What's Bred in the Bone

Five

CLICK-CLACK … CLICK-CLACK … twenty-four repetitions of the sound, and a melancholy toot as if from an entirely innocent Bummelzug passing over a switch-point. But why would an innocent Bummelzug be rumbling through the Bavarian countryside at half past eleven at night, when all decent freight-trains were at rest on their sidings? Twenty-four click-clacks meant twelve vans. Twelve vans, loaded, perhaps, with people, were being hauled to the internment camp that lay obscurely in a nearby valley.

Francis made a note in the book he carried always in his breast pocket. Tomorrow he would write to Sir Owen Williams-Owen in Harley Street, to report on the condition of his heartbeat under particular conditions of stress.

This was the first such observation he had made during his first week at Schloss Düsterstein. It was providential that his bedroom lay on the side of the great house that was nearest to the railway line.

The great house had been a surprise—was still a surprise, after a week’s exploration. To begin, in spite of its name it was not particularly suggestive of melancholy. Old it unquestionably was, and large even as country houses go, but its chief quality was that of the centre of a large farming district, and on its own lands and tenant-farms adjacent the Gräfin von Ingelheim conducted a big agricultural industry with exemplary efficiency. Motor trucks took vegetables, fowls, and veal or pork every week to the railway that carried them on to Munich, where wholesale dealers awaited them, and distributed them to a number of hotels, restaurants, and butchers. In a wing of the castle was an office from which the farms were managed and the dispatching of the foodstuffs was arranged, probably in some of the goods vans that now and then visited the camp in the hills. Schloss Düsterstein was, as agricultural matters go, big business.

Castle it was called, but there was nothing of the medieval fortress about it. There were reminders of the seventeenth century and a large square tower that was considerably earlier, but its appearance and plan were of the latter part of the eighteenth century; if shabby in some of its details and furnishings—the sort of shabbiness that suggests an aristocratic indifference to newfangledness rather than poverty—it was comfortable and as pleasant as a decidedly grand house could be. It was not domestic in the English sense, but it was not a comfortless imitation of a French château, either. Francis’s bedroom, for instance: a heavily furnished room so large that the big bed seemed accidental rather than central, with armchairs and a desk and plenty of room for all his artist’s equipment, and in one corner a large and fine porcelain stove. True, he washed in a little closet concealed in one of the walls, to which hot water was brought through an inner passage, so that he never saw the servant who carried it; but the ewer and basin, the two large chamber-pots, and the slop-pail were of an expensive eighteenth-century china, marked with the crest of Ingelheim. Slops were spirited away every day by means of the same inner passage. Baths were to be taken in a large chamber set out with Empire furniture and a marble tub of almost Roman aspect, into which rather rusty water gushed through huge brass taps; it was a long walk from the bedroom, but as an Oxford man Francis was accustomed to distant baths.

Francis’s room was in the rear of the castle; the family were in another wing into which he never penetrated, but he met them in the living quarters, a series of large drawing-rooms and a dining-room behind the rooms of state, which were now never used except for the display of the collection of pictures that had made Düsterstein and the Ingelheim family famous among connoisseurs for two centuries. Not that the pictures in these private rooms were inconsiderable; they were family portraits by a variety of masters, not always of the foremost rank, but by no means unknown or lightly esteemed.

Ever since his arrival Francis had looked with astonishment from the pictures on the walls to the two representatives of the family who sat below them, the Countess Ottilie and her granddaughter, Amalie, whose features the portraits reflected in a bewildering but always recognizable variety. Here was the Family Face indeed, the Countess’s square and determined as became a great landowner and a farmer of formidable talents, and that of Amalie, which was oval, still unmarked by experience but filled with beautiful expectancy. The Countess was not yet sixty; Amalie was probably fourteen. He conversed with them in English, as the Countess was anxious that Amalie should be perfect in that language.

These evenings were not long. Dinner was at eight, and was never over before nine, for though not a heavy meal it was served with what seemed to Francis extraordinary deliberation. Saraceni talked with the Countess. Francis was expected to talk to Miss Ruth Nibsmith, the governess. Amalie spoke only when spoken to by her grandmother. After dinner they sat for an hour, during which the Countess made one cup of coffee and one glass of cognac last the full time; sharp at ten Amalie kissed her grandmother, curtsied to Saraceni and Francis, and retired under the care of Miss Nibsmith. Then the Countess went to her private room, where, Saraceni told him, she worked over the farm accounts until eleven, at which hour she went to bed, in order to rise at six and spend two hours out of doors, directing her workers, before breakfast at eight.

“A very regular existence,” said Saraceni.

“Does nothing else ever happen?” said Francis.

“Never. Except that on Sundays the priest comes for Mass at seven; you aren’t expected to attend, but it will give satisfaction if you do, and you shouldn’t miss the chapel; it is a Baroque marvel that you won’t see otherwise. But what do you mean—‘Does nothing else ever happen?’ What do you suppose is happening? Money is being made, to begin with. This family was almost beggared during the War and the Countess’s father and now Countess Ottilie have made them almost as rich as they ever were—out of veal, which, as you know, is the staple diet of people in this part of the world. Amalie is being prepared for a brilliant marriage to somebody who hasn’t been chosen yet, but who will have to measure up to exacting standards. Great fortunes don’t go to fools—not at Düsterstein, anyhow. And there is the collection to be put into first-class order, and you and I will work on that like galley-slaves, for the Countess expects it. Isn’t that enough activity to satisfy your North American soul?”

“Sorry to bring it up, but—do I get paid?”

“Most certainly you do. First of all, you are privileged to work with me, and there are hundreds of young artists who would give anything for that high distinction. Next, you have an opportunity to study one of the very few notable collections still to remain in private hands. That means that you will be able to make an intimate day-by-day and mood-by-mood study of pictures that even the directors of world-famous galleries see only by carefully controlled appointment. The greatest are on loan to the Munich gallery, but there are splendid things here—things any of those galleries would be glad to possess. You are privileged to live on familiar terms with aristocrats—the Ingelheims of blood, myself of talent—in beautiful country surroundings. Every day you are given real cream and the best of veal. You have the cultivated conversation of La Nibsmith, and the transporting silences of Amalie. You can keep your little car in the stables. But as for money—no, no money; that would be adding sugar to honey. The Countess receives you here as my assistant. I am paid, of course, but not you. What do you want money for? You’re rich.”

“I’m beginning to be afraid that stands between me and being an artist.”

“There are worse disabilities. Want of talent, for instance. You have talent, and I shall show you how to use it.”

To begin with, learning to use his talent seemed to mean a lot of dirty work, about the performance of which Saraceni was tyrannical and sarcastic. The silky expert Francis had met at Oxford and the patrician connoisseur he visited in Rome was an unappeasable slavedriver in the studio. During his first few days Francis did no work at all, but wandered freely through the castle to get the feel of things, as Saraceni put it.

But on the first Sunday there was a violent change. Francis was up in time for chapel, and, as Saraceni had said, it was a Baroque marvel. At first sight it seemed to have a splendid dome in which the Last Judgement was set forth in swirling movement, but on examination this proved to be a trompe-l’oeil work of extraordinary skill, painted on a flat ceiling, and effective only if the observer did not go too far forward toward the altar; viewed from that point the supposed dome was distorted, and the sotto in su figures of the Trinity looked toad-like. The worshipper who went forward to receive the Host was not wise if he looked upward when he returned to his seat, for he would see a fiercely distorted God the Father and God the Son spying on him from the contrived dome. The chapel itself was small, but seemed big; the fat priest had to squeeze himself into the tiny elevated pulpit as if he were putting on tight trousers. The whole room was a wonder of gilding and plaster painted in those pinks and blues that look like confectioner’s work to the critic who refuses to surrender himself to their seductions. Francis was surprised to find himself alone in the chapel with Saraceni; the Countess and her granddaughter sat at the back, in an elevated box, as if at the opera, invisible to the less distinguished worshippers below. Theirs was the best view of the magical ceiling.

After chapel, breakfast, at which Saraceni and Francis were served by themselves.

“Now, to work,” said Saraceni. “Have you brought any overalls?”

Francis had no overalls, but Saraceni fitted him out with a garment that might once have been a laboratory technician’s white coat, filthy with paint and oil.

“Now to the studio,” said Saraceni, “and when we are in the studio, you had better call me Meister. Maestro is not quite right for these surroundings. And I shall call you Cornish, not Francis, when we are at work. Corniche. Yes, you shall be Corniche.”

What was happening to the Meister? In the studio he was shorter, more darting and nervous in movement, and his nose seemed hookier than elsewhere. At work, Saraceni was not the urbane creature of his social life. Francis recalled what Uncle Jack had said about the Evil Eye, though of course he did not believe in any such thing.

The studio was like a studio only in its fine north light, which came from a wall of windows that opened on the park. It had been, explained Saraceni as Francis gaped in wonderment, one of those amusements that pleased the aristocracy of the eighteenth century. It was a very long room the walls of which were encrusted with shells in many varieties, so set in the plaster that the inner sides of some and the convexities of others were outward toward the light, and they had been used to form an intricate decoration of panels, pillars, and baroque festoons. Not only shells, but minerals of several varieties had been used to decorate the walls, forming pilasters of white and pink and golden marble and—could it be?—lapis lazuli, between which depended clustered ropes of shells, each of which culminated at its fattest richness in a huge piece of brain coral. When it was new, and when it was loved and admired, it must have been a splendid folly, a rococo pavilion to lift the heart and sharpen the senses. But now the shells were dusty and dingy, the dry fountain in the wall showed rust and dirt in its basin, and the occasional mirrors were like eyes over which cataracts had grown. The shell benches had been shoved into a jumble at one end, and the room was dominated by several easels, a laboratory bench whose water supply came from visible, ugly piping that made a toe-catcher in the floor, and a large metal affair, suggesting a furnace, that had been hitched up to the castle’s meagre dynamo with equal disregard for the propriety of the room.

“What love and skill must have gone into the making of this,” said Francis.

“No doubt, but the less must give way to the greater, and now it is my workroom,” said Saraceni. “This was a costly, ingenious toy, and those who played in it are dust. Ours is the greater task.”

What was the task? Francis was never told directly; he made his discoveries by deduction, with growing incredulity. From after breakfast until four o’clock in the afternoon, when the light changed too much for Saraceni’s needs, with a short interval for sandwiches and a glass of good Munich beer, he toiled at a variety of jobs from early September until mid-December. He learned to grind minerals to powder in a mortar, and mix them with various oils; the mixing was a tedious process. He learned to use and prepare mineral colours and gums—cinnabar, manganese dioxide, calcined umber, and sticky, messy gamboge. He learned to chip bits from the least visible parts of the splendid lapis pilasters, and grind his chippings fine with mortar and pestle before uniting the powder with lilac oil, to make a splendid ultramarine. It gave him particular pleasure to make the acquaintance of woad, the iastis tinctoria, from the juice of which a dark blue could be extracted. At the laboratory bench he learned to make up a compound of carbolic acid and formaldehyde (the whiff of which reminded him poignantly of nights with Zadok in Devinney’s embalming parlour) and bottle it firmly against evaporation.

“I don’t suppose you ever thought painting involved so much chemistry and cooking,” said Saraceni. “You are making the true colours used by the Old Masters, Corniche. These are the splendid shades that do not fade with age. Nowadays you can buy colours somewhat like them in shops, but they are not the same at all. They are labour-saving and they save time. But you and I have precisely the same amount of time as the Old Masters—twenty-four hours in every day. There is no more, and never any less. For the true work of restoration on an old panel or canvas you must use the colours the original master employed. The honesty of your craft demands it. It is also undetectable.

“Oh, I suppose some very clever investigator with rays and chemicals might be able to say what parts of a picture had been restored—though I prefer to say revived—but our task is to do a job of revival that will not provoke foolishly inquisitive persons to resort to rays and chemicals. It is not the purpose of a picture to arouse unworthy suspicions, but to give pleasure—delight, or awe, or religious intimations, or simply a fine sense of the past, and of the boundless depth and variety of life.”

This had a fine ring of morality and aesthetic probity about it. Saraceni making the past live again. But there were elements in what was really happening that Francis did not understand.

If the past was to be recovered, why not the best of the past? There were pictures hanging in Schloss Düsterstein that plainly needed the attention of a restorer, pictures by distinguished masters—a Mengs, a van Bylert, even a Van Dyck that wanted cleaning—but these did not come to the shell-pavilion. Instead there were several pictures, usually painted on panels, some of which were in bad repair and all of which were dirty. One of Francis’s jobs was to wipe these as clean as possible with soft, damp cloths and then—but why?—wash these cloths in as little water as possible and dry out the pan until the dust from the picture was dust again, and could be sucked up with a syringe and put in a numbered small bottle.

Most of the little pictures were portraits of Nobody in Particular, in all his and her dull variety; just noblemen and merchants, burgomasters and scholars, and their pie-faced wives. But Saraceni would place one of these competent, uninteresting daubs on his easel, and study it with care for hours before removing certain portions with a solvent so that the painting beneath was blurred, or else the undercoating of the panel was revealed. Then he would repaint the face, so that it was the same as before but with a greater distinction—a keenness of aristocratic eye, a new look of bürgerlich astuteness, a fuller beard; women, if they had hands, were given rings, modest but costly, and better complexions. Sometimes he placed, in the upper left-hand corner of the panel, some little heraldic device, which might indicate the status of the sitter, and on one picture, rather larger than the rest, he introduced an ornamental chain, the collar and emblem of the Saint-Esprit. He is tarting up these four-hundred-year-old dullards, thought Francis, but why, and for whom?

Saraceni’s method of painting was wholly new to Francis. On his palette he laid out his colours—the colours that Francis had so laboriously prepared—in small, almost parsimonious dibbets; but elsewhere on the palette was some of the phenol and formaldehyde mixture mingled with a little oil, and before he took paint on his brush he dipped it first in this resinous gum, which served him as a medium. A strange way to paint, surely? Late in November Francis decided that the time had come to ask a question.

“You shall see why I do that,” said the Meister. “Indeed, you cannot help but see. Overpainting on a restored—or revived—picture is easily detected with the naked eye. As a picture ages, and the paint dries out—it takes about fifty years—it cracks in a certain pattern. What we call the craquelure. The cracks are mere hair-lines; only a poor picture develops a hide like a crocodile. But those hair-lines penetrate right through all the coatings of paint, as deep as to the ground you have used to prepare your canvas—or panel—like these I have been working on. So—how do I produce a craquelure in the new work I have done that blends undetectably with the old work? Well, as you see I am using a fast-drying paint—or rather, that phenol mixture that I use as my medium. Tomorrow I shall show you how I produce the craquelure.”

So this was what the electric furnace was for! Francis had assumed it might be to heat the cold, damp grotto-room, but such heat as there was came from a brazier—not much more than a pan of burning charcoal set on a tripod, which gave out about as much heat as a dying baby’s last breath, in Francis’s opinion. On the day following their talk about craquelure Saraceni turned on the electricity in the furnace, and in time, with much rumbling and moaning, it achieved a heat by no means great, but which taxed the primitive electrical system of the castle, where electric light was scant and dim, and did not proceed above the ground floor.

When Saraceni declared the heat to be sufficient he and Francis carefully inserted the painted panels and after about fifty minutes of slow baking they emerged with, sure enough, tiny hairlines that satisfied the Meister. While they were still warm he surprised Francis yet again.

“Before these cool, you must take a sable brush and put back as much as you can of the dust that was originally on these pictures, taking special pains to get it into the tiny cracks over the new work. Don’t be too eager; but be sure to cover the whole picture and especially whatever is new. Of course, you will use the dust from the bottle that bears the number of the picture. We must not insult Bürgermeister A with dirt that the hand of time has sown on the portrait of the wife of Bürgermeister B. And hurry up. The dust must adhere. Now—on with your work, you understudy of Father Time.”

THE NEXT DAY Saraceni was in high excitement. “Everything now will have to wait until I return from Rome. I must visit my apartment before Christmas; I cannot be separated forever from my darlings, my pictures, my furniture—not even from my bed-curtains, which once belonged to the Empress Josephine. Antaeus had to touch his foot to the earth to gain strength, and I must touch and see my beauties if I am to have the resolution I need for this work.—You are looking at me oddly, Corniche? Does my passion for my collection really surprise you so much?”

“No, Meister, not that. But—precisely what is it you are doing here?”

“What do you suppose?”

“I don’t want to be presumptuous, but this restoration, or revitalizing, or whatever you call it, seems to go a bit farther than is necessary.”

“Oh, Corniche, speak what is in your mind. The word you want to use is faking, isn’t it?”

“I wouldn’t use that word to you, Meister.”

“Certainly not.”

“But it does look rather fishy.”

“Fishy is just the right word! Now, Corniche, you shall know everything that is proper for you to know in good time. Indeed, you shall know a great deal when Prince Max visits us. He is coming for Christmas, and I shall be back in plenty of time to show him all these greatly improved panels. Prince Max talks a great deal more freely than I do. Of course, it is his right.

“Meanwhile, during the fortnight that I am absent, you shall have a little treat. A treat and a rest. You have seen how I work, and I promised to teach you as much of what I know as you can take in. While I am away, I want you to paint a picture for me. See, here is this little panel. Almost a ruin as a picture, but the panel is sound enough, and so is the leather that covers it. Paint me a picture that is all your own, but would not look out of place among the other panels. Do the best you can.”

“What is the subject to be? One of these bürgerlich turnip-heads?”

“What you think best. Use your invention, my dear fellow. But make it congruous with the others. I want to see what you can do. And when I return we shall have a splendid Christmas, showing these pretty baked cakes to Prince Max.”

USE HIS INVENTION? Well, if that was what Saraceni wanted, that is what Francis would do, and he would surprise the Meister, who seemed to think his invention would be limited. Saraceni set off for Rome the day after he told Francis how to use his time, and Francis sat down to his table in the chilly shell-grotto to plan his surprise.

Saraceni was not the only one to leave the castle. The Countess and Amalie left on the same day, to go to Munich to enjoy some of its pleasures before Christmas, and Francis and Miss Ruth Nibsmith were left in possession.

Miss Nibsmith was by no means bad company; in the absence of the Countess she expanded considerably, and although Francis never saw her during the day, they met at dinner, which was served at the same stately pace as always. To fill up the time between courses they drank a good deal of the Countess’s excellent wine, and resorted after dinner to the brandy bottle.

“I can never really settle myself in these German rooms,” said Miss Nibsmith, kicking off her substantial shoes and putting her feet on the side of the splendid porcelain stove in the family drawing-room. “They have no focus. You know what I mean? Focus, in the true Latin meaning of the word. No hearth. I long for an open fire. It is as good as a dog in a room to give it life. These German stoves are beautiful, and they are certainly practical. This room is warmer than it would be if it had a fireplace, but where does one look for the centre of the room? Where does one stand when making a pronouncement? Where does one warm one’s bottom?”

“I suppose the focus is wherever the most important person is,” said Francis. “When the Countess is here, she is obviously the focus. Now—you ought to know these things, as an intimate of Düsterstein: I understand that for Christmas we are to entertain a Prince Max—will he be the focus? Or does the Countess always top the heap in her own castle?”

“Prince Max will be the focus,” said Miss Nibsmith, “but not just because of his rank. He is quite the bounciest man I have ever met, and his laugh and his chatter make him the centre wherever he is. The Countess adores him.”

“A relative?” said Francis.

“A cousin—not the nearest sort. A Hohenzollern, but poor. Poor, that is, for a prince. But Maxi is not one to repine and blame Fortune. No, no; he stirs his stumps and deals extensively in wine, and he gets rid of a lot of it in England and especially in the States. Maxi is what our Victorian ancestors would have called a smooth file. He will be the focus, you will see. The hot air from Prince Max will keep us all warm, and perhaps uncomfortably hot.”

What did Miss Nibsmith do with herself all day? Francis made a polite inquiry.

“I write letters for the Countess in French, English, and German. At the moment I keep an eye on the business. I type quite well. I give lessons to Amalie, chiefly in history; she reads a lot and we talk. History is my thing. My Cambridge degree is in history. I’m a Girton girl. If I have any spare time I work on my own notes, which might be a book some day.”

“A book? About what?”

“You’ll laugh. Or no, I think you have too much intelligence to laugh. Anybody who works with Tancred Saraceni must be used to odd ventures. I’m making a study of astrology in Bavaria, particularly during the sixteenth and seventeenth centuries. What do you make of that?”

“I don’t make anything of it. Tell me about it.”

“Astrology is part of the science of the past, and of course the science of the present has no place for it, because it is rooted in a discredited notion of the universe, and puts forward a lot of Neo-Platonic ideas that don’t make much sense—until you live with them for a while.”

“Does that remark mean that you believe in astrology yourself?”

“Not as hard-boiled science, certainly. But as psychology—that’s quite another thing. Astrology is based on a notion nobody wants to accept in our wonderfully reasonable Western World, which is that the position of the stars at the moment of your birth governs your life. ‘As above, so below’ is the principle in a nutshell. Utterly dotty, obviously. Lots of people must be born under the same arrangement of stars, and they don’t have similar fates. Of course, it’s necessary to take careful heed of precisely where you were born, and that varies greatly, so far as the stars are concerned. But anyhow, if the astrologer has your date, and time, and place of birth he can cast a horoscope, which can sometimes be quite useful—sometimes no good at all.”

“You sound as if you half believe it, Ruth.”

“Half yes: half not. But it’s rather like the I Ching. Your intuition has to work as well as your reason, and in astrology it’s the intuition of the astrologer that does the trick.”

“Are you strongly intuitive?”

“Well, Girton girl though I am, I have to say yes, against what my reason tells me. Anyhow, what I’m studying is how widespread and how influential astrology was in this part of the world at the time of the Reformation and Counter-Reformation, when most people here were fierce Catholics and were supposed to leave all spiritual things—and that meant all psychological things as well—to the Church, which of course knew best, and would see you through if you were a good child. But lots of people didn’t want to be good children. They couldn’t fight down the pull of whatever was in the depths of their being; couldn’t fight it down and couldn’t channel it into being a contemplative, or whatever the Church approved. So they sought out astrologers, and the astrologers were usually in hot water with the Church. Very much like our modern world, where we are supposed to leave everything to science, even when science is something as spook-ridden as psychoanalysis. But people don’t. Astrology is very big business in the extroverted, science-ridden U.S.A., for instance. The Yanks are always whooping it up for Free Will, and every man’s fate being his own creation, and all that, but they’re just as superstitious as the Romans ever were.”

“Well! You’re a funny historian, Ruth.”

“Yes I am, aren’t I?”

“But as a wise man I know—or knew, for the poor fellow is dead now—used to say, Life’s a rum start.”

“The very rummest. Like this room, in a way. Here we are, cosy as can be, even if we have no focus. What makes us so snug?”

“The stove, obviously.”

“Yes, but have you never thought what makes the stove so warm?”

“I’ve wondered—yes. How is it fed?”

“That’s one of the interesting things about these old castles. Dividing all the main rooms are terribly narrow passages—not more than eighteen inches wide, some of them, and as dark as night—and through those corridors creep servants in soft slippers who poke firewood into these stoves from the back. Unseen by us, and usually unheard. We don’t give them a thought, but they are there, and they keep life in winter from being intolerable. Do they listen to us? I’ll bet they do. They keep us warm, they are necessary to us, and they probably know a lot more about us than we would consider comfortable. They are the hidden life of the house.”

“A spooky idea.”

“The whole Universe is a spooky idea. And in every life there are these unseen people and—not people exactly—who keep us warm.—Have you ever had your horoscope cast?”

“Oh, as a boy I sent away money for a horoscope from some company in the States that advertised them in a boys’ magazine. Awful rubbish, illiterate and printed on the worst kind of paper. And at Oxford a Bulgarian chap I met insisted on casting a horoscope for me, and it was blatantly obvious that what he found in the stars was pretty much what he wanted me to do, which was join some half-assed Communist spy outfit he thought he commanded. Not a very deep look into astrology, I am sure you would say.”

“No, though the Bulgarian one has a familiar ring. Lots of horoscopes used to be cast that way, and still are, obviously. But I’ll do one for you, if you like. The genuine article, no punches pulled. Interested?”

“Of course. Who can resist anything so flattering to the ego?”

“Dead right. That’s another element. A horoscope means somebody is really paying attention to you, and that is rarer than you might think. Where, and when, were you born?”

“September 12, apparently at seven o’clock in the morning, in 1909.”

“And where?”

“A place called Blairlogie, in Canada.”

“Sounds like the Jumping-Off Place. I shall have to consult the gazetteer to get the exact position. Because the stars over Blairlogie weren’t precisely like the stars over anywhere else.”

“Yes, but suppose somebody else had been born at just that moment, in Blairlogie, wouldn’t he be my twin, in all matters of Fate?”

“No. And now I shall let the cat out of the bag. This is what separates me from your boys’-paper fraud, and your Bulgarian Commie fraud. This is my great historical discovery that the real astrologers guarded with their lives, and if you breathe it to anybody before my book comes out, I shall hunt you down and kill you very imaginatively. When were you conceived?”

“God, how would I know? In Blairlogie; I’m sure of that.”

“The usual answer. Parents are terribly niminy-piminy about telling their children these things. Ah, well; I shall just have to count backward and make an approximation. But anyhow—when were you baptized and christened?”

“Oh, I can tell you that, right enough. It was about three weeks later; September 30, actually, at roughly four o’clock in the afternoon. Church of England rite. Oh, and now I come to think of it, I was baptized again, years later, Catholic, that time. I’m sure I can remember the date if I try. But how does that come in?”

“When you were begotten is obviously important. As you seem to be a healthy chap I presume you were a full-term baby, so I can get the date fairly near. Date of entry upon the stage in the Great Theatre of the World is important, and that is the only one the commoner sort of astrologers bother with. But the date when you were formally received into what your community looked upon as the world of the spirit, and were given your own name, is important because it supplies a few shades to your central chart. And to be baptized twice!—spiritual dandyism, I’d call it. You let me have all that on a piece of paper at breakfast, and I’ll get to work. Meanwhile, just one more teensy cognac before we retire to our blameless couches.”

DAYS ALONE in the shell-grotto and nights with Ruth Nibsmith were doing much to restore Francis’s battered self-esteem. Getting away from England had been a bruising experience. There was all the trouble of explaining to Ismay’s parents what had happened, and putting up with their obvious, though unexpressed, opinion that it must have been his fault. Then there was the trouble of making arrangements about the child Charlotte—Little Charlie as everybody but Francis insisted on calling her, slurring the “Ch” so it sounded like “Sharlie”—because the Glassons wanted to have control over her, but did not particularly want to be bothered with her. Their days of bringing up children were, they said reasonably, in the past. Were they now to take on a baby, who needed care every hour of the day? They worried, understandably, about Ismay, who was God knows where with God knows who in a country on the brink of civil war. The girl, they admitted, was a fool, but that did not seem to lessen their conviction that Francis was to blame for everything that had happened. When he was pushed at last to the point of telling them that Little Charlie was not his child, Aunt Prudence wept and Uncle Roderick swore, but they were no more sympathetic toward Francis. Cuckolds are fated to play ignominious and usually comic roles.

Never had Francis felt so low as when at last he came to an arrangement with the Glassons; in addition to the money already promised to keep the estate afloat, he agreed to pay all the costs of maintaining Little Charlie, which were substantial, because the child must have a first-rate nanny, and money for whatever a child needs—and the Glassons were not prepared to stint their granddaughter—and also a sum indefinitely allocated but definitely estimated for unforeseen costs. It was all reasonable enough, but Francis had the feeling that he was being exploited, and when his honour and his affections were under ruinous attack, he was astonished to find how greatly the assault on his bank-account affected him also. It was ignoble, under the circumstances, to think so much about money, but think about it he did. What did he care about Little Charlie, at present a dribbling, squalling, slumbrous lump?

In the circumstances, it was not surprising that he had jumped at Uncle Jack’s offer of something to do, some place to go, a necessary task to undertake. But that had resolved itself into three months of grubby devilling for Tancred Saraceni, who had kept him grinding away with mortar and pestle, boiling up the smelly muck that went into the “black oil” the painter needed for his work, and generally acting as chore-boy and sorcerer’s apprentice.

What was the sorcerer up to? Faking pictures, or at least improving existing worthless pictures. Could the great Saraceni really be sunk in this worst sort of artistic sin? Certainly that was what it looked like.

Well, if this was the game, if this was what he had been dragged into, he might as well play it to the hilt. He would show Saraceni that he could daub in the sixteenth-century German manner as well as anyone. He was to paint a picture that would agree in quality and style with the panels that had been completed and that now sat all around the shell-grotto, staring at him with the speculative eyes of the unknown dead. As Francis sat down to plan his picture he laughed for the first time in several months.

He did many preliminary drawings, and just to show what a conscientious faker he was, he did them on some of the expensive old paper culled from old books and artists’ leavings he had from his Oxford days, coating it with an umber base, and making his careful preliminaries (for they were not sketches in the modern sense) with a silver-point. Yes, it was coming quite well. Yes, that was what he wanted and what would surprise the Meister. Rapidly and surely, he began to paint on his miserable old panel, in the Meister’s own careful mode, with unexceptionable, authentic colours, and every stroke mixed with the magical formula of phenol and formaldehyde.

He realized with surprise that he was happy. And in his happiness, he sang.

Many painters have sung at their work, as a form of incantation, an evocative spell. What they sing may not impress an outsider as having much to do with their painting. What Francis sang was an Oxford student song to the tune of the Austrian national anthem of an earlier and happier time, “Gott erhalte Franz den Kaiser”:

Life presents a dismal picture,

Home is gloomy as the tomb:

Poor old Dad has got a stricture,

Mother has a fallen womb;

Brother Bill has been deported

For a homosexual crime,

And the housemaid’s been aborted

For the forty-second time.

On and on he moaned, happy at his work. The Happy Faker, he thought. As I do this, no one can touch me.

“ARE YOU HAPPY? I am.” Ruth Nibsmith turned her head on the pillow to look at Francis. She was not a beautiful woman, or a pretty woman, but she was well-formed and she was incontestably a jolly woman. Jolly was the only possible word. A fresh, high-spirited, merry, and, it proved, an amorous woman, who had in no way set out to lure Francis into her bed, but had cheerfully agreed to his suggestion that they advance their friendship in this direction.

“Yes, I am happy. And it’s nice of you to say that you are. I haven’t had much luck making anyone happy in this way.”

“Oh, but it’s good sport, isn’t it? How would you rank our performance, in university terms?”

“I’d give us a B+.”

“An excellent second class. Well, I dunno—I’d call it an A-. That’s modest, and keeps us well below the Romeo and Juliet level. Anyhow, I’ve enjoyed it immensely these last few days.”

“You speak as if it were over.”

“It is over. The Countess brings Amalie back from Munich tomorrow, and I must take to my role as the model of behaviour and discretion. Which I do without regret, or not too much regret. One has to play fair with one’s employers, you know; the Countess trusts me, and so I can’t be having it off with another of the upper servants in the Castle when I am watching over Amalie. Oh, if Amalie could see us now she’d be green with envy!”

“What? That kid?”

“Kid my foot! Amalie’s fourteen, and warm as one of those porcelain stoves. She adores you, you know.”

“I’ve hardly spoken to her.”

“Of course. You are distant, unattainable, darkly melancholy. Do you know what she calls you? Le Beau Ténébreux. She’s eating her heart out for you. It would plunge her into despair to think you were content with her governess.”

“Oh, shut up about the governess! And about upper servants; I’m nobody’s servant.”

“Balls, my boy! One’s lucky if that’s all one is. The Countess isn’t a servant; she’s a slave to this place, and to her determination to restore the family fortunes. You and I are just paid hands, able to leave whenever we please. I like being an upper servant. Lots of my betters have been upper servants. If it wasn’t too much for Haydn to wear the livery of the Esterhazys, who am I to complain? There’s a lot to be said for knowing one’s place.”

“That’s what Victoria Cameron used to say.”

“One of the women in your gaudy past?”

“No. Something like my nurse, I suppose. I have no gaudy past, as I’m sure you’ve read in the stars. My wife was always rubbing it in.”

“A wife? So that’s the woman in the horoscope?”

“You’ve found her, then?”

“A woman who gave you the most frightful dunt.”

“That’s Ismay, right enough. She always said I was too innocent for my own good.”

“You’re not innocent, Frank. Not in any stupid way. Your horoscope makes that extremely clear.”

“When are you going to unveil the great horoscope? It’d better be soon, if the Countess comes back tomorrow.”

“Tonight’s the night. And we must get out of this nest of guilty passion right away, because I’ve got to dress and so have you, and we both want a wash.”

“I’d been thinking about a bath. We both reek, in an entirely creditable way.”

“No, no bath. The servants would be on to us at once if we bathed during the late afternoon. In the Bavarian lexicon of baths, an afternoon bath means sex. No, you must be content with a searching wash, in your pre-dinner allowance of hot water.”

“Okay. ‘Ae fond kiss, and then we sever’.”

“ ‘Ae farewell, alas, forever’.”

“Oh Ruth, don’t say forever.”

“Of course not. But until dinner, anyhow. And now—up and out!”

“I hope there’s something good for dinner.”

“What would you guess?”

“Something utterly unheard of in Düsterstein. What would you say to veal?”

“Bang on! I saw the menu this morning. Poitrine de veau farci.”

“Ah, well; in the land of veal, all is veal.

I’m wearin’ awa’, Jean

Like snow-wreaths in thaw, Jean

I’m wearin’ awa’

In the land o’ the veal.”

“Lucky to get it. I could eat a horse.”

“Hunger is the best sauce.”

“Frank, that’s magnificent. What an encapsulation of universal experience! Is it your own?”

Francis gave her a playful punch, and went back to his own room, for a searching wash before dinner.

AFTER DINNER, the horoscope. Ruth had an impressive clutch of papers, some of which were zodiacal charts, upon which she had added copious notations in a handsome Italic hand.

“The writing oughtn’t to swear at the material, you see, so I learned to write like this.”

“Yes. Very nice. The only trouble is that it’s so easily forged.”

“Think so? I’m sure you could spot a forgery of your own fist.”

“Yes, I’ve done so.”

“There you go, being Le Beau Ténébreux. Could it have been the Dream Girl who appears so strongly in your chart?”

“It was. Clever of you to guess.”

“A lot of this work is clever guessing. Making hints from the chart fit in with hints from the subject. That girl is an important figure for you.”

“Thank God she’s gone.”

“Not gone. She’ll be back.”

“What then?”

“Depends if she’s still the Dream Girl. You ought to get wise to yourself, Francis. If she treated you badly, some of it was your own fault. When men go about making Dream Girls out of flesh-and-blood girls, it has the most awful effect on the girl. Some fall for it, and try to embody the dream, and that is horribly phoney and invites trouble; others become perfect bitches because they can’t stand it. Is your wife a bitch?”

“Of the most absolute and triple-distilled canine order.”

“Probably only a fool. Fools make more trouble than all the bitches ever whelped. But let’s look at your full chart. Let’s get down on the floor, where I can spread it out. Put some books on the corners to hold it down. That’s it. Now—”

It was a handsome chart, handsome as the zodiac can be, and as neatly annotated as a governess could make it.

“I won’t overwhelm you with astrological jargon, but take a look at these principal facts. The important thing is that your Sun is in midheaven, and that’s terrific. And your eastern horizon—the point of ascent—is in conjunction with Saturn, who is a greatly misunderstood influence, because people immediately think, Oh yes, Saturn, he must be saturnine, or sour-bellied, but that’s not what it really means at all. Your Moon is in the north, or subterranean midheaven. And—now this is very significant—your Sun is in conjunction with Mercury. Because of your very powerful Sun, you have lots of vitality, and believe me you need it, because life has given you some dunts, and has some others in waiting. But that powerful Sun also assures you of being right in the mainstream of psychic energy. You’ve got spiritual guts, and lots of intuition. Then that wonderful, resilient, swift Mercury. Psychologically, Francis, you are very fast on your feet.

“Now—here’s that very powerful and influential Saturn. That’s destiny. You remember about Saturn? He had it tough, because he was castrated, but he did some castrating himself. What’s bred in the bone, you know. Patterns necessarily repeat themselves. All kinds of obstacles, burdens to be borne, anxieties, depressions and exhaustion—there’s your Beau Ténébreux personality for you—but also some compensations because you have the strong sense of responsibility that carries you through, and at last, after a struggle, a sense of reality—which is a fine thing to have, though not always very comfortable. Your Mars supports your Sun, you see, and that gives you enormous endurance. And—this is important—your Saturn has the same relationship to your Moon that Mars has to your Sun, but it’s a giver of spiritual power, and takes you deep into the underworld, the dream world, what Goethe called the realm of the Mothers. There’s a fad now for calling them the Archetypes, because it sounds so learned and scientific. But the Mothers is truer to what they really are. The Mothers are the creators, the matrixes of all human experience.”

“That’s the world of art, surely?”

“More than that. Art may be a symptom, a perceptible form, of what the Mothers are. It’s quite possible to be a pretty good artist, mind you, without having a clue about the Mothers.

“Saturn on the ascendant and the Sun in midheaven is very rare and suggests a most uncommon life. Perhaps even some special celestial guardianship. Have you ever been aware of anything like that?”

“No.”

“You really are a somebody, Francis.”

“You’re very flattering.”

“Like hell I am! I don’t fool around with this stuff. I don’t make a chancy living by casting horoscopes for paying customers. I’m trying to find out what it’s all about, and I’ve been very lucky in discovering that old astrologer’s secret I told you about. I’m not kidding you, Francis.”

“I must say my remarkableness has taken its time about showing itself.”

“It should start soon, if it hasn’t started already. Not worldly fame, but perhaps posthumous fame. There are things in your chart that I would tell you if I were in the fortune-telling and predicting business. Being at Düsterstein is very important; your chart shows that. And working with Saraceni is important, though he simply shows up as a Mercurial influence. And there are all kinds of things in your background that aren’t showing up at present. What’s happened to all that music?”

“Music? I haven’t been much involved with music. No talent.”

“Somebody else’s music. In your childhood.”

“I had an aunt who sang and played a lot. Awful stuff, I suppose it was.”

“Is she the false mother who turns up? There are two. Was one the nurse?”

“My grandfather’s cook, really.”

“A very tough influence. Like granite. But the other one seems to be a bit witchy. Was she queer to look at? Was she the one who sang? It doesn’t matter that what she sang wasn’t in the most fashionable taste. People are so stupid, you know, in the way they discount the influence of music that isn’t right out of the top drawer; if it isn’t Salzburg or Bayreuth quality it can’t be influential. But a sentimental song can sometimes open doors where Hugo Wolf knocks in vain. I suppose it’s the same with pictures. Good taste and strong effect aren’t always closely linked. If your singing aunt put all she had into what she sang, it could have marked you for life.”

“Perhaps. I often think of her. She’s failing, I hear.”

“And who’s this—this messy bit here? Somebody that doesn’t seem fully human. Could it have been a much-loved pet?”

“I had a brother who was badly afflicted.”

“Odd. Doesn’t look quite like a brother. But influential, whatever it was. It’s given you a great compassion for the miserable and dispossessed, Francis, and that’s very fine, so long as you don’t let it swamp your common sense. I don’t think it can; not with that powerful Mercury. But immoderate compassion will ruin you quicker than brandy. And the kingdom of the dead—what were you doing there?”

“I really believe I was learning about the fragility and pitiful quality of life. I had a remarkable teacher.”

“Yes, he shows up; a sort of Charon, ferrying the dead to their other world. What I would call, if I were writing an academic paper, which God be thanked I’m not, a Psychopomp.”

“Handsome word. He’d have loved to be called a Psycho-pomp.”

“Was he your father, by any chance?”

“Oh, no; a servant.”

“Funny, he looks like a father, or a relative of some kind. Anyhow—what about your father? There’s a Polyphemus figure in here, but I can’t make out if he’s your father.”

Francis laughed. “Oh yes, a Polyphemus figure sure enough. Always wears a monocle. Nice man.”

“Just shows how careful you have to be about interpreting. Polyphemus wasn’t at all a nice man. But he was certainly one-eyed. But was he your real father? What about the old man?”

“Old man? My grandfather?”

“Yes, probably. The man who truly loved your mother.”

“Ruth, what are you talking about?”

“Don’t get up on your ear. Incest. Not the squalid physical thing, but the spiritual, psychological thing. It has a sort of nobility. It would dignify the physical thing, if that had occurred. But I’m not suggesting that you are your grandfather’s child in the flesh, rather his child in the spirit, the child he loved because you were born of his adored daughter. What about your mother? She doesn’t show up very clearly. Do you love her very much?”

“Yes, I think so. I’ve always told myself so. But she has never been as real as the aunt and the cook. I’ve never really felt that I knew her.”

“It’s a wise child that knows his father, but it’s one child in a million who knows his mother. They’re a mysterious mob, mothers.”

“Yes. So I’ve been told. They go down, down, down into the very depths of hell, in order that we men may live.”

“That’s very Saturnine, Francis. You sound as if you hated her for it.”

“Who wouldn’t? Who needs such a crushing weight of gratitude toward another human being? I don’t suppose she thought about the depths of hell when I was begotten.”

“No. That seems to have been quite a jolly occasion, if your first chart isn’t lying. Have you told her about your wife? Running off with the adventurous one?”

“No I haven’t. Not yet.”

“Or about the child?”

“Oh yes, she knows about the child. ‘Darling, you horrible boy, you’ve made me a grandmother!’ was what she wrote.”

“Have you relieved her mind by telling her that she isn’t really a grandmother?”

“Damn it, Ruth, this is too bloody inquisitorial! Did you really see that in this rigmarole?”

“I see the cuckold’s horns, painfully clear. But don’t fuss. It’s happened to better men. Look at King Arthur.”

“Bugger King Arthur—and Tristan and Iseult and the Holy sodding Grail and all that Celtic pack. I made a proper jackass of myself about that stuff!”

“Well, you could make a jackass of yourself about much more unworthy things.”

“Ruth, I don’t want to be nasty, but really this stuff of yours is far too vague, too mythological. You don’t honestly take it seriously, do you?”

“I’ve told you already; it’s a way of channelling intuitions and things that can’t be reached by the broad, floodlit paths of science. You can’t nail it down, but I don’t think that’s a good enough reason for brushing it aside. You can’t talk to the Mothers by getting them on the phone, you know. They have an unlisted number. Yes, I take it seriously.”

“But this stuff you’ve been telling me is all favourable, all things I might like to hear. Would you tell me if you saw in this chart that I would die tonight?”

“Probably not.”

“Well, when will I die? Come on, let’s have some hard information, hot from the planets.”

“No astrologer in his right mind ever tells somebody when they are going to die. Though there was once a wise astrologer who told a rather short-tempered king that he would die the day after the astrologer died himself. It assured him of a fine old age. But I will tell you this: you’ll have a good innings. The war won’t get you.”

“The war?”

“Yes, the coming war. Really Francis, you don’t have to be an astrologer to know that there’s a war coming, and you and I had better get out of this charming, picturesque castle before it does, or we may find ourselves making the journey on the Bummelzug that passes behind here every few days.”

“You know about that?”

“It’s not much of a secret. I’d give a lot to have a peep at that place, but the first rule for aliens is not to be too snoopy. I hope you don’t go too near there when you are out for spins in your little car. Francis, surely you know that we are living in the grasp of the greatest tyranny in at least a thousand years, and certainly the most efficient tyranny in history. And where there’s tyranny, there’s sure to be treachery, and some of it is of a rarefied sort. You don’t know what Saraceni’s doing?”

“I’m beginning to wonder.”

“You’ll have to know soon. Really, Francis, for a man with your strong Mercury influence you are very slow to catch on. I said you weren’t stupid, but you are thick. You’d better find out what you’ve got yourself into, my boy. Maybe Max will tell you. Listen—Mercury is the spirit of intelligence, isn’t he? And also of craft, and guile, and trickery, and all that sort of thing. Something of the greatest importance is very near you. A decision. Francis, I beg you, be a crook if you must, but for the love of God, don’t be a dumb crook. You, with Saturn and Mercury so strong in your chart! You want me to tell you the dark things in your chart—there they are! And one thing more: money. You’re much too fond of money.”

“Because everybody is trying to gouge it out of me. I seem to be everybody’s banker and unpaid bottle-washer and snoop and lackey—”

“Snoop? So that’s why you’re here! Well, it relieves me that you’re not just a lost American wandering around in a fog—”

“I’m not an American, damn it! I’m a Canadian. You English never know the difference!”

“Sorry, sorry, sorry! Of course you’re a Canadian. Do you know what that is? A psychological mess. For a lot of good reasons, including some strong planetary influences, Canada is an introverted country straining like hell to behave like an extravert. Wake up! Be yourself, not a bad copy of something else!”

“Ruth, you can talk more unmitigated rubbish than anybody I have ever known!”

“Okay, my pig-headed friend. Wait and see. The astrological consultation is now over and it’s midnight and we must be fresh and pretty tomorrow to greet our betters when they come from Munich, and Rome, and wherever the ineffable Prince Maximilian is arriving from. So, give me one more cognac, and then it’s goodnight!”

“HEIL HITLER!” Prince Maximilian’s greeting rang like a pistol shot.

Saraceni started, and his right arm half rose in response to the Nazi salute. But the Countess, who had sunk half-way down in a curtsy, ascended slowly, like a figure on the pantomime stage, rising through a trapdoor.

“Max, do you have to say that?”

“My dear cousin, forgive my little joke. May I?” And he kissed her affectionately on the cheek. “Saraceni, dear old chap! Dear little cousin, you’re prettier than ever. Miss Nibsmith, how d’you do? And we haven’t met, but you must be Cornish, Tancred’s right hand. How d’you do?”

It was not easy to get a word in with Prince Max. Francis shook his outstretched hand. Max did not stop talking.

“So kind of you to ask me to spend Christmas with you, cousin. It’s not celebrated as cheerfully in Bavaria as we remember, though I saw a few signs of jollification on the road. I came by way of Oberammergau, because I thought that there, if anywhere, the birth of Our Lord would be gratefully acknowledged. After all, they must sell and export several hundred thousand board-feet of crêches and crucifixes and holy images every year, and even they can’t utterly forget why. In Switzerland, now, Christmas is in full, raving eruption. Paris is en fête, almost as if Christ had been a Frenchman. And in London people otherwise quite sane are wallowing in the Dickensian slush, and looting Fortnum’s of pies and puddings and crackers and all the other artifacts of their national saturnalia. And here—I see you’ve put up some evergreens—”

“Of course. And tomorrow there will be Mass, as usual.”

“And I shall be there! I shall be there, not having eaten a crumb or drunk a swallow since midnight. I shall not even clean my teeth, lest a Lutheran drop might escape down my gullet. What a lark, eh? Or should I say, ‘Wot larks’, Cornish? Should I say ‘Wot larks’?”

“I beg your pardon, sir?”

“Oh, not sir, please! Call me Max. ‘Wot larks’ because of Dickens. You must be a real Dickensian Protestant, no?”

“I was brought up a Catholic, Max.”

“You don’t look in the least like one.”

“And exactly how does a Catholic look?” said the Countess, not pleased.

“Oh, it’s a most becoming look, cousin, an otherworldly light in the eyes, never seen among Lutherans. Isn’t that so, Miss Nibsmith?”

“Oh, but our eyes shine with the light of truth, sir.”

“Good, very good! No trapping the governess, is there? Are you taking on any of that light, Amalie?”

Amalie blushed, as she always did when she was singled out for special notice, but had nothing to say. There was no need. The Prince rattled on.

“Ah, a real Bavarian Christmas, just like childhood! How long will it last, eh? I suppose so long as none of us are Jews we shall be allowed to celebrate Christmas in our traditional way, at least in privacy. You’re not a Jew, by any chance, Tancred? I’ve always wondered.”

“God forbid,” said Saraceni, crossing himself. “I have worries enough as it is.”

Amalie found her tongue. “I didn’t know Jews celebrated Christmas,” she said.

“Poor devils! I don’t think they get much chance to celebrate anything. We’ll drink to better times at dinner, won’t we?”

The Prince had arrived in a small, sporting, snorting, coughing, roaring, farting car, loaded with packages and big leather cases, and when the company assembled for dinner, these proved to contain presents for everybody, all speaking loudly of Bond Street. For the Countess a case of claret and a case of champagne. For Amalie, a photograph of Prince Max in dress uniform, in a costly frame from Asprey’s. For Miss Nibsmith a beautiful if somewhat impractical diary bound in blue leather, with a gold lock and key—for astrological notations, said Prince Max, slyly. For Saraceni and Francis leather pocket diaries for the year to come, obviously from Smythson’s. And for the servants, all sorts of edible luxuries in a hamper from Fortnum’s.

Of course there were other gifts. The Countess gave Francis a book that had been written about the Düsterstein pictures by some toilsome scholar many years before. Amalie, with much blushing, gave him six handkerchiefs which she had embroidered with his initials. Saraceni gave everybody books of poetry, bound in Florence. Francis won high distinction by giving the Countess and Amalie sketches of themselves, done in his Old Master style, in which he had taken special care to emphasize the family resemblance. He had nothing for the men, or for Miss Nibsmith, but it did not seem to matter. And when the gift-giving was finished, they sat down to a dinner of greater length than usual, with venison, and roast goose, and a stuffed carp, which was nicer to look at than to eat. And when cheese had been consumed the Countess announced that in special compliment to Francis they would conclude with a traditional English dish, which the chef identified, he being an Italian-Swiss, as Suppe Inglese. It was a dashing attempt at a sherry trifle, rather too wet but kindly meant.

The meal was accompanied by what was less a conversation than a solo performance by Prince Max, filled with casual references—fairly casual but by no means inevitable—to “my cousin Carol, the King of Rumania” and one or two stories about “my ancestor, Friedrich der Grosse (though of course we are of the Swabian branch of the family)” and quite a long account of how he had studied canon law as a boy “so that the priests couldn’t cheat us—we had more than fifty parishes, you know.” And at last when toasts were to be proposed and the Countess, and Amalie, and Miss Nibsmith, and the splendours of Italian art “as represented by our dear Maestro, Tancred Saraceni”, and the King of England, had all been drunk, the Prince insisted with much merriment that they drink also to “the Pretender to the British Throne, my cousin Prince Rupert of Bavaria, whose claim is through his Stuart ancestry, as of course you know.” After this toast Francis insisted on smashing his glass (having made sure it was not too precious) in order that no lesser toast should ever be drunk from it.

Francis emerged somewhat too abruptly from his character as Le Beau Ténébreux, for he was feeling the wines stirring within him. When Amalie, daring greatly, asked him if it were true that there were many bears in Canada, he replied that when he was a boy a child had been eaten by a bear within three miles of Blairlogie. That was true, but not content, he went on to say that the bear had later been seen, walking on its hind legs, wearing the child’s tuque and carrying its satchel of books, making its way toward Carlyle Rural. Even Amalie refused to believe him.

“My dear Amalie, the English wit tends always toward some fantaisie,” said the Countess with grandmotherly solemnity. And then Prince Max took over again, to tell about a boar-hunt he had once enjoyed in the company of several highly placed relatives.

“What does Prince Max do now?” Francis asked Ruth Nibsmith, after dinner.

“Travels for a wine company that has headquarters in London,” she whispered. “Lives on what he makes, which is pretty good, but not of course a fortune. He’s a real aristocrat, a shameless, joyful survivor. Hitler will never down Max. Did you notice the little Wittelsbach thingummy on the door of his car? Max is the real goods, but not tongue-tied, like our English hogen-mogens.”

CHRISTMAS MORNING. Mass had been heard, breakfast had been eaten, and without any words having been spoken about it—though Prince Max talked without a stop about other things—Saraceni led the way to the shell-grotto workroom, and the Countess, the Prince, and Francis followed. The panels on which Saraceni had been working all through the autumn were propped up on tables and walls and against the pillars of lapis lazuli.

Slowly the Prince made a tour of inspection.

“Marvellous,” he said; “really, Tancred, you are greater than your reputation. How you have transformed these dismal daubs! I would never have believed it if I did not have the evidence before me. And you say it is truly undetectable?”

“A determined critic, armed with various testing acids, and special rays to pick up inevitable discrepancies in the brushwork, could probably see what was done—but I doubt if even then he would be sure. But as I have been telling our friend Corniche every day, our task is to do our work so well that suspicion will not be aroused, and prying investigators will not come with their rays and begin to arouse suspicions. As you see, the pictures are rather dirty. And the dirt on them is their very own. No Augsburg dirt where one might expect Nürnberg dirt. Doubtless they will be given a good cleaning before they are hung in the great gallery.”

“Perhaps you will be called in to supervise the cleaning. That would be rather good, wouldn’t it?”

“I should certainly enjoy it.”

“You know, some of these are so good I almost covet them for myself. You have really made it seem as if some uncommonly clever, and quite unknown and unrecognized, portraitists of authentic German style had been at work among the rich merchants of the fifteenth and sixteenth centuries in these parts. The one thing you have not been able to disguise is your talent, Meister.”

“You are very kind.”

“Look at this one. The Fuggers’ jester. Unquestionably this is one of the Fools whom we know the Fuggers always kept in their entourage after they became Counts, but which one? Do you think it could be Drollig Hansel, the favourite of Count Hans? Look at him. What a face!”

“Poor wretch,” said the Countess; “to be born a dwarf and kept as a Fool. Still, I suppose it was better than being a dwarf whom nobody kept.”

“This one will certainly delight our friends when they see it,” said Prince Max.

“I am sorry, but that one is not included with the others,” said Saraceni.

“Not included! But it’s the pick of the lot! Why is it not included!”

“Because it is not a touched-up genuine picture. It is wholly and simply a fabrication, made by our young friend Corniche. I have been teaching him the technique of this sort of painting, and as an exercise I left him to produce something solely on his own responsibility, to show how well he had mastered the art.”

“But it is superb!”

“Yes. A superb fake.”

“Well—but could anybody spot it?”

“Not without a scientific examination. The panel is old and quite genuine, and it is covered in leather as old as itself. The colours are correct, made in the true manner. The technique is impeccable, except that it is rather too good for a wholly unknown painter. And this ingenious scoundrel Corniche has even seen that the craquelure incorporates some authentic dust. I don’t suppose one observer in a thousand would have any doubt about it.”

“Oh, but Meister—that observer would surely spot the old Fugger Firmenzeichen, the pitchfork and circle, that can just barely be perceived in the upper left-hand corner. He would pride himself on having spotted it and guessed what it is, although it is almost obscured.”

“Yes. But it is a fake, my dear Max.”

“Perhaps in the substance. Certainly not in the spirit. Consider, Meister: this is not imitating any known painter’s work—that would be a fake, of course. No, this is simply a little picture in a sixteenth-century manner. Now what makes it different from these others?”

“Only the fact that it has been done in the past month.”

“Oh, that is almost Lutheran pernickety morality! That is an unworthy servitude to chronology. Cousin, what do you say? Isn’t it a little gem?”

“I say it speaks of the dull, inescapable misery of being a dwarf, of having to make oneself ridiculous in order to be tolerated, of feeling that God has not used you well. If it makes me feel these things so strongly, it is certainly a picture of unusual quality. I should like to see it make the journey with the others.”

“Of course, cousin. Just the sort of good sense I should expect from you. Come on, Tancred, relent.”

“If you say so. The greatest risk is yours.”

“Let me worry about the risk. Is everything ready for the journey, cousin?”

“The six big hogsheads are in the old granary.”

“Then let us get to work at once.”

Francis, Max, the Countess, and Saraceni spent the next three hours wrapping the panels—eighteen of them, including the picture of the jester—in oiled paper, after which they were sewn into packages of oiled silk and the seams caulked with tar Saraceni heated on the brazier. To the silken packages a number of small lead weights were attached. Then they carried them to the old granary, where there were no workmen because of the holiday, and there they removed the tops from the six hogsheads, and carefully sank the packages in the white wine they contained—fifty-two gallons to a barrel. When Prince Max tapped the last top back into place, eighteen pictures had been drowned, snug and dry in their casings, and were ready to travel to England, to the warehouses of a highly respected London wine-merchant. It was a good morning’s work, and even the Countess relaxed some of her usual reserve, and invited the conspirators to take Madeira with her in her private room, where Francis had never been before.

“I feel a splendid glow of achievement,” said Prince Max, sniffing at his glass. “I am rejoicing in the breadth and ingenuity of our cleverness. I am wondering if I shall be able to resist pinching the little Fugger Jester for myself. But no—that would be unprofessional. He must go with the others. You know, it seems to me to be damn funny that our friend Francis has not said a word—not a single word—about what we have done with his picture.”

“I had a good reason for keeping quiet,” said Francis. “But I would certainly like to know what is going on, if that is permissible. The Meister has quelled me so completely during the past four months that I don’t feel that I have any right to ask questions. I suppose that is what apprenticeship means. Keep your eyes open and your mouth shut. But I’d like to know a little, if I may.”

“Tancred, what an old tyrant you must be,” said Prince Max. “Cousin, do you think we should explain, just a little?”

“Yes, I do. Though I doubt your ability to explain, or do anything else, just a little, Max. But Mr. Cornish is now in—you shall say in what—farther than he knows, and it would be ill-usage not to tell him what he is letting himself in for.”

“Here it is, my dear Cornish. You know that our Führer is a great connoisseur of art? Understandable, as he was himself a painter in his young days, before his mighty destiny declared itself. Because of his determination that the full glory of the German Volk should be made plain to the whole world, as well as to the Volk itself, he wishes to acquire and bring back to Germany whatever German works of art are owned abroad. Repatriation of our heritage, he calls it. That will take some doing, of course. There was a great dispersal of German religious art during the Reformation. Who wanted that ridiculous stuff? Certainly not the Lutherans. But much of it found its way to other countries, and travelled even further toward America, from which it probably will not return. But what is in Europe may be persuaded to return. There was another great dispersal of German art during the eighteenth and early nineteenth centuries, when every young sprig who made the Grand Tour felt obliged to take a few pretty things home with him, and not all of those pretty things were acquired in Italy. Some fine Gothic things went from here. The Führer wants to get it all together, the first-rate and the second-rate—not that the Führer would regard anything authentically German as second-rate—and he is planning a great Führermuseum in Linz to house it.”

“But surely Linz is in Austria?”

“Yes, and not a great distance from the Führer’s birthplace. By the time the pictures have been assembled, Austria will be glad to have the Führermuseum. Austria is ripe for the picking. Are you beginning to catch on?”

“Yes, but does the Führer really want the kind of thing the Meister and I have been working on? That’s very small potatoes, surely? And why send it to England? Why not offer it here?”

“Well—that is a complicated story. First, the Führer wants everything that is German; when it has been acquired, somebody will sort the good from the mediocre. And I may say that you and dear Tancred have lifted these pictures above mediocrity. They are bürger-portraits of considerable interest. How intelligent, how German they look now! Second, the Führer, or I should say his agents, are ready to make deals with foreign dealers. They like to do swaps. For a German picture, a picture of roughly corresponding worth that is not German but now hangs in a German gallery may be exchanged. The Kaiser Friedrich Museum in Berlin and the Alte Pinakothek in Munich have already—under the gentle persuasion of the Führer’s artistic advisers—swapped a Ducio di Buoninsegna, a Raphael, some Fra Lippo Lippis, and God knows what else for German paintings that could be made available. There are scores of them in England, you know.”

“I suppose there must be.”

“And we are just about to ship some more to England for swapping purposes. Things that might have been found in English country houses. Small things, but the Führer’s principal agent likes quantity, as well as quality.”

“He has an eye for quality, as well,” said the Countess, with something like a snort.

“Oh yes, he has, and he has had his eyes on the pictures here at Düsterstein,” said Prince Max. “The Führer’s principal artistic agent, as you may know, is that very busy man, Reichsmarschall Göring, and he has already visited my cousin to discover whether she would like to present her family collection to the Führermuseum as a token of her fidelity to German ideals. The Reichsmarschall is extremely fond of pictures, and he has an enviable collection of his own. I understand,” said Max, turning to the Countess, “that he has asked the Führer to revive in his favour the title that Landgrave Wilhelm III of Hesse gave to his adviser on art—Director-General of the Delights of My Eye.”

“What effrontery,” said the Countess. “His taste is very vulgar, as one might expect.”

“Well, my dear Cornish, there you have it,” said Prince Max.

“And you are doing this as a sort of quixotic anti-Hitler thing?” said Francis. “Just to do him in the eye? Surely the risk is immense?”

“We are quixotic, but not so quixotic as all that,” said the Prince. “There is a certain recognition for this work, which is, as you say, dangerous. Friendly English firms are most generous. Certain art dealers are involved. They arrange the swaps, and they sell the Italian treasures that go to England in return for the sort of thing we have been dealing with this morning. Such a group of lesser pictures as this may be exchanged for a single canvas—a Tiepolo, even a Raphael. The work is quixotic, certainly, but—not totally selfless. Some money does change hands, depending on how well we do.”

Francis looked at the Countess, and although he was pretty good at controlling his features, astonishment must have showed. The Countess did not flinch.

“One does not restore a great fortune by shrinking from risks, Mr. Cornish,” she said.

THAT GIRL DID WELL with Francis’s horoscope, said the Lesser Zadkiel. She even hinted at your involvement in his fate, brother. That must have surprised you.

—I am not so easily surprised, said the Daimon Maimas. In the days when people understood about the existence and influence of daimons like myself we were often recognized and called upon. But she did well enough, certainly. She warned Francis of an impending crisis, and against his increasing preoccupation with money.

—He has good reason for it, said the Angel. As he says, everybody exploits him and he is open to exploitation. Look at that gang at Düsterstein! Prince Max assumes that Francis will be delighted to be included in the picture hoax—to give it the least objectionable name—because he regards it as an aristocratic lark, and it honours Francis to be one of the jokers. The Countess thinks, in her heart, that a bourgeois like Francis is lucky to be allowed into an aristocratic secret, and to work for his keep to sustain it. And Saraceni has the genial contempt of the master for the neophyte. But if that scheme were ever uncovered, Francis would suffer most, because he is the only one who has actually forged a picture.

—No, brother, he has forged nothing. He has painted an original picture in a highly individual style, and if any connoisseur misdates it, the more fool he. It is Prince Max and the Countess who are passing it off as what it is not. They are aristocrats, and, as you well know, aristocrats did not always achieve their position by a niggling scrupulosity. As for money, the whole story has not yet been told.

—I bow to your superior knowledge of the case, my dear Maimas. What pleases me is that François Xavier Bouchard, the dwarf tailor of Blairlogie, is at last about to burst upon the world, and be admired, as the Fuggers’ Jester, Drollig Hansel. And all because Francis learned to observe, and remember, under the influence of Harry Furniss.

—These are the little jokes that relieve the tedious work of being a Minor Immortal, said the Daimon Maimas.

“DO YOU SUPPOSE that La Nibsmith will take Prince Max’s broad hint?” said Saraceni. “You heard what he said when he gave her that book: for astrological notations. He is mad to have her cast his horoscope.”

“And won’t she?” said Francis.

“Apparently not. He has been begging—in so far as so aristocratic a person can beg—for several months. She is capricious, which is her right. She does not do it professionally, but she is very good. A genuine psychic. Of course, casting horoscopes depends a good deal on the psychic gifts of the astrologer. Germans are just as keen for that sort of thing as Americans. The Führer has an astrologer of his own.”

“She doesn’t look like my idea of a psychic.”

“Psychics often don’t—the real ones. They are frequently rather earthy people. Has she cast your horoscope yet?”

“Well—yes, as a matter of fact, she has.”

“Have you a good destiny?”

“Odd, apparently. Odder than I would have thought.”

“Not odder than I would have thought. I chose you for my apprentice because you were odd, and you have revealed new depths of oddity ever since. That picture you painted while I was in Rome, for instance. It was a portrait, wasn’t it?”

“Yes.”

“I won’t pry. It had the unmistakable quality of a portrait, a feeling between subject and painter, which cannot be faked—not to my eye, that’s to say. Where are your preliminary drawings?”

Francis produced them from a portfolio.

“You are a thorough creature, aren’t you? Even your preliminaries on the right paper, in the right style. Not your Harry Furniss style. Nevertheless, I’ll wager that when you first drew that dwarf, it was in your Harry Furniss manner.”

“It was. He was dead, and I did a few sketches while he was being prepared for burial.”

“You see? Odd, as I said. How you profited from Harry Furniss’s book! Forget nothing; learn the trick of remembering through the hand. I shall be interested to hear what they think of it in London.”

“Meister, who are ‘they’? Haven’t I a right to know what I’m mixed up in, working here with you? There must surely be some risk. Why am I kept in the dark?”

“ ‘They’ are a few very distinguished dealers in art, who make all the business arrangements in this little game which, as you say, involves some risk.”

“They’re swapping these worthless, or at least trivial, pictures for pictures of greatly superior quality?”

“They are exchanging certain pictures for others, for complicated reasons.”

“All right. But is it no more than what Prince Max said? An elaborate hoax on the German Reich?”

“It would be a very bold man who would try to hoax the German Reich.”

“Well, somebody seems to be doing it. Is this a government thing? Some sort of Secret Service lark?”

“The British government knows about it, and very likely the American government knows—but only a very few people, who would deny all knowledge if there should be a discovery and a row.”

“It’s for private gain, then?”

“There is money involved. This work we are doing is not unrequited.”

“ ‘Unrequited’! What a word for such a thing! You mean that you and the Countess and Prince Max are getting damn well paid!”

“For services rendered. The Countess supplies the pictures on which we work. Where else but in such a place as this, where there are two pictures stacked in those innumerable service corridors for every one on the walls, would you find things of the right age, right character, and indeed authentic? I supply a quality of craftsmanship that makes those pictures look rather more desirable to the agents of the great Reichsmarschall than they did in their earlier, neglected state. Prince Max sees that the pictures arrive in England and reach the dealers, which involves substantial risk. Such services do not come cheap, but what we receive is not comparable to what the London dealers receive, because they get fine Italian art for mediocre German art, and they sell it at splendid prices.”

“A huge international fraud, in fact.”

“If there is fraud, it is not the kind you suggest. If the German experts consider our pictures so desirable that they will exchange Italian pictures of great value for them, are we to say that they do not know what they are doing? No money changes hands—not at that point. The Reich is not anxious that large sums of German money should leave the country even for works of German art; that is the reason for the exchange arrangement. The German experts have a task; it is to form the finest and most complete and most impressive collection of German art in the world. They need both quantity and quality. The work we do here does not aim at quality in the highest reaches—no Dürers, no Grünewalds, no Cranachs. To provide those we should have to resort to faking—from which, of course, I shrink in holy horror. We simply make old, undistinguished pictures into old pictures of some distinction.”

“Except for Drollig Hansel. He’s a fake and he’s gone to England.”

“My dear man, don’t allow yourself to become heated, or you may say things you will wish you had not said. Drollig Hansel is a student exercise, undertaken in the style of an earlier day, as a test of skill. The test has been splendidly passed. I am the judge, and I know what I am talking about. If an expert, seeing it among the others, cannot tell that it is modern, what greater proof can you have of my achievement? But you are blameless. You did not paint to deceive, you signed nobody else’s name to it, and you did not yourself send it to England.”

“That’s casuistry.”

“Much talk in the art world is casuistry.”

CASUISTRY: the study of Ethics as it relates to questions of conscience. That was how the Church used the word. But in Francis’s mind it had a Protestant ring, and it meant quibbling—teetering on the tightrope above a dangerous abyss. His conscience twinged sorely after the Countess received a letter from Prince Max, relating how a newly uncovered picture was causing a small sensation among a score or so of art experts in London.

Pictures of dwarfs are not uncommon, and some of the subjects can be identified. Van Dyck painted Queen Henrietta Maria with her dwarf, Sir Jeffrey Hudson; Bronzino painted the dwarf Morgante in the nude—a front view and a back one so that no detail should be missed; the Prado has the female dwarf Eugenia Martinez Vallego, clothed and nude. The dwarfs of Rizi and Velasquez, who seem to observe royal splendour from a remote, half-comprehending world of their own, are not known by name, but by the pain in their intent regard. Less squeamish ages were delighted by dwarfs, and some of them were used in much the manner that had driven F. X. Bouchard of Blairlogie to put his head in a noose.

The Countess read her cousin’s letter to Saraceni and Francis with as much excitement as that reserved lady ever chose to show. The experts had given the painting a little cleaning, and what had they found? That what had looked like the Fuggers’ Firmenzeiden, their family mark, was perhaps something more; true, it looked like a pitchfork, or a three-branched candlestick with an O beside it, but it could also be a gallows with a noose hanging from it! The experts were delighted by their find, and the puzzle it suggested. Had the dwarf been a hangman, then? That it was indeed Drollig Hansel, known as an obscure figure in history but never before seen, they did not choose to doubt. This was really a find for the Führermuseum, a real whiff from an earlier, spiritually fearless Germany, which did not shrink from realities, even when they were also grotesqueries.

Prince Max’s letter was carefully phrased. No inquiring secret police, peeping into the letters that a German aristocrat wrote to his high-born cousin, could have understood anything more than the facts that were stated. But there was rejoicing at Düsterstein.

Francis did not rejoice. His intention to make some record, to offer some comment, on the fate of the dwarf he had known had been unveiled, and he had not expected that to happen. His picture had been a very private affair, an ex voto almost, a memorial to a man he had never spoken to, and had come to know only after his death. He could not contain his dismay and torment, and he had to say so to Saraceni.

“Are you really surprised, my dear man? There are very few secrets in this world, as you are quite old enough to have found out. And art is a way of telling the truth.”

“That’s what Browning said. My aunt was always quoting him.”

“Well? Your aunt must have been a wise woman. And Browning a deep psychologist. But don’t you see? It is the quality of truth, of depth of feeling, in your picture that has made all these learned gentlemen take notice.”

“But it’s a cheat!”

“I have carefully explained to you that it is no cheat. It is a revelation of several things about its subject and about you, but it is not a cheat.”

If Francis did not rejoice to have his private comment on the incalculability and frequent malignancy of fate acclaimed as a reminder of a long-dead dwarf, he could not help being warmed by the praise he was receiving as a painter, though unidentified. He thought he was being subtle in the way he afforded chances for Saraceni to comment on Drollig Hansel, its quality of workmanship, its evocation of a past time, its colour and the sense it gave of being a big picture when it was, by actual measurement, a small one. His subtlety did not deceive the Italian, who laughed at him as fishing for compliments.

“But I am happy to provide the compliments,” he said; “why are you not happy to ask for them like a real artist, instead of demurring and hemming like some little old maid who does a few water-colours of her garden?”

“I don’t want to over-value the little thing.”

“Oh, I see; you don’t want to fall into the sin of pride? Well, don’t shrink from pride only to fall into hypocrisy. You’ve had a dog’s life, Corniche, brought up half Catholic and half Protestant, in a wretched hole where you got the worst of both those systems of double-dealing.”

“Easy, Meister! I have detected a good Catholic in you.”

“Perhaps, but when I am working as an artist I banish all that. Catholicism has begotten much great art; Protestantism none at all—not a single painting. But Catholicism has fostered art in the very teeth of Christianity. The Kingdom of Christ, if it ever comes, will contain no art; Christ never showed the least concern with it. His church has inspired much but not because of anything the Master said. Who then was the inspirer? The much-maligned Devil, one supposes. It is he who understands and ministers to man’s carnal and intellectual self, and art is carnal and intellectual.”

“You work under the wing of the Devil, do you?”

“I must, if I am to work at all. Christ would have had no time for a man like me. Have you noticed how, in the Gospels, He keeps so resolutely clear of anybody who might be suspected of having any brains? Good-hearted simpletons and women who were little better than slaves, those were His followers. No wonder Catholicism had to take a resolute stand in order to include people of intellect and artists; Protestantism has tried to reverse the process. Do you know what I should like, Corniche?”

“A new revelation?”

“Yes, that might come of it. I should like a conference to which Christ would bring all His saints, and the Devil would bring all his scholars and artists, and let them have it out.”

“Who would judge the result?”

“That’s the sticker. Not God, certainly, as the father of both leaders.”

Saraceni did praise Drollig Hansel, as both he and Francis now called the picture. He did more. Without declaring it to be so, he included Francis in a closer fellowship with himself, and as they worked he talked untiringly about what he believed to be the philosophy of art. It was a philosophy deformed by that disease so fatal to philosophers—personal experience.

The Countess also became more genial toward Francis. Not that she had ever treated him with anything but courtesy, but now she talked freely about what he and Saraceni were doing, and there were more of those conferences in her private room when Amalie and Miss Nibsmith had retired. The Countess wanted to improve the product she was exporting. If an original like Drollig Hansel was so well received, could not Saraceni bring about a greater change in some of the old pictures on which he was working?

“Surely you are not urging me toward fakery, Countess?”

“Certainly not. Just a little more boldness, Meister.”

In the course of these talks things leaked out that gave Francis a better idea of what was actually involved in what he could not help considering an elaborate fraud. The Countess and Saraceni were receiving, for the pictures they sent, a full quarter of whatever the dealers could get for the Italian pictures the German museums offered in exchange, and the prices made his eyes start in his head. Where was the money going? Not to Düsterstein; nothing so direct or so dangerous. To Swiss banks, and by no means all to one bank.

“A quarter is not too much,” said the Countess. “After all, that is what Bernard Berenson gets for a mere letter of authentication when he writes it for Duveen. We provide the actual works of art and all the authentication they need is the approval of the great German experts who buy them—who must be assumed to know what they are doing.”

“Sometimes I wonder if they don’t know more than they are telling,” said Saraceni.

“They are working under the gleaming eye of the Reichsmarschall,” said the Countess, “and he expects them to deliver the goods. And some of the goods—the choicest pieces—are said to find their way into the Reichsmarschall’s personal collection, which is large and fine.”

“The whole thing sounds crooked as a dog’s hind leg,” said Francis, falling into the idiom of Blairlogie.

“If that is so, which I do not admit, we are not the leaders in the deception,” said the Countess.

“You do not see it as dishonest?”

“If it were a simple matter of business, I would think so,” said the Countess, “but it is far from simple. I see it as a matter of natural justice. My family lost everything—well, not quite everything, but a very great deal—in the War, and lost it willingly for Germany. Since 1932 my Germany has been whittled away until I no longer know it, and my task in rebuilding my family’s fortunes has been made unbelievably hard. And why? Because I am the wrong kind of aristocrat, which is something much nearer to a democrat than National Socialism can endure. Do you know what an aristocrat is, Mr. Cornish?”

“I know the concept, certainly.”

“I know the reality. An aristocrat, when my family rose to prominence, was someone who gained power and wealth through ability, and that meant daring and taking chances, not steering a careful course through a labyrinth of rules that had been made for their own benefit by people without either daring or ability. You know my family’s motto? You have seen it often enough.”

“Du sollst sterben ehe ich sterbe,” said Francis.

“Yes, and what does it mean? It is not one of your nineteenth-century, bourgeois mottoes—a mealy-mouthed assertion of a tradesman’s idea of splendour. It means: ‘Thou shalt perish ere I perish.’ And I do not mean to perish. That is why I am doing what I am doing.”

“THE COUNTESS seems to have decided to march under the banner of the Devil,” said Francis to the Meister.

“We all meet the Devil in different forms, and the Countess is sure that she has found him in the Führer.”

“A dangerous conclusion for a German citizen.”

“The Countess would be surprised if you defined her as a citizen. She told you what she was: an aristocrat, a daring survivor. Certainly not a drivelling eccentric, as P. G. Wodehouse would have it.”

“But suppose Hitler is right? Suppose the Reich lasts for a thousand years?”

“As an Italian I am sceptical of claims to last for a thousand years according to any plan; Italy has lasted far longer chiefly by muddle and indirection, and how gloriously she has done it. Of course, we have our own buffoon at present, but Italy has seen many buffoons come and go.”

“I gather I am being invited to march under the Countess’s banner? The Devil’s banner.”

“You can do that, Corniche, or you can go back to your frozen country, with its frozen art, and paint winter lakes and wind-blown pine trees, to which the Devil is understandably indifferent.”

“You suggest that I shall have missed my chance?”

“You will certainly have missed your chance to learn what I can teach you.”

“Really? You forget that now I can mix paint, and prepare grounds on the best principles, and I have painted one picture which seems to have met with a good deal of approval.”

Saraceni laid down his brush and applauded gently. “Now that is what I have been hoping to hear for quite a while. Some show of spirit. Some real artist’s self-esteem. Have you read and reread Vasari’s Lives of the Painters as I told you?”

“You know I have.”

“Yes, but attentively? If so, you must have been struck by the spirit of those men. Lions, all the best of them, even the gentle Raphael. They may have doubted their own work at bad moments, but they did not allow anyone else to do so. If a patron doubted, they changed patrons, because they knew they had something wholly beyond anybody’s power to command—a strong individual talent. You have been hinting and manoeuvring to get me to say that Drollig Hansel is a fine painting. And I have. After all, you have been drawing and painting for—what—nineteen years? You have had good masters. Drollig Hansel will do, for the present. It’s a pretty good painting. It shows that you, nipped by the frosty weather of your homeland, and stifled by the ingenious logic-chopping of Oxford, have at last begun to know yourself and respect what you know. Well—there have been late bloomers before you. But if you think you have learned all I can teach you, think again. Technique—yes, you have a measure of that. The inner conviction—not yet. But now you are in a frame of mind where we can begin on that paramount necessity.”

THIS SOUNDED PROMISING, but Francis had learned to mistrust Saraceni’s promises; the Italian not only reproduced faithfully the painting technique of an earlier day, but also the harsh, unappeasable spirit of a Renaissance master toward his apprentice. What new trial could he possibly devise?

“What do you see here?” The Meister stood ten feet away from Francis and unrolled a piece of paper, obviously old.

“It seems to be a careful pen drawing of the head of Christ on the Cross.”

“Yes. Now come nearer. You see how it is done? It is calligraphy. A picture rendered in exquisite, tiny Gothic script in such a way that it depicts Christ’s agony, while writing out every word—and not one word more—of Christ’s Passion as it is recorded in the Gospel of St. John, chapters seventeen to nineteen. What do you think of it?”

“An interesting curiosity.”

“A work of art, of craft, of devotion. Done, I suppose, by some seventeenth-century chaplain, or tutor to the Ingelheim family. Take it, and study it closely. Then I want you to do something in the same manner, but your text shall be the Nativity of Our Lord, as recorded in Luke’s Gospel, chapter one, and chapter two up to verse thirty-two. I want a Nativity in calligraphy, and I make only one concession to your weakness: you may do it in Italic, rather than Gothic. So sharpen your quills, boil yourself some ink of soot and oak-galls, and go to work.”

It was a job of measuring, scheming, and pernickety reckoning that might have brought despair to the heart of Sir Isaac Newton, but at last Francis had his plan, and set himself carefully to work. But what was there here to inspire inner conviction? This was drudgery, pedantry, and gimmickry. His concentration was not helped by an endless flow of reflection and comment from Saraceni, who was touching up a series of conventional seventeenth-century still-life paintings of impossibly opulent flowers, fish and vegetables on kitchen tables, bottles of wine, and dead hares with the glaucous bloom of death on their staring eyes.

“I sense your hatred of me, Corniche. Hate on. Hate greatly. It will help your work. It gives you a good charge of adrenalin. But reflect on this: I ask you to do nothing that I have not done in my day. That is how I have achieved mastery that has not its equal in the world. Mastery of what? Of the techniques of the great painters before 1700. I do not seek to be a painter myself. Nobody would want a painting done today in the manner of, let us say, Goveart Flink, the best pupil of Rembrandt. Yet that is how I truly feel. That is my only honest manner. I do not want to paint like the moderns.”

“Your hatred is reserved for the moderns, as mine is for you?”

“Not at all. I do not hate them. The best of them are doing what honest painters have always done, which is to paint the inner vision, or to bring the inner vision to some outer subject. But in an earlier day the inner vision presented itself in a coherent language of mythological or religious terms, and now both mythology and religion are powerless to move the modern mind. So—the search for the inner vision must be direct. The artist solicits and implores something from the realm of what the psychoanalysts, who are the great magicians of our day, call the Unconscious, though it is actually the Most Conscious. And what they fish up—what the Unconscious hangs on the end of the hook the artists drop into the great well in which art has its being—may be very fine, but they express it in a language more or less private. It is not the language of mythology or religion. And the great danger is that such private language is perilously easy to fake. Much easier to fake than the well-understood language of the past. I do not want to make you dizzy with flattery, but your picture of Drollig Hansel whispered something of that very deep, dark well.”

“Jesus Christ!”

“No, not at all. As I have told you, Our Blessed Lord wanted something quite different from that dark well, and drew from it like the Master He was.”

“But the Moderns—surely one must paint in the manner of one’s day?”

“I don’t admit any such necessity. If life is a dream, as some philosophers insist, surely the great picture is that which most potently symbolizes the unseizable reality that lies behind the dream. If I—or you—can best express that in terms of mythology or religion, why should we not do so?”

“Because it’s a kind of fakery, or a deliberate throw-back, like those Pre-Raphaelites. Even if you are a believer, you cannot believe as the great men of the past believed.”

“Very well. Live in the spirit of your time, and that spirit alone, if you must. But for some artists such abandonment to the contemporary leads to despair. Men today, men without religion or mythology, solicit the Unconscious, and usually they ask in vain. So they invent something and I don’t need to tell you the difference between invention and inspiration. Supply such inventions and you may come to despise those who admire you, and play games with them. Was that the spirit of Giotto, Titian, Rembrandt? Of course, you may become something rather like a photographer. But remember what Matisse said: ‘L’exactitude ce n’est pas la vérité.’ ”

“Isn’t exactitude what you are devilling and driving me to achieve with this bloody piece of handwriting?”

“Only as a means of training you so that you will be able to set down, as well as lies in your power, what the Unconscious may choose to put on your hook, and offer it to those who have eyes to see.”

“You are teaching me to paint reality so well that it might deceive—like that Roman painter who painted flowers, or a jar of honey, or something so truly that bees settled on his pictures. How do you equate that with the kind of reality you are talking about—the reality that rises from the dark well?”

“Don’t despise things. Every thing has a soul that speaks to our soul, and may move it toward love. To understand that is the real materialism. People speak of our age as materialistic, but they are wrong. Men do not believe in matter today any more than they believe in God; scientists have taught them not to believe in anything. Men of the Middle Ages, and most of them in the Renaissance, believed in God and the things. God had made, and they were happier and more complete than we. Listen, Corniche: modern man wants desperately to believe in something, to have some value that cannot be shaken. This country in which we live is giving fearful proof of what mankind will do in order to have something on which to fasten his yearning for belief, for certainty, for reality.”

“I don’t like it, and neither do you. Nor does the Countess.”

“But we cannot deny it, or change it. These Nazi fanatics are picturesque, so one can take some comfort from that.”

Francis thought of the trains, whose journey to the concentration camp in the hills he was recording, and did not find it picturesque. But he said nothing.

Saraceni went on, serenely. “The modern passion for the art of the past is part of this terrible yearning for certainty. The past is at least done with, and anything that we can recover from it is solid goods. Why do rich Americans pay monstrous prices for paintings by Old Masters which they may, or may not, understand and love, if it is not to import into their country the certainty I am talking about? Their public life is a circus, but in the National Gallery at Washington something of God, and something of the comfort of God’s splendour, may be entombed. It is a great cathedral, that gallery. And these Nazis are ready to swap splendid Italian masters for acres of German pictures, because they want to make manifest on the walls of their Führermuseum the past of their race, and so give substance to the present of their race, and provide some assurance of the future of their race. It is crazy, but in a crazy world what can you expect?”

“What I can expect, it appears, is that some day I shall finish this idiotic job, or I shall go mad and kill you.”

“No, no, Corniche. What you can expect is that when you have finished that idiotic job you will be able to write a splendid hand like the great Cardinal Bembo. And by so doing you will achieve at least something of the outlook upon the world of that great connoisseur, for the hand speaks to the brain as surely as the brain speaks to the hand. You will not kill me. You love me. I am your Meister. You dote upon me.”

Francis threw an ink-bottle at Saraceni. It was an empty bottle, and he took care to miss his mark. Then they both laughed.

SO THE WEEKS AND THE MONTHS passed and Francis had been at Düsterstein for almost three years, during which he had worked without a holiday as Saraceni’s slave, then colleague, then trusted friend. True, he had been back to England twice, for a week each time, meeting the Colonel and—for colour—visiting Williams-Owen. But these jaunts could not be called holidays. He was on easier terms with the Countess, though no one was ever fully at ease with the Countess. Amalie had found her tongue and lost her love for Francis, and he taught her some trigonometry (of which Ruth Nibsmith knew nothing) and the elements of drawing, and a great deal about gin rummy and bridge. Amalie was on the way to becoming a great beauty, and although nothing much was said, it was apparent that Miss Nibsmith’s reign must soon give way to a broader education, probably in France.

“You don’t care, I suppose,” said Francis to Ruth, on one of their afternoon walks. “You’re not really a governess—not in the nineteenth-century Brontë sense—and surely you want to do something else.”

“So I shall,” said Ruth, “but I shall stay here as long as there is work for me to do. Like you.”

“Ah, well: I’m learning my craft, you see.”

“And practicing your other craft. Like me.”

“Meaning?”

“Come on, Frank. You’re in the profession, aren’t you?”

“I’m a professional painter, if that’s what you mean.”

“Go on with you! You’re a snoop, and so am I. The profession.”

“You’ve left me behind.”

“Frank, nobody at Düsterstein is thick. The Countess has rumbled you, and so has Saraceni, and I rumbled you the first night I noticed you looking out of your open window, counting the cars on the Bummelzug. I was on the ground below, doing the same thing, just for the fun of it. A fine snoop you are! Standing in a window with a light behind you!”

“All right, officer. It’s a fair cop. I’ll come quietly. So you’re in the profession, too?”

“Born to it. My father was in it until he died on the job. Killed, very likely, though nobody really knows.”

“And what are you doing here?”

“That’s not a question one pro asks another pro. I’m just looking about. Keeping an eye on what you and the Meister are doing, and what the Countess and Prince Max do with that.”

“But you’ve never been in the shell-grotto.”

“Don’t need to go. I write the Countess’s letters, and I know what happens, however much she pretends it’s something else.”

“Doesn’t the Countess rumble you?”

“I hope not. It would be awful to think there were two snoops in one’s house, wouldn’t it? And I’m not very high-powered, you know. Just write the occasional letter home to my mum, who is a pro’s widow, and knows how to read them and what to pass on to the big chaps.”

“I know it’s nosy to ask, but do you get paid?”

“Ha ha; the profession relies to what might be considered a dangerous degree on unpaid help. The old English notion that nobody who is anybody really works for money. No, I work for nothing, on the understanding that if I shape up well I will be in line for a paid job some day. Women don’t get on very fast in the profession, unless they are elegant love-goddesses, and then they don’t last long. But I don’t grumble. I’m acquiring a useful command of Bavarian rural dialect and a peerless knowledge of the borderland between the Reich and Austria.”

“Not casting any horoscopes?”

“Plenty, but chiefly of people long dead. Why?”

“It was hinted to me that Prince Max would like to know what you think of his.”

“Oh, I know that. But I won’t bite. Anyhow, it would be bad for his character. Max is going to be rather famous.”

“How?”

“Even if I were sure I wouldn’t tell you.”

“Aha, I see in you the iconological figure of Prudence.”

“Meaning what?”

“The Meister has me hard at it studying all that sort of thing. So that I can read old pictures. All those symbolic women—Truth with her mirror, Charity suckling her child, Justice with her sword and balances, Temperance with her cup and ewer—scores of them; they are the sign language of a particular kind of art.”

“Well, why not? Have you anything better to do?”

“I have a block about that sort of thing. This Renaissance and pre-Renaissance stuff, where you make out the figures of Time, and his daughter Truth, and Luxury, and Fraud, and all those creatures, seems to me to pull a fine painting down to the level of moral teaching, if not actual anecdote. Could a great painter like Bronzino really have been so much of a moralist?”

“I don’t see why not. It’s just romantic nonsense to suppose that painters have always been rowdies and wenchers. Most of them were daubing away like billy-o in order to get the means to live the bourgeois life.”

“Oh well—it’s very dull learning iconology and I am beginning to wish something interesting would happen.”

“It will, and soon. Just hang on a bit. Some day you will be really famous, Francis.”

“Are you being psychic?”

“Me? What put that into your head?”

“Saraceni did. He says you are very much a psychic.”

“Saraceni is a mischief-making old nuisance.”

“Rather more than that. Sometimes when I listen to him going on about the picture exporting and importing business that he and the Countess are up to, I feel like Faust listening to Mephistopheles.”

“Lucky you. Would anybody ever have heard of Faust if it hadn’t been for Mephistopheles?”

“All right. But he has in a high degree the trick of making the worse seem the better cause. And he says it’s because conventional morality takes no heed of art.”

“I thought he said art was the higher morality.”

“Now you are beginning to sound like him. Listen, Ruth, aren’t we ever going to get together in bed again?”

“Not a hope, unless the Countess goes away on one of her jaunts and takes Amalie with her. In the Countess’s house and under her eye I play by the Countess’s rules, and I can’t be having it off with you when I am supposed to be gently watching over the precious virginity of her granddaughter. Fair’s fair, and that’s a little too much in the line of eighteenth-century castle intrigue for my taste.”

“Okay—I just thought I’d ask. ‘Hereafter, in a better world than this—’ ”

“ ‘I shall desire more love and knowledge of you.’ I’ll hold you to that.”

“And I’ll hold you to that.”

“CORNICHE! I want you to go to the Netherlands and kill a man.”

“At your service, Meister. Shall I take my dagger or rely on the poisoned chalice?”

“You will rely on the poisoned word. Only that will do the job.”

“Then I suppose I’d better know his name.”

“His name, unfortunately for him, is Jean-Paul Letztpfennig. I am a great believer in the influence of names on destiny, and Letztpfennig is not a lucky name. Nor is he a lucky man. He wanted a career as a painter, but his stuff was dull and derivative. A failure, indeed, but just at the moment he is attracting a lot of attention.”

“Not from me. Never heard of him.”

“His notoriety is not mentioned in the German papers, but he is of great interest to Germany. The glassy eye of Reichsmarschall Göring is on him. He wants to sell the Reichsmarschall a ridiculous fake painting.”

“If it’s ridiculous how did the Reichsmarschall ever cast his glassy eye on it?”

“Because Letztpfennig, who is probably the most left-handed schlemiel in the art world at present, is hawking his fake around, and if it were real it would be the great find of the century. Nothing less than a major work by Hubertus van Eyck.”

“Not Jan van Eyck?”

“No; Hubertus, Jan’s brother who died in 1426, quite young. But Hubertus was a very great painter. It was he who designed and painted quite a bit of the magnificent Adoration of the Lamb, which is at Ghent. Jan finished it. There aren’t many pictures by Hubertus, and the appearance of one now is bound to create a sensation. But it is a fake.”

“How do you know?”

“I know because I feel it in my bones. It is my ability to feel things in my bones that lifts me above the general run of art experts. We all have sensitive bones, of course. But I am a painter myself, and I know more about how the great painters of the past worked than even Berenson, because Berenson is not a painter, and his bones keep changing their mind; he has attributed some very remarkable pictures to as many as three painters over a period of twenty years, to the dismay of their owners. When I know a thing I know it forever. And Letztpfennig’s van Eyck is a fake.”

“You’ve seen it?”

“I don’t have to see it. If Letztpfennig vouches for it, it’s a fake. He has made a tiny reputation among gullible people, but I know him through and through. He is the worst kind of scoundrel—an unlucky, muddling scoundrel. And he must be destroyed.”

“Meister—”

“Yes?”

“I have never mentioned this, because it seems tactless, but I have been told that you possess the Evil Eye. Why don’t you simply destroy Letztpfennig yourself?”

“Oh, what a dreadful world we live in! How spitefully people talk! The Evil Eye! Of course, I know that stupid people say that, merely because one or two people to whom I have taken a dislike have had unfortunate accidents. Only a broken bone, or losing their sight, or something of that sort. Never anything fatal. I am still a Catholic, you know; I would recoil from killing a rival.”

“But don’t you want me to kill Letztpfennig?”

“I spoke in terms of melodramatic exaggeration, to get your full attention. I only want you to kill him professionally.”

“Oh, I see. Nothing serious.”

“If he dies of chagrin, that is because he is over-sensitive. Nobody’s fault but his own. Psychological suicide. Not uncommon.”

“This is just a matter of professional rivalry, is it?”

“Do you suppose I would elevate such an idiot as Letztpfennig to the status of a rival? A rival to me! You must think I hold my abilities in low esteem. No, he must go because he is dangerous.”

“Dangerous to the trade of selling dubious pictures to the Reich?”

“How coarsely you judge these things! It is the Lutheran streak in you—a perverse, self-destroying concept of morality. You refuse to see things as they are. I, and several people of whom you know one or two, am carefully securing some Italian art from the German Reich in exchange for pictures they like better. And not one of those pictures has been a fake—only a picture that has been assisted to put its best face foremost. The chain of action is carefully calculated. Everything goes through people with unexceptionable credentials, and we never pitch the note too high—no Dürers, no Cranachs. And now this Flemish buffoon appears with a fake Hubertus van Eyck, and wants gigantic sums either in cash or in paintings the Reich thinks it can spare, and he has the effrontery to haggle, and bring in an American bidder for his picture, with the result that the Dutch government is intervening in the matter, and God alone knows what beans may be spilled.”

“Could you give me some facts? I now know the range of your passion; I’d just like to know what Letztpfennig has done, and what you want me to do.”

“There is a very nice strain of common sense in you, Corniche. Your family background is in banking, is it not? Not that my experience of bankers puts them above art dealers in matters of probity. But they manage to look and sound so trustworthy, even when they are not. Well—this all began about two years ago when Jean-Paul Letztpfennig let it be known that during a jaunt to Belgium he had come upon a picture in an old country house that he bought because he wanted an old canvas. Idiot! Who wants an old canvas unless he means to fake something with it? Anyhow—he says he cleaned the picture and found it to be a painting of The Harrowing of Hell. You know the subject?”

“I know what it is. I’ve never seen a painting of it.”

“They are extremely rare. It was a favourite theme in manuscript illuminations and sometimes in stained glass, but it did not appeal to painters. It is Christ redeeming the souls of the better class of pagans from Hell, where they had presumably languished until His death on the Cross. Well—if it were real and not something Letztpfennig had fudged up himself, it would be interesting, and if it were in the Gothic style it might reasonably go to the Führermuseum, if the German experts passed it. Though those highly intelligent men have so far shown themselves willing to deal only with reputable people like the group with whom I—and you, now that Drollig Hansel has given such satisfaction—are associated. But Letztpfennig, like the blockhead he is, asserts that a signature—by which he means a monogram—is on the picture that establishes it as the work of Hubertus van Eyck.

“When that leaked out, there was a sensation, and an immediate request for information and a chance to bid from an American collector. One of the biggest, and when I tell you that his agent and expert is Addison Thresher you will know whom I am talking about. And there were complications, because, as you know, the Reichsmarschall is a keen collector himself, and if there were a Hubertus van Eyck to be had, he wanted it. To be paid for, I need hardly tell you, by paintings from German museums. Great men are above trivialities in such negotiations. He offered, or his agents offered on his behalf, some splendid Italian things, and Letztpfennig was out of his meagre wits trying to decide whether he should grab the American dollars at once, or grab the Italian pictures, for resale in the States.

“That was when the Dutch government stepped in. You know how dearly they love the Reich. Their Ministry of Fine Art said that a great masterpiece by Hubertus van Eyck was a national treasure and could not leave the country. You would have thought that Belgium would have intervened and said that the picture had, after all, been found in Belgium, but nothing was heard from Belgium and that made Addison Thresher suspicious that the picture had never been in Belgium and was probably a fake.

“Not to toil through all the details, the picture is now in the protection of the Dutch Ministry of Fine Art, and all sorts of people have been visiting it, trying to decide whether it is genuine or not. Medland and Horsburgh from the British Museum and National Gallery laboratories in London have seen it, and can’t give an opinion unless they are permitted to use X-rays and chemical tests—which the Dutch so far won’t allow. Lemaire and Bastogne and Baudoin from Paris and Brussels have hemmed and hawed. Two Dutch experts, Dr. Schlichte-Martin and Dr. Hausche-Kuypers, are at each other’s throats. Addison Thresher is now almost ready to break off all negotiations on grounds that the thing is a fake, and the German experts Frisch and Belmann are outraged because he suggests that they are afraid to speak their minds for fear of being proved wrong.

“They are running out of experts. Of course, they can’t have Berenson, ostensibly because his area is confined to Italian art, but really because he is a Jew and the Reichsmarschall would be outraged. Duveen can’t get near it or bring anybody to look at it for the same reason. It’s the old wrangle between scientific testing and aesthetic sensibility, and Huygens, the judge who is in charge of the matter, is tired of it and wants to have somebody say that the thing is genuine, or that it is dubious and the scientific tests should proceed. So he has sent for me. And I’m not going.”

“Why not?”

“Because of the delicacy of the situation in which our group finds itself. It must never for one moment be thought that we want to destroy Letztpfennig, but Letztpfennig must be destroyed or the Germans may become more suspicious than they naturally and quite rightly are, as professionals in art appreciation. We don’t want every fool with an old picture horning in on the work we are doing. So I have written to Judge Huygens saying that my health is precarious, but that I shall send my trusted assistant to his aid, and if it proves absolutely necessary, I shall make the journey to The Hague myself. You are going.”

“To do what?”

“To decide whether The Harrowing of Hell is by Hubertus van Eyck, or not. To show, if you can, that Letztpfennig either painted it himself on an old canvas, or at least over-painted an existing picture, and put in the van Eyck monogram. This is your chance to establish yourself as an art expert. Don’t you understand, Corniche? This is one of your great tests, and I am putting it in your way.”

“But what is being tested? You are sending me with instructions to declare the picture a fake and to discredit a rival. It doesn’t sound like art criticism to me.”

“It is a part of art criticism, Corniche. Your North American innocence—to use an absurdly kind word for it—must come to terms with the world in which you have chosen to put your life. It is a cruel world and its morality is not simple. If I had the least feeling that this thing in The Hague was a genuine Hubertus van Eyck I would be on my knees before it, but the chances are ten thousand to one that it’s a fake, and the fake must be exposed. Art is very big money, these days, owing to the extraordinary exertions of certain geniuses, of whom Duveen is certainly the greatest. Fakes cannot be endured. Good art must drive out bad.”

“But the morality of that—which I understand—won’t square with what we have been doing here.”

“The morality of the art world is not square, my dear pupil and colleague; it is a polyhedron. But it is a morality, none the less. So—go and win your spurs!”

“And what if I don’t?”

“Then I shall come and do what you have failed to do, by one means or another, including even the Evil Eye—if anyone is so foolish as to believe in it, which I don’t, as I have made clear—and if you and I have any further association, it will be simply as master and perpetual apprentice. You will have failed and I shall have to find another successor to myself. In this affair you are being tested as well as Letztpfennig.”

THE DUTCH MINISTRY OF FINE ART treated its guests well—indeed, in princely style—and when Francis arrived in The Hague he was put up at the Hotel Des Indes, and ate a splendid meal into which he admitted no scrap of veal. The next morning he presented himself to Judge Huygens, who looked precisely as a judge should, and who took him after an exchange of civilities to a handsome room, where the disputed painting was displayed on an easel. Francis settled to his work, and it was soon clear that the Judge meant to stay in the room all the time he was there. A large, watchful, uniformed attendant was also on guard at the door.

The Harrowing of Hell was a most impressive picture, larger than Francis had expected, and obviously meant for a church. The colours glowed with the extraordinary light and appearance of transparency that the brothers van Eyck were reputed to have perfected and brought to the world of painting in oils; colour had been used at its greatest strength above a light ground, which created the magical glow of even the darkest pigment. In the middle of the picture was the figure of Christ, triumphantly bearing the banner-cross of the Resurrection in His left hand and gesturing toward Adam and Eve, the prophets Enoch and Elijah, and figures of Isaiah, Simeon, and Dismas, the Repentant Thief, with His right hand; He was beckoning them to follow Him through the gates of Hell, which stood open behind Him. On His left, averting their faces from His glory, cringing, gnashing their teeth, and seeking to escape, were Satan and his attendant fiends. The background was a true Dutch sky, flecked with delicate clouds, beneath which was to be seen some parts of a truly Dutch landscape, lying behind the gates of Hell—and Hell obviously employed a brilliant and imaginative metalsmith.

Francis studied the picture for perhaps half an hour. If it were a fake it was a magnificent fake, done by a painter of enviable talent. But there have been magnificent fakes in the history of art. Well, that’s enough aesthetic judgement, thought Francis; now we get down to the really inquisitorial inspection. He had brought, in a brief-case, what he thought of as his Little Jiffy Bernard Berenson Art Expert’s Set, consisting of a pair of binoculars, a large magnifying glass, and a brush of medium size. He looked at the picture through the binoculars, from the greatest distance the room allowed; then looked at it through the wrong end of the binoculars. Neither magnification nor diminution suggested anything peculiar about the composition. He looked at the picture through his magnifying glass, inch by inch, and then at his request the large attendant stood the picture on its head, and he examined it again from that aspect. With a reassuring nod to the Judge he dabbed at it here and there with his soft brush. He examined the back, tapped the canvas, inspected the workmanship of the stretchers. To the astonishment of Huygens and the guard he crumpled his handkerchief, warmed it with a cigarette-lighter, and held it to the canvas for perhaps ninety seconds. He sniffed the heated area loudly. No: not a whiff of formaldehyde. Then he sat down again and looked at the picture for another hour, occasionally turning away and suddenly rounding on it, as though it might have relaxed some of its pervasive van Eyckishness while his back was turned. He spent a good deal of time peering at the monogram, small but easily enough seen when you knew where to look, hidden in the folds of Isaiah’s robe. It might have been many things: Hubert of Ghent? Signatures didn’t matter, anyhow; the real signature was the quality of the painting, and try as he might he couldn’t find anything wrong with it.

Fakes, as he well knew, tend to declare themselves a generation or two after they have appeared and been accepted as originals. Truth, the daughter of Time, reveals indications of another age, another temper and taste, in a picture which is painted long after the period to which it has been attributed. Paint ages in the wrong way. Fashions in faces change, and the change may be seen when the fashion for a certain conformation of features has passed. But he did not have fifty years to wait. His job was to declare the picture a fake, and to do so as soon as possible.

When at last he said to the Judge that he had seen enough he received a shock. “Several of your fellow-experts are in the city at present,” said Huygens. “They are anxious to hear what you have to say, as I am myself. You speak, we know, with the authority and probity of Tancred Saraceni and we have agreed that your opinion shall carry great weight, and indeed will doubtless prove decisive. Will you meet us here tomorrow at eleven o’clock? The painter will be here also. Understandably he expects a triumphant vindication.”

“And you, Edelachtbare Heer?”

“I? Oh, my opinion is of no importance. I am simply the director of the investigation. Indeed, it would be improper if anyone holding strong opinions about this sort of painting had been appointed to preside. I do, of course, represent the Netherlands government.”

AT LUNCHEON, as Francis was treating himself to another veal-free blow-out at the expense of his hosts, he was joined by a smiling American.

“Mind if I sit down? I am Addison Thresher, and I’m here from the Metropolitan Museum in New York. Also representing one or two other interested parties. There’s no harm in our talking; Huygens said it was perfectly all right. What did you think?”

Addison Thresher was an expensively dressed, conservatively dressed, more than ordinarily tastefully dressed man, with silver-rimmed glasses and those American teeth, so disconcerting to the European eye, that always seem to have been furiously brushed not more than an hour ago. His manners were wonderful and he smelled of a costly toilet water. But in his eyes there was a steely glint.

Warily, Francis told him what he thought, which in effect was nothing at all.

“I know,” said Thresher; “that’s the trouble, isn’t it? Not a thing you can quite lay your hand on. The signature is a fake, of course, but that’s not important. But there is something about the whole affair I don’t like. You’ve seen the composition before, of course?”

Francis shook his head, his mouth being full.

“Have you ever looked at that late-medieval manuscript of the Cooks and Innkeepers Play, in the Chester group? There’s a miniature of the Harrowing. Very suggestive. Could van Eyck have seen it? Barely possible. But a faker could know it. There’s nothing that hints at the Fra Angelico or the Bronzino of the Harrowing; that would have been a dead give-away, for Hubertus van Eyck couldn’t have seen either. But there is also a strong feeling of that big wall painting at Mount Athos, and that would be funny, wouldn’t it—two minds with but a single thought, and God knows how many centuries between them? The influences, if they are influences, are so damned scholarly. Nothing in any of the work of either of the van Eycks suggests that they were learned in that way. Painters in those days simply weren’t.”

“Yes, I see what you mean,” said Francis, trying to conceal the fact that he was learning fast. “But still—nothing that proves fakery.”

“That’s what the Germans say. And also what the Dutch say. They want it to be genuine, of course, because it would be a marvellous acquisition for a Dutch gallery. The man from the Mauritshuis is particularly keen. If it proves to be a national treasure they’ll never let it out of the country, and they’d love to thwart Göring. They fight about details but they’re wholly agreed on that. They’ll pay Letztpfennig a goodish price, but not the really big money he would get from the States, or the splendid swaps he could get from the Germans.”

“What do you know about Letztpfennig?”

“Nothing to his discredit. Indeed, he is rather an impressive figure. Lectures learnedly on Dutch art, and is probably the best restorer in Europe—except for Saraceni, of course. Knows perhaps a little too much about Old Master painting techniques to be entirely trustworthy in a situation like this. But I mustn’t let my suspicions run away with me. It’s just that in my bones I sense something wrong, and as long as the scientific boys from London are kept at bay, I have to rely on my bones. Aesthetic sensibility, we call it in the trade, but it comes down to a feeling in the bones.”

“Like Berenson.”

“Yes, Berenson has wonderfully shrewd bones. But when Joe Duveen is paying you a full twenty-five per cent of the sale price of a picture for an authentication, I wonder if your bones can always be heard above the sweet music of the cash register. It costs a lot of dough to live like Berenson. Of course, it’s all academic to me; whatever happens I won’t get the picture. But I hate a faker. Bad for business.”

Addison Thresher’s manners left nothing to be desired. He did not hover over Francis but took himself off, saying that they would meet again in the morning. And what was Francis to do? Go to the Mauritshuis and look at the pictures? He had been there before and he was sick of looking at pictures. Encouraged by his good lunch he went to the Wassenaar, and spent the afternoon at the zoo.

JEAN-PAUL LETZTPFENNIG’S HAND, when he gave it to Francis to shake, was unpleasantly damp, and Francis immediately drew out his handkerchief and wiped his own hand somewhat too obviously. Some of the other men in the room were quick to notice. Professor Baudoin, whom Francis had already decided was the nasty one, sucked in his breath audibly. This was much better than when he blew it out, generously, as he did in conversation, for his breath suggested that he was dying from within, and had completed about two-thirds of the job. It was a striking contrast to Addison Thresher, whose breath smelled of the very best caries-defying toothpaste. He was dressed this morning in a completely different outfit, somewhat formal and suggestive of great affairs.

Indeed, great affairs were in hand. Expectancy was in the air, and all the sensitive bones of all the experts must have felt it. Dr. Schlichte-Martin, ample and red-faced, Dr. Hausche-Kuypers, young and merry, were like men playing a game of Snakes and Ladders; if the van Eyck were real, the fat old man advanced and the young jolly one was thrown back, but if it were the other way round, youth rejoiced and age grieved. Frisch and Belmann, the Germans, wore iron-grey suits and iron-grey expressions, for they were losers whatever happened. They rather hoped Letztpfennig would be exploded and regretted their earlier excitement about his find. Lemaire and Bastogne and Baudoin were philosophical, but inclined to negative opinions; the two Frenchmen would have liked the picture to be genuine, but doubted if it could be; the Belgian wanted it to be a fake, for he was a friend of whatever was negative. They were all hedging their bets in the guarded manner of critics the world over.

“Everyone knows everyone else, I believe? Shall we proceed to our business, which may be brief? Mr. Cornish, will you tell us what your conclusions are?” The Judge was by far the calmest man present. The Judge, and the big guard at the door.

Francis approached his task with inward shrinking, but outward calm. He was inclined to like Letztpfennig, though he wished he could wash the corpse-sweat from his right hand. Letztpfennig was by no means the comic figure of Saraceni’s derision. A grey man, with the appearance of a deeply intellectual man, thickly spectacled and possessing a mop of grey hair which might have suggested an artist if the man were not so obviously cast in the mould of a professor. A carefully dressed man, with a white handkerchief peeping from his breast pocket in just the right proportion. A man whose shoes gleamed with loving care. His appearance of calm impressed nobody.

Well, here goes, thought Francis. Thank God I can be both decisive and honest.

“I fear the picture cannot be accepted as genuine,” said he.

“That is your opinion?” said Huygens.

“More than simply an opinion, Edelachtbare,” said Francis; the occasion he thought deserved the fullest formality. “The picture may indeed be an old picture. The quality of the painting is superb, and it strongly suggests van Eyck. Any painter at any time might be proud to have painted it. But you cannot even attribute it to alunno di van Eyck or alunno di van Eyck; it is probably a century after van Eyck.”

“You speak with great certainty,” said Professor Baudoin, with unconcealed gloating. “But you are—if you will allow me to speak of it—a very young man, and the certainty of youth is not always appropriate to such matters as this. You will give us reasons, of course.”

Indeed I shall, thought Francis. You think Letztpfennig is virtually destroyed and now you want to destroy me because I am young. Well—bugger you, you bad-breathed old nuisance.

“I am sure your colleague will be glad to give his reasons,” said Huygens, the peacemaker. “If they are truly convincing, we shall call back the experts from Britain, who will make scientific appraisals.”

“I don’t think you will need to do that,” said Francis. “The picture has been put forward as a van Eyck, and it certainly is not by van Eyck, either Hubertus or Jan. Have any of you gentlemen visited the zoo lately?”

What was this about the zoo? Was the young man trifling with them?

“A detail of the painting tells us all we need to know,” Francis continued. “Observe the monkey who hangs by his tail from the bars of Hell, in the upper left-hand corner of the picture. What is he doing there?”

“It is an iconographical detail that one might expect in such a picture,” said Letztpfennig somewhat patronizingly toward the young man, glad to defend the monkey. “The chained monkey is an old symbol of the fallen mankind that preceded the coming of Christ. Of souls in Hell, in fact. He belongs with the defeated devils.”

“But he is hanging by his tail.”

“Since when do monkeys not hang by their tails?”

“They did not do so in Ghent in van Eyck’s day. That monkey is a Cebus capucinus, a New World monkey. The chained monkey of iconography is the Macacus rhesus, the Old World monkey. Such a monkey as that, a monkey with a prehensile tail, was unknown in Europe until the sixteenth century, and I need not remind you that Hubertus van Eyck died in 1426. The painter, whoever he is—or was—wanted to complete his composition with a figure, not too commanding, in that particular spot, so the chained monkey had to be hanging by his tail from the bars of Hell. There are several examples of both Cebus capucinus and Macacus rhesus informatively labelled in your very good local zoo. That is why I mentioned it.”

In the melodrama of the nineteenth century there may frequently be found such stage directions as Sensation! Astonishment! Tableau! This was the gratifying effect produced by Francis’s judgement. None of the experts tried to suggest that they were well up in the lore of monkeys, but when they were shown the obvious they made haste to declare that it was indeed obvious. This is one of the things experts are frequently called on to do.

As they chattered learnedly, assuring each other that they had had some uneasiness about the monkey, Letztpfennig was understandably undergoing great stress. The big guard brought him a chair, and he sat on it and drew his breath painfully. But he regained his self-possession, rose to his feet, clapped his hands authoritatively, like a professor calling a class to order.

“Gentlemen,” said he, “you shall know that I painted this picture. Why did I do so? In part as a protest against the fanatical adoration that is accorded to our Dutch masters of an earlier day, that is so frequently linked with a depreciation of modern painters. It is a bad principle that nothing may be praised without dispraising something else. Nobody nowadays can paint like the Old Masters! That is untrue. I have done so, and I know there are many others who could do it as well as I. It is not done, of course, because it is a kind of artistic fancy-dress, an insincerity, an imitation of another man’s style. I fully agree that a painter should work in the mode—speaking very generally—of his own time. But that is not because it is a degenerate mode, adopted because he cannot paint as well as his great artistic predecessors.

“Now listen to me patiently, if you please. You have all praised this painting for its skill in colour and design, and its power to lift the heart as only a great picture can do. At one time or another you have all spoken highly of it, and several of you have professed yourselves delighted with it. What delighted you? The magic of a great name? The magic of the past? Or was it the picture before your eyes? Even you, Mr. Thresher, before you found that under no circumstances could you buy this picture for your great client, spoke of it to me in terms that made my heart sing in my breast. The work of a very great master, you said, if not indubitably a van Eyck. Well—? I am the very great master. Do you take back everything you said?”

Thresher said nothing, and none of the other experts were inclined to speak, except Baudoin, who was hissing in Belmann’s ear that he had never trusted the craquelure.

It was the Judge who spoke, and he spoke like a judge. “We must bear in mind, Mynheer Letztpfennig, that you offered the picture for sale as a genuine van Eyck, and with it you offered a tale about its origins which we now know to be untrue. That cannot be explained away as part of a protest on behalf of the skill of modern painters.”

“But how else was I to get attention for my picture? How else was I to make my point? If I had made it known that Jean-Paul Letztpfennig, professor of art, restorer of Old Masters, known as a painter condemned to mediocrity by those who profess to rank artists as if they were schoolboys, had painted a great painting in an old style, how many of you would have crossed your doorstep to see it? Not one! Not one! But as things are you have used words like masterpiece, and transporting beauty. At what were they directed? Toward what you saw, or merely toward what you thought you saw?”

“The Judge is right,” said Addison Thresher. “You wanted the top dollar for your picture, not only for its beauty—which I don’t deny—but for the glamour of age and a great name. And we fell for it! It’s a fine painting, but where can you sell it? I guess it’s a draw. Certainly so far as I am concerned, it’s a draw.”

OF COURSE, it wasn’t a draw, and the international press turned it into a sensation. How did they find out what had happened? When eleven men are in a room and something of unusual interest takes place, at least one of them is likely to let something drop which the press seizes on, and the hunt is up. The one who was supposed to have leaked the story was Sluyters, the guard, who was not nearly so impassive as he looked, and who would have been glad to tell what he knew for a consideration. But did nobody else say a word? Certainly Francis didn’t until he was back at Düsterstein, but who can answer for Addison Thresher? Did the Judge drop a word to his wife, who may have told an intimate friend in the uttermost confidence? The Germans certainly were not silent when they reported to their superiors, and through them to the Reichsmarschall, who was not known for being close-mouthed. The two Frenchmen and the Belgian would not be inclined toward silence; they had risked little and gained much, for they had been in on a great unmasking which gave the international art world something to talk about for many months.

“Monkey Blows Hoax” was the headline in one form or another, and one paper carried a caricature of Francis instructing the experts, based on a famous painting of the Boy Christ Teaching in the Temple.

“I see that the Letztpfennig file is now closed,” said Saraceni, raising his eyes from the Völkischer Beobachter he had been reading in the shell-grotto.

“Are they dropping all charges?” said Francis.

“No charges are effective now. He has killed himself.”

“Oh God! The poor devil!”

“Do not reproach yourself, Corniche. I told you to kill him, and you killed him. You destroyed him professionally on my instruction and now he has yielded up his life of his own volition. In a very interesting way, too. He lived in Amsterdam in one of those lovely old houses on a canal. You know how they have projecting mounts for cranes, hanging over the canal bank, so that in the old days those merchant houses could have goods hauled up to the top floor for storage? Picturesque old things. It seems Letztpfennig hanged himself on his crane, right out over the canal. When he was retrieved by the police they found a note pinned to his coat. Oddly enough, he had worn his overcoat and hat to die in. The note said: ‘Let them say what they will now; in the beginning they said it was a great picture.’—My dear man, are you unwell? Perhaps you had better take the day off. You have done quite enough for art, for the present.”

THAT WAS THE MAKING OF FRANCIS, said the Daimon Maimas.

—You are not gentle in your methods, brother, said the Lesser Zadkiel.

—Not always, but I am often subtle. It was I, of course, who nudged Francis to visit the zoo, and I made sure he had a good look at the monkeys.

—A bad moment for Letztpfennig.

—Letztpfennig was not my care. And he was not too badly used. He wanted fame and he wanted to be recognized as a great painter. He had both his wishes—posthumously. His death gave a note of pathos to what was, considering all things, a remarkable career. It was the rest of mankind that felt the pathos, as it usually is in pathetic fates. When everything is added up, Letztpfennig did not do too badly. He is a footnote in the history of art. And Francis gained at a stroke a very nice little reputation.

—And that was the fame that Ruth predicted? said the Lesser Zadkiel.

—Oh, by no means. I can do better than that, said the Daimon Maimas.

THE DOWNFALL OF LETZTPFENNIG was of interest to the world, as somebody’s downfall always is, but by the autumn of 1938, not long after Francis’s twenty-ninth birthday, the Munich Crisis took precedence over all other news, and the apparent triumph of Neville Chamberlain in concluding an agreement with the German Führer gladdened the hearts of millions of innocents who wanted peace and were ready to believe anything that seemed to promise peace. But not everyone trusted that pact; the Countess and Saraceni were two of these. There was uneasiness and change at Düsterstein. Amalie was sent off to a distinguished school in Switzerland, and though Ruth Nibsmith stayed on to help the Countess in secretarial work, she knew that her time in that capacity was short, and before Christmas she had taken affectionate farewells of everyone and returned to England. Saraceni likewise found that he had imperative business in Rome, and could not say how long it would be before he returned—though he assured the Countess that he would certainly return. And the Countess announced that pressing work in Munich, relating to her sales of farm produce, would keep her in that city for several weeks and perhaps for months.

Saraceni and Francis had, between them, in the year past, completed a substantial amount of work, some of which was ambitious. Bigger and bigger pictures were making their way to the wine merchants’ cellars—pictures so large the canvases had to be dismounted from their stretchers, and packed around the insides of the big barrels, carefully wrapped to protect them from the wine. The stretchers and the old nails that belonged to the pictures travelled in two large bags of golf clubs, which Prince Max had added to his luggage. These were ambitious pictures of battle scenes, and a number of portraits of minor historical figures, all greatly improved by Saraceni and also by Francis, who was trusted with increasingly significant work. What was to become of Francis during the Meister’s long absence? The day before he left, Saraceni told him.

“You have done well, Corniche, and you have done it much quicker than I thought you would. The explosion of Letztpfennig has given you a name—a modest name, but nevertheless a name. Still, before you are ready to appear before the world as amico di Saraceni instead of the lesser alunno di Saraceni there is an important test I want you to accept now. Quite simply it is this: can you paint as well as Letztpfennig? He was a master, you know, in this lesser realm of art. I can say it, now that you have disposed of him. I am not talking of course of faking, for that is contemptible, but I mean the ability to work truly in the technique and also in the spirit of the past. Unless you can satisfy me of that I shall not feel absolutely certain about you. Drollig Hansel was good. What you have done during the past year is good. But when you are not under my eye and subject to my advice and relentless criticism—I know I’m a bastard, but all great teachers must be so—can you really bring it off? So: while I am away I want you to paint an original picture on a large scale—not just big, but big in conception—and I want you to do it not in imitation of anyone, but as you would paint yourself if you were living in the fifteenth or sixteenth century. Find your subject. Grind your colours. I have found a groundwork for you.

“Look here; it is, as you see, a triptych, an altar-piece of fair size in three panels that hung in the chapel here before it was done over in the great Baroque style. It is a wreck, of course. It has been standing for at least two hundred years in one of the innumerable service corridors of this castle from which we have recovered so many discarded paintings, but it was never very good and now it is rubbish. Clean it, right down to the wood, and go to work. I am expecting something that will tell me just how good you are, when you work independently. You will have plenty of time. I shall return in the spring, or perhaps a little later. But I shall certainly return.”

SO, SHORTLY BEFORE CHRISTMAS of 1938, Francis found himself the virtual master of Düsterstein. The family rooms, as well as the great rooms of state, were transformed by dust-sheets and muslin wraps for the chandeliers into the habitations of ghosts. One small room was left for his use, and there he sat and ate his meals when he was not busy in the shell-grotto. He took walks in the grounds, squelching over mossy paths under weeping trees. Another man might have found it melancholy, but Francis welcomed the solitude and the dimness, for he was turned in upon himself and wanted no distraction, no invitation to play. He was seeking his picture.

The philosophy of Saraceni, as distinguished from the avarice and opportunism of Saraceni, was not something he had learned as Amalie learned her lessons. He had absorbed it, and ingested it, and had made it part of his own wholeness. What was so plainly unworthy in the Meister he regarded with amusement; he was not such a fool as to suppose that great men do not have their foibles, and that such flaws might not be great ones. He had consumed the wheat and discarded the chaff, and the wheat was now bone of his bone. It was his belief, not his lesson.

What did he now believe, at the end of a toilsome and sometimes humiliating apprenticeship? That a great picture must have its foundation in a sustaining myth, which could only be expressed through painting by an artist with an intense vocation. He had learned to accept and cherish his vocation, which was none the less real because it had been reached by such a crooked path. He had worked in the shell-grotto as a man under orders, but now he was to work under no orders but his own, even though he must express himself in a bygone mode of painting. But what was his picture, the masterpiece which would conclude his apprenticeship, to be?

Rooted in a myth, but what myth? In the tangle of mythology, the cosmic bedroom farce and vulgar family wrangles of the gods of Olympus or their diminished effigies as conceived by the Romans? Never! In the finer myth of the Christian world, as seen in a thousand forms in the Age of Faith? Catholicism he certainly possessed, but it was still the sweet Catholicism of Mary-Ben rather than that of the rigorous Church Fathers. In the myth of the greatness of Man, as the Renaissance had asserted, or the myth of Man Diminished and Enchained as it appeared to the Age of Reason? What about Romanticism, the myth of the Inner Man sharply declining to the myth of Egotism? There was even the nineteenth-century myth of Materialism, the exaltation of the World of Things, which had evoked so many great pictures from the Impressionists. But these must be rejected at once, even if they had strongly attracted him (which they did not), because his orders—and he was still under orders—were to paint a picture in the manner of the Old Masters, a picture that would contain some technical instruction even for the ingenious Letztpfennig.

Alone, and only vaguely aware of the Europe that was boiling up toward a war of hitherto unexampled horror almost on his doorstep, Francis found his answer, and it was the only possible, the inescapable answer. He would paint the myth of Francis Cornish.

But how? He was not free to work as a painter might who was not seeking to advance from alunno to amico in the fierce school of Saraceni. He could not descend, so far as his talent allowed, into the Realm of the Mothers and return with a picture that might evade the understanding of even the most intuitive and sympathetic of observers, but that would perhaps explain itself after twenty years as a prophecy, or a cry of despair. He must have a subject that could be identified as the subjects of the Old Masters are identified, however much these say that is not contained in the obvious subject.

He made and destroyed innumerable sketches, but even as he rejected them he felt that he was moving nearer to his goal. At last a subject began to assert itself, and then to show that it was inescapable, a subject that might be invited to body forth the myth of Francis Cornish. It was at this point that he began to make the preparatory studies and drawings in the old manner, on prepared paper with a silver-point; studies which might, at some distant time, puzzle the experts. His theme, his subject, his myth, was to be contained in a triptych of The Marriage at Cana.

It had not been one of the most popular themes of the masters who painted before the High Renaissance, the masters who painted in the mode that preceded the lush depictions of that wedding feast—so improbable in terms of the biblical story—which were, in fact, glorifications of the splendours and luxuries of this world. Francis must work in terms of the austere but not starveling manner of the sunset of the Gothic world. And as he made his drawings he found that this was a manner that would serve him very well; the myth of Francis Cornish was not a Renaissance myth, or a myth of Reason or of self-delighted egotism, or the myth of the World of Things. If he could not speak in the voice of his century he would speak in the final accents of the Gothic voice. And so he worked, not furiously but with concentration and devotion, and when at last his preliminary cartoons were done, and the ruinous old picture on the triptych was scoured and scraped off, and his colours were chosen and prepared down to the last grinding of the lapis lazuli that lay so readily at hand, he began to paint.

IT WAS MIDSUMMER 1939 before Saraceni returned, and Francis was growing anxious. He had received a letter in late June from Sir Owen Williams-Owen, saying:

Your record of your heart’s action for the past several months is causing me some concern, and I think it advisable that I examine you again. I suggest that you return to England as soon as you conveniently can, so that I may have another look at you. Your godfather, whom I saw the other day, sends his regards.

THAT WAS NOT HARD to interpret, even by a preoccupied painter who had not been paying much attention to the world’s news. But he must see the Meister before he left Düsterstein. In late July, Saraceni was with him in the shell-grotto, and Francis, not without a sense of drama, unveiled The Marriage at Cana, baked and with Augsburg dust in its craquelure.

The Meister followed the familiar routine. He looked at the picture for a quarter of an hour without speaking. Then he went through the inspections with the field-glasses, the large magnifying glass, the poking at the back of the canvas, the sniffing, the rubbing of a corner with a wetted finger—all the ceremonies of expertise. But then he did something which was not usual; he sat down and looked at the picture for a considerable time, grunting now and then with what Francis hoped was satisfaction.

“Well, Corniche,” he said at last, “I expected something good from you, but I confess you have astonished me. You know what you have done, of course?”

“I think I do, but I’d be glad if you would reassure me.”

“I can understand your bewilderment. Your picture is by no means an exercise in a past manner; those things always betray a certain want of real energy, and this has plenty of energy, the unmistakable impression of here and now. Something unquestionably from the Mothers. Reality of artistic creation, in fact. You have found a reality that is not part of the chronological present. Your here and now are not of our time. You seem not to be trapped, as most of us are, in the psychological world of today. I hate such philosophical pomposities, but your immanence is not tainted by the calendar. One cannot predict with certainty, but this should wear well—which Letztpfennig fakery and fancy-dress painting never does.”

“So—am I out of my apprenticeship?”

So far as this picture goes, you are indeed. Whether you can keep this up, or whether you want to do that, remains to be seen. Offhand, I should say that if you continue to paint in this manner, and let it be known, your goose is cooked. The whole world of criticism would be down on you like hawks attacking a—what? A phoenix? Some very rare bird, certainly.”

“So what do I do?”

“Ah, well, that is a question I can answer without hesitation. You get back to England as soon as you can. And I am off to Italy in the morning. Things are growing very uncomfortable, if you haven’t noticed.”

“What about the picture?”

“If I can arrange it, I shall see that it is sent to you. But it is big, and too stiff to go in a cask, and that may not be easy. But for a while I think it must go into one of the dark service corridors here.”

“That isn’t quite what I meant. You know how I regard you, Meister. Have I satisfied you? That is what has been gnawing me.”

“Satisfied me? I find it very hard to say, because satisfaction is not part of my metier, and I rarely step outside my metier. But here I have no choice, and little time to delay. So, for the present, a rivederci—Meister.”