent for a long moment. Then he said lightly, "But therein lies the rub. De Lint may be a scoundrel, but he’s never been a liar. And he says there was no assault."

"By God, Holland!" Sebastian spit the words. "If you had been there — seen the blood, the bruises, the tears — you would have known that it could be nothing but a rape, a rape of the foulest sort. She is a child — " He realized he was shouting again, and he bit back the rest of that sentence. "Surely you must believe me."

Holland turned his head slowly and met Sebastian’s eyes, his expression troubled. "I’ve never know you to be a liar, either, Wortham. No more than de Lint. And that is all that I can say about that."

His meaning, the one Sebastian had heard echoed so often for the last month, was devastatingly clear: Sebastian’s life had been not one whit more irreproachable than de Lint’s. Without the benefit of witnesses beyond one young girl of no breeding and questionable morals and a nurse who hadn’t even been there, it became a matter of one man’s word against the other’s, and the accused should be given the benefit of the doubt.

Sebastian knew then how stupid it had been for him to seek the confrontation, as if he were some sort of knight out of an old romance defending a maiden’s honor in front of the world. As if that could absolve him of his part in her outrage. Considering it now, the foolishness of it was clear. But when that beggar boy had stopped him outside of his London agent’s offices and told him where he might find his enemy, he hadn’t stopped to think. 

Not trusting himself to utter the nonsensical niceties of leave-taking, Sebastian gave a curt nod, strode down the steps of the stoop, and took the traces of his gig from the waiting groom with the toss of a shilling. He didn’t look back as he flicked the reins, sending the horses into first a walk and then a trot. All he wanted to do was go galloping madly away, away from the club and de Lint and his own old life. But he kept the horses to an infuriatingly sedate pace as he wove though the crowded evening streets, leaving the devils that drove him to rage inside his head.

No one but the worst kind of reprobate would host a bacchanal in the house in which he was sheltering an innocent young girl. And no one but Sebastian could so stain a girl by mere blood association so that her morals were immediately suspect. It was his fault she’d suffered from his benign neglect for so long while he’d congratulated himself on his generosity, his fault she was attacked, his fault the attack had not been believed. There was nothing he could do to expiate that guilt, but he could at least bring her attacker to account. He owed her that much.

With the conclusion of those thoughts, he discovered that he had reached the edge of the city, the road opening up near-empty before him. Until that moment, he’d given no consideration to his destination, but now he realized he had unconsciously steered toward Hartwald. 

At the thought of that quiet, pristine retreat, his heart warmed, and when he remembered that Daniel was staying there — Daniel, his cousin, the only friend who had shown not the least sign of doubt during the entire ordeal — Sebastian’s unconscious decision seemed doubly right. The horses sensed his eagerness through his handling of the traces; they arched their necks, their nostrils flaring, and he gave a flick of the reins that sent them down the road in an eager gallop.

The road stretched out in front of him, bare and invitingly uncomplicated. Nothing to do but make his mind equally empty and give himself up to the rattle of the wheels, drumming of hooves, and the whistle of the wind —

Then the rattle became a crack, and the horses whinnied in panic, and Sebastian was flying through the air. Even then, the peace of the road kept panic at bay, and as he flew toward the hard-packed earth, a corner of his mind thought distantly, "What a stupid way to die."

And then everything went black.
 
 
 
CHAPTER ONE

It was a perfect day to die.

From Sebastian’s bedroom window, the hills of Cornwall undulated in a calico of greens down to the jagged line of the flat, gray sea, visible for the first time in his long and stormy sojourn there. The sky was a fragile china blue, and the light that poured through the thrown-back sash had the sweet, ethereal quality of early spring.

Sebastian viewed it with satisfaction, as if it were some obscure sign that the fates were smiling upon his unorthodox enterprise. He closed his steamer trunk with a final thud and the certainty that he had folded his shirts wrong. Once it would have irritated him, for he had never packed for himself before. But he was not the man he once was, and dead men did not have valets.

"You’re going through with it, then." Daniel’s voice came from the doorway, and it was not a question.

Sebastian put a hand on the sun-warmed tin that covered the lid, the tangible evidence of his decision. "Yes," he said without looking up. 

The trunk was dark with oxidation and battered from a hundred other trips, more familiar to him then the countless bedrooms he had slept in over the past ten years. His fingers traced the family crest almost of their own volition; it had been a long time since he had paid it much heed. He had, in the various stages of his youth, thought it frightening, hallowed, dashing, or just another signal that he was a bloody important person. But now the swollen, posturing lions seemed a mockery, a twisted joke, and touching them was as automatic and futile as scratching a scarcely healed wound.

"You know how I feel about your scheme," Daniel said.

Sebastian tore his eyes from the trunk and turned around, his sigh strictly mental. The argument was so familiar that he could have recited it almost word for word. Nothing had changed since the last time they had tread the same tired ground. 

Now Whitby stood in the doorway, too. Perhaps Daniel thought he was calling in reinforcements, but Sebastian had never given much credence to the agent’s opinions.

"I know you cannot understand, but I must ask you to respect my decision." Sebastian’s smile held no humor. "The worst that could happen is that I would die in truth, and then you would find yourself as a permanent earl. I could think of worse fates."

Daniel’s expression was an attempt at severity, but he had inherited his father’s unfortunate chin so he only managed to look slightly harried. "I have no wish for your lands or your title. You should know that by now, Grimmy. You’ve always been a little reckless, perhaps — Uncle was right about that — but who isn’t? Still, I’ve never know you to be foolish. She’s a bastard, and you’d risk everything — "

Sebastian’s glare, which he had turned on Daniel at the mention of his father, now grew several degrees frostier. "She is my daughter," he said, slowly and precisely. 

He looked back at the flaking pictures of the gouty lions, smirking as they reared up on either side of the shield. He wanted to smash them in for all good they and what they stood for had done him. Between Adela and the sabotaged axle that had nearly ended Sebastian’s life, de Lint had much to answer for.

"Are my affairs in order?" he demanded of Whitby.

"Yes, your lordship," his thin, balding agent said. He hesitated, his silence laden with unspoken disapproval.

"You wish to make an observation?" Sebastian raised a brow, knowing from experience that he could not avoid the incipient lecture.

Whitby drew himself up. "As the manager of your finances, I feel it incumbent upon my position to express the utmost disapproval of this endeavor. However much you believe in your cousin — and with no disrespect to Mr. Collins — it is most unwise to place all your worldly goods unconditionally in another’s hands."

Sebastian snorted. "And don’t I already, Mr. Whitby?"

The agent hemmed and hawed for a moment at the pointed question. "It is a matter of trustworthiness, your lordship, and of accountability. I have been your father’s agent since my own father died when you were scarcely out of breeches, and our relationship is spelled out in the most precise legal language."

"Whereas Daniel is only my cousin, whom I’ve known from the cradle," Sebastian finished for him. "I fail to see your point."

"I did not truly believe that you would, your lordship." Whitby sighed. "I have made contacts on your behalf with a very discreet agent in Venice, and I am assured that he will render all assistance that is required."

"Very well," Sebastian said, turning back to survey the flat stretch of gray sea, "then have the carriage brought around, and I’ll be off without further delay."

"Do be careful, old chap," Daniel said.

Sebastian smiled tightly, full of the anger that had grown inside him like a cancer for the past three months. His mind went through his meticulous plans, examining them for faults and finding none. Let the world think him dead, and then — then he could move without fear of discovery.

"I am not the one who needs to take care."

***

The ferry dipped and rocked on the choppy waves, its movements more queasily abrupt than the graceful rise and fall of the steamer they had left the day before. 

Sarah Connolly stood at the rail between Lady Merrill and Mr. de Lint, straining through the mists for her first glimpse of Venice as the lady’s granddaughter chattered with her friends, their backs to the gray view of the Adriatic. 

Venice. The name was pregnant with promise. Of Trieste, she carried only an impression of stuccoed houses in failing light as they were driven from the steamer to their accommodations, and their hotel had been disappointingly similar to the one in Southampton. But Venice — surely Venice would not, could not disappoint. Her imagination had feasted on the promise of La Serenissima since her employer first stated her intention of spending spring in that city, and Sarah’s quiet, half-desperate gratitude for such an opportunity allowed her to bear the delicate tortures of Mr. de Lint with greater composure then she had thought she possessed.

Sarah stared at the low smear of darker gray that stood as a divider between the undifferentiated expanse of sea, land, and fog. The shoreline looked no different than it had since they left Trieste, still a long, desolate flatland interrupted by the occasional ruin that shot up against the sky for a scant dozen feet before tumbling broken back into the marsh, and she began to wonder if they would ever arrive. Finally, she saw a break in the land ahead, and a few minutes later, the ferry was sliding between the narrow arms of two barrier islands — for she had not been watching the true shore at all, she realized as she watched the water open out in front of the ferry; at some point, it must have melted into the islets that guarded Venice’s lagoon. 

Now they were within, and Sarah strained her eyes for the first hint of the glorious city. Hummocks, hillocks, and sea reeds thrust through the silty water everywhere she looked, and between them hundreds of wooden posts were sunk into the lagoon bottom in a baffling pattern. In front of the ferry, sleek black darts pierced the fog, shallow boats sliding among the more wide-flung isles. 

For a hundred heartbeats, that was all, until finally, a bone-white mass detached itself from the unquiet waters in the mist-shortened distance, resolving as they approached into blocks of towers and colonnades in pale marble and red brick, cut through by avenues of the brackish lagoon.

It was beautiful. It was nothing like she had imagined, but it was beautiful, like some drowned mermaid’s city risen from the deep. She let out the breath she hadn’t known she’d been holding, and her heart jerked a little inside her chest.

"Isn’t it a sight?" Mr. de Lint said with a display of heartiness that Sarah couldn’t quite believe was sincere, pulling her out of her reverie.

She did not know whether he was addressing her or his mother; he had used that trick before to embarrass her, so she simply nodded slightly, keeping her eyes fixed ahead.

"I’d wager you never pictured yourself here," he continued in the same too-easy tone.

Sarah looked up sharply to meet his amber gaze. Eyes that color should not be able to look cool, but his did, and they had a glitter that made clear that the reminder of her origins was neither accidental nor careless.

"I am pleased to go where Lady Merrill wishes, sir," she said softly, flushing.

"What virtuous meekness," he murmured, those hard eyes scouring her face, picking out each pock-mark that welted her skin with an expression that was almost hungry.

She jerked her head away, the deep brim of her unfashionable bonnet shuttering his view.

"Sarah is quite the perfect companion," Lady Merrill said, oblivious to the tension that thrummed in the air. She patted Sarah’s white-knuckled hand on the rail next to hers.

"You are easy to please, your ladyship." Still rattled by Mr. de Lint, Sarah knew her words had a hollow ring. But it was true; Lady Merrill, for all her faults, was a remarkably undemanding mistress. Sarah would be more than happy to spend the rest of her life as a lady’s companion if she knew all her future employments would be as pleasant as this one. The lady’s flighty granddaughter and her fluttering friends Sarah could bear with equanimity. If only it weren’t for the lady’s son . . .

"Would you like to see the carnival, madam?" Mr. de Lint asked over Sarah’s head, dismissing her as if she had ceased to exist the moment his attention turned elsewhere.

"The carnival?" Lady Merrill asked. "Why, that’s three-quarters of a century dead!"

Her son laughed. "Oh, it never truly died, and with Venice’s glorious liberation from the greedy Austrian oppressors — ” He struck a pose. “ — certain elements of the Venetian youth have decided to revive its more notorious elements year-round. In private, of course, and with far more taste and discretion than was displayed in times past." From his tone, Sarah could not tell whether he thought that was a good thing. "Some are partisans of the new Kingdom of Italy; others wish to relive the days of the Republic. But their reasons hardly matter, for you would make a stunning houri in any of their masques, Mother. If I might be so bold." He adopted a tone of wild flattery.

Lady Merrill laughed merrily. "Oh, those days of mine are long over. I am done with shocking society! And besides, Sarah might die of humiliation if she were dragged along in the company of a seventy-year-old odalisque, never mind what Anna and her young friends would think."

“What is it, Grandmamma?” Lady Anna asked, turning from her conversation with the Morton sisters at the sound of her name.

Sarah said nothing as Lady Merrill explained, hoping that the girl’s interruption would deflect Mr. de Lint’s attention. But almost immediately, she felt his eyes light upon her again.

"Our Sarah might just enjoy the opportunity to hide behind a mask and veil," he said, ignoring his half-niece. There was no edge in his words, but Sarah could feel their malice biting into her.

I don't care, she told herself. But she did, and he knew it. No matter how many years stood between her and the filthy streets of the rookery, she would always carry the evidence of her origins on her face, bare for everyone to see. Her speech was now flawlessly correct, her education — if not her experience — as good as that of many peeresses, her bearing and etiquette without fault . . . but nothing could erase the smallpox scars that disfigured her cheeks and forehead. 

A century ago, those scars would have merely made her plain. But by the time of her birth, all but the poor and a few objectors whose wealth protected them were inoculated, and now that every child in England was required to be vaccinated by law, it marked her as one who had slipped through the cracks — who had a background such that it was possible for her to be invisible, and who had received none of the doctors’ various concoctions or treatments for preventing scars when she contracted the disease. 

Quite simply, she wore her life story on her face.

And so she would never be more than a lady’s companion, and she was remarkably fortunate to have been elevated to that position. It was far more than she had once dreamed of and far more than anyone of her past deserved, and so, she told herself, she would be content.

Resolutely, she shut out Mr. de Lint’s continuing acid-laced commentary and turned her eyes to the palazzi that rose from the murky waters like a pale dream.

***

It was he. There had been no mistake.

A black anger filled Sebastian as he stood in the shadows of the doorway of a draper’s shop near the Ponte della Verona, wrapped in an amorphous overcoat and in the swirling fog that now rose from the canals faster than the wind could tatter it. Three crowded gondolas and half a dozen wider batèle buranele rested in the oil-smooth water at the canal door of the palazzo, the wallowing batèle nearly gunwale-deep under the loads of boxes, trunks, and servants. 

Through the window of the first gondola’s felze canopy, Sebastian could see where de Lint sat with another passenger, his head bare and his chin raised with conceit that radiated across the water. Sebastian watched as the man ducked out of the door and leapt nimbly to the water stairs, much to the irritation of the gondolier, who cursed him roundly in the Venetian dialect as the boat rocked with his jump. His cloaked companion pressed her hands against the sides of the felze and said nothing.

It was obscene that the man could stand there, smiling down like a benevolent deity upon the gondolas that floated at his feet. Even through the distorted lens of Sebastian’s implacable anger, de Lint looked every inch the gentleman, from the top of his perfectly smoothed hair to his shining short boots. Nowhere did the filth lying under that veneer betray itself; he was a picture of refinement and moderation, and Sebastian’s hands balled into fists at the very sight of him.

Ignoring both his companion and the gondolier, de Lint called up to a servant who had issued a challenge from an upper window of the palazzo. As the great wooden doors were opened in response to his reply, he waved his boat away and ordered the next gondola up, holding out his arms theatrically to a white-haired woman within — Lady Merrill, Sebastian saw when she turned towards him, recognizing her through the twining mist. He allowed himself a surge of dark satisfaction; his sources had proven correct thus far.

The lady flashed her son a dazzling smile and allowed herself to be helped up, laughing as he fussed over her extravagantly. As soon as she was shooed within the palazzo’s tall carven doors, he turned back to assist the second passenger. The pretty blonde who emerged was exactly whom Sebastian had expected, one who was as essential to his plan as Lady Merrill or even de Lint himself: Lady Anna Dutton, de Lint’s half-niece. 

The girl and the gondola were dismissed, and the final boat slid into place. Two more young girls — Melinda and Euphemia Morton, his sources had told him, friends and distant relatives of the family — were swiftly assisted out, followed by a third woman who had governess written in every line of her stout body. That conveyance, too, was rowed away, and Sebastian was about to turn aside when the first one pulled up again and de Lint held out an imperious arm.

It was only then that Sebastian realized that it still carried de Lint’s slender, cloaked companion. And no surprise that he had forgotten; as the woman stood, it became apparent she was a creature whose very meekness made her small body seem even smaller. Hunched shoulders, ducked head, all clad in a discreet black linsey-woolsey that completed her air of utter insignificance.

And yet . . . His eyes were caught by the tension that radiated through that frame, more like the string of a bow than a lute, threatening danger rather than breakage. Despite the servility of her posture, there was still something — in her movements? her air? — that spoke of strength and a deep, burning anger that was kept in check only by such elaborate displays of subjection, and Sebastian found himself wondering what would happen when that control finally snapped. 

She hesitated, standing in the gondola and radiating uncertainty. The deep poke bonnet that she wore was twenty years out of date, and it hid her features as effectively as a wall —

— until she looked up as if seeking an exit from de Lint’s too-pressing offer. Then Sebastian had a brief impression of a narrow, pale face before her incredible dark eyes lit upon him, capturing his own gaze with their force and sending a jolt of — what? — surging through him. It wasn’t alarm, exactly, or lust . . . something more like recognition, which was strange because he could not think of a single person who resembled that slender, tenuous girl in even the most remote way.

Sebastian realized that he had been unconsciously leaning out from the doorway in interest; now he jerked back, but it was far too late to hide in anonymous shadows. Those eyes, darker than any shadow, followed him, touching every line and plane of his face that was visible beneath his hood. 

For an instant, he felt as if some sort of link were formed between them through that intense scrutiny, boring into him and forging a connection by the sheer force of her gaze. Then she looked away, distracted by something de Lint said, and the illusion snapped. Released from the spell of her eyes, Sebastian saw for the first time the scars that marked her face. 

Another shock went through him, this more identifiable — mixed of vindication, fury, incredulity, and an instinctive sympathetic pain. The nurse’s wail when he had burst into the nursery echoed in his head: It was that pock-faced strumpet! She told me I was needed!

And now here was de Lint with just such a scar-faced woman in tow. The marks were not very deep nor were they truly disfiguring, but they were clear enough that there was no room for doubt. Sebastian brooded as de Lint picked her up by the waist — to the gondolier’s further curses — and swung her around once, acting for an instant as if he were going to tip her into the canal. Her hands tightened so convulsively on the man’s arms that Sebastian could see the knuckles standing out from her flesh, but if she uttered a sound, he could not hear it. Finally, de Lint set her down. He was laughing. But when the woman turned back toward the gondola, not a trace of levity showed on her face.

Two scarred women. Chance? Unlikely. Yet there was nothing of a whore in her expression as she looked at de Lint. She only looked frightened, shot through with an abiding anger that was so hopeless that Sebastian felt an instinctive mixture of pity and fascination.

Then her head came up: She was looking for him again. Wishing to avoid that disturbing gaze, he gripped the doorknob behind him and pushed, ducking into the draper’s shop behind him.

"Posso aiutarlo, signor?" the wizened shopkeeper asked from behind the counter — in perfect mainland Italian rather than the common Venetian dialect.

"No, no, I am just looking," Sebastian muttered back in the same language, turning toward a stack of silk bolts and trying to show signs of interest. His head was spinning. He had assumed that the anonymous whore had long escaped his grasp, but here she was, just as the nurse described.

And yet, was it she? In that moment when those deep, dark eyes had met his . . . Sebastian shook off his doubts as superstitious imaginings. For there to be one pock-marked woman with de Lint at Amberley Park and a different one here in Venice — that was pushing credulity to the breaking point, even taking into account de Lint’s skewed tastes.

That she was here was felicitous. His scheme was complete without her assistance, but it wasn’t her help he wanted. It was vengeance, and that required a new plan. She almost as much as de Lint had been responsible for what Adela had suffered.

His eyes slid past the tables of fabric to an assortment of outrageous costumes on the back wall, and an idea flashed into his mind. 

"What are those?" he demanded, though he was more than half certain he knew.

"Disguises, signor, for the masquerade parties that are so popular now. My wife makes them," the man replied eagerly. "Would you like to see?"

"Yes," Sebastian said, his eyes narrowing. "Oh, yes."

***

Sarah jerked away from Mr. de Lint the instant he released her. Automatically, she turned to search for the man who had been watching them. Watching her, for she was certain that his eyes had been fixed on nothing else. But he was gone. Half a dozen Venetians loitered around the bridge, but there was no sign of the tall man with the hooded overcoat and shadowed face.

Lady Anna’s incredulous laughter rang out from the interior of the palazzo. “The kitchens are on the ground floor!”

“What, did you expect them to be below the waterline?” came Miss Morton’s scathing reply. 

“Let’s pick out our rooms!” Miss Effie interrupted the incipient squabbling.

Their footsteps echoed fleetingly as they went deeper into the interior, and Lady Merrill’s voice rose above them, made indistinguishable by distance and echoes.

“It seems we are alone,” Mr. de Lint said slowly as behind him, a dozen servants and oarsmen began to unload the wide, blunt boats that held the luggage. Sarah ignored the patent falsity of that statement just as she tried to ignore the way his eyes were searching her face again. He laughed, and she knew she had failed. Again. “You had better hurry inside or they’ll be wondering if you aren’t testing your wiles on me, defenseless man that I am.”

“You are blocking my path, sir,” Sarah pointed out as neutrally as she could manage.

“Am I? I beg your pardon.” He moved a scant two inches from the center of the water landing toward the yellow wall of the building, then watched her with frank interest. Sarah swallowed against her sudden queasiness. Always before, she had taken care never to be cornered by Mr. de Lint without his mother’s presence. She had forgotten her caution this time, and she would pay for it. Though she knew he had no true interest in her, he was the kind of man who enjoyed tormenting the defenseless, and she was as defenseless as anyone could be. 

McGarrity, Lady Merrill’s maid, cast Sarah a look of pity behind Mr. de Lint’s back as she scuttled into the palazzo with a stack of hatboxes, but Sarah knew better than to expect any help from that quarter. And indeed, the rest of the servants studiously ignored her as they unloaded the boats. If she had been one of them, maybe the butler would have said a word or two in Lady Merrill’s ear. But she wasn’t one of them — she would never be one of them — because she had come from too low and climbed too high.

The sickening mass in her stomach turned hot and hard so suddenly that for a moment, she could see nothing at all but the black wall of Mr. de Lint’s coat front, mocking her with her impotence. Without willing it, she took a jerking step forward and rammed into his chest. He lurched against the wall, wrapping a hand around her waist and pulling her with him so that she was pressed against his body. 

Her anger was gone in an instant, replaced by too familiar fear.

“Why, Sarah.” He chuckled, leaning his face down toward hers. He was handsome, very handsome, but her body’s small, involuntary reaction to his touch only magnified her disgust.

“Let me go, Mr. de Lint,” she said, the words crisp over the tremor that she couldn’t quite contain. If she could only fight back — hit and scream and bite. But she was a servant; she could do nothing, or she would lose the only thing she had ever earned.

To her astonishment, he released her, so abruptly that she staggered back and one heel struck the edge of the landing. Catching her balance at the brink, she lurched past him and darted into the cool darkness of the Palazzo Bovolo, trying to bury in her hatred of him the cold, sick certainty that their encounter was not at an end.

 

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Introduction
 
This page contains spoilers! Don't read unless you've already read the book.

I had to write another "Gothic" for my contracted books with Signet, but at the same time, I knew that my choice of location would have to be very different from the book before. I absolutely didn't want to get caught in a situation where I was writing story after story set on the lonely moors! So, where to go? What to do?

My inspiration for this novel came from a combination of Rebecca by Daphne DuMaurier (the quiet lady's companion start) and "The Cask of Amontillado" by Poe (the carnival in Venice).

Prologue

p. 1 Whitsun Club - Imaginary club I made up for the book.

p. 1 Wortham - I needed a name. I was looking at a Texas map. Wortham is a small town in central Texas.

p. 2 De Lint - I needed a name. I was walking down the aisle of a bookstore. I saw a book by Charles de Lint. I thought that de Lint could sound like a nicely ominous last name. Though I'm sure Charles is a great guy. ;-) 

Chapter One

p. 10 Grimmy - After giving my hero the dramatic surname of Grimsthorpe, I had to give him a sufficiently embarrassing childhood nickname. Had to.

p. 12 Trieste - People coming to Venice over water during that time period generally took a ship to Trieste and then a ferry to Venice.

p. 12-13 - I came to Venice on the train, so I didn't get to see this, but I took the descriptions of several travelers to get a good idea of what it would look like.

p. 13 - I modeled de Lint's behavior here after a teacher I once had in elementary school. Didn't like her much.

p. 14 the carnival - The carnival was forbidden by the Austrians, and though it didn't entirely die for a number of years after, it was well and truly dead by the 20th century.

p. 15 scars - Vaccination against smallpox was made compulsory in Britain in 1853. Some smallpox victims had no scarring. A minority had horrific, disfiguring scarring. Many had some level of minimal scarring. One woman wrote to me and described her grandfather, whose scars looked like near-invisible acne marks. Sarah's is worse than that, but not horribly so. Here is a picture of one type of smallpox scarring, which is essentially just skin discoloration:


p. 15 felze - Gondolas that carried passengers were covered by a kind of canopy, like a surrounding for a sedan chair. It took me a LOT to find a period picture of them to figure out just what they looked like and how they worked!

p. 15 - The palazzo is modeled loosely after Palazzo Contarini del Bovolo, including it location and the position of the bridge. "Bovolo" means snail, and it was named after the circular courtyard staircase that is very similar to the one that Sarah sneaks down later in the book.


p. 20 Effie - The three girls were modeled after Euphemia Ruskin and her friend Charlotte, who were two of the most singularly stupid visitors 19th-century Venice ever had. Reading Euphemia's letters made me want to slap her for being a disgrace to her gender and the human race. I'm surprised that she had the intelligence to avoid drowning herself in her bathwater.

Chapter Two

p. 25 Palazzo Contarini - There are many palazzi Contarini in Venice. The Contarini were a very wealthy family who contributed a number of doges to the Republic.

p. 27 - The silence of Venice is still amazing — if you find a place to stay away from the touristy areas! That's one of the things I like best about it. The population now (and in the 19th century) is quite markedly lower than in its heyday.

p. 30 glass and paste jewels - Really a redundancy, as paste is a type of heavily-leaded glass, but I wanted readers to have a very clear idea of what I meant.

p. 30 Palazzo Bellini, Campo Morosini - Campo Morosini exists — Palazzo Bellini doesn't.


p. 31 crinolette - This half-crinoline was in fashion at the end of the 1860s and beginning of the 1870s. It had hoops only at the back and was much smaller than a crinoline.


p. 32 Pink silk bows - Somewhat modeled on a dress worm by Madame de Pompadour, though that was an earlier style.

p. 32 portego - A typical Venetian palazzo had a peculiar architecture. Like all Italian mansions, the main floor was the American second/British first floor, called the piano nobile, where the public rooms were. Very large and rich palazzi had two piani nobili, a first and a second. At the top of the house was often servants' bedrooms in the attic, and below this usually a floor with lower ceilings than that of the piani nobili with the bedrooms, with one or two piani nobili below that. Sometimes, though, the bedrooms were on the upper piano nobile. A very large central hall that ran the entire length of the palazzo from garden to canal on the water-level floor at the bottom of the house and the piani nobili above, with rooms coming off it on either side. This central room, or portego, was often enormous, easily the largest room in the house, and it was open to the air. The side rooms on the water level were typically split into two floors, the water level and the mezzanine level. In some parts of Venice, the water level floor could flood even in the old days. The water level rooms were for storage and for the kitchens, while the mezzanine level floors were generally offices (remember that the great families of Venice were merchant families). There was no basement or cellar — it would flood instantly, being below the water line! Poe's "Cask of Amontillado" could never have taken place. There were two main prisons attached to the Doge's Palace, and both were above the water level — one was in the attic of the palace itself, and it was where Casanova was kept when he was held! A modest portego. Even here, this is a very large room.


p. 33 cats' paws - Venice is famous for its stray cats. The populace feeds many of them. They are remarkably friendly — one strolled up to me in front of the hospital and parked its furry backside on my bag and insisted upon a petting!

p. 40 skull of an angel - The book is titled MUSIC OF THE NIGHT, and with the white mask and echoes of Phantom of the Opera, I knew I had to slip a sly reference as a nod to Terry Pratchett's excellent take off on Phantom, called Maskerade. The "beautiful as the skull of an angel" comes from that book, though only diehard fans would likely catch the tribute.

Chapter Three

p. 43 - A balustrade is the rail and the balusters (posts) that support it along a stairs or the front of an overhang. A banister is actually another name for a baluster, but it's become synonymous with handrail for some people, so I use handrail instead for clarity.

p. 43 checkered greasepaint - Gian is dressed as Harlequin from the Commedia Dell'arte tradition, which was a popular resource for Venetian carnival costumes.

p. 50 Piazzetta - The Piazzetta and Piazza of San Marco are the only piazzetta and piazza in Venice. The Piazzetta runs to the edge of the canal, while the Piazza proper lies in front of the basilica. The caffe is a real location, one of the two very famous ones on the Piazza. While the Austrians controlled Venice, one was patronized by the locals and the other by the Austrians, as the locals would not eat with the Austrians. At certain times of the say, Austrian patriotic music was played, and all the natives would leave the Piazza in protest. Below: San Marco and the campanile as seen from the Piazza in the 1700s, which collapsed in the early 20th century and was rebuilt as an exact replica.


p. 51 Baedeker's - This is a famous travel guide, but it is also a reference to A Room With a View by E. M. Forster. Lucy didn't simply consult her Baedeker's for information — she relied upon it to give her the proper opinion of anything she saw! In contrast, Sarah has an innate aesthetic sense, and she merely craves knowledge. I have no idea what Baedeker's actually said about the basilica because the only copy I could find was selling for $150. Ouch!

p. 52 Gold - see below!


p. 55 belfry - It was incredibly difficult to find a description of the interior of the campanile! I finally found some pictures, though. I knew there was a ramp instead of stairs in the rebuilt version, but it wasn't until I found the description of Charles V riding a horse to the top that I was sure that the original had a ramp, too. The description of the interior of the caretaker's room came from a description of the wreckage after the original one collapsed, which told me that there was a stove and that clothing was hung to dry in the space.

p. 57 - It's true that you can't see the canals from the campanile!

Chapter Four

p. 66 Casinò - the casinò was a private flat that rich men kept where they had parties with their mistresses. "Giallo" means yellow.

p. 63 Byron's work - Lady Merrill's character meant that she would like a romantic poet — her love of Venice steered me to Byron.

p. 65 Campo Manin - Also exists! So does the statue in it Sarah talks about later.

p. 65 sàndolo - like a gondola but open and smaller.

p. 67 forcola post - or simply "forcola" — I lean toward redundancy for clarity with foreign terms

p. 72 spider - The spider was a common symbol to put above doors of palazzi — it signaled that the owners had the virtue of patience.

Chapter Five

p. 74 oil paintings - the Venetian upper class of the period tended to entirely encrust their walls in paintings, putting priceless treasures next to trash, without any thought for theme or organization.

p. 74 bombazine - a fabric most often used in mourning. As Sarah's dress originally came from someone's mourning attire, this is appropriate.

p. 75 ten-bob lay from an inoffensive dress lodger - Dress lodgers were whores who rented a dress and room from a madam and walked Regency Street and the Haymarket to find johns. They typically sold themselves for 8 to 15 shillings. The average weekly income of a working-class family was about a pound a week, or 20 shillings, so the customers of the dress lodgers (and the whores who rented rooms but not dresses) were upper-middle and upper class. Think midrange escort today.

Chapter Seven

p. 107 youthful dress - In the 19th century, Venetian women wore clothing that would only be suitable to unmarried girls in most parts of Europe.

Chapter Eight

p. 115 - This serenade was a Venetian tradition, not as common by the 1870s as it had been before. "Bra'i!" is actually what the word sounds like/sounded like in the local dialect. The singing elsewhere is borderline anachronistic, it had grown so uncommon, but I put it in, anyway.

Chapter Nine

p. 122 knee-deep - The canals of Venice are mostly VERY shallow, and they had to be dredged every so often. They were used as a kind of cesspool for the city, but that didn't keep young men from swimming in it regularly. There were play-fights on bridges (you win by knocking the opponents into the water below) and regular swimming-races on the Grand Canal, plus the usual splashing around and bathing in the deeper canals. I'm sure you could get quite ill if you inhaled the water, but it seemed to be a very infrequent complication of even the roughest play. The tides did scour the canals reasonably well in the 1800s, so that must have helped.

Chapter Ten

p. 131 stove - Most palazzos were entirely unheated. When it was cold enough that heat was required, residents used braziers and carried coals from room to room in little steel balls on a chain.

Chapter Eleven

p. 163 Signora ... Señor - One is Italian, the other Spanish.

p. 172 THE STONES OF VENICE - Ruskin's famous artistic exploration of the city. The man was strange but talented.

Chapter Fourteen

p. 190 nib wipe - To clean off excess ink:

Chapter Fifteen

p. 202 bully or a boor - This is a loose quote from some famous Brit from the 19th century about school. I want to say Winston Churchill, but I just can't remember. Anyhow, it's occasionally quoted in discussions of homeschooling, but as with many things, there are two points of view depending upon one's background.

p. 202 seven - The usual age of admission was seven to thirteen, depending upon the school.

Chapter Seventeen

p. 218 gilded leather - A wall hanging popular in the renaissance. There is currently a room hung with it at the Williamsburg Governor's Palace, but they are planning to remove it as it had been taken out as unfashionable before the Revolution.

p. 219 Titians in the Correr Museum - Titian was one of several great artists native to Venice.

p. 22o grime-obscured Tintorettos - They have been meticulously cleaned now! I should call them "Tintorets" since Sebastian is Victorian British, but I don't want to confuse modern readers.

p. 220 Ghetto - This is taken from a scene depicted in a letter of the period.

p. 220 San Michele - Everything described on the island with the exception of the mausoleum in the Protestant cemetery is accurate. The mausoleum is imaginary.

Epilogue

The epilogue originally centered on the miscarriage itself, with Sarah shocked that she had been pregnant and both glad and afraid with Sebastian's reactions. That ended up being to depressing, so after several other tries, I ended up with this. I'm still not terribly happy with it.

 

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Here's a scene that disappeared during edits. The new characters evaporated, as well! There aren't any spoilers here because this never happened in the final book.

Sebastian went to the door and knocked briskly while Sarah stood nervously behind him, her laced hands tight around each other with anxiety. No respectable house would accept a man's mistress inside, but Sebastian must know that. That meant that the friends could only be disreputable, which raised concerns of its own.

After a moment, two different windows on two different floors swung open, and two women stuck their heads out, one brunette and one blonde under their maids' caps.

"What is it?" One of them called down the typical Venetian challenge.

"I am here to see Mr. and Mrs. Brown!" Sebastian shouted back.

That seemed to satisfy them both, for they both disappeared again. After a moment, there was a rattling of locks and the door swung open to reveal the little blonde Venetian stood there with a polite expression on her face. "Who is calling?" she asked.

"Lord Wortham and his friend," Sebastian replied.

"This way, please."

Sarah regarded Sebastian's wide back as they stepped inside and followed the small blonde maid up a staircase. He seemed at ease here, filled with his usual assurance, but he was also restless in a way she could not quite define.

Before she could speculate further, the maid opened the door to the Browns' flat on the piano nobile. Sarah, who had become accustomed to airy, sparsely furnished portegos open to the breezes of canal and courtyard, was taken aback at the long, dark chamber stuffed with furniture, carpets, art, glass, and stacks of books and papers so numerous and high that there were visible pathways between all the doors carved out of the solid mass. Heavy drapes hid the loggias at either end of the room, hanging so still that Sarah concluded that the room must be glassed in.

"Come in, please," the maid said.

A side door burst opened along one wall, and a tiny, ancient woman with a frizzing white coiffure peeked around the doorframe.

"Grimsthorpe! How lovely to see you again! Without your whiskers, I see. And with a friend, too! Do come in, dear boy. It's cold out there!" Before they could respond, she disappeared as quickly as she had come.

Unperturbed, the little Venetian maid led them in a weaving path through the tottering piles toward the room that the tiny woman had spoken from. She opened the door and stood aside.

Sebastian stepped through the door as if this were the most ordinary set of proceedings in the world. Sarah followed with considerably more trepidation.

She needn't have worried. The tiny old woman — Mrs. Brown, Sarah soon realized — was warm and enthusiastic in her reception, bobbing around a cozy little parlor and serving them tea with quick movements that seemed nervous until Sarah realized that they were merely her habit, as if she were some sort of unkempt, overgrown wren. The parlor was much neater than the portego, the paper and books confined to the bookcases arranged around the perimeter of the room, and an old man who must be Mr. Brown, swathed in a dressing gown of tasseled oriental splendor, sat silently in a wing-backed chair, scarcely seeming the notice their presence.

A blazing fire made the room stiflingly hot, and as she began to sweat from the heat, Sarah found herself longing for the comfortable coolness of the portego. Sebastian showed no signs of noticing any discomfort, though Sarah noted that he asked for more cream in his tea than he normally took, and upon close inspection, there was a slight sheen of sweat upon his forehead.

Finally, Mrs. Brown settled down with her tea. "So how are things, Grimsthorpe?" She laughed, catching herself for the third time since they had arrived. "Lord Wortham, I mean. Whenever I say that, though, I still see your stiff-lipped and stiff-necked pater familias. I simply cannot keep you and the title in my head at the same time."

Sebastian smiled slightly. "That's one of the reasons I like you so much, Mrs. Brown."

"Tch! And what are the others, then?" She beamed like a debutante.

"Your scones for one," Sebastian said, returning the smile with a soft on of his own.

Sarah breath caught at how dramatically it changed his face. Gone was the shadowed glory of the fallen angel. Each perfect feature instead realigned itself into something that looked strong and young, almost innocent — and heartbreakingly beautiful.

Mrs. Brown didn't seem to notices. "Young man, you are a terrible flatterer. If you go on like that with all women, your young lady will get jealous." She motioned to Sarah, her pale blue eyes curious, and Sarah felt a flush start up her cheeks.

"Mrs. Brown, this is Sarah. Sarah — "

"Connolly," Sarah provided, blushing harder.

The old woman's expression grew even sharper with curiosity, but all she said was, "Indeed. You're a quiet little thing. I hope you have enough fire in you to handle this lad. From the stories his mother used to send me, he can be quite the hellfire."

"Mrs. Brown was my mother's cousin," Sebastian said, redirecting the conversation with aplomb even as his face grew shuddered. "Distant in blood but close in friendship. Mother and I spent three summers in Venice when I was growing up, and Mrs. Brown was kind enough to allow us to rent a suite of rooms each time."

Mrs. Brown clicked her tongue reproachfully. "I only wish that you'd allowed me to give you a place to stay whenever you visited after she passed on. But I'm not fashionable enough for you, here in the back canals. You always had to stay on the Grand Canal itself."

"You have been very kind, Mrs. Brown, but you would not have approved of my company," Sebastian said frankly.

"I approve well enough of her even if she is too meek," the woman retorted, looking at Sarah. Then she sighed. "But I know better than to argue with you, for all that I have no sons of my own."

"Sons!" The word burst out of Mr. Brown so abruptly that Sarah jumped. She had assumed that he was asleep, but now he sat up bolt right in his chair and fixed a furious, glittering gaze on all three of them in turn. "The sons of the Republic rebelled in forty-eight, you know. I was there. It didn't do any good. Those damned Italians are bent upon their own destruction. Don't know what's good for them."

"Yes, dear," Mrs. Brown said evenly.

"This is not a race that can is fit to rule themselves any longer." He continued as if she had not spoken. "They are an enfeebled people. Just look what has happened to the city! I buy up everything I can. Whole libraries worth of books, a museum's envy in art. The history of this place is astounding — greater than any city but Rome or Athens. Venice was once an empire, so glorious and beautiful that the rest of the world spread jealous calumny about her, but she became self-satisfied and self-indulgent and allowed herself to be destroyed." He waved a thin, blue-veined hand. "People talk of the wealth of historical knowledge that lies here. The official governmental records alone, if taken from the Frari convent and lined up on the ground as if it were a shelf, would span more than six miles. But that is only a fraction of what is here. I ask you, should the recent propensity to squander Venice be indulged merely because she is so rich? The Austrians provided some shield, but now I fear what is to
become of her."

He stopped as abruptly as he began, and silence stretched out as he watched them avidly, as if waiting for a response. Mrs. Brown seemed not to notice, and Sebastian only looked at her with a quirk of an eyebrow. After several uncomfortable minutes ticked by in which no one spoke, Sarah eventually volunteered, "I think you must have done an admirable job of preserving many valuable things, from what I have seen on the portego."

"Ha!" the old man crowed. "Thank you, girl. I've done everything one man can. Did you know that during the reign of Charles I of England, there is as much information in the dispatches the Venetian diplomats as in all the English record combined? This place holds a mine of information for all Europe and even the Mohammedan countries, too." He seemed to settle back in his chair more comfortably.

"Now," he continued, "I have been working more than eight years on uncovering documents here concerning the history of Britain, and to great effect. But the history of this place is fascinating without tying it to old John Bull. Have you seen the famous lion's mouths?"

"No," Sarah admitted, realizing what he meant from the accounts in both her Baedeker's and The Stones of Venice. "I have not been to the Doge's Palace."

The old man snorted. "Well, you are missing nothing — because they're gone. Chiseled from the wall after the Republic fell. Credulous rubbish... The lion's mouths were not put only in the palace, as your travel guide might lead you to believe. No, they were all over the city, and one or two survive in odd corners. During the Republic, anyone could drop a letter into a lion's mouth. They were used to allow the average citizen a way to reach the ears of the government with whatever concerns they had, but today, they are remembered for one thing only — as the place where men denounced spies and enemies of the state."

He leaned forward, fixing her with a glare. "If you read the embroidered fictions of Venice's rivals, you would believe that most of her history consisted of kidnappings in the night, tortures and secret trials, stranglings that ended in a soft slide into the lagoon on a moonless night. And I do not say that these things did not happen, for they most certainly did. But an honest man rarely had anything to fear from the Council of Ten — or of Three. Aside from one famous conspiracy, which ended the life of an innocent man, the justice of the Republic was a great deal more fair than that meted out through the whims of a single prince." Mr. Brown gave her a triumphant look.

"I see," Sarah managed.

"Indeed." He nodded with satisfaction, and with that, the man fell silent and settled back in his chair.

Mrs. Brown's laughter cut through the sudden silence. "Mr. Brown knows the most fascinating facts about Venice. You know, he's discovered that Othello was not actually based upon a story about a moor but the Venetian ruler of Cypress named Cristofo Moro. Even the handkerchief that Desdemona drops in the play points to this explanation. Hers is embroidered with strawberries, you see, which is what Shakespeare thought was on Moro's crest, though of course it really is mulberries... Are you staying in Venice long?" She changed the subject abruptly.

"I really can't say," Sebastian replied, showing no signs of being nonplussed by the sudden change in conversation.

"Oh, what a pity, Grimsthorpe. You really should buy a palace and keep it as a summer residence. What could be better than summers in Italy?"

"Certainly not winters in England."

And then he conversation rambled on about trivialities for some time until finally, Sebastian stood. "Thank you for you hospitality as always, Mrs. Brown. I will look forward to seeing you again."

"Oh, but of course," Mrs. Brown said, but her soft face crumpled slightly. "Wait!" she cried as Sarah stood, too. "It's been so dreadfully cold, and I know Grims — Lord Wortham chooses location over comfort in his accommodations, so I doubt that any have been fitted with a stove like we have. But in addition to their wretched braziers — which Mr. Brown's lungs cannot tolerate — the Venetians have also developed these ingenious metal balls in which they place a coal to carry around for warmth. Here." After a moment's digging, the woman produced such an object. "Take it with you. Mr. Brown and I much prefer the conveniences of the stoves that we have caused to be installed on account of Mr. Brown's health. But these devices are better than freezing."

"Thank you, madam," Sarah said, touched by the woman's kindness. To her surprise, Mrs. Brown patted her cheek.

"Go on, now," she said, so softly that Sarah was certain that Sebastian, standing by the door, could not here her. "You seem to be a good girl and know what you're doing. Don't let him hurt you."

"I won't," Sarah promised automatically.

Mrs. Brown dropped her arm and rang a bell for the maid. "Lucretia will see you out. Have a good day."

"Good day." Sebastian answered for both of them.

Then the maid came, and in a few minutes, they were back under the canopy of the felze, the glass-windowed door clicking shut two feet in front of their knees.

 

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Joyce’s luscious prose beautifully captures the faded yet still elegant grandeur of Venice, and she deftly infuses the relationship between her complex, subtly nuanced hero and heroine with an exquisite form of chemistry. Danger, deception, and desire all come together brilliantly in this sublimely sensual historical romance.

— Booklist, Starred Review

For those of us bemoaning the many juvenile and distressingly formulaic historical romances littering bookstores these days, Lydia Joyce gives us reason to celebrate. Music of the Night, the author’s second novel, is an intelligent and refreshingly different romance between two intelligent and refreshingly different people. It is ... a book both far outside and far better than the norm. ... Ms. Joyce’s voice is a surprisingly assured and confident one for an author with only two published books under her belt that at times reminded me of both the emotional complexities and sexual exuberance found in books by Judith Ivory and [early] Susan Johnson .... To be truthful, I think some readers accustomed to the lighter and far less complex general run of historical romances today may find the book a tad overwritten. But, this, fellow readers, is how it’s supposed to be – complicated, challenging, sexy, and altogether adult.

— Sandy Coleman of All About Romance,
Desert Isle Keeper

Joyce spins a tale that is...mesmerizing and fascinating. Like Venice itself, it's filled with twists and illusions. One can almost hear the music drifting over the canals as masked dancers swirl, schemes are hatched, and love fills the gaping holes in the fabric of their lives. Dark, intense, and with...[an] ending that will leave you breathless, her latest Gothic makes its mark on the genre.

— Kathe Robins of
Romantic Times BOOKclub, Top Pick

[R]efreshingly different from the usual romance book offerings...intelligent writing...The Music of the Night is an excellent example of what a talented writer can accomplish if they choose not to follow the pack.

— Wendy Livingston of
The Romance Reader

This was a very compelling and thoughtful read that conveyed both mystery, danger and a deep sensuality....This story was powerful, sensual, extremely well-written... This was a total read and one I can highly recommend. Very well done Ms. Joyce!

— Historical Romance Writers

The Music of the Night (Signet Eclipse) by Lydia Joyce is a book I’ve been waiting impatiently to share with you, since the ARC arrived here over a month ago. I very much enjoyed her first book, The Veil of Night, and I’d hoped she would prove prolific. At least we’re not kept waiting too long for her second book. And not at all disappointed. ... This one is every bit as steamy and dark as her last, so those readers who loved her first book will love this one as well. ... I can hardly wait until her next, in July 2006, which seems a very long time from now.

— Elizabeth Darrach of BellaOnline

A fascinating read.

— Marilyn Heyman of Romance Reviews Today

The Music of the Night by Lydia Joyce is a darkly sensual journey into a world governed by revenge and the price all the characters have to pay to avenge a wrong. Sarah and Sebastian are wonderful and sympathetic lead characters, who have to make hard decisions about their lives and the lives of the ones they love. This story is a must read for those that like mystery, sensual romance, a despicable bad guy to hate and a wrong that needs to be avenged.

— Romance Junkies

When I picked up Music of the Night I had begun to wonder whether, after years or stock romantic situations, I was impervious to the chemistry that an author can create between two characters. Not to worry. Lydia Joyce, a new romance author (this is her second book) knows how to create a love scene that even a seasoned romance reader will enjoy. Joyce’s voice is fresh. ... Reading it I was transported back, not only to my only memories of Venice, but to the EM Forster’s A Room with a View ....

— Blythe Barnhill of All About Romance

I'm more convinced than ever now that we are looking at a talent on the level of Anne Stuart, and I don't say that [lightly]. ... for readers looking for grown-up romance with dark characters, vivid settings, and storylines that take on an added freshness, I can't recommend this one enough and will leave its joys to you to discover. Few authors are able to torture their heroes and torment their heroines in the same book with such brilliant effect. Anne Stuart can do it, and so can Lydia Joyce. I look forward to Joyce's next book and hope she'll hit the trifecta.

— Laurie Likes Books

The city of Venice is as well-rounded a character as any other in this book. You completely fall under the city's spell with its canals and midnight masquerades. Sarah is insecure, so meek, so cautious, but at the same time has an inner strength and drive to rival the most spunky and outspoken of heroines. Sebastian blindly rushes forward with his plans for revenge... Somewhere deep inside, he realizes he's losing a part of his humanity, but he's so focused on "justice" he doesn't care. In the end, Sarah makes him care again. A sensual and bewitching Gothic-type romance.

— Sue Burke of Fresh Fiction

In some ways this powerful romantic suspense that grips the reader from the moment the lead couple meet and never slows down feels like a gothic thriller as the innocent heroine falls in love with the brooding male protagonist.... action-packed story line ... A final twist will shock the audience though afterward this subplot will seem obvious leaving fans to rejoice for having read a wonderful historical.

— Midwest Book Review

[A]mong the freshest, most original and just plain different books I've read this year. They are quite different from each other, both of Joyce's books, but they share the most important things: wonderful characters, good writing and fascinating stories. Dark, lush, erotic and exotic, TMOTN is all that and more. As much as I adored the setting (and it was beautifully done, vivid and atmospheric and evocative), it was the characterization of Sebastian and Sarah that made the book rise so high above the norm. Joyce has created two characters who aren't perfect and know it very well, and who have a huge core of raw honesty inside them, especially when it comes to themselves.
As good as TVON. Characters who are just as complicated, a story just as romantic and fresh, plus a Victorian Venice setting. Wonderful

— Rosario's Reading Journal

AAR Desert Isle Keeper
AAR Buried Treasure
AAR Reader's Choice Awards Best Buried Treasure
RT K.I.S.S. for November
RT Top Pick
Booklist Starred Review
Laurie Likes Book DIK
Rosario's Top 10 for 2005

 

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