What to put on the floor was a real headache. The original pale colour left the images floating, lacking gravitas as well as gravity! I tried the rich crimson of the carpet in the photos of the liverymen, but while the background colour worked all right, the gold patterning made the floor take over the picture. In any case it had little real connection with the boys, their belongings, or my original idea for the painting. In desperation I turned to Holbein again, and found my deliverance. I would keep the tiles already under Martin’s dresser, and add the “turkey rug” that Holbein had draped over his dresser. Thus is the circle completed.
Both figures have had a lot of work done – Martin has his chain back, and his posy has flowers; Brian’s rod has a cork handle and carriers for the line, while his fly box, a more reasonable size now, hold some of the flies he marked as being to his liking. His wellies are standing on the tiles (altogether more appropriate than on carpet) and the perspective lines of the grouting help to give a little depth to the picture. “Vanity Fair” has its classic full leather binding, sitting on top of Brian’s “Ascent of Man”, an accident of size and colour, not a wry comment on Human Progress! The score on the chair is closed – I would have liked to show it open showing the music but the silver rose would not have shown up against the white paper. Martin’s left arm is still too short!