Then came several preparatory views of the immediate grounds: the colutea circle, an avenue, the grotto’s black O, and the hill, and the big chain around the trunk of the rare oak, Quercus ruslan Chat., and a number of other spots meant to be picturesque by the compiler of the illustrated pamphlet but looking a little shabby owing to inexperienced photography.

It improved gradually.

Another girl (Blanche!) stooping and squatting exactly like Ada (and indeed not unlike her in features) over Van’s valise opened on the floor, and ‘eating with her eyes’ the silhouette of Ivory Revery in a perfume advertisement. Then the cross and the shade of boughs above the grave of Marina’s dear housekeeper, Anna Pimenovna Nepraslinov (1797-1883).

Let’s skip nature shots — of skunklike squirrels, of a striped fish in a bubble tank, of a canary in its pretty prison.

A photograph of an oval painting, considerably diminished, portrayed Princess Sophia Zemski as she was at twenty, in 1775, with her two children (Marina’s grandfather born in 1772, and Demon’s grandmother, born in 1773).

‘I don’t seem to remember it,’ said Van, ‘where did it hang?’

‘In Marina’s boudoir. And do you know who this bum in the frock coat is?’

‘Looks to me like a poor print cut out of a magazine. Who’s he?’

‘Sumerechnikov! He took sumerographs of Uncle Vanya years ago.’

‘The Twilight before the Lumières. Hey, and here’s Alonso, the swimming-pool expert. I met his sweet sad daughter at a Cyprian party — she felt and smelt and melted like you. The strong charm of coincidence.’

‘I’m not interested. Now comes a little boy.’

‘Zdraste, Ivan Dementievich,’ said Van, greeting his fourteen-year-old self, shirtless, in shorts, aiming a conical missile at the marble fore-image of a Crimean girl doomed to offer an everlasting draught of marble water to a dying marine from her bullet-chipped jar.

Skip Lucette skipping rope.

Ah, the famous first finch.

‘No, that’s a kitayskaya punochka (Chinese Wall Bunting). It has settled on the threshold of a basement door. The door is ajar. There are garden tools and croquet mallets inside. You remember how many exotic, alpine and polar, animals mixed with ordinary ones in our region.’

Lunchtime. Ada bending low over the dripping peach improperly peeled that she is devouring (shot from the garden through the french window).

Drama and comedy. Blanche struggling with two amorous tsigans in the Baguenaudier Bower. Uncle Dan calmly reading a newspaper in his little red motorcar, hopelessly stuck in black mud on the Ladore road.

Two huge common Peacock moths, still connected. Grooms and gardeners brought Ada that species every blessed year; which, in a way reminds us of you, sweet Marco d’Andrea, or you, red-haired Domenico Benci, or you, dark and broody Giovanni del Brina (who thought they were bats) or the one I dare not mention (because it is Lucette’s scholarly contribution — so easily botched after the scholar’s death) who likewise might have picked up, at the foot of an orchard wall, not overhung with not-yet-imported wisteria (her half-sister’s addition), on a May morning in 1542, near Florence, a pair of the Pear Peacock in copula, the male with the feathery antennae, the female with the plain threads, to depict them faithfully (among wretched, unvisualized insects) on one side of a fenestral niche in the so-called ‘Elements Room’ of the Palazzo Vecchio.

Sunrise at Ardis. Congs: naked Van still cocooned in his hammock under the ‘lidderons’ as they called in Ladore the liriodendrons, not exactly a lit d’édredon, though worth an auroral pun and certainly conducive to the physical expression of a young dreamer’s fancy undisguised by the network.

‘Congratulations,’ repeated Van in male language. ‘The first indecent postcard. Bewhorny, no doubt, has a blown-up copy in his private stock.’

Ada examined the pattern of the hammock through a magnifying glass (used by Van for deciphering certain details of his lunatics’ drawings).

‘I’m afraid there’s more to come,’ she remarked with a catch in her voice; and taking advantage of their looking at the album in bed (which we now think lacked taste) odd Ada used the reading loupe on live Van, something she had done many times as a scientifically curious and artistically depraved child in that year of grace, here depicted.

‘I’ll find a mouche (patch) to conceal it,’ she said, returning to the leering caruncula in the unreticent reticulation. ‘By the way, you have quite a collection of black masks in your dresser.’

‘For masked balls (bals-masqués),’ murmured Van.

A comparison piece: Ada’s very-much-exposed white thighs (her birthday skirt had got entangled with twigs and leaves) straddling a black limb of the tree of Eden. Thereafter: several shots of the 1884 picnic, such as Ada and Grace dancing a Lyaskan fling and reversed Van nibbling at pine starworts (conjectural identification).

‘That’s finished,’ said Van, ‘a precious sinistral sinew has stopped functioning. I can still fence and deliver a fine punch but hand-walking is out. You shall not sniffle, Ada. Ada is not going to sniffle and wail. King Wing says that the great Vekchelo turned back into an ordinary chelovek at the age I’m now, so everything is perfectly normal. Ah, drunken Ben Wright trying to rape Blanche in the mews — she has quite a big part in this farrago.’

‘He’s doing nothing of the sort. You see quite well they are dancing. It’s like the Beast and the Belle at the ball where Cinderella loses her garter and the Prince his beautiful codpiece of glass. You can also make out Mr Ward and Mrs French in a bruegelish kimbo (peasant prance) at the farther end of the hall. All those rural rapes in our parts have been grossly exaggerated. D’ailleurs, it was Mr Ben Wright’s last petard at Ardis.’

Ada on the balcony (photographed by our acrobatic voyeur from the roof edge) drawing one of her favorite flowers, a Ladore satyrion, silky-haired, fleshy, erect. Van thought he recalled that particular sunny evening, the excitement, the softness, and some casual words she had muttered (in connection with an inane botanical comment of his): ‘my flower opens only at dusk.’ The one she was moistly mauving.

A formal photograph, on a separate page: Adochka, pretty and impure in her flimsy, and Vanichka in gray-flannel suit, with slant-striped school tie, facing the kimera (chimera, camera) side by side, at attention, he with the shadow of a forced grin, she, expressionless. Both recalled the time (between the first tiny cross and a whole graveyard of kisses) and the occasion: it was ordered by Marina, who had it framed and set up in her bedroom next to a picture of her brother at twelve or fourteen clad in a bayronka (open shirt) and cupping a guinea pig in his gowpen (hollowed hands); the three looked like siblings, with the dead boy providing a vivisectional alibi.

Another photograph was taken in the same circumstances but for some reason had been rejected by capricious Marina: at a tripod table, Ada sat reading, her half-clenched hand covering the lower part of the page. A very rare, radiant, seemingly uncalled-for smile shone on her practically Moorish lips. Her hair flowed partly across her collarbone and partly down her back. Van stood inclining his head above her and looked, unseeing, at the opened book. In full, deliberate consciousness, at the moment of the hooded click, he bunched the recent past with the imminent future and thought to himself that this would remain an objective perception of the real present and that he must remember the flavor, the flash, the flesh of the present (as he, indeed, remembered it half a dozen years later — and now, in the second half of the next century).

But what about the rare radiance on those adored lips? Bright derision can easily grade, through a cline of glee, into a look of rapture:

‘Do you know, Van, what book lay there — next to Marina’s hand mirror and a pair of tweezers? I’ll tell you. One of the most tawdry and réjouissants novels that ever "made" the front page of the Manhattan Times’ Book Review. I’m sure your Cordula still had it in her cosy corner where you sat temple to temple after you jilted me.’

‘Cat,’ said Van.

‘Oh, much worse. Old Beckstein’s Tabby was a masterpiece in comparison to this — this Love under the Lindens by one Eelmann transported into English by Thomas Gladstone, who seems to belong to a firm of Packers & Porters, because on the page which Adochka, adova dochka (Hell’s daughter) happens to be relishing here, "automobile" is rendered as "wagon." And to think, to think, that little Lucette had to study Eelmann, and three terrible Toms in her Literature course at Los!’

‘You remember that trash but I remember our nonstop three-hour kiss Under the Larches immediately afterwards.’

‘See next illustration,’ said Ada grimly.

‘The scoundrel!’ cried Van; ‘He must have been creeping after us on his belly with his entire apparatus. I will have to destroy him.’

‘No more destruction, Van. Only love.’

‘But look, girl, here I’m glutting your tongue, and there I’m glued to your epiglottis, and —’

‘Intermission,’ begged Ada, ‘quick-quick.’

‘I’m ready to oblige till I’m ninety,’ said Van (the vulgarity of the peep show was catchy), ‘ninety times a month, roughly.’

‘Make it even more roughly, oh much more, say a hundred and fifty, that would mean, that would mean —’

But, in the sudden storm, calculations went to the canicular devils.