Winnie brought in Mary Katherine. The old nurse looked spry and smugly met Mrs. Overtree’s cool glance.
“Miss Blake would like to see her,” Sophie explained.
Winnie nodded and laid the child in Angela’s arms.
“She’s beautiful . . .” Angela breathed, tears welling in her green eyes. “She looks so much like—”
“Sophie says she looks like Kate, and we all agree,” Mrs. Overtree interrupted in a burst, her composure so ruffled that she’d called her daughter by the disapproved-of pet name.
Angela blinked up at her, lips parted. Then looked back down at the little girl. “Yes, I see it now. You are perfectly right.” Her eyes lingered on the child’s face a moment longer, then she lifted a determinedly bright face to Sophie.
“Have you heard my news?”
Sophie shook her head.
“Mr. Keith and I are engaged to be married.”
Sophie gaped. “Are you indeed? That is wonderful news.”
“Is it? I think so, though not everyone agrees. My father berated me for ‘not landing one of those Overtree boys,’ as though that had ever crossed my mind.” Fragile humor shone in her eyes.
Sophie gave her a gentle smile for brave effort.
“We thought of eloping, as did you and Stephen. What is good for the captain is good for the second in command, after all. But my father insists on a proper wedding. He sees me only a few days a month but suddenly takes an interest in my affairs.”
Sophie lifted a cautioning hand. “Don’t regard us as the standard bearers, I beg of you.” She chuckled in self-deprecation and was pleased to see the woman manage a tentative grin.
Angela said, “Father is glad to know there will be a man about the place to manage things during his absences.” Her grin widened. “And so am I.”
Sophie leaned over and pressed the woman’s hand. “Mr. Keith will be an excellent help to you and an excellent husband. I am very happy for you both.”
When Stephen left the smoky dining room ahead of the other men, there stood Winnie outside the door, eyes clear and bright, Mary Katherine in her arms. It was good to see her on the main level again, in the company of others. She stood in quiet conversation with Sophie, but both women looked up in anticipation as he exited. Had they been waiting for him?
Winnie searched his face. “He told you then?”
Stephen held the dear woman’s gaze. “He told me.”
Her eyes lit in triumph. “Did I not tell you? I said you would not receive your rightful inheritance. You shall have your brother’s and he shall have yours, or at least a portion of it.”
Stephen looked at her in surprise. “Now how did you know that detail? The colonel only just decided it.”
“Did he?” Winnie said innocently. “A lucky guess—that’s all.”
Stephen winked at Sophie and said, “Told you she has second sight.”
Sophie grinned. “Oh, I don’t think it’s second sight so much as squint sight, but no need to quibble.”
“And now the two of you shall be happy,” Winnie proclaimed. “Or should I say the three of you.” She planted a kiss on the small charge in her arms.
Stephen had rarely seen his old nurse look younger or more pleased with herself.
“You predict a happy future for us, do you, Winnie?” he asked with an indulgent grin.
“Hah. You don’t need to be a prophet to know that. You have already had to fight to stay together. The battle is half-won.”
Stephen raised his eyebrows. “Half-won? And here I thought my fighting days were over.”
“This is real life, Master Stephen. Happily ever after takes effort. But you two will triumph. I believe it with all my heart.”
“I am excessively glad to hear it.”
His grandfather came out of the room and drew up short at the sight of them clustered together.
“Ah, Miss Whitney. I see you have your hands full.” He glanced over guiltily to make sure the parlour doors were closed. “I suppose that means our game is off for tonight?”
“Game?” Stephen asked in surprise.
“Yes, Colonel. I am otherwise engaged and couldn’t be happier.”
“As I see.” He smiled warmly at her.
Stephen’s brow furrowed. Beside him, Sophie whispered, “I’ll explain later.”
“It’s been too long since there’s been a wee one in this house,” Winnie said. “Thought I’d outlived my usefulness. But see here—it’s as if Master Stephen knew all along and that’s why he arranged for me to stay on when others would have sent me away. Perhaps he is the prophet and not me.”
His grandfather clapped his back—but not too hard. “And all this from the young man who once told me he doubted he would ever marry, let alone have a family.”
“God had other plans, apparently,” Stephen said, uncomfortable with all the attention.
Sophie looked up at him, eyes shining, and squeezed his hand. “And I am thankful indeed He did.”
Epilogue
Stephen, Sophie, and Mary Katherine remained at Overtree Hall through Christmas and Epiphany. Then they returned for a few months to Lynmouth where they first met. They let a house overlooking the channel and harbor, not far from Mrs. Thrupton’s cottage and her father’s studio. There they spent time with them both. There Sophie painted, as motherhood allowed.
Stephen, for his part, corresponded with his father and Mr. Boyle to keep abreast of affairs at Overtree Hall in his absence, walked the cliff-side paths with Sophie, learned to love the rugged landscape as she did, and simply enjoyed time alone with his two cherished females.
Sophie had become more comfortable and confident about painting openly, believing herself talented and beautiful. It was the accomplishment Stephen was most proud of.
With his grandfather’s blessing, Stephen had sold his commission to embrace a life he had never expected but was blessed to call his own: heir of Overtree Hall, husband to Sophie, and father of Mary Katherine Overtree.
On a brisk March evening, a year after they first met at that craggy precipice, Stephen and Sophie stood atop Castle Rock, watching the sun sink low and kiss the water, gilding the sky. Stephen drew his beloved wife close, leaned down, and kissed her warmly. The cold, buffeting wind seemed a distant whistle and suddenly almost balmy.
“Happy, Mrs. Overtree?” he asked in a contented drawl.
“Perfectly, Mr. Overtree. How could I not be?” she teased. “It is our destiny, after all—did not Winnie say so?”
“Let’s leave her out of this, shall we? A man doesn’t like to think of his childhood nanny when he’s making love to his wife.”
She grinned, took his face in both of her hands, and proceeded to kiss him with such maddening sweetness that he soon forgot everything else.
Later, they walked back hand in hand along the cliff-side path to reclaim their daughter, snug with Mrs. Thrupton, who took great pleasure in taking care of her. Then together they continued down the steep path to their winter home, Mary Katherine secure in Stephen’s arms.
Inside they built up a fire in their bedchamber. A fire sparked on the cliff side a year ago. On the wall hung two matted portraits, sharing a frame. The rescued painting of Sophie, beside her more recent portrait of him, drawn by her own hand and no longer hidden from view.
Stephen’s gaze rested on the portraits a moment longer, and he breathed a prayer of thanksgiving. Then he gathered his wife and child in his arms and kissed the painter’s daughter.
Author’s Note
I first visited Lynton and Lynmouth, twin villages in North Devon, England, when I was working on another book (Lady Maybe), which required a cliff-side setting. I traveled there with an old friend, Sara Ring, and we fell in love with the dramatic coastal landscape within Exmoor National Park—also the setting of the novel Lorna Doone by R. D. Blackmore. We enjoyed the scenic harbor town of Lynmouth and stayed in the wonderful Castle Hill Guest House in Lynton, perched on the hill above. We spent a few
idyllic days there, finding the villages and landscape lovely and the local people warm and friendly. We learned that the area was indeed a favorite among poets and artists in the nineteenth century (and probably to this day). So when I began mulling an idea about a painter and his daughter, well, it seemed only natural to choose this setting.
Sara and I hiked out to the majestic Valley of Rocks on a narrow path atop steep green slopes that plunged down to the sun-streaked water below. I remember well the bracing wind, the windsurfing gulls, the prickly yellow gorse, regal rocks, and the stunning vistas receding into the horizon. Sara took many photos of it all. Stop by www.julieklassen.com to see a few of them.
And Mavis Thrupton? While strolling along the harbor, I saw a charming whitewashed ice cream stand with Mavis Thrupton’s of Lynmouth emblazoned on it and instantly knew I’d found a name for a sweet character. (Not that I have a soft spot for ice cream or anything. . . .) If you visit the area, have a cone for me. Also be sure to ride the water-powered Lynton & Lynmouth Cliff Railway. Established in 1888, it was too modern to include in this novel, but it rewards those not afraid of heights with beautiful views.
Claude Dupont and Wesley Overtree are fictitious, though most of the other artists mentioned in the book are real. Overtree Hall is not an actual place, but I based it loosely on stately Chastleton House (with its secret room) in Oxfordshire. As well as Great Chalfield Manor in Wiltshire with its stone-mask-covered squints. (Again, see photos on the Research page of my website.)
Please know that I am not an artist. And therefore, I humbly beg indulgence for any painting details that may not be quite right. I am indebted to artist Alice White, who reviewed the book and gave me helpful input, but any remaining errors are mine, all mine. I also relied on a website called Pigments through the Ages (www.webexhibits.org/pigments/intro/oil.html), which helped me identify paint colors and methods in use at the time.
If you noticed anything familiar about chapter fifteen’s scene of Sophie sketching Captain Overtree’s face, you must be a fellow Charlotte Brontë fan. That scene was partly inspired by Jane sketching Mr. Rochester’s face in our beloved Jane Eyre.
Speaking of Janes, you may have also noticed the echo of two lines borrowed with love from Jane Austen’s Sense and Sensibility and Pride and Prejudice. Similarly, chapter three’s description of the wedding attire Mavis gives Sophie (the soft silk shawl, white shot with primrose, with embossed satin flowers, and very handsome fringe) is a description of the simple wedding dress of Jane Austen’s friend, Anne Lefroy, found in the book Jane Austen and Marriage.
Anglicans may realize that I abridged the wedding service from the Book of Common Prayer. This was done for brevity’s sake—no offense intended.
Besides taking copious amounts of pictures for me, Sara Ring also spent several evenings during our trip brainstorming the initial plot of this book. Thanks again, Sara. And gratitude goes to her daughter, Katie, for helping me input corrections on an early draft.
I want to thank Anna Paulson, talented author-in-the-making, who served as my intern and was so helpful in research, brainstorming ideas and solutions, fleshing out scenes, and naming the cat, Gulliver. It’s been a pleasure to work with you, Anna. You have a bright future ahead of you.
I also want to thank my husband, Brian, who helped me write an “epic” battle scene. (Sorry I had to trim it down, honey.) History buffs will notice that we compressed and simplified it for fiction’s sake. The 28th North Gloucestershire Regiment of Foot was a heroic British infantry regiment from 1782 to 1881. Its record bears further reading if you’re interested in military history. (See 28thglos.co.uk, glosters.org.uk, etc.) Note that, in reality, reports about Quatre Bras did not reach England ahead of the news of the victory at Waterloo. But for the sake of the story, I think we can imagine Colonel Horton receiving information ahead of the general population through his connections.
Thank you to Cari Weber, first reader, trusted sounding board, and amazing friend.
Thank you to author-friend, Michelle Griep, for her insightful critiques that leave me smarting and snickering.
Thank you to Ceri Tanti, from Wales, who reviewed the manuscript in advance to help me avoid American vs. British errors and anachronisms.
Thank you to my agent, Wendy Lawton, for her input and encouragement.
Thank you to my entire team at Bethany House Publishers, who support me in so many ways: Raela Schoenherr, Charlene Patterson, Jen Veilleux, Noelle Buss, Amy Green, Anna Henke, David Horton, Steve Oates, Jim Parrish, Carissa Maki, and especially my editor Karen Schurrer. Also a shout-out to designer Jennifer Parker, who creates such beautiful covers.
Last, but never least, thank you to you, my readers. Can’t wait to meet you online or at a book signing someday soon.
Discussion Questions
Did you enjoy the book overall? What was a moment or scene you particularly liked?
What historical detail most surprised you about the book (e.g., army practices, marriage laws, the serious consequences of illegitimacy)?
How did you view the rivalry between Stephen and Wesley Overtree? Did you experience similar sibling competition growing up?
Many problems in the book result from lack of communication and concealment of truth. Have either of these caused you pain or problems in the past? Were you satisfied with how truth came to light in the novel?
Painting brings both sorrow and healing to characters in the book. Has some form of artistic expression ever helped you or others you know cope with hardship?
Did you have a favorite main character (or secondary character) in this story? What did you like about him or her?
What did you think of Winnie’s unintentional “prophecy” about Stephen’s future? How much power should the words of others hold over us? How can well-meant words influence a person’s life (especially a young person’s) both positively and negatively?
Stephen loathes his facial scar until Ensign Hornsby reminds him how he received it—in protection of Hornsby’s life. Other physical issues in the story, such as Lieutenant Keith’s missing arm and the baby’s birthmark, are also shown from different perspectives. How does the book contrast the differences between the outward appearance and the heart?
Sophie and Stephen each shoulder responsibilities for others—Sophie by helping her father in his studio, and Stephen by assuming his older brother’s estate duties. How does this affect each one’s character and identity? Can you relate?
The book centers on the theme of keeping an oath, “even when it hurts.” In the midst of doubt and conflict, Sophie and Stephen fight to maintain their marriage vows. Have you ever kept a promise at high cost? What are the difficulties and rewards of doing so?
JULIE KLASSEN loves all things Jane—Jane Eyre and Jane Austen. A graduate of the University of Illinois, Julie worked in publishing for sixteen years and now writes full time. Three of her books, The Silent Governess, The Girl in the Gatehouse, and The Maid of Fairbourne Hall, have won the Christy Award for Historical Romance. The Secret of Pembrooke Park was honored with the Minnesota Book Award for genre fiction. Julie has also won the Midwest Book Award and Christian Retailing’s BEST Award, and has been a finalist in the Romance Writers of America’s RITA Awards and ACFW’s Carol Awards. Julie and her husband have two sons and live in a suburb of St. Paul, Minnesota. For more information, visit www.julieklassen.com.
Books by Julie Klassen
Lady of Milkweed Manor
The Apothecary’s Daughter
The Silent Governess
The Girl in the Gatehouse
The Maid of Fairbourne Hall
The Tutor’s Daughter
The Dancing Master
The Secret of Pembrooke Park
The Painter’s Daughter
Resources: bethanyhouse.com/AnOpenBook
Website: www.bethanyhouse.com
Facebook: Bethany House
Julie Klassen, The Painter's Daughte
r
Thank you for reading books on BookFrom.Net Share this book with friends