The actual scene didn’t exist – it was all in the mind – so it was going to be a composition of two men and a heap of objects somehow arranged to tell a story. It must tell of my two protagonists and their interests, and of the Livery, its age, customs and purpose. And I wanted a happy picture, too.
Martin and Brian entered into the spirit of things, furnishing me with details and photos of their interest and enthusiasms, and with the official photos of them in their robes of Office. One showed them standing together, facing the camera, their hands lightly clasped in front of them. That worked in the immediacy of a photo. But a more formal portrait would require a bit of variety. Another photo showed Martin seated sideways and turning to face the camera. Using this as a start, and echoing the pose of the left hand figure on “The Ambassadors”, I drew in Martin holding, not a dagger, but the traditional nosegay in one hand and resting his other hand on the dresser, thereby giving myself immense anguish – and of that, more later.
Thanks to Holbein, I had my two figures of good size posed on the canvas. Now I needed the story to unfold. They have a common interest in wine so we meet them sharing a convivial bottle of claret – doubtless Brian is telling a fishy story or two and Martin doesn’t believe a word of it!