Temporary Kings - Anthony Powell [56]
‘I haven’t met any émigré Russians at the Conference. I couldn’t swear none are there.’
‘Which again reminds me. There’s a certain Dr Belkin who might have turned up. He visits Venice from time to time. Usually lets me know at the last moment.’
‘Not an émigré?’
‘No, no. Far from it. A man of the soundest views in his own country. He informed me some little while ago he might be looking in on this congress, or one about this time. He enjoys coming to Venice, because he’s devoted to painting. He’s even kind enough to be interested in my own humble brush. Of course my sort of painting is practised comparatively little in Western Europe. Nice of him to include a novice like myself in his survey. He’s been to visit me several times. Naturally we see eye to eye politically.’
‘Somebody else was asking about him.’
‘Belkin has many friends. I do what I can to keep him up to date about books and things. Hold them for him sometimes, if he’s afraid they’ll go astray in the post. That avoids delay in the long run. He admits his own impatience with some of the bureaucracy unavoidable in getting an entirely new system of government working, a revolutionary one. We all have to face that. There’s quite a lot of stuff he prefers to collect personally when he turns up here.’
‘Somebody said they thought he wouldn’t be able to come to the Conference.’
‘Very possibly not. It’s of no great importance. I can hold his stuff for him. I always like to see Belkin. Such a cheerful fellow. Full of ideas. Where does this Conference of yours meet?’
‘Over there on San Giorgio.’
A mist of heat hung over the dome and white campanile, beyond the glittering greenish stretch of water, across the surface of which needles of light perpetually flashed. It was so calm the halcyon’s fabled nest seemed just to have floated by, subduing the faintest tremor of wind and wave. We reached the Gardens, and entered the cool of the lime trees. Tokenhouse made for the enclosure permanently consecrated to the cluster of strange little pavilions, which, every two years, house pictures and sculpture by which each country of the world chooses to be known to an international public.
‘We’ll look at everything. Just to get an idea how low the art of painting has fallen in these latter days of capitalism. You were speaking of the obligations of the artist. I hope someone has pointed out that art has been in the hands of snobs and speculators too long. Indeed, I can guarantee that the only sanctuary from subjectless bric-à-brac here will be in the national pavilions of what you no doubt term the Iron Curtain countries. We will visit the USSR first.’
The white pinnacled kiosk-like architecture of a small building, no doubt dating from pre-Revolutionary times, seemed by its outwardly church-like style to renew the ecclesiological atmosphere that pursued Tokenhouse throughout life. Within, total embargo on aesthetic abstraction proved his forecast correct. We loitered for a while over Black Sea mutineers and tractor-driving peasants. Never able wholly to control a taste for antagonism, even against his own recently voiced opinions, Tokenhouse shook his head more than once over these images of a way of life he approved, here found wanting in executive ability.