But Talleyrand had retained a certain affection for his old home in the rue d'Anjou and he would not have understood if Marianne had expressed any unwillingness to stay there in the care of people whom he counted among his oldest and most trusted friends. He maintained that Eleonora, who had been his mistress before becoming attached to the unfortunate Count Fersen, was the quintessence of all that was most charming in the previous century, a period which, for him, represented an achievement in the art of living which was now gone for ever. And this despite the fact that she had begun her career as an opera dancer – but then Talleyrand had always had a weakness for dancers.

Meekly, forcing herself to think of nothing but the bed which she was offered and which she longed for with all her heart, Marianne followed her host into a nearby sitting-room where Mrs Crawford was seated, a branch of tall pink candles at her side, working at a piece of tapestry. In her dress of black watered silk, its folds catching the light, with a white muslin cap and a scarf of the same material crossed in the old fashion over a breast that was still lovely, and her silver hair dressed high with one or two long, flowing curls stressing the line of her neck, the mistress of the house bore such a startling resemblance to the portrait of the late queen in the Temple that Marianne paused in the doorway and stared at the apparition as if she had found herself suddenly looking at a ghost.

But the resemblance stopped short at the first impression. The black eyes which looked up, sharp and inquisitive, at the visitor and the red, rather hard curve of the mouth, did not belong to Marie-Antoinette, any more than the figure, which was much shorter and slimmer, or the hands, which were seen to be thin and bony, in spite of the black lace mittens and the splendid diamonds which adorned them.

'So this is our fugitive,' Eleonora Crawfurd said, getting up and coming forward to meet them. 'I am very happy to welcome you, my dear, and I hope you will look on this house as your own. You may come and go as you please in it, for although we have few servants, those few are all people we can trust.'

The voice was a splendid contralto, very deep and warm, retaining some musical echoes of its native Tuscany, and extremely attractive. Eleonora knew how to use it, too, like a real artist.

'You are very kind, Madame,' Marianne said, wondering vaguely if she ought to bow and compromising with a smile and a little bob of her head. In her boy's clothes, a curtsy would have been ridiculous and she did not place much confidence in her ability to make a leg with credit. 'I am only sorry to impose upon you in this way, and perhaps put you at some risk—'

'Tut! Who talks of risks in this house? Quintin and I have run risks all our lives and this, supposing it to be one, is very small by comparison. Besides, I trust your troubles will not be of long duration and that you will soon be able to return to your own house. You were only to spend the summer months – er – taking the waters, were you not? You will be home again in the autumn. Until then, you must feel quite at home here, and to start with, you and our dear prince must take a little supper. You must be in need of it. Afterwards, I will show you your room.'

Supper, at that late hour, was brought to the sitting-room and consisted of some magnificent peaches and some light creams and pastries, as well as a superb Brie of which Talleyrand was known to be particularly fond, washed down with an unusually fine old burgundy.

Conversation soon languished, however, owing to the manifest weariness of the guests. It revived only slightly when Crawfurd remarked, as though announcing a fact of no great importance: 'It appears that Champagny has sent a note to ambassador Armstrong.'

Talleyrand raised one eyebrow, while Marianne roused abruptly from her sleepy doze at the mere mention of the American diplomat's name.

'A note eh?' the prince said. 'And what does it say?'

'How should I know? All I can tell you is that there was a note from the Ministry of Foreign Affairs – and that the ambassador's expression has been a trifle less harassed ever since the – the fifth of August, I think it was, when the note arrived.'

'Less harassed? What do you think, Crawfurd? Does it mean the Emperor has decided to treat the Beaufort business leniently? It would be quite easy, of course, simply to let him go…'

'Don't you believe it. The matter is past hushing up now. The seaman, Perez, who, quite between ourselves, seems singularly well-informed as regards political affairs for an ignorant seaman, declares that Beaufort intended to put in at Portsmouth to unload some of his cargo of champagne and is demanding a third of the value as a reward for his evidence, by virtue of the Milan decree. Which reminds me, it's a curious thing how, although the affair was to be kept a deadly secret, every interested department seems to have got wind of it. I wonder what the Emperor thinks…'

'That,' Talleyrand said energetically, rising to his feet and striking the table with the flat of his hand, 'is what we have to find out. The whole business seems to have got thoroughly out of hand, and we are hearing a great deal too much about this seaman, Perez. Don't be alarmed, Marianne,' he added, seeing her pale face and widening eyes suddenly bright with tears, 'I will try to see the Emperor, and if I fail there I will write to him. It is time a few honest voices made themselves heard. But go and get some sleep now, my child. You can scarcely keep your eyes open. Your hostess will take good care of you and I will tell your friends where you are first thing in the morning.'

This was true. Marianne was wholly exhausted. While the Prince of Benevento sought his coach for the remainder of his journey to the Hôtel Matignon, she suffered herself to be led meekly away by Eleonora Crawfurd to a pretty bedchamber hung with rose-coloured chintz on the second floor of the house. The room had two windows which looked out on to a quiet garden not unlike Marianne's own.

Mrs Crawfurd turned down the bed with deft hands and then turned to light the lamp under a tisanière which stood on the table by the bed.

'A little camomile will do you good,' she said. 'It is a sovereign remedy for the nerves. Shall I help you to undress?'

Marianne shook her head with a tired smile of thanks. She was impatient, now, to be left alone but her hostess seemed in no hurry to depart. She was walking about the room, altering the position of a flower in a vase, checking that the curtains ran smoothly in their rings, shifting a chair slightly, as if she were trying to prolong their tête à'tête indefinitely. Marianne, her nerves on edge, was on the point of committing the ultimate rudeness of asking point-blank to be left alone when Mrs Crawfurd turned suddenly and regarded her guest with an expression half perplexed and half compassionate.

'You poor, poor child,' she said in a tone whose sympathy did not, to Marianne's ears, ring altogether true. 'I had so hoped that you, at least, might have found happiness!'

'Why me at least?'

'Because you are so sweet and fresh and lovely, so – oh, I swear to God that when I heard of your marriage I prayed, I prayed with all my heart that the curse which seems to haunt the princesses of Sant'Anna might spare you!'

Th-the curse?' Marianne gasped with difficulty, for even in her present state of anxiety the idea of a curse seemed to be going rather too far. 'What curse? If you mean Donna Lucinda—'

'Oh, your unfortunate husband's grandmother was no more than – than an instance of the dreadful state of affairs which goes back to the fourteenth century. Ever since a Sant'Anna brutally murdered his wife in revenge for adultery all the women of the family – or nearly all, have died violent deaths. It takes courage, or a great love, to marry any of that illustrious name – but you did not know this?'

'No. I did not know,' Marianne said, wide awake now and wondering very much what her hostess could be at. It seemed to her extremely odd that the Cardinal de Chazay should have kept such a tragic legend as this from her, unless, with his fanatical hatred of all superstition, he had simply dismissed it as a horrible, childish tale.

Deciding that this last theory was probably correct, Marianne added: 'But it would have made no difference had I known. I believe in ghosts – but not in curses which attach themselves to innocent people. Besides,' she went on, ruthlessly editing the truth, 'I did not even meet a ghost at the Villa dei Cavalli!' This whole conversation, coming out of the blue at a time when all she wanted was to go to sleep, struck her as fantastic, and that seemed as good a way as any of putting an end to it. But Mrs Crawfurd was not a woman to be easily put off, although it was not easy to see what her object might be in introducing the subject of the Sant'Annas.

'No ghosts?' she said now, with a sceptical smile. 'I am surprised! Even if it were only—'

'Only who?'

'Oh, no one,' Eleonora said suddenly. She came to Marianne and kissed her lightly on the forehead. 'We will talk about all this another time. For the moment, you are asleep on your feet.'

'No, no!' Marianne protested, quite sincerely now, for she was dying to hear more. 'I can sleep later. Tell me—'

'Nothing at all, child. It is a long story and – well, I too am sleepy. It would be a mistake to begin. But don't tell me that you did not know that when your husband, Prince Corrado, was born his father, Don Ugolino, killed his mother…'

With that, Eleonora left the room, as softly as one of the ghosts in which she, too, appeared to believe and closed the door behind her, leaving Marianne wide awake and thoroughly confused. She understood this woman less and less. Why had she introduced the subject if she did not wish to explain fully? If it had been to distract Marianne's thoughts from their constant, agonized preoccupation with Jason's fate, she had only partly succeeded because there was no story, however exciting, which could have distracted her from her fears for the man she loved. But if she had meant to give her a sense of uneasiness and insecurity, then she had achieved her object to perfection. How could she help thinking that this curse which had attached itself to the women of her name might extend to those she loved? And what connection was there between the murder of Corrado's mother, Donna Adriana, and the prince's own tragic destiny?