Carrying His Scandalous Heir

Something changed in his voice—something that suddenly made the heat flush in her blood once more, as it had done when she had realised his gaze was upon her.

‘Should we not carpe diem?’

‘Seize the day?’ Carla heard her voice answering. But inside her head she was registering that sudden change in the Count’s voice, the smoothing of that low timbre. She could see, now, the change in his eyes. He was looking at her. Approving of what he saw. Sending that flush of heat through her again.

‘Or, indeed, seize the evening,’ he murmured again, with the slightest husk in his voice.

And now there was no mistaking the message in his voice. None at all. Those dark, long-lashed hooded eyes were resting on her, and the message in them was as old as time.

She pleased him. Her appearance, at any rate, even if her words did not. But their exchange had merely been the mechanism by which he had approached her—had given him the opening he desired, by which he would obtain the end he sought.

The end he now stated openly.

‘Have dinner with me tonight.’

It was as simple as that. As straightforward. His dark, expressive eyes were resting on her, and Carla felt their impact—knew their message. Knew what reply she should make to this powerful, sensual man, who was displaying every obvious sign of his intent.

Her habit had always been to say no—the few relationships she’d had over the years had never been with Italians, nor conducted in Rome under the avidly speculative glare of the circles in which she moved. And never had she fancied herself to be deeply emotionally involved. It had been only friendship and compatibility that attracted her—no more than that. It was safer that way. Safer than yielding to any overriding sensual attraction that might ignite a passion that would be hard to quench.

After all, no one knew better than she what that might lead to. Hadn’t it happened to her own mother? Falling for a man who, when he’d been faced with unintended pregnancy, had not wished to commit to her?

Although his father had cracked the financial whip and forced a marriage, there had been no happy ending. Her father had chafed at marriage, chafed at fatherhood—and had been on the point of leaving her mother when he was killed. Was it any wonder, Carla asked herself, that she was wary of making such a mistake herself?

So, for every reason of good sense, there was only one reply for her to make to this arrogant, sensual man who possessed the power to disturb her senses.

Yet she could not say the words. Could only find the means to give a slight, fleeting, demurring half-smile, and a self-protective sweeping down of her eyelashes to hide the all too revealing response in her eyes as she made an evasive reply.

‘So...have you loaned any other paintings to the exhibition?’ she asked.

Her voice sounded abrupt, even breathless, but she did not care. She met his gaze head-on, keeping hers quite limpid, though the effort was great—the more so since in his eyes was a look of knowingness that told her he had understood immediately why she had not answered him.

But to her relief he followed her diversion.

‘Indeed,’ he murmured, still with that semi-amused look in his eyes that was so disturbing to her. ‘The Luciezo is, in fact, part of a triptych. The other two portraits are on display across the gallery.’

There was a discernible tinge of annoyance in his voice at the curator’s decision as he indicated across the width of the gallery, towards an alcove in which Carla could make out two portraits.

‘Shall we?’

The cool voice held assumption, and Carla found herself being guided forward. He halted, lifting his hand to the portraits they were now in front of.

‘What do you make of them?’

Carla’s trained eyes went to the portraits, immediately seeing the skill and artistry in them, seeing in them all the hallmarks of a master. Her eyes narrowed very slightly. But not Luciezo.

‘Caradino?’ she ventured.

She felt rather than saw the glance the Count threw at her. Surprise—and approval.

‘Caradino,’ he confirmed. He paused. ‘Many attribute his few surviving works to Luciezo.’

She gave a slight shake of her head. ‘No,’ she said. ‘There is a discernible difference.’

Her eyes ran over the portraits, taking in the brushwork, the lighting, the shadows. Her gaze went from appraising the technicalities of the portraits to the subjects themselves. And then, for the first time, her eyes widened as her gaze rested on their faces.

So unalike. So very, very unalike.

One so fair and pale. A married woman, clearly, as illustrated by the tokens in the painting—her pearl earring, the sprig of myrtle in her lap, the dish of quinces on the little table at her side—and yet there was about her, Carla could see, an air almost of virginity...as if with different garments and accoutrements she might have modelled for a painting of the Virgin Mary.