In this excerpted section of my essay, I suggest that the dynamic of collaboration between art and love, between two female lovers who are also co-creators of art, and between the language of the artwork and its readers/beholders, is enacted in Michael Field’s poems “A Girl” and “It was deep April, and the morn.” Following Marion Thain, I argue that Bradley and Cooper's half-secret language of artistic and romantic collaboration is an aesthetics that can be characterized as a Sapphic ars erotica, which is encoded in their poetry in general, but especially in the poems of the collection Underneath the Bough (1893). This Sapphic erotic aesthetics is half-concealed, revealed in the spaces of the not-directly-visible, unexpectedly appearing within a context of seemingly familiar conventions of love poetry—on the condition that readers observe the poems closely and tactfully. The implication is that, in reading Michael Field’s poetry, we should eavesdrop on, nor should we look voyeuristically at the erotic exchange; rather, the poems invited us to participate in it and to observe closely what is half-concealed: that the lyric ‘I’ is in fact double and allows for an egalitarian erotic-artistic dialogue between the poet and her muse, who are both poet and muse.