A mysterious depiction of masked revellers at the Venice carnival hangs in the college rooms of Oliver's old professor in Cambridge. On this cold winter's night, its eerie secret is revealed by the ageing don. The dark art of the Venetian scene, instead of imitating life, has the power to entrap it. To stare into the painting is to play dangerously with the unseen demons it hides, and become the victim of its macabre beauty ...
Hill (The Woman in Black) crafts an old-school spooker in this atmospheric tale of a sinister painting imbued with the vengeful spirit of a former owner. The painting, owned by retired Cambridge don Theo Parmitter, catches the eye of a visiting former student who's intrigued by its depiction of an 18th-century Venetian carnival scene and a figure in the foreground who looks anachronistically modern. The student's questions extract from Theo the strange story of how he won it at auction and the even stranger tale of the bidder he beat: the elderly Lady Hawdon, who claims that the man in the picture is her husband, imprisoned in the painting through the designs of a jilted lover who gave it to them as a wedding present. Hill manipulates the gothic darkness of her story with great dexterity and subtlety, faltering only at its awkwardly executed finish. Regardless, her tale is a commendable exercise in the tradition of the antiquarian ghost story.