You can imagine, dear Puggly, the effect these revelations had on me! I understood at once why Mr Chinnery held these artists in such low regard: it is because Canton’s studios produce a bastard art – a thing no more likely to be loved by its sire than is its human avatar (and who could know this better than I?).

You will understand why a sense of kinship with these artists began to germinate within me: I felt myself to be utterly in sympathy with them – and this bond was greatly strengthened by the knowledge that some of them had even learnt from the same teacher as I: none other than Mr Chinnery himself! Yes, my dear Puggly, in light of what I have said about my Uncle’s opinion of these painters it may amaze you to learn that a good number of them have served as apprentices in the Chinnery atelier. But in Mr Chinnery’s eyes this earns them no more merit than is gained by the paintbrushes that pass through his hands – for these apprentices serve merely as instruments (just as I and my brother once did) filling in here a patch of paint and there a lick of colour: not for a moment could he imagine them to be partaking of that feast to which he gives the name ‘Art’.

You will see why the discovery that these apprentices are perfectly capable of creating canvases of their own would be discomfiting for him; you will understand why his distrust and dislike would be directed most particularly at the one who enjoys the greatest renown: Mr Guan – who is known to fanquis as Lamqua. (Why always the ‘qua’ you might ask? Some say the syllable originated in the surname Guan and some claim that it is a version of some title – it is impossible to make any sense of it so I have ceased to try. But this I can tell you – that no place has such an abundance of quas and quacks and quiddities as Canton – Howqua, Mowqua, Lamqua, why there may well be a Jenesequa for all I know!).

But to return to Lamqua: he too spent time at the atelier on the Rua Ignacio Baptista, and Mr Chinnery claims the credit for having taught him everything. But this cannot be accurate for Lamqua is himself from a family of painters: his grandfather was one of the most famous of Canton’s artists – Guan Zuolin, who is known to fanquis by the most absurd name you could ever conceive: Spoilum (Mr Karabedian has shown me a few of his works, which are scattered around Fanqui-town, and I can attest that they are indeed quite extraordinary, particularly some portraits painted on glass). But Mr Chinnery will not allow that Lamqua may have learnt anything from his forebears; he insists that he came to him in the guise of a house-boy with the explicit intention of stealing his secrets. Whether there is any truth to this I cannot say, but this I can tell you – that when I was preparing to leave for Canton Mr Chinnery gave me to understand that there now exists between the two of them a great bitterness: he warned me not to enter Lamqua’s studio on any account for I would most assuredly be rudely evicted and might even be set upon with cudgels. And nor was this the whole of it: most of Canton’s painters are related to each other, he said, so I would do best to stay away from all of them.