visited the house. And they arenât planning to. Theyâre very keen to sell as quickly as possible.â
âThen youâve come to the right place,â my boss chimes in.
I shake my head, astounded. Why wouldnât the heirs even want to see the house that theyâd inherited? To be handed Rosemont Hall on a silver platter would be a dream come true for someone like me â and a lot of other people, Iâm sure.
We continue on our tour. The flotsam and jetsam of decades of married life is visible everywhere: dusty books and old magazines, vases filled with dead flowers, worn sofas, and time-darkened photographs. I feel a pang of nostalgia for the life I thought I had with Simon, and sad that I no longer have anyone to amass this kind of history with. But more than that, Iâm angry â on behalf of the deceased owners whose heirs wonât even come and see the house where they lived.
There are also a few gems scattered among the clutter: some lovely antique tables; a collection of Sevres china and glassware in an ornate floor-to-ceiling cabinet; gilded mirrors in all shapes and sizes. But something seems to be missing and I canât put my finger on it.
âDo the heirs want anything,â my boss asks, or âwould you like us to just get a removal van to clean out all this
junk
.â
The word echoes around the room. Mr Kendall raises his eyebrows.
âThe Windhamâs
belongings
will need to stay here for now,â he says. âThereâs an elderly housekeeper â Mrs Maryanne Bradford â who was devoted to the house and nursed Mrs Windham through her last illness. In the last year before Mrs Windham died, she was staying in one of the rooms on the third floor. Some of the things here may be hers.â
âFine,â Mr Bowen-Knowles says. âA developer wonât care if thereâs a little clutter.â
âWhatâs going to happen to her?â I say.
Both men look at me.
âMrs Bradford. Where will she go when the house is sold?â
âSheâll need to move out, of course,â Mr Kendall says. âThereâs no reason for her to stay.â
âOh. What a shame.â I feel pang of sadness for the old woman. I read somewhere that having to move house is a major cause of stress and premature death in the elderly.
âHer sister has a cottage in the village,â Mr Kendall assures me. âShe wonât have any trouble relocating.â
My bossâs forehead cracks into a frown. He moves in front of me like a rook threatening a pawn. âLetâs see the rest of the house, shall we?â
Mr Kendall leads the way up the grand staircase. I feel like Scarlett OâHara as I trail my hand over the cool marble banister. At the top landing where the staircase divides, I stop. In the centre of the wall is an exquisite, life-sized oil painting of a young woman of about seventeen or eighteen. The background is a blend of murky blacks and greys, and her form emerges like an apparition. Her dark blonde hair is elaborately swept up and tied with ribbons, a few curls cascading around her neck. The bodice of her dress is pale-pink silk with a hint of lace at the neckline. The fabric sweeps out from her waist in shadowy folds, catching the light, and fading back into the blackness. But the most striking thing is the woman herself. Her eyes are bold and arresting, painted the delicate blue colour of forget-me-nots. Her features are soft, with high cheekbones and a delicately shaped nose. Her bow-shaped mouth is drawn up in a half-smile, like she has a secret.
âWhat a lovely woman,â I say, as Mr Kendall pauses next to me. âWho is she, do you know?â
âNo.â Mr Kendall pauses briefly. âThough Iâve often wondered.â
I stare closer at the painting. Itâs set in a heavily gilded frame that protrudes from the wall a good six inches. Thereâs a brass plaque at the
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