There was something about the old man’s uncomprehending regard that quieted even Innes. The foreign merchants stood in silence as the delegation withdrew.

They were not long gone when Innes turned upon the others: ‘Oh look at all of you, sitting there with long faces while the stench of your hypocrisy fills this room! You who preside over the Sodom of our age dare to look at me as though I were the sinner! Between the lot of you there is no sin left uncommitted, no commandment unbroken – your every act is shameful in the eyes of the Lord. Gluttony, adultery, sodomy, thievery – what is exempt? I have only to look at your faces to know why the Lord willed me to bring those boats into this city – it was to hasten the destruction of this city of sin. If that purpose has been advanced then I can only be glad of it. And if my continuing presence brings the hour of retribution any closer, why then, I would consider it my duty to remain.’

He paused to look around the room and then spat on the floor. ‘There’s not one amongst you doesn’t know that in comparison to all of you fine fucking gentlemen, I am an innocent – an honest man. And that, let me tell you, gentlemen, is the only reason why I might choose to leave Canton: it’s because there’s not one amongst you deserves to keep company with James Innes.’

*

December 12

I cannot believe, dearest Puggly, that this letter has been sitting helplessly on my desk for so many days. But so indeed it has, because I have not been able to find a boat to take it to Hong Kong. Thanks to Mr Innes, who has still to leave Canton, the Trade is at a complete standstill.

But the strange thing, Pugglie-chérie, is that this has been a marvellously happy time for me – so much so that I would not be in the least sorry if the Trade were to remain frozen for ever! For I have never found so much joy in painting as I have had in these last few days. Jacqua comes to sit for me whenever he can, and I confess that I do not always work as speedily as I might – not only because his company is pleasing but also because it is exceedingly instructive. You may be surprised to learn that he was not in the least offended to see himself being depicted with an unclothed torso. Indeed he was kind enough to rectify and even embellish my efforts – which is how I discovered that he, and many other young apprentices at the studio, have made a deep study of anatomical painting. This is at the insistence of Lamqua, who goes frequently to Dr Parker’s hospital, to paint patients who have undergone operations there. These paintings of Lamqua’s are quite extraordinary –I have never in my life seen anything like them. They are of people with amputated arms and legs, and also of some who are suffering from dreadful diseases – and the miracle of it is that they are not in the least ghoulish or prurient, even though they are painstakingly detailed and unrelentingly accurate. I am sure I myself would swoon dead away if I had to gaze upon such injuries and lesions for any length of time (but I am, as you know, just a little bit squeamish). Yet Lamqua’s pictures are so wonderfully sympathetic that I am inclined to think that to be painted by him is perhaps even a part of the patients’ cure. He paints the human body as if mutilation and imperfection were not the exception but the rule, proof of life itself. It is a way of looking at anatomy that could never be learnt in a morgue or through the dissection of corpses – for the flesh is never without life nor the other way around.