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Anything else you need?
 As a matter of fact, there is one thing you could bring, Adam said, glancing again at
the book in his lap.  Have a look at your art books and see if you have any of the Dundee
portraits. I ve got one here, but it s the Melville one, done when he was in his early
twenties. A charming portrait, but I m looking for a later one, that will show him more
the way he would have looked about the time of his death.
 You d want the Glamis Portrait, then, Peregrine said.  That s the one you usually see.
I m sure I ve got a print of it around here somewhere. I ll see what else I can find. See
you in fifteen or twenty minutes.
chapter six
IT was more like half an hour before Peregrine arrived, with an oversized art book and
large manila envelope cradled in one arm and a look of eager anticipation on his face.
Humphrey followed him with the dark green bottle of vintage port in its straw basket,
bearing it with a stately reverence usually reserved for holy relics.
 Ah, there you are, Adam said, smiling as he rose to shake the younger man s hand.
 And I see that Humphrey has been entrusted with the grave responsibility of carrying the
port. Shall we allow him to do the honors?  By all means, Peregrine said with a grin,
depositing his own burden on the table before the fire, where Adam was clearing a space.
 And pour one for yourself as well, Humphrey.
 Thank you very much, sir, Humphrey replied, a pleased smile touching his usually
impassive features.
As the butler retired to deposit the port on a Jacobean sideboard and began assembling
the necessary requisites of corkscrew and crystal glasses, Peregrine settled in the chair
opposite Adam and set aside the manila envelope and a slender booklet on paintings
housed in properties owned by the National Trust for Scotland. Taking up the large art
book, he ducked his head to search for the place he had marked.
Peregrine Lovat was a slender, fair-haired young man of middling height and graceful
carriage. At just thirty, he had already carved out a niche for himself as one of Scotland s
most important young portrait artists, with increasingly prestigious commissions coming
his way. His attire reflected an artist s instinct for color and texture - a nubby Fair Isle
sweater in muted greys and creams over a cream silk shirt and tan slacks, subtle foil for
the pale hair worn longish in the front. The hazel eyes behind gold wire-rimmed
spectacles shone with a joy and sense of purpose that had grown and emerged steadily in
the year since he and Adam first had met.
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For Peregrine Lovat also possessed the gift of Sight, the ability to focus his artist s eye
on a scene of past psychic intensity and bring images to mind - and to sketch or paint
those images while in trance. Such visions had been disturbing enough, before he learned
to control them; but far more devastating had been the emergence of a parallel talent for
sometimes seeing into the future - a shattering experience when it involved glimpsing the
deaths of some of his sitters.
Despondency over one such death was what had driven him to seek Adam s help in a
professional capacity, almost a year ago. Since then Adam had helped him learn to
channel his gifts, so that they now emerged only on command, and mainly when working
with Adam and McLeod as a very special kind of forensic artist. The ability to catch
glimpses of prior events at the scene of a crime was of inestimable value when teamed
with the unique sort of law enforcement in which Adam and McLeod - and now
Peregrine - were so often engaged.  Here we go, Peregrine said, opening the book to a
full-page color plate and turning it for Adam s inspection.  I think that s the one you ll
want. Adam nodded and pulled the book onto his lap, studying the man who gazed back
at him from the page. The face in the picture, somewhat stylized in the manner of all late-
seventeenth-century portraits, was that of a dashing cavalier gentleman swathed in
brunette silk-velvet, with full white shirt sleeves, a bunch of lace at his chin, and the
gleam of an armor breastplate just visible at his waist. The oval face, handsome and
refined, was framed in lustrous auburn curls, the sensitivity of the finely modelled mouth
effectively countered by the challenge lurking in the heavy-lidded dark eyes. The legend
beneath the plate identified the subject as John Grahame of Claverhouse, Viscount
Dundee, by Sir Godfrey Kneller.
 That one s more commonly known as the Glamis Portrait, Peregrine said,  on account
of it being part of the collection housed at Glamis Castle. It was painted in London, only
two years before his death. I found a print of another one that s kept at Fyvie Castle, he
went on, opening the smaller booklet and laying it atop the first book.  This is a pretty
small photo, and it s in black and white, but you get the general idea. I ve seen the
original. It s by a relatively obscure Scottish artist named John Alexander, who copied it
from an original by Sir Peter Lillie. I couldn t find any further mention of the Lillie
portrait in what I ve got at home, but if it s important, I can always go into Edinburgh
tomorrow and take a poke about in the arts section of the university library.
Adam turned the second reproduction to a better angle in the light. It showed a slightly
younger version of the same face surmounted by a painted wreath in the shape of an oval.
Of the two versions, the second was less polished in terms of technique, but more human
in its limning of the features.  No, these are sufficient, I think, he murmured, sitting
back in his chair as Humphrey came bearing a silver tray with three ruby-filled glasses
shaped like crystal thistles.  Neither shows what I was really looking for. And the [ Pobierz całość w formacie PDF ]

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