Casanova's Chinese Restaurant (2 page)

For my own part, I never cared for the place either. I had been introduced there by Barnby (met for the first time only a few weeks before) who was coming on to the Mortimer that evening after consultation with a frame-maker who lived in the neighbourhood. Barnby was preparing for a show in the near future. Those were the days when his studio was above Mr Deacon’s antique shop; when he was pursuing Baby Wentworth and about to paint those murals for the Donners-Brebner Building, which were destroyed, like the Mortimer, by a bomb during the war. I had recently returned, I remember, from staying in the country with the Walpole-Wilsons. It must, indeed, have been only a week before Mr Deacon injured himself fatally by slipping on the stair at the Bronze Monkey (disqualified as licensed premises the same month as the result of a police raid), and died in hospital some days later, much regretted by the many elements – some of them less than tolerable – who made his antique shop their regular port of call.

It was pouring with rain that night and the weather had turned much colder. Barnby had not yet arrived when I came into the bar, which was emptier than usual. Two or three elderly women dressed in black, probably landladies off duty, were drinking Guinness and grumbling in one corner. In the other, where the mechanical piano was situated, sat Mr Deacon himself, hatless as usual, his whitening hair hanging lankly over a woollen muffler, the coarse mesh of which he might himself have knitted. His regular autumn exhalation of eucalyptus, or some other specific against the common cold (to which Mr Deacon was greatly subject), hung over that end of the room. He was always preoccupied with his health and the Mortimer’s temperature was too low for comfort. His long, arthritic fingers curled round half a pint of bitter, making an irregular mould or beading about the glass, recalling a medieval receptacle for setting at rest a drinking horn. The sight of Mr Deacon always made me think of the Middle Ages because of his resemblance to a pilgrim, a mildly sinister pilgrim, with more than a streak of madness in him, but then in every epoch a proportion of pilgrims must have been sinister, some mad as well. I was rather snobbishly glad that the streets had been too wet for his sandals. Instead, his feet were encased in dark blue felt snowboots against the puddles. That evening Barnby and I had planned to see a von Stroheim revival – was it
Foolish Wives
? Possibly Barnby had suggested that Mr Deacon should accompany us to the cinema, although as a rule he could be induced to sit through only Soviet films, and those for purely ideological reasons. Mr Deacon was in the best of form that night. He was surrounded by a group of persons none of whom I knew.

‘Good evening, Nicholas,’ he said, in his deep, deep, consciously melodious voice, which for some reason always made me feel a trifle uneasy, ‘what brings you to this humble hostelry? I thought you frequented marble halls.’

‘I am meeting Ralph here. We are going to a film. Neither of us had an invitation to a marble hall tonight.’

‘The cinema!’ said Mr Deacon, with great contempt. ‘I am astonished you young men can waste your time in the cinema. Have you nothing else to do with yourselves? I should have thought better of Barnby. Why, I’d as soon visit the Royal Academy. Sooner, in fact. There would be the chance of a good laugh there.’

Although it was by then many years since he had set brush to canvas, and in spite of his equal disdain for all manifestations of ‘modern art’, Mr Deacon never tired of expressing contempt for Academicians and their works.

‘Are cinemas worse than haunting taverns on your part?’

‘A just rebuke,’ said Mr Deacon, delighted at this duplication of his own sententious tone, ‘infinitely just. But, you see, I have come here to transact a little business. Not only to meet
les jeunes.
True, I would much rather be forwarding the cause of international disarmament tonight by selling
War Never Pays!
outside the Albert Hall, but we must all earn our bread and butter. My poor little broadsheet would bring in nothing to me personally. Just a penny for a noble cause. For my goods I have to make a charge. You seem to forget, Nicholas, that I am just a poor
antiquaire
these days.’

Mr Deacon spoke this last sentence rather unctuously. Inclined to mark his prices high, he was thought to make at least a respectable livelihood from his wares. The fact that a certain air of transgression still attached to his past added attraction in the eyes of some customers. It was a long time since the days when, as an artist of independent means living at Brighton, he had been acquainted with my parents; days before that unfortunate incident in Battersea

Park had led to Mr Deacon’s prolonged residence abroad. A congenital taste for Greco-Roman themes, which had once found expression in his own paintings, now took the form of a pronounced weakness for buying up statuettes and medallions depicting gods and heroes of classical times. These objects, not always easily saleable, cluttered the shop, the fashion for such ornaments as an adjunct to Empire or Regency furniture having by then scarcely begun. Occasionally he would find on his hands some work of art too pagan in its acceptance of sexual licence to be openly displayed. Such dubious items were kept, according to Barnby, in a box under Mr Deacon’s bed. In the underworld through which he now moved, business and pleasure, art and politics, life – as it turned out finally – death itself, all had become a shade disreputable where Mr Deacon was concerned. However, even in these morally reduced circumstances, he preferred to regard himself as not wholly cut off from a loftier society. He still, for example, enjoyed such triumphal contacts as the afternoon when Lady Huntercombe (wearing one of her Mrs Siddons hats) had arrived unexpectedly on his doorstep; after an hour bearing away with her an inlaid tea-caddy in Tunbridge-ware, for which, in spite of creditable haggling on her own part, she had been made to pay almost as much as if purchased in Bond Street. She had promised to return – in a phrase Mr Deacon loved to repeat – ‘When my ship comes in.’

‘Ridiculous woman,’ he used to say delightedly, ‘as if we did not all know that the Huntercombes are as rich as Crœsus.’

One of the persons surrounding Mr Deacon at the table in the Mortimer, a young man muffled to the ears in a manner which gave him the appearance of a taxi-driver wearing several overcoats, now broke off the energetic conversation he had been carrying on with his neighbour, a fattish person in gold-rimmed spectacles, and tapped Mr Deacon lightly on the arm with a rolled-up newspaper.

‘I should certainly not go near the Albert Hall if I were you, Edgar,’ he said. ‘It would be too great a risk. Someone might seize you and compel you to listen to Brahms. In fact, after the way you have been talking this evening, you would probably yield to temptation and enter of your own free will. I would not trust you an inch where Brahms is concerned, Edgar. Not an inch.’

Letting go his glass, Mr Deacon lifted a gnarled hand dramatically, at the same time crooking one of his heavily jointed fingers.

‘Moreland,’ he said, ‘I wish to hear no more of your youthful prejudices – certainly no more of your sentiments regarding the orchestration of the Second Piano Concerto.’

The young man began to laugh derisively. Although giving this impression of wearing several overcoats, he was in fact dressed only in one, a threadbare, badly stained garment, from the pockets of which protruded several more newspapers in addition to that with which he had demanded Mr Deacon’s attention.

‘As I was remarking, Nicholas,’ said Mr Deacon, turning once more in my own direction and giving at the same time a smile to express tolerance for youthful extremism of whatever colour, ‘I have come to this gin palace primarily to inspect an object of virtu – a classical group in some unspecified material, to be precise. I shall buy it, if its beauty satisfies me.
Truth Unveiled by Time
 – in the Villa Borghese, you remember. I must say in the original marble Bernini has made the wench look as unpalatable as the heartless quality she represents. A reproduction of this work was found at the Caledonian Market by a young person with whom I possess a slight acquaintance. He thought I might profitably dispose of same on his behalf.’

‘I hope the young person is an object of virtue himself,’ said Moreland. ‘I presume the sex is masculine. We don’t want anything in the nature of Youth, rather than Truth, being unveiled by Time. Can we trust you, Edgar?’

Mr Deacon gave one of his deep, rather stagy chuckles. He lightly twitched his shoulders.

‘Nothing could be more proper than my relationship with this young gentleman,’ he said. ‘I met his mother in the summer when we were both reinvigorating ourselves at the same vegetarian communal holiday – she, I think, primarily as a measure of economy rather than on account of any deeply felt anti-carnivorous convictions on her own part. A most agreeable, sensible woman I found her, quite devoted to her boy. She reminded me in some ways of my own dear Mama, laid to rest in Kensal Green this many a long year. Her lad turned up to meet her at Paddington when we travelled back together. That was how he and I first came to know one another. Does that satisfy your rapacious taste for scandal, Moreland? I hope so.’

Mr Deacon spoke archly, rather than angrily. It was clear from his manner that he liked, even admired Moreland, from whom he seemed prepared to accept more teasing than he would ever have allowed to most of his circle.

‘Anyway, the lad was not here when I arrived,’ he went on, briskly turning once more towards myself, ‘so I joined this little party of music-makers sitting by their desolate stream. I have been having some musical differences with Moreland here who becomes very dictatorial about his subject. I expect you know each other already. What? No? Then I must introduce you. This is Mr Jenkins – Mr Moreland, Mr Gossage, Mr Maclintick, Mr Carolo.’

The revolutionary bent of his political opinions had never modified the formality of Mr Deacon’s manners. His companions, on the other hand, with the exception of Gossage who gave a smirk, displayed no outward mark of conventional politeness. In fact none of the rest of them showed the smallest wish to meet anyone outside their own apparently charmed circle. All the same, I immediately liked something about Hugh Moreland. Although I had never seen him in Mr Deacon’s shop, nor in Barnby’s studio, I knew of him already as a figure of some standing in the musical world: composer: conductor: pianist: I was uncertain of his precise activities. Barnby, talking about Moreland, had spoken of incidental music for a semi-private venture (a film version of
Lysistrata
made in France) which Sir Magnus Donners had backed. Since music holds for me none of that hard, cold-blooded, almost mathematical pleasure I take in writing and painting, I could only guess roughly where Moreland’s work – enthusiastically received in some circles, heartily disliked in others – stood in relation to the other arts. In those days I had met no professional musicians. Later, when I ran across plenty of these through Moreland himself, I began to notice their special peculiarities, moral and physical. Several representative musical types were present, as it happened, that evening in addition to Moreland himself, Maclintick and Gossage being music critics, Carolo a violinist.

Only since knowing Barnby had I begun to frequent such society as was collected that night in the Mortimer, which, although it soon enough absorbed me, still at that time represented a world of high adventure. The hiatus between coming down from the university and finding a place for myself in London had comprised, with some bright spots, an eternity of boredom. I used to go out with unexciting former undergraduate acquaintances like Short (now a civil servant); less often with more dashing, if by then more remote, people like Peter Templer. Another friend, Charles Stringham, had recently risen from the earth to take me to Mrs Andriadis’s party, only to disappear again; but that night had nevertheless opened the road that led ultimately to the Mortimer: as Mr Deacon used to say of Barnby’s social activities, ‘the pilgrimage from the sawdust floor to the Aubusson carpet and back again’. At the time, of course, none of this took shape in my mind; no pattern was apparent of the kind eventually to emerge.

Moreland, like myself, was then in his early twenties. He was formed physically in a ‘musical’ mould, classical in type, with a massive, Beethoven-shaped head, high forehead, temples swelling outwards, eyes and nose somehow bunched together in a way to make him glare at times like a High Court judge about to pass sentence. On the other hand, his short, dark, curly hair recalled a dissipated cherub, a less aggressive, more intellectual version of Folly in Bronzino’s picture, rubicund and mischievous, as he threatens with a fusillade of rose petals the embrace of Venus and Cupid; while Time in the background, whiskered like the Emperor Franz-Josef, looms behind a blue curtain as if evasively vacating the bathroom. Moreland’s face in repose, in spite of this cherubic, humorous character, was not without melancholy too; his flush suggesting none of that riotously healthy physique enjoyed by Bronzino’s – and, I suppose, everyone else’s – Folly. Moreland had at first taken little notice of Mr Deacon’s introduction; now he suddenly caught my eye, and, laughing loudly, slapped the folded newspaper sharply on the table.

‘Tell us more about your young friend, Edgar,’ he said, still laughing and looking across at me. ‘What does he do for a living? Are we to understand that he wholly supports himself by finding junk at the Caledonian Market and vending it to connoisseurs of beauty like yourself?’

‘He has stage connexions, Moreland, since you are so inquisitive,’ said Mr Deacon, still speaking with accentuated primness. ‘He was trained to dance – as he quaintly puts it – “in panto”. Drury Lane was the peg upon which he hung his dreams. Now he dares to nourish wider ambitions. I am told, by the way, that the good old-fashioned harlequinade which I used so much to enjoy as a small boy has become a thing of the past. This lad would have made a charming Harlequin. Another theatrical friend of mine – rather a naughty young man – knows this child and thinks highly of his talent.’