Free Jane and the Barque of Frailty by Stephanie Barron

books in the world!”
    “But none can boast a creature half so entertaining as Willoughby, I assure you, nor half so … so improving … as Elinor. Jane—” She stopped short, shading her eyes with one hand. “Is not that the old Count I espy before us? In animated conversation with the ladies in that very dashing perch-phaeton? I wonder if he is forever speaking to them in French!”
    I should judge it to be nearly three o’clock in the afternoon—a fashionable hour to promenade in the Park, whether by foot, horse, or carriage; and the parade was thronged with parties of young ladies in open carriages, Corinthians astride their showy hacks, and sedately strolling misses in the company of chaperones. There was also, I may add, a quantity of those persons commonly known as the Muslin Company: showy hacks of a different kind of animal, also intended for a gentleman’s pleasure. My mother should have called them Bold Pieces, and abhorred their display of charms; but the present age held such women in something like admiration, as might be divined from the euphemisms commonly applied to them: High Flyers, Fair Cyprians, Birds of Paradise, Snug Armfuls, Barques of Frailty, Demi-reps. These were not the common women of the streets, but mistresses of the highest order, who lived under the protection of a variety of swains to whom they offered a fidelity commensurate with the quantity of gold laid out to secure it. The dashing perch-phaeton Eliza had espied was certainly commanded by one of these: a golden-haired, ringleted creature of perhaps seventeen, who tooled the ribbons of a very fine pair of matched greys. The phaeton was of a sort usually driven by a gentleman rather than a lady; and this daring, coupled with the extraordinary cut of the girl’s habit, must draw the attention of every male eye.
    “It does not do to stare, of course,” Eliza observed reprovingly, “when a gentleman of one’s acquaintance is in conversation with such a person; one ought to affect an interest in the opposite side of the parade. But do you think it possible, Jane, that we see before us poor Anne’s rival? The agent of all her fears? The girl is very lovely, I daresay—but barely out of the schoolroom!”
    I did not immediately discern Comte Emmanuel-Louis d’Entraigues, who was supported by an ebony walking cane, his grey hair surmounted by a showy beaver. But an instant’s study revealed the elegant scholar of Barnes, Surrey: a man in his middle fifties, well-dressed but with something foreign in the cut of his coat; a figure once elegant and strong but now tending to corpulence; a Gallic beak of a nose and a pair of lips that might be judged either sensual or cruel. The hands alone were still very fine: untouched by labour or traffick with the world, accustomed to the handling of leather-bound volumes and objets d’art—such as the girl who now dimpled down at him, a confection of innocent beauty and knowing vice.
    I studied the creature’s complexion of rose and cream, straight line of a nose, and wide sapphire eyes; there was breeding as well as beauty there, if one chose to find it, yet the girl would never be taken for other than an adventuress. Her carriage dress was too formed to her body, and the décolleté plunged as deep as a ball gown’s. A dark blue hussar’s cap was set at a raking angle over her brow, and guinea-gold curls clustered at the nape of her white neck. There was something familiar in her looks, tho’ she was entirely a stranger to me … and then I had it: in figure and countenance, she might have been Anne de St.-Huberti’s younger self.
    “I cannot put a name to that little Bird of
    Paradise,” Eliza whispered, “but her companion is none other than Harriette Wilson, the most accomplished Cyprian in London. You will recollect the box at the Opera House—the Ponsonbys and Mr. Canning … ”
    At that moment the Comte laughed in appreciation of some saucy remark; the girl in the phaeton