This is a romantic romp through one of the great mysteries of Tudor times. It is set in the 16th Century, in the family of Sir Thomas More, one-time chancellor to Henry VIII who defied him and was executed. The bookends of the story are two portraits of the More family done by Hans Holbein, the German artist who became Henry's court painter. The first portait is a charming sketch of the family dating from 1528, but by 1532 when the work is redone, the family members have moved around, a mysterious man has entered the picture, and family solidarity is clearly threadbare. Meg Giggs, Sir Thomas's erudite ward, appears as a central character in the first sketch, but later is elbowed aside by her adoptive sister, who seems to be casting a lascivious glance at Meg's husband. Many experts have wondered what is going on here. Bennett's novel fills in the story between the first and second pictures, focusing on Meg and the two men in her life, her weak husband John Clement and Holbein, the clumsy genius. Bennett acknowledges a debt to an art historian who has a startling theory about the true identity of Meg's husband.
It's surprising at first that the characters speak in 21st century English, and there are no thee's and thou's. But the purpose is to show that in affairs of the heart there is scant difference between 16th century women, in their fierce pentagonal bonnets, and ourselves. Read this for a fascinating peek into life in a great Tudor family.