Red, White & Royal Blue(83)

He’s cut off mid-sentence because Alex has stopped in the middle of the corridor and yanked him backward into a kiss.

“Hello,” Henry says when they break apart. “What was that for?”

“I just, like.” Alex shrugs. “Really love you.”

The corridor dumps them out into a cavernous atrium, rooms sprawling out in each direction. Only some of the overhead lighting has been left on, and Alex can see an enormous chandelier looming high in the rotunda, tendrils and bubbles of glass in blues and greens and yellows. Behind it, there’s an elaborate iron choir screen standing broad and gorgeous on the landing above.

“This is it,” Henry says, pulling Alex by the hand to the left, where light spills out of an immense archway. “I called ahead to Gavin to make sure they left a light on. It’s my favorite room.”

Alex has personally helped with exhibitions at the Smithsonian and sleeps in a room once occupied by Ulysses S. Grant’s father-in-law, but he still loses his breath when Henry pulls him through the marble pillars.

In the half light, the room is alive. The vaulted roof seems to stretch up forever into the inky London sky, and beneath it the room is arranged like a city square somewhere in Florence, climbing columns and towering altars and archways. Deep basins of fountains are planted in the floor between statues on heavy pedestals, and effigies lie behind black doorways with the Resurrection carved into their slate. Dominating the entire back wall is a colossal, Gothic choir screen carved from marble and adorned with ornate statues of saints, black and gold and imposing, holy.

When Henry speaks again, it’s soft, as if he’s trying not to break the spell.

“In here, at night, it’s almost like walking through a real piazza,” Henry says. “But there’s nobody else around to touch you or gawk at you or try to steal a photo of you. You can just be.”

Alex looks over to find Henry’s expression careful, waiting, and he realizes this is the same as when Alex took Henry to the lake house—the most sacred place he has.

He squeezes Henry’s hand and says, “Tell me everything.”

Henry does, leading him around to each piece in turn. There’s a life-size sculpture of Zephyr, the Greek god of the west wind brought to life by Francavilla, a crown on his head and one foot on a cloud. Narcissus on his knees, mesmerized by his own reflection in the pool, once thought to be Michelangelo’s lost Cupid but actually carved by Cioli—“Do you see here, where they had to repair his knuckles with stucco?”—Pluto stealing Proserpina away to the underworld, and Jason with his golden fleece.

They wind up back at the first statue, Samson Slaying a Philistine, the one that knocked the wind out of Alex when they walked in. He’s never seen anything like it—the smooth muscles, the indentations of flesh, the breathing, bleeding life of it, all carved by Giambologna out of marble. If he could touch it, he swears the skin would be warm.

“It’s a bit ironic, you know,” Henry says, gazing up at it. “Me, the cursed gay heir, standing here in Victoria’s museum, considering how much she loved those sodomy laws.” He smirks. “Actually … you remember how I told you about the gay king, James I?”

“The one with the dumb jock boyfriend?”

“Yes, that one. Well, his most beloved favorite was a man named George Villiers. ‘The handsomest-bodied man in all of England,’ they called him. James was completely besotted. Everyone knew. This French poet, de Viau, wrote a poem about it.” He clears his throat and starts to recite: “‘One man fucks Monsieur le Grand, another fucks the Comte de Tonnerre, and it is well known that the King of England, fucks the Duke of Buckingham.’” Alex must be staring, because he adds, “Well, it rhymes in French. Anyway. Did you know the reason the King James translation of the Bible exists is because the Church of England was so displeased with James for flaunting his relationship with Villiers that he had the translation commissioned to appease them?”

“You’re kidding.”

“He stood in front of the Privy Council and said, ‘Christ had John, and I have George.’”

“Jesus.”

“Precisely.” Henry’s still looking up at the statue, but Alex can’t stop looking at him and the sly smile on his face, lost in his own thoughts. “And James’s son, Charles I, is the reason we have dear Samson. It’s the only Giambologna that ever left Florence. He was a gift to Charles from the King of Spain, and Charles gave it, this massive, absolutely priceless masterpiece of a sculpture, to Villiers. And a few centuries later, here he is. One of the most beautiful pieces we own, and we didn’t even steal it. We only needed Villiers and his trolloping ways with the queer monarchs. To me, if there were a registry of national gay landmarks in Britain, Samson would be on it.”

Henry’s beaming like a proud parent, like Samson is his, and Alex is hit with a wave of pride in kind.

He takes his phone out and lines up a shot, Henry standing there all soft and rumpled and smiling next to one of the most exquisite works of art in the world.

“What are you doing?”

“I’m taking a picture of a national gay landmark,” Alex tells him. “And also a statue.”

Henry laughs indulgently, and Alex closes the space between them, takes Henry’s baseball cap off and stands on his toes to kiss the ridge of his brow.