She came upstairs fully dressed that afternoon, not wanting the servants to know that Mac was painting her unclothed. Let them believe he was doing a portrait of her, she said. Mac tried to be clinical as he tied his scarf over his hair and mixed paints, but when Isabella told him she needed him to help her undress, his sangfroid abandoned him.

Mac’s palms sweated as he pulled off the bodice she’d unbuttoned and unlaced her corset. Steady hands, not bloody likely.

He used to undress her like this when they were married, kissing her as each piece of clothing fell away. Today, Mac let his lips graze her neck as the corset came off, then her shoulder as she unfastened her chemise.

Her skin smelled of roses. He pressed kisses to her glossy hair, inhaling her perfume. Isabella loosened her skirt, and Mac unbuckled the tapes that held her small bustle in place. He stepped against her after the cage came off, liking how her backside curved into his hip.

“I can’t paint you,” he said in her ear. “I want to love you.”

“Perhaps painting instead will be a good exercise in restraint?”

“To hell with that.”

Mac knew Isabella was as nervous as he was. Her skin flushed where he kissed it, and her bare br**sts rose as he slid his hand around her waist.

“Come here,” he said.

The chaise he’d chosen for her pose was not as accommodating as the one they’d used up in Scotland, a choice he’d made on purpose. He’d thought it would help him avoid temptation. Now he cursed himself. He was hard and ready and could think of nothing else but being inside her. Lessons in restraint be damned.

He pulled up his kilt, sat on a straight-backed chair, and pulled her down on top of him. Her br**sts crushed against his bare chest, and she cried out softly as he pushed inside her.

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The coupling was quick and hot. Too quick. Mac released before he wanted to, and he clung to her, wanting more.

Isabella smiled down at him. “I am certain I look ravished now.”

She did. Mac hardened again at the sight of her—swollen-lipped, starry-eyed, face flushed. She had no idea how beautiful she truly was.

Mac made himself set up his easel while she arranged herself on the chaise. He forced himself to draw lines, to think of them as shapes and curves, not the legs, br**sts, and hips of his delectable wife.

He was sweating profusely by the time he had a good sketch. “Damn stove,” he growled.

“I think it’s pleasant.” Isabella swung her foot where it dangled from the chaise, her arm stretching languidly over her head. She might be sunning herself in a garden, except that she was naked and indoors.

“Too bloody hot.” Mac wiped his forehead. “Shall we continue tomorrow?”

“That suits me. I’m rather stiff.” Isabella put aside the sheet, which didn’t cover her at all, and rose gracefully to her feet.

Mac was stiff himself, though not in the way she meant. He resolutely didn’t look at her. Perhaps, just perhaps, he could contain himself until she left the room. He thought this until she asked, “Help me dress?”

It was another hour before they finally made it out of the studio. Isabella had to scuttle down to her own room to change her clothes and redo her hair. This, Mac thought, as he watched her go, was going to kill him.

They settled into a routine—though settled was a bad word for it, in Mac’s opinion. Each morning, they’d eat breakfast and read their correspondence, then Isabella and Mac would climb to the nursery to say good morning to Aimee and sit with her while she had her breakfast. Afterward, Nanny Westlock would begin Aimee’s activities for the day, and Mac and Isabella would retire to the attic.

Mac worked on the paintings, and while he did so, he made sketches of Isabella’s face for a portrait he wanted to complete later. They’d make love two or three times each sitting, neither of them able to keep their hands off the other. Perhaps the forbidden nature of what they did charged the air. After all, they were hiding from the rest of the household and making naughty pictures together.

After each painting session, they parted ways to write letters or take care of their own errands, although whenever Isabella needed to leave the house, Mac went with her. They’d run their errands together, he cheerfully carrying Isabella’s parcels, she looking tolerantly bored as he settled accounts at the bank or spoke with Gordon about whatever business. No more mention was made of reversing their separation.

Mac didn’t mind dawdling outside the ribbon shops or the elegant trinket stores in the Burlington Arcade while Isabella shopped. He was a man smitten with his beautiful wife, and he noted that smirks from passing gentlemen changed to looks of envy whenever Isabella emerged from a shop and took Mac’s arm.

In the afternoon, they’d walk in the park or drive in the landau, depending on the weather or on what courtship activity Mac asked Isabella to do that day. They attended museum exhibits in bad weather, gardens and parks in good, or went sightseeing to the Tower or Madame Tussauds when the fit took them.

Payne had made himself scarce after accosting Isabella in the park, and Mac hoped against hope that the man had gone back to Sheffield and ceased his masquerade. Payne had never returned to the rooms he’d let, and Fellows had to admit that he’d reached a dead end.

Mac still wanted to kill him, but what he mostly wanted was the man out of their lives. Payne could fade into obscurity, and Mac could return to pursuing life with Isabella.

They’d ceased arguing about their separation, or about why Isabella had left him, or about the pain each of them had gone through. All of that was in the past. This was now, a new beginning. Aimee, of all people, had brought stability to their life, and Mac was going to enjoy it as much as he possibly could. He knew it would come crashing down, because everything in Mac’s life crashed down sooner or later. But for now, he could admit to being happy.

By mid-October, he had finished four paintings of Isabella.

Isabella surveyed them critically as Mac varnished the last one. “They’re very good,” she said. “Vivid. I can believe this is a lady who enjoys her lover.”

The first painting was of Isabella lolling back on the chaise. She dangled one leg from it, her foot brushing the floor; the other foot was propped up with her knee bent, fully exposing the goodness between her legs. She’d lifted one arm over her head, her br**sts standing up in firm peaks.

The second painting showed her leaning over the back of the chaise, hips stuck out, head bowed, ready for her lover. In the third, she sat upright on the chaise, her hands cupping her br**sts, ni**les poking through her fingers. The fourth was her spread-eagled on a bed. Her right wrist and left foot were tethered to the posts with slackly tied ribbons; ribbons crumpled on the bed in the other two corners as though torn off in exuberant play. Mac and Isabella’s coupling had been enthusiastic when he’d painted that one.




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