Legendary // H.S

5.

'I put a spell on you, and now you're mine'

*

The National Gallery. Founded in 1824, and home to over 2,300 of Europe's most famous paintings. More than six million people visit it every year, basking in the glory of history's great art works. From Michaelangelo to Picasso, legends of culture are now remembered and commemorated in this building.

I've visited it many times before, always fond of art and it's impact. I'd been here just a few weeks back to see an exhibition on Titian. There's something so calming about visiting a gallery on your own. The quiet relaxes you.

It's an overpowering building, dominating Trafalgar Square. It's 19th century architecture sits right in the centre of London as its beating heart. Today, the buildings stands at 46,393 square metres. There's a reason why it's so beloved.

I'm not sure why Harry asked to meet me here, considering he was asking me to join his team as the diamond expert, but I didn't want to question it. The fact that he agreed to meet me was enough. I had texted him once outside and he responded that he was in the Monet room waiting for me. It's a good thing I know my way around this maze, otherwise to would take me hours to find him.

He's stood in front of some of the famous waterlily paintings. Most are housed in the musee l'orangerie in Paris. I'd been fortunate enough to see them when Cathy and I went on a trip to Paris a few summers ago. But the UK were lucky enough to have a few in their collection, and this is where Harry had planned to tell me what was expected of me if I join him.

As I approach, he doesn't turn to me, and I'm unsure that he even notices until he begins to speak. 'Monet studied the effects of light and reflection in his paintings, the way that they effect the colours of local objects. Beautiful, isn't it?' he asks.

I turn my attention towards the art in front of us, taking in the colours and compositions. They seem almost three dimensional,. His use of shadows against the vibrant brightness creating a life-like tone. I've always admired his work. Seeing something like this in person fills me with adrenaline. I want to be as great as the artists in this building. I want to achieve the unexpected, have people know my name because of something I've done that bends the norms, creates a movement. It may seem narcissistic, but I'm only human. Being forgotten is a fear. 'I would like to paint the way a bird sings,' I quote. I remember reading it in a book on Impressionism when I was at school.

Harry smiles, turning to me for the first time since I arrived. 'Very good.' I like the sound of him praising me; every time he does it, it sends a spark down my spine and warmth to my cheeks. Validation is an intoxicating feeling. 'His techniques have a lot in common with how diamonds are valued,' he stated.

I raise my eyebrow. 'So, that's why we're here?' I question, smiling at the thought.

He nods, placing his hands behind his back as he looks back up at the paintings before us. 'Light bounces and shifts off of diamonds, changes the entire way we see them. Monet's work does the same to some of the most mundane of objects.' He's correct, there are a wealth of similarities, but part of me only believes it's because of the fact that both his work and the stones are priceless because of how badly people want them.

Harry walks further along the room, and I follow behind, watching his back shift while he takes each step. He's wearing a shirt again, this one slightly translucent under the heavy lighting of the gallery. I can see more of the ink on his skin because of it. His body was like a canvas. 'This one here is one of my favourites.' He points up to one slightly higher on the wall.