And as for portraiture – what a glorious age would begin for this unjustly neglected branch of painting! The spirit of Henry Raeburn would again make itself felt in Edinburgh, and people would once more take an interest in the human face, not under the false light of our vain contemporary quest for beauty, but as the incorporation of humanity’s virtues and vices.

Look at Raeburn, Angus once remarked to Domenica Macdonald. Everything is there in those faces: wisdom, tolerance, learning.

“But not pride,” said Domenica. “Raeburn’s subjects don’t look proud, do they?”

Angus mused for a moment. “Is there no pride there?” He thought of some of the better-known portraits: Francis Macnab, the MacNab, draped in tartan and wearing a muckle hairy sporran. Was the face not proud? Or was it just grim? To be an anything must be difficult; how much easier going through life being just a something. Scottish aristocrats, of course, were odd. They belonged to a national tradition that did not really approve of anybody getting too above himself, and yet there they were, genuine, twenty-four-carat toffs, and if you were too demotic then what was the point of being a toff in the first place?

“Henry Raeburn was a kind man,” he said. “Some of his subjects may have suffered from pride, but it doesn’t really come through in the paintings. He concentrated on other things. One has to be charitable as a portrait painter.”

Domenica raised an eyebrow. “Does one? And why? Because the person you’re painting is paying the bill?”

Angus had to concede that this might sometimes happen. “Court painters, that sort of person does that, yes. And I suppose all those paintings of chairmen of the board – sometimes I think that those paintings are done to keep the share price up. If you had an honest portrait of the chairman, one showing him to be all worn out with care and heading for a heart attack, then… well, it wouldn’t help.”