Elspeth caught his eye from the dance floor and smiled. Angus Lordie nodded. And then they were swept away by the whirl of dancers. Matthew saw the children dancing too – he noticed Bertie with a rather bossy-looking little girl; Bertie seemed to be an unwilling partner and was grimacing, which made Matthew smile. What did little boys see in weddings? he wondered. The end of freedom? The end of fun? Or something simply inexplicable?
Matthew moved outside. The evening sky was still light and the air was unusually heavy for early June. He moved further away from the open sides of the marquee, from the light and sound that spilled out from within. There were days, he thought, which one was meant to remember in all their intensity; days such as this, his wedding day, which he should be able to bring back to mind years from now when the rest of this year would be forgotten. And yet he found that he could barely remember anything that had transpired within the church, and that even the journey from the church to the Moray Place Gardens, a journey of ten minutes at the most, seemed to have passed in a flash of… of what? Confusion? Elation?
He threw a glance back into the marquee. The band had started to play something slower now and the crowd of people on the dance floor had thinned. He should not stay out here, he decided; he should go back into the marquee and claim his bride.
He had reached the entrance to the tent when a figure came out – Elspeth’s Uncle Harald, holding a glass of champagne in his hand.
“Are you enjoying yourself, Harald?” Matthew asked. It was a banal question, but he did not really know what else to say.
Harald nodded. “Of course I am. And if I appear to be somewhat emotional – which I am – then that is purely because this music makes me pine for Scotland. I go back to Portugal tomorrow, but every time I return to Scotland it becomes more difficult to leave.”
“Then why don’t you stay?” asked Matthew; if exile was a bitter fruit, it seemed to him, then end the exile.
Harald took a sip of his champagne and looked at Matthew from over the rim of his glass. “It’s the idea of Scotland that I like,” he said. “The real thing is rather different.”
Matthew frowned. “But this is the real thing,” he said. “This is real.”
Harald looked at Matthew in what appeared to be astonishment. “My dear chap,” he said, after a while. “You’re not serious, are you? Smoked salmon and Perthshire lamb in Moray Place Gardens? The real Scotland? Oh, my dear chap! My dear, dear chap!”
6. Still Life, with Cyril
Angus Lordie thought about Matthew’s wedding as he laid out his palette and brushes in preparation for Monday morning’s painting. Angus had always been somewhat ritualistic in his approach to his work; the image of the bohemian painter in a chaotic studio may have fitted Francis Bacon (whose studio was a notorious mess), but it did not suit Angus. He dressed with care for the act of painting, usually wearing a tie which he fixed to his shirt front with a small gold tie-pin – a practice which gave him a slightly raffish air. His shirts were double-cuffed, fastened with a pair of worn gold cuff-links on which his father’s initials – HMcLL (Hamish McLennan Lordie) – had been engraved more than forty years ago. The cuff-links were something of a talisman, and Angus would have found it difficult to paint without them; a common concern of artists of all sorts: of the opera singer who cannot perform without a favourite teddy bear propped up in the wings; of the writer who cannot write without a statue of Ganesh on his desk; and so on. And lest any Freudian should mock such superstitious reliance, let it be remembered that the desk of Freud himself was covered with his Egyptian statuettes; his familiars.
Angus was working that morning on a still life – not a common subject for him, as he was principally a portrait painter. At that time, though, there were no commissions in hand, and rather than wait for something to turn up, he had decided to embark on this still life, which now sat on the table in front of him, perched on a blue gingham tablecloth of the sort that used to cover the tables upstairs at McGuffie’s Tavern near the Waverley Station. As a student at the Art College, Angus had lunched at McGuffie’s once or twice a month, in the days when Jimmy McGuffie himself was still the host. He remembered the courteous welcome that Mr. McGuffie gave his guests as they came to the top of the panelled staircase which led up from the street, and the kindness of the ancient waitresses in their traditional outfits of black skirts and white bibs. And he remembered those tablecloths over which various journalists and politicians had exchanged information and anecdotes. There one might meet, as Angus had, the likes of Owen Dudley Edwards, the scholar and raconteur; or Stephanie Wolfe Murray, the publisher; as well as others who had books and ideas within them that they were yet to reveal. McGuffie’s tables were always democratic.
That, of course, was a time when people still had lunch, and talked. Now, thought Angus, with a degree of regret, lunch as an institution was threatened. The world of work had become all-consuming, as fewer and fewer people had to carry out the jobs that used to be done by so many more. To have lunch now was an indulgence, a guilty pleasure, disapproved of by employers, frowned upon by colleagues, many of whom had, at the back of their mind, the unsettling thought: while I’m eating lunch, people like me in Shanghai or Bombay are working – such were the implications of globalisation, that paraquat of simple security. And so restaurants that had once been a hive of conversation at midday were now largely deserted, or spottily populated by tables of one or two people, largely silent, eating salads and drinking mineral water. Mr. McGuffie, were he to come back, would be dismayed by the change, and would wonder what had gone wrong. Perhaps he would think that another Reformation had occurred; that the iconoclasts had turned their ire on restaurants, having destroyed all of Scotland’s religious imagery in the previous show.
Angus smiled. The moral energy, the disapproval, that had fuelled Scotland’s earlier bouts of over-enthusiastic religious intolerance were still with us, as they were with any society. It wore a different cloth, he thought, and was present now in the desire to prevent people from doing anything risky or thinking unapproved thoughts. Oh yes, he muttered, they’re still with us, and they’re still ready to carry out the burning of witches, even if we don’t call them witches any more. All that moral outrage, that self-righteousness, that urge to lecture and disapprove – it’s all still there.
He looked at the objects resting on the tablecloth that had triggered these thoughts. The real secret in a still life, he thought, is to give the painting the sense of there being something about to happen. The objects might be quite still, but there had to be in the painting a sense of suppressed energy, of expectation, as if somebody were about to come into the room, to render the still life living; or lightning was about to show through the window behind the objects.
He wondered how he could suffuse these few ordinary things with a feeling of immanence. What were they? A blue jug of the sort painted by so many Scottish artists – a Glasgow jug, as it was called. Indeed, the presence of a blue jug was more or less a requisite of any echt Scottish still life; so much so, perhaps, that it might have been the same blue jug that appeared in all those paintings. One might imagine William Crosbie telephoning Alberto Morrocco and asking him if he had finished with the blue jug, as he wanted to start work on a still life. And Alberto Morrocco would have replied that unfortunately he had just passed it on to William Gillies, who said that he would need it for a week or so, until he had finished his current still life, but would a bowl, replete with apples, do instead?
There was the blue jug, occupying centre stage on the tablecloth. And beside it, a modest green glass Art Nouveau inkwell, with its top open, plus a small posy of dried lavender, and a bunch of over-ripe grapes on a Minton plate. The over-ripeness of the grapes could be remedied in the painting, Angus thought, but could he remedy the essentially static nature of the objects he had chosen?