The Emperor Waltz. Philip Hensher

about him. And yet he did not want to go towards them. The single, jogging, up-and-down rhythm of their heads, like a string ensemble approaching a climax, was unnatural and fruitless. What were they doing? They seemed to be going for a walk, but they were pressed together too tightly for that; they might have been a single body. Their smiles and joyous movements suggested that someone in there was talking, but you could not see that they were anything but silent as they walked. They moved to some music, audible only to themselves. With a shock, Christian saw that they were men and women mixed, brought into a uniformity of appearance by their heads being shaved.

      As they passed, their attention seemed forward-facing. But one of them – a woman, it looked like – must have felt the gaze of Frau Scherbatsky, Herr Neddermeyer and Christian upon her from the leaded window of the house. She turned, alone, as if rebelling against the will of the group and, with a habitual but pointless gesture, made a movement over her shaved head. Her wide and empty smile – her mouth was, he could see, too large for her little face – did not alter; he could not see whether she had, in fact, engaged with his look or seen the three of them through the window at all. He felt ashamed. In a moment the girl in her loose Biblical robe of purple turned away again, and the tightly knit procession, like a performance, moved on away from them.

      ‘They come every day, around this time,’ Frau Scherbatsky said. ‘I couldn’t tell you what it is all about. My neighbours are fascinated by it.’

      ‘I think it is some kind of newly invented religion,’ Neddermeyer said.

      ‘Oh, surely not,’ Frau Scherbatsky said. ‘At first we believed that it was some sort of advertisement for a children’s play, something of that sort – the seven noble wizards, you know, Herr Vogt.’

      ‘Do you know where they come from?’ Christian said. They resumed their seats; Neddermeyer continued to stand at the window, entranced.

      ‘Yes, indeed,’ Frau Scherbatsky said. ‘They come from the Bauhaus.’

      ‘The one at the front,’ Neddermeyer said. ‘Did you see? The one at the front, taller and older than the rest, he is actually a member of the teaching staff. I have heard that he has, indeed, invented a new religion, which he requires his students to follow. We were quite safe up here, but if you come close to them, seeing them by chance in the street, they emit an overpowering scent of garlic. I have heard that one of the tenets of the religion is that nothing else may be eaten. A sort of purge.’

      ‘Very inconsiderate to the rest of us,’ Frau Scherbatsky said.

      ‘If, when I was a student of architecture all those years ago, I had been told that my professor wished me to wear violet robes in public, to shave my head, to eat nothing but garlic, and to follow a new religion of his devising …’ Neddermeyer started to say.

      Frau Scherbatsky nodded, perhaps embarrassed on behalf of Christian. ‘Where is Herr Wolff, Herr Neddermeyer? Did he tell you?’

      ‘I believe he is in Erfurt this afternoon, on business,’ Neddermeyer said. ‘His usual business. He said he was unsure whether he would return this evening.’

      ‘Really,’ Frau Scherbatsky said. ‘That, too, is inconsiderate. He might have told me before he went away.’

6.

      In a room not so very far away, with a similar view of the park, a man and a twelve-year-old boy sat. The room was hung with paintings; in each of them, an animal, a form, an arrangement of lines, an exclamation mark, the heads of people as drawn by children could be seen. On the easel, a square canvas with blotches and stains in ochre, violet and umber. The boy and the man sat at the tea table, set with a cloth and an old, dented silver tea service. The man fixed the boy with his gaze; the boy’s eyes were huge. The man took a small cardboard box from his pocket, opened it and took out a sugar cube, delicately, with his thin fingers on which paint had dried and dirt been allowed to accumulate beneath his nails. With the tips of his fingers, his eyes never leaving the boy’s face, he lifted the silver lid of the sugar bowl, and dropped the sugar cube among other, nearly indistinguishable sugar cubes. He lowered the lid, and replaced the cardboard box in his pocket. His hands were paint-stained, but his clothes were immaculately clean; Klee liked to take off his painting smock before he had his tea in the afternoon. The boy’s eyes filled with premonitory laughter. Underneath the table on a Turkish leather cushion, a cat slept in its favourite place, curled with its face into its belly, its feet about its face, and paid no attention to anything that was happening.

      There seemed nothing more to say. Klee sat back and took out the cigarette he liked to smoke before tea. In one of their shared rituals, Felix got up and went about the studio until he found the place where his father had last left his matches. This time it was by the window-seat, where he often liked to prowl and stand before the view while thinking about his next move on a painting. Not exactly looking at the view, more a matter of letting the world flood in without seeing it, his father had once said. For a second, as he picked up the matches, Felix tried the trick. But it was no good. He could not help actually looking at the world; at the pack of shaved-head wizards moving off into the distance following Johannes Itten, the trees in the park, a blackbird sitting on the branch nearest to the house, and his mother almost at the gate of the house, returning from her walk and already unbuttoning her coat in her eagerness for her tea. He took the matches over to his father and, as he was allowed to, struck one, holding it up to his father’s cigarette.

      ‘Mother is here,’ Felix said. ‘I saw her just coming up the road.’

      His voice trembled with his terrible amusement, thinking of the sugar cube. His father sucked at the end of the cigarette and said nothing. His face was mask-like in its skin; Gropius’s wife had once asked his father whether it didn’t hurt, having a face like that, so tight like a drum, and his father’s face had grown still more mask-like, pulling back into a world of squareness. Felix had twelve tasks in the house, and they were added to every year, at an unspecified date; they included lighting his father’s cigarettes, turning the pages at the piano, announcing dinner when guests came and, most recently, cleaning his own boots. Today his task was to remain normal until the sugar cube turned into what it would turn into.

      For weeks now, his father had been constructing a false sugar cube with a shock inside it. First, he had carved a dreadful-looking beetle with goggling eyes and cruel buck teeth out of balsa wood – not even a centimetre long, but you could see its cruelty and ugliness. Then he had stained it black, leaving it to dry under a piece of newspaper, in case Felix’s mother should stumble in. Then he had dipped it in sugar solution, again and again, and finally coated it with table sugar until it closely resembled a sugar cube. Felix had watched all the procedure. His father had not explained what he had been doing. He had merely let Felix watch the preparations and manufacture of the beetle and its encasement in sugar, as if it were a natural part of existence, which Felix would understand if he watched the process. What the purpose of the beetle in the cube was, Klee would not need to explain. It was a practical joke, and therefore not in need of any explanation.

      They were sitting side by side, Klee taking occasional puffs and Felix trying not to fix his attention too much on the sugar cube, when Lily wheezed up the stairs. The cat, hearing her, roused itself; stretched and yawned, arched its back, and went to the door of the studio just as Lily opened it. It curled itself about her boots as she walked in; it largely ignored or put up with Klee and Felix’s embraces and gestures of love, but Lily, who only ever gave it a gruff, impatient shake about the head and neck, the cat adored Lily. ‘Am I late?’ she said, dropping her coat on the sofa and coming over to the tea table. ‘It was so lovely a day I felt I had to go a little further than usual. Not cold?’ She felt the tea urn. ‘Good, good. I saw Itten and his children in the park. Gracious heavens, they look so very extraordinary, and their painting, I know, must be simply awful. And I thought I saw Feininger at a distance, queuing with a lot of other Feininger-like beings, but it turned out to be a grove of trees. When is Frau Gropius coming, Paul – do you remember? Ah, tea! “In this world there’s nothing finer/than the tea that comes from China.”’

      ‘This