Edward Marston - The Amorous Nightingale

'Does this paragon have a name?'

'Several. Most call her the royal nightingale.'

'Nightingale?'

'Wait until you hear her sing.'

'Can she act as well?'

'Sublimely. Upon any man with red blood in his veins.'

'And her real name?'

'Harriet Gow. She is the sole reason for this melee, this undignified scramble you see before us. Whenever the adorable Harriet Gow appears in a play, the gallants of the town positively fight to get into the theatre.'

Christopher smiled. 'I'm surprised that you don't join in the brawl, Henry. It is unlike you to forego the opportunity of feasting your eyes on a young lady of such fabled beauty.'

'What?' said Henry, recoiling slightly. 'Run with the herd and get my new coat creased? Never! Besides, I have standards. Henry Redmayne never chases any woman. I make them come crawling to me.' He tossed his head and set his wig trembling in the sunshine. 'As for the delectable Harriet, gorgeous as she may be, I would never waste my shot on a target that is already beyond my reach.'

'Beyond your reach?'

'Did you not catch her nickname?'

'The nightingale.'

'The royal nightingale.'

'Ah!' said Christopher, understanding him. 'The King himself has also succumbed to her charms. That explains your unaccustomed restraint. Miss Gow is spoken for.'

'Doubly so. For she is Mrs Harriet Gow.'

'Married, then?'

'Yes, Christopher. I would need to be a congenital idiot to compete with a King and a husband.'

'You have done so in the past.'

'An aberration,' said Henry, anxious to consign the unpleasant reminder to oblivion. 'How was I to know that that particular lady was already warming two beds? Forget the wretch. She deserves no rightful place among my amours.'

'If you say so, Henry.'

'I do say so. With vehemence.' He spotted a familiar figure and softened his tone at once. 'Here comes the very person we seek. Jasper Hartwell, as large as life and twice as odious. Smile and fawn upon him, Christopher. His pockets are as deep as his ignorance.' Henry beamed and fell on the newcomer. 'Jasper, my dear fellow!' he said, grasping him by the arm. 'How nice to see you again. Allow me to present my brother, the brilliant architect, Christopher Redmayne.'

'Oh,' returned the other, displaying a row of uneven teeth. 'Is this the young genius of whom you spoke so fondly, Henry?' He squinted at Christopher. 'Pleased to make your acquaintance, Mr Redmayne.'

'Your servant, Mr Hartwell,' replied Christopher politely.

'Well, now, isn't this a happy coincidence?'

'Chance meetings are always the most productive,' said Henry easily. 'But why have we come to watch a play when a far more dramatic sight confronts us? You look quite superb, Jasper. A sartorial sensation. Elegance Incarnate. Is he not, Christopher?'

'Indeed,' said his brother.

'Have you ever seen a coat better cut? Scrutinise him well, brother. Admire the sheer artistry. Jasper Hartwell wears nothing but the best and that means keeping a score of Parisian tailors at his command. The periwig is a triumph – Chedreux at his finest.'

Henry continued to pour out the flattery in large doses and Jasper Hartwell lapped it up greedily. Christopher smiled obediently when he really wanted to laugh with derision. Jasper Hartwell's apparel was, to his eye, frankly ludicrous. The man himself was short, plump and ill-favoured, features that were exposed rather than offset by his attire. He wore a scarlet coat that was slightly waisted with a short flared skirt, made of a garish purple material, falling just below his hips. The coat was collarless and fastened from neck to hem by gold buttons, as were the back slit and the low horizontal pockets. Close- fitting to the elbow, the sleeves had deep turned-back cuffs fastened and decorated with a plethora of buttons.

Around the neck was a linen cravat with a lace border. Across the body was a wide baldrick, supporting the sword, while the waist was entwined in a silk sash, fringed at both ends. Instead of giving him the military appearance at which he aimed, the outfit emphasised his complete unsuitability for any physical activity. The square-toed shoes were objects of scorn in themselves, fastened over the long tongues with straps, large square buckles and limp ribbon loops with an orange hue. It was as if the tailors of Paris had conspired to wreak their revenge on the perceived lack of taste of the English.

If his clothing invited ridicule, Jasper Hartwell's wig provoked open-mouthed wonder. It was enormous. Made of ginger hair, it rose up in a series of massive curls until it added almost a foot to his height. The wig fell down on to both shoulders, ending in two long corkscrew locks that could be tied at the back. Perched on top of this hirsute mountain was a large, low- crowned hat, festooned with coloured feather plumes. Out of it all, gleaming with pleasure, loomed the podgy face of Jasper Hartwell, powdered to an almost deathly whiteness and looking less like the visage of a human being than that of an amiable pig thrust headlong through a ginger bush.

Christopher's hopes were dashed. Expecting to court a potential employer, he was instead meeting a man of such overweening vanity that he made Henry Redmayne seem self- effacing. If the commission were forthcoming, what sort of house would Jasper Hartwell instruct his architect to build? In all probability, it would be an expression of the owner himself, gaudy, fatuous, over-elaborate and inimical to every precept of style and symmetry. Christopher was crestfallen. It would violate his principles to design such a house for such a client.

Yet in one sentence, his prospects were suddenly resurrected. Leaning forward until his hat wobbled precariously atop its eminence, Hartwell gave him a confiding smile and a first whiff of his bad breath.

'Henry has shown me your drawings, Mr Redmayne,' he said with a note of respect, 'and I declare, I think them the best I ever beheld.'

Christopher was dumbfounded. His brother winked at him.

'First, however,' added Hartwell, 'let us see the play.'

'And then?' pressed Henry. 'We will come to composition?'

'Of course.'

It was over as simply as that.

Formerly a riding school, The Theatre Royal occupied a site in Bridges Street off Drury Lane. The conversion of the old building was a signal success, the only complaint being that the corridors to the pit and the boxes were too narrow. None of the patrons criticised the interior. It was circular in shape, the walls lined with boxes that were divided from each other to ensure privacy and equipped with rows of seats. As befitted a theatre that was known as The King's House, the prime position was taken by the royal box, overlooking the stage from the ideal angle and offering greater luxury to those who reclined there. The pit, the large central space on the ground floor, was the domain of those unable to afford a box or too late to find one still available.

It was Christopher Redmayne's first visit to the theatre and its architecture intrigued him. Nobody would ever have guessed that horses were once schooled around its circumference. Jasper Hartwell led the way to a box where he was welcomed loudly by half-a-dozen cronies at various stages of drunkenness. Henry knew them all but Christopher hardly caught their names above the hubbub. Sitting between his brother and his client, he let his gaze rove around the interior.

'The builders have done a fine job,' he remarked.

'At a cost,' noted Henry.

'Oh?'

'I had it from Tom Killigrew himself. The projected cost was fifteen hundred pounds but it had risen to almost two and a half thousand by the time the renovations were complete. Tom was most unhappy about that. He keeps a tight hand on his purse.'

'The money was well spent,' said Christopher, looking upward. 'I do like that glazed cupola. It lends distinction and adds light.'