The Fallen Angel - Страница 2

Доступ к книге ограничен фрагменом по требованию правообладателя.

At the top of the Spanish Steps, an old gattara was dropping scraps of food into the sea of skinny Roman cats swirling at her feet. Dressed in a shabby overcoat and headscarf, she eyed the restorer warily as he headed down to the piazza. He was below average in height—five foot eight, perhaps, but no more—and had the spare physique of a cyclist. The face was long and narrow at the chin, with wide cheekbones and a slender nose that looked as though it had been carved from wood. The eyes were an unnatural shade of green; the hair was dark and shot with gray at the temples. It was a face of many possible origins, and the restorer possessed the linguistic gifts to put it to good use. Over the course of a long career, he had worked in Italy and elsewhere under numerous pseudonyms and nationalities. The Italian security services, aware of his past exploits, had tried to prevent his entry into the country but had relented after the quiet intervention of the Holy See. For reasons never made public, the restorer had been present at the Vatican several years earlier when it was attacked by Islamic terrorists. More than seven hundred people were killed that day, including four cardinals and eight Curial bishops. The Holy Father himself had been slightly wounded. He might very well have been among the dead had the restorer not shielded him from a shoulder-fired missile and then carried him to safety.

The Italians had imposed two conditions upon the restorer’s return—that he reside in the country under his real name and that he tolerate the presence of occasional physical surveillance. The first he accepted with a certain relief, for after a lifetime on the secret battlefield he was anxious to shed his many aliases and to assume something of a normal life. The second condition, however, had proved more burdensome. The task of following him invariably fell to young trainees. Initially, the restorer had taken mild professional offense until he realized he was being used as the subject of a daily master class in the techniques of street surveillance. He obliged his students by evading them from time to time, always keeping a few of his better moves in reserve lest he find himself in circumstances that required slipping the Italian net.

And so it was that as he made his way through the quiet streets of Rome, he was trailed by no fewer than three probationers of varying skills from the Italian security service. His route presented them with few challenges and no surprises. It bore him westward across the ancient center of the city and terminated, as usual, at St. Anne’s Gate, the business entrance of the Vatican. Because it was technically an international frontier, the watchers had no choice but to entrust the restorer to the care of the Swiss Guard, who admitted him with only a cursory glance at his credentials.

The restorer bade the watchers farewell with a doff of his flat cap and then set out along the Via Belvedere, past the butter-colored Church of St. Anne, the Vatican printing offices, and the headquarters of the Vatican Bank. At the Central Post Office, he turned to the right and crossed a series of courtyards until he came to an unmarked door. Beyond it was a tiny foyer, where a Vatican gendarme sat in a glass box.

“Where’s the usual duty officer?” the restorer asked in rapid Italian.

“Lazio played Milan last night,” the gendarme said with an apathetic shrug.

He ran the restorer’s ID badge through the magnetic card swipe and motioned for him to pass through the metal detector. When the machine emitted a shrill pinging, the restorer stopped in his tracks and nodded wearily at the gendarme’s computer. On the screen, next to the restorer’s unsmiling photograph, was a special notice written by the chief of the Vatican Security Office. The gendarme read it twice to make certain he understood it correctly, then, looking up, found himself staring directly into the restorer’s unusually green eyes. Something about the calmness of his expression—and the hint of a mischievous smile—caused the officer to give an involuntary shiver. He nodded toward the next set of doors and watched intently as the restorer passed through them without a sound.

So, the gendarme thought, the rumors were true. Gabriel Allon, renowned restorer of Old Master paintings, retired Israeli spy and assassin, and savior of the Holy Father, had returned to the Vatican. With a single keystroke, the officer cleared the file from the screen. Then he made the sign of the cross and for the first time in many years recited the act of contrition. It was an odd choice, he thought, because he was guilty of no sin other than curiosity. But surely that was to be forgiven. After all, it wasn’t every day a lowly Vatican policeman had the chance to gaze into the face of a legend.

Fluorescent lights, dimmed to their night settings, hummed softly as Gabriel entered the main conservation lab of the Vatican Picture Gallery. As usual, he was the first to arrive. He closed the door and waited for the reassuring thud of the automatic locks, then made his way along a row of storage cabinets toward the floor-to-ceiling black curtains at the far end of the room. A small sign warned the area beyond the curtains was strictly off-limits. After slipping through the breach, Gabriel went immediately to his trolley and carefully examined the disposition of his supplies. His containers of pigment and medium were precisely as he had left them. So were his Winsor & Newton Series 7 sable brushes, including the one with a telltale spot of azure near the tip that he always left at a precise thirty-degree angle relative to the others. It suggested the cleaning staff had once again resisted the temptation to enter his workspace. He doubted whether his colleagues had shown similar restraint. In fact, he had it on the highest authority that his tiny curtained enclave had displaced the espresso machine in the break room as the most popular gathering spot for museum staff.

He removed his leather jacket and switched on a pair of standing halogen lamps. The Deposition of Christ, widely regarded as Caravaggio’s finest painting, glowed under the intense white light. Gabriel stood motionless before the towering canvas for several minutes, hand pressed to his chin, head tilted to one side, eyes fixed on the haunting image. Nicodemus, muscular and barefoot, stared directly back as he carefully lowered the pale, lifeless body of Christ toward the slab of funerary stone where it would be prepared for entombment. Next to Nicodemus was John the Evangelist, who, in his desperation to touch his beloved teacher one last time, had inadvertently opened the wound in the Savior’s side. Watching silently over them were the Madonna and the Magdalene, their heads bowed, while Mary of Cleophas raised her arms toward the heavens in lamentation. It was a work of both immense sorrow and tenderness, made more striking by Caravaggio’s revolutionary use of light. Even Gabriel, who had been toiling over the painting for weeks, always felt as though he were intruding on a heartbreaking moment of private anguish.

The painting had darkened with age, particularly along the left side of the canvas where the entrance of the tomb had once been clearly visible. There were some in the Italian art establishment—including Giacomo Benedetti, the famed Caravaggisto from the Istituto Centrale per il Restauro—who wondered whether the tomb should be returned to prominence. Benedetti had been forced to share his opinion with a reporter from La Repubblica because the restorer chosen for the project had, for inexplicable reasons, failed to seek his advice before commencing work. What’s more, Benedetti found it disheartening that the museum had refused to make public the restorer’s identity. For many days, the papers had bristled with familiar calls for the Vatican to lift the veil of silence. How was it possible, they fumed, that a national treasure like The Deposition could be entrusted to a man with no name? The tempest, such as it was, finally ended when Antonio Calvesi, the Vatican’s chief conservator, acknowledged that the man in question had impeccable credentials, including two masterful restorations for the Holy See—Reni’s Crucifixion of St. Peter and Poussin’s Martyrdom of St. Erasmus. Calvesi neglected to mention that both projects, conducted at a remote Umbrian villa, had been delayed due to operations the restorer had carried out for the secret intelligence service of the State of Israel.

Gabriel had hoped to restore the Caravaggio in seclusion as well, but Calvesi’s decree that the painting never leave the Vatican had left him with no choice but to work inside the lab, surrounded by the permanent staff. He was the subject of intense curiosity, but then, that was to be expected. For many years, they had believed him to be an unusually gifted if temperamental restorer named Mario Delvecchio, only to learn that he was something quite different. But if they felt betrayed, they gave no sign of it. Indeed, for the most part, they treated him with a tenderness that came naturally to those who care for damaged objects. They were quiet in his presence, mindful to a point of his obvious need for privacy, and were careful not to look too long into his eyes, as if they feared what they might find there. On those rare occasions when they addressed him, their remarks were limited mainly to pleasantries and art. And when office banter turned to the politics of the Middle East, they respectfully muted their criticism of the country of his birth. Only Enrico Bacci, who had lobbied intensely for the Caravaggio restoration, objected to Gabriel’s presence on moral grounds. He referred to the black curtain as “the Separation Fence” and adhered a “Free Palestine” poster to the wall of his tiny office.