Angus did not like being disturbed when painting, as it broke what he thought of as his train of artistic thought. In reality it was not so much a train of thought as a mood, since all manner of unconnected thoughts crossed his mind while painting; no train, real or metaphorical, would ever be so loosely organised as this. Some of the thought, indeed, was fantasy – mild, Walter-Mittyish (Waltermittilich, as the Germans now have it, or should have, if they don’t) thoughts; imagined meetings with the Scottish Government in which he was asked to take over what the requesting civil servant described as “the culture brief.” And Angus would laugh and say, “Well, we’ll start by avoiding terms like that!” But then, magnanimously, he would agree – subject to time being available – and he would announce the abandonment of the intrusive attempts by politicians to control cultural institutions or to use culture as an instrument of social engineering. There would be grants – large ones – available to those of real talent in the world of painting, particularly to those who showed some ability to draw, a skill notably lacking, Angus thought, in so many aspirants to the Turner Prize. He agreed with David Hockney that an artist really had to be able to draw before anything else could be achieved. Now, Hockney could draw, as Angus often pointed out in the Cumberland Bar.

Then there would be grants for portrait painters, or Civil List pensions, perhaps, of the sort awarded to MacDiarmid. The importance of the portrait would be stressed in his new arts policy, just as the utterly ephemeral nature of installation art would be made crystal clear. Those unfortunate gallery cleaners who threw expensive installations out in the belief that they were rubbish would be vindicated, perhaps even given the grants taken away from those of whose work they disposed.