A Buyers Market - Anthony Powell [66]
As I reached the outskirts of Shepherd Market, at that period scarcely touched by rebuilding, I regained once more some small sense of exultation, enjoyed whenever crossing the perimeter of that sinister little village, that I lived within an enchanted precinct. Inconvenient, at moments, as a locality: noisy and uncomfortable: stuffy, depressing, unsavoury: yet the ancient houses still retained some vestige of the dignity of another age; while the inhabitants, many of them existing precariously on their bridge earnings, or hire of their bodies, were—as more than one novelist had, even in those days, already remarked—not without their own seedy glory.
Now, touched almost mystically, like another Stonehenge, by the first rays of the morning sun, the spot seemed one of those clusters of tumble-down dwellings depicted By Canaletto or Piranesi, habitations from amongst which arches, obelisks and viaducts, ruined and overgrown with ivy, arise from the mean houses huddled together below them. Here, too, such massive structures might, one felt, at any moment come into existence by some latent sorcery, for the place was scarcely of this world, and anything was to be surmised. As I penetrated farther into the heart of that rookery, in the direction of my own door, there even stood, as if waiting to greet a friend, one of those indeterminate figures that occur so frequently in the pictures of the kind suggested—Hubert Robert or Pannini—in which the architectural subject predominates. This materialisation took clearer shape as a man, middle-aged to elderly, wearing a bowler hat and discreetly horsy overcoat, the collar turned-up round a claret-coloured scarf with white spots. He leant a little to one side on a rolled umbrella, just as those single figures in romantic landscape are apt to pose; as if the painter, in dealing with so much static matter, were determined to emphasise “movement” in the almost infinitesimal human side of his composition.
“Where are you off to?” this person suddenly called across the street.
The voice, grating on the morning air, was somewhat accusing in tone. I saw, as a kind of instantaneous revelation, that it was Uncle Giles who stood on the corner in front of the public-house. He seemed undecided which road to take. It was plain that, a minute or two earlier, he had emerged from one of the three main centres of nocturnal activity in the immediate neighbourhood, represented by the garage, the sandwich bar, and the block of flats of dubious repute. There was not a shred of evidence pointing to one of these starting points in preference to another, though other alternatives seemed excluded by his position. I crossed the road.
“Just up from the country,” he said, gruffly.
“By car?”