The Murders of Richard III

T
HE PORTRAIT WAS THAT OF A MAN.
R
ECENT
cleaning had brought out the richness of the colors: a background of smoldering scarlet, the crimson of rubies in the jeweled collar and hat brooch, the gold threads in the undertunic displayed by open collar and slashed sleeves. Yet the overall impression was sober to the point of grimness. Shoulder-length brown hair framed the man's spare face. It was not the face of a young man, although the subject had been barely thirty years of age when it was painted. Lines bracketed the tight-set mouth and made deep vertical indentations between the narrowed eyes, which were focused, not on the beholder, but on some inner vision. Whatever his thoughts, they had not been pleasant ones.

The portrait had an odd effect on some people. Thomas Carter was one of them. He had seen it innumerable times; indeed, he could summon up those features in memory more clearly than he
could those of his own father, who was enjoying an acrimonious eighth decade in Peoria, Illinois. Thomas could not explain the near-hypnotic spell cast by the painted features, but he sincerely hoped they were having the same effect on his companion. He had private reasons for wanting Jacqueline Kirby to develop an interest in Richard III, quondam king of England, who had met a messy death on the field of battle almost five hundred years earlier.

Thomas had not changed a great deal since the day he and Jacqueline had first met, at the eastern university where Jacqueline was employed at one of the libraries. He had acquired a few more silver threads, but they blended with his fair hair. His baggy blue sweater tactfully concealed a slight tendency toward embonpoint. Thomas was a fair golfer and a good tennis player; but he was also an amateur chef, and this latter hobby left its marks on his figure. The blue sweater and the shabby tweeds were British made, but Thomas was not, although he was presently lecturing at one of England's oldest universities.

His prolonged bachelordom had given rise to predictable rumors. Thomas knew of the rumors and did not resent them; indeed, he encouraged them by his abnormal reticence about his personal affairs. Although he would have denied the
charge indignantly, he was a rather old-fashioned man who believed that gentlemen do not boast of their conquests. He also found his reputation a useful tactical weapon. It reassured the ladies and put them off guard.

Neither this device nor any other had aided Thomas's campaign with Jacqueline. He had begun his pursuit the first day he saw her ensconced behind the desk in the library, glowering impartially on all comers from behind her heavy glasses. Thomas noted the emerald-green eyes behind the glasses, and the rich coppery bronze of the hair pinned back in a severe knot. He even judged, with fair accuracy, the figure under the tailored wool suit. The job offer from England ended the campaign before it had fairly begun. However, he and Jacqueline had become friends, and Thomas appreciated Jacqueline's quick unorthodox mind and weird sense of humor as much as he did her other attributes. When Jacqueline wrote him that she was spending part of the summer in England, he had replied enthusiastically, offering his services as guide to the glories of London. He had not, at that time, had ulterior motives. The motives had arisen in the interim, and had directed them to the place where they presently stood. The National Portrait Gallery, though one of London's accepted tourist “sights,” was not high on Jacqueline's list of things
to see. Thomas glanced at her uneasily. If she resented his arbitrary choice she would say so, in no mellow tones.

Jacqueline was regarding the portrait with a fixed stare. Her horn-rimmed glasses rode high on her nose, but she had left the rest of her tailored working costume at home. She wore a short, clinging dress of her favorite green; the short sleeves and plunging neckline displayed an admirable tan. Tendrils of bronze hair curled over her ears and temples. Without turning her head, she spoke. The voice could not by any stretch of the imagination be called mellow.

“The Tower of London,” she said. “Westminster Abbey. Buckingham Palace. I'm just a little country girl who has never been abroad. What am I doing here? I want to see the Changing of the Guard. I want to have tea, a real English tea, in a real London tea shop. I want—”

“You just had lunch,” Thomas said indignantly. “At Simpson's on the Strand. You had an enormous lunch. Don't you gain weight?”

Instead of replying, Jacqueline let her eyes drift sideways. They focused on Thomas's midriff. Reflexively Thomas sucked in his breath, and Jacqueline went on with her mournful monologue.

“I don't even mind looking at portraits. Elizabeth
the First, Charles the Second…I adore Charles the Second. He was a very sexy man. I could contemplate Keats and Byron and Shelley without resentment. And what do I get? A bad portrait—if it is a portrait, and not a seventeenth-century painter's imaginative guess—of a famous villain. Old Crouchback himself.”

“Old Crouchback!” Thomas was indignant. “Look at him. See anything wrong with his back?”

Jacqueline studied the portrait again and Thomas let out a little sigh of relief as the glasses began to slip slowly down her narrow, high-bridged nose. The glasses were a barometer of Jacqueline's moods. When she was interested in, or worried about something, she forgot to push them back into place. In moments of extreme emotion they perched precariously on the tip of her nose.

“No,” Jacqueline said finally.

“There is a slight hint of deformity in the set of the shoulders; one looks higher than the other. But that could be due to bad painting. He certainly was not a hunchback. He's even good-looking, in a gloomy sort of way. It is a contemporary portrait, of course?”

Thomas glanced at her suspiciously. She continued to contemplate the portrait of Richard III with
candid interest, but Thomas was not deceived. Art history was one of Jacqueline's specialties.

“No. It's been dated to about 1580. Like most of the other portraits of Richard, it was probably copied from a lost original. The only one that might be a contemporary portrait is in the Royal Collection. When it was X-rayed recently, the experts found that parts of it had been painted over. Originally the right shoulder was lower, even with the left, and the eyes were not so narrow and slitlike.”

Jacqueline's eyebrows lifted. She would never admit it, but Thomas knew that he had caught her interest.

“Retouched, to suggest the hunchbacked, squinting villain? That does suggest that the original was a contemporary portrait, too flattering to suit Richard's enemies. Let's see; if I remember my history lessons, Richard's successor was Henry the Seventh, the first of the Tudor kings and the last heir of the house of Lancaster. Richard was the house of York. Henry got the crown by killing Richard at the Battle of Bosworth—”

“Henry Tudor never killed anyone in a fair fight,” Thomas said contemptuously. “At Bosworth he was running for the rear when Richard was cut down by a dozen men. It was
Richard's good name Henry tried to destroy. Henry had no real claim to the throne and no popular support. He'd have lost the Battle of Bosworth if his widowed mother hadn't been smart enough to marry one of the most powerful nobles in the kingdom. Lord Stanley and his brother marched to Bosworth field as Richard's vassals and then treacherously attacked him. The only way Henry could justify his seizure of the throne was to show Richard as a usurper and a tyrant. Otherwise Henry was the usurper, and a rebel against the rightful king. Henry began the Tudor legend about wicked King Richard. He literally rewrote history. He—”

“He wasn't sexy,” said Jacqueline regretfully. She had moved on; Thomas joined her in front of the portrait of Henry VII. “Grasping hands, and a mouth like a steel trap. And a shifty, suspicious expression.” She turned to the neighboring portrait. “Who's the simpering doll-faced blond lady?”

“Henry's queen, Elizabeth of York. His marriage with her united the houses of Lancaster and York, and ended the Wars of the Roses. She was Richard's niece, the daughter of his elder brother, Edward the Fourth. Whom you see before you, in this portrait. He was supposed to have been one of the handsomest kings England ever had—a big blond six-footer, with an eye for the ladies.”

“He doesn't look very sexy,” said Jacqueline, eyeing the flat, doughy features of Edward IV critically.

“Sexy, hell. If I had realized you suffered from historical necrophilia, I'd never have brought you here. Ready to leave?”

“Oh, no. You brought me here, and I'm not leaving till I've seen all my heroes. Keats, Shelley—and of course King Charles. Where is he? ‘Here's a health unto his Majesty—' ”

“I had forgotten your regrettable habit of bursting into song at odd moments. Jacqueline…”

It took Thomas over an hour to extract Jacqueline from the gallery. The portrait of Charles II had to be admired and the long line of his official mistresses subjected to a scathing commentary. Jacqueline said they were all too fat. When Thomas finally got her out the door, Trafalgar Square was raucous with late-afternoon traffic, and Jacqueline said she was faint from hunger.

“No wonder I love England,” she remarked some time later, after devouring most of a plate of cream-filled buns. “People eat so often here. Morning tea, breakfast, elevenses, lunch, afternoon tea—”

“I don't think I can afford you,” said Thomas.

“I know you can't.” Jacqueline gave him a look that left him momentarily speechless. She pushed
her glasses firmly back onto the bridge of her nose and regarded him severely. “All right, Thomas. I know you're up to something. First you invite me to a country weekend with a lot of people I've never met; then you deluge me with information about one of the most mixed-up periods in English history. There must be a connection, but I can't figure out what it is. Go on; I can see you're dying to lecture about something. I recognize your classroom scowl.”

“I'm not going to lecture,” Thomas said self-consciously. “How much do you know about—”

He stopped, staring at Jacqueline. She had slipped sideways in her chair. One arm dangled; the hand at its end was out of sight under the tea table, but it seemed to be making violent motions.

“For God's sake,” Thomas snapped. “What are you looking for? If it's cigarettes, I'll buy you some. You'll never find anything in that purse. Or is it a briefcase? Anyhow, I thought you had kicked the habit.”

Jacqueline resumed an upright position. In one hand she held a ball of white thread; in the other, a metal shuttle. Thomas watched, openmouthed, as she wound the thread around her fingers in a pattern that resembled a one-handed form of cat's cradle.

“I have kicked the habit nine times since you last saw me. I have taken up tatting in order to help me kick it once again. I tried knitting, but that didn't work; every time I reached in my purse I stabbed myself on a knitting needle.”

“I suspect this isn't going to work either,” said Thomas. “Forgive me for mentioning it, but your fingers are turning blue. I think the thread is too tight.”

Jacqueline put the shuttle down and began unwinding the thread.

“Thomas, you are too easily distracted. If I should choose to chin myself on the chandelier, it should not interrupt your discourse. I am listening. How much do I know about what?”

With an effort Thomas wrenched his eyes away from the struggle between Jacqueline and her fancywork.

“It wouldn't surprise me if you did. Chin yourself, I mean…How much do you know about Richard the Third?”

For answer, Jacqueline arranged her features in a hideous scowl. Out of the corner of her mouth, in the accents of a movie gangster, she said, “ ‘I am determined to prove a villain, And hate the idle pleasure of these days!' ”

“Oh, forget about Shakespeare,” Thomas said. “He based his
Richard the Third
on the Tudor historians,
and they maligned Richard to please Henry the Seventh. Shakespeare's version is great theater, but it isn't history. Let's try another question. How much do you know about the Wars of the Roses?”

“I know a little bit, but not enough, about everything,” said Jacqueline. “I'm a librarian, remember? Oh…”

The last word was a low moan. Tenderly she freed her swelling fingers from entwined thread, wadded the whole mass up, and thrust it back into her purse. The second failure had soured her temper. She went on disagreeably, “I never did understand the Wars of the Roses. I don't think anybody understands the Wars of the Roses. I don't want to understand them…it…the Wars of the Roses. The houses of Lancaster and York—the red rose and the white—were fighting for the throne. That's what the Wars of the Roses were about. That's all I know and all I need to know.”

“Okay, okay,” Thomas said soothingly. “The last of the Lancastrian kings was Henry the Sixth—not to be confused with Henry the Seventh, the first of the Tudors. Henry the Sixth was a nice ineffectual old idiot—part saint, part mental defective. His successful Yorkist rival was Edward the Fourth, the big handsome blond, whose contemporaries considered him sexy, even if you
don't. Edward got rid of Henry the Sixth, and Henry's son, and a few miscellaneous malcontents, and settled down to enjoy himself. His biggest mistake was to marry a widow lady, Elizabeth Woodville by name. Everyone was shocked at this marriage with a commoner; they resented Edward's failure to strengthen England with an alliance with a foreign princess. Elizabeth had a couple of sons by her first marriage and a crowd of brothers and sisters. They were a predatory crew, and Elizabeth helped them advance. The noblest families in England were forced to marry the queen's sisters; the marriage of her twenty-year-old with the Dowager Duchess of Norfolk, aged eighty, scandalized the country. Edward begat a clutch of children on his beautiful wife—two sons and a number of daughters. The eldest daughter was also named Elizabeth.”