The painter has very wicked plans...

(1° What If... )

That woman was stunning, thought Kellerman as he painted her. The brush flew across the canvas, and the painter contemplated the model's cleavage. He wanted to see more; he wanted to paint that woman completely naked and make her even more embarrassed. Yes, he had realized that this woman had never posed before and that despite her physique, which was probably superior to his own, she was uncomfortable being so scantily dressed. As he painted and took measurements to create a beautiful portrait, he thought about how he could make the scene even hotter. He needed to proceed gradually and accustom his prey to increasing stages of undress.

This thought was becoming central, and the idea that this woman might escape his gaze was driving him crazy, but the answer came to him on its own! When he bent down to refill his palette with a color, he saw the nobleman clutching a cushion over his groin and staring at her lustfully. This was a good thing; he could exploit the noble's baser instincts, perhaps by proceeding gradually as they were already doing. However, they did not speak the same language, unless they could rely on the translator's neutrality. But why not dare? Doesn't fortune favor the bold?

At the end of the day's session, the Prince and the painter left, as usual, giving Marie time to get dressed. It was during this waiting period that the artist struck his first blow. He turned to the translator and with a serious air said: "Thank the Prince. I must admit that usually, those who observe the preparation of my works constantly disturb me with questions and requests, but Your Excellency has remained steadfast and watched my work the entire time. I am flattered. Tell him that if he wishes, it can be done even better!"

Di Luigi, as neutral as ever, conveyed what had been said in Italian, and this caused Sarzi a first jolt! How could it be done better? What did the painter mean? To portray Marie in a more... At this point, Sarzi, using his authority as a shield, asked through the translator what Kellerman meant by that last statement. The artist smiled because his first prey had fallen into the trap. Now it was just a matter of not being too direct and making a subtle reference to the reaction he had noticed.

Kellerman explained that he often painted models in special poses and positions and was one of those painters ready to meet any client's request. Many nobles had had their wives painted in ways that would leave most people astonished, and he explained that it was perfectly normal, even though it was not publicly known. But as the painter explained with a mischievous smile, everyone does as they please in their own home.

The Prince then asked the crucial question: "Do you also paint in the style of Botticelli's Venus or even bolder?"

Dear Kellerman was just waiting for that question. He promptly responded that he was available to create any type of drawing, with no limits to the imagination that the client could have. He then gave an example that his last painting involved tying up the model. He hurried to say that the model was consenting and the bindings were not too tight; after all, every client asked for something, and he was there for that too. The Prince, highly aroused, merely said he would think about it.