Читать книгу The Black Widow - Daniel Silva - Страница 14

IN THE FAR CORNER OF the conservation lab, a black curtain stretched from the white ceiling to the white floor. Behind it was a matching pair of oaken Italian easels, two halogen lamps, a Nikon camera mounted atop a tripod, a palette, a tiny bale of cotton wool, an ancient CD player smudged with several different colors of paint, and a trolley laden with pigments, medium, solvents, wooden dowels, and several Winsor & Newton Series 7 sable-hair paintbrushes. For the better part of the past four months, the restorer had labored there alone, sometimes late at night, sometimes long before dawn. He wore no museum credentials, for his true place of employment was elsewhere. The staff conservators had been advised not to mention his presence or even to speak his name. Nor were they to discuss the large painting, an Italian Old Master altarpiece, propped upon his easels. The painting, like the restorer, had a dangerous and tragic past.

He was below average in height—five foot eight, perhaps, no more—and slender of build. His face was high at the forehead and narrow at the chin, with wide prominent cheekbones and a long, bony nose that looked as though it had been carved from wood. The dark hair was cropped short and stained with gray at the temples, the eyes were an unnatural shade of green. His age was one of the most closely guarded secrets in Israel. Not long ago, when his obituary appeared in newspapers around the world, no verifiable date of birth ever found its way into print. The reports of his death had been part of an elaborate operation to deceive his enemies in Moscow and Tehran. They had believed the stories to be true, a miscalculation that allowed the restorer to take vengeance against them. Not long after his return to Jerusalem, his wife gave birth to a set of twins, a girl named Irene after his mother, and a son called Raphael. They were now—mother, daughter, son—three of the most closely guarded people in the State of Israel. So, too, was the restorer. He came and went in an armored American-made SUV, accompanied by a bodyguard, a fawn-eyed killer of twenty-five, who sat outside the door of the conservation lab whenever he was present.

His appearance at the museum, on a black and wet Wednesday in December a few days after the birth of his children, had come as a shock, and a profound relief, to the rest of the conservation staff. They had been warned he did not like to be observed while working. Still, they routinely poked their heads into his little curtained grotto merely to glimpse the altarpiece with their own eyes. Truth be told, he couldn’t blame them. The painting, Caravaggio’s Nativity with St. Francis and St. Lawrence, was arguably the world’s most famous missing work of art. Stolen from the Oratorio di San Lorenzo in Palermo in October 1969, it was now formally in the possession of the Vatican. The Holy See had wisely decided to withhold news of the painting’s recovery until the restoration was complete. Like many Vatican pronouncements, the official version of events would bear little resemblance to the truth. It would not mention the fact that a legendary Israeli intelligence officer named Gabriel Allon had found the missing painting hanging in a church in the northern Italian town of Brienno. Nor would it mention that the same legendary intelligence officer had been entrusted with the task of restoring it.

During his long career he had carried out several unusual restorations—he had once repaired a Rembrandt portrait that had been pierced by a bullet—but the Caravaggio altarpiece propped upon Gabriel’s easels was without question the most damaged canvas he had ever seen. Little was known of its long journey from the Oratorio di San Lorenzo to the church where he had found it. The stories, however, were legion. It had been kept by a Mafia don as a prize and brought out for important meetings of his henchmen. It had been chewed by rats, damaged in a flood, and burned in a fire. Gabriel was certain of only one thing: the painting’s wounds, while grievous, were not fatal. But Ephraim Cohen, the museum’s chief of conservation, was dubious. Upon seeing the painting for the first time, he advised Gabriel to administer last rites and return the altarpiece to the Vatican in the same wooden coffin in which it had arrived.

“Ye of little faith,” Gabriel had said.

“No,” replied Cohen. “Me of limited talent.”

Cohen, like the other members of the staff, had heard the stories—the stories of deadlines missed, of commissions abandoned, of church reopenings delayed. The snail-like pace of Gabriel’s work habits was legendary, almost as legendary as his exploits on the secret battlefields of Europe and the Middle East. But they soon discovered that his slowness was voluntary rather than instinctive. The craft of restoration, he explained to Cohen one evening while swiftly repairing the tattered face of Saint Francis, was a bit like making love. It was best done slowly and with painstaking attention to detail, with occasional breaks for rest and refreshment. But in a pinch, if the craftsman and his subject matter were adequately acquainted, a restoration could be done at extraordinary speed, with more or less the same result.

“You and Caravaggio are old friends?” asked Cohen.

“We’ve collaborated in the past.”

“So the rumors are true then?”

Gabriel had been painting with his right hand. Now he moved the brush to his left and worked with equal dexterity.

“What rumors are those?” he asked after a moment.

“That you were the one who restored the Deposition for the Vatican Museums a few years ago.”

“You should never listen to rumors, Ephraim, especially when they concern me.”

“Or the news,” said Cohen darkly.

His hours were erratic and unpredictable. An entire day might pass with no sign of him. Then Cohen would arrive at the museum to find a large portion of the canvas miraculously restored. Surely, he thought, he had a secret helper. Or perhaps Caravaggio himself was stealing into the museum at night, a sword in one hand, a brush in the other, to assist with the work. After one nocturnal session—a particularly productive visit during which the Virgin was returned to her former glory—Cohen actually checked the security footage. He found that Gabriel had entered the lab at half past ten in the evening and had departed at seven twenty the next morning. Not even the fawn-eyed bodyguard had been with him. Perhaps it was true, thought Cohen, as he watched the ghostly figure moving at one frame per second along a half-lit hall. Perhaps he was an archangel after all.

When he was present during normal business hours, there was always music. La Bohème was a particular favorite. Indeed, he played it so often that Cohen, who spoke not a word of Italian, could soon sing “Che gelida manina” from memory. Once Gabriel entered his curtained grotto, he never reappeared until the session was complete. There were no strolls in the museum’s sculpture garden to clear his head, no trips to the staff lunchroom for a jolt of caffeine. Only the music, and the soft tap-tap-tap of his brush, and the occasional click of his Nikon camera as he recorded his relentless progress. Before leaving the laboratory he would clean his brushes and his palette and put his trolley in order—precisely, noted Cohen, so he would be able to detect whether anyone touched his things in his absence. Then the music would go silent, the halogen lamps would dim, and with little more than a cordial nod to the others he would be gone.

By early April, with the winter rains a memory and the days warm and bright, he was hurling himself headlong toward a finish line only he could see. All that remained was the winged angel of the Lord, an ivory-skinned boy who floated in the upper reaches of the composition. It was a curious choice to leave for last, thought Cohen, for the boy angel had suffered serious injury. His limbs were scarred by heavy paint losses, his white garment was in tatters. Only his right hand, which was pointed heavenward, was undamaged. Gabriel restored the angel in a series of marathon sessions. They were noteworthy for their silence—there was no music during this period—and for the fact that, as he was repairing the angel’s auburn hair, a large bomb exploded in Paris. He stood for a long time before the lab’s small television, his palette slowly drying, watching as the bodies were pulled from the rubble. And when a photograph of a woman named Hannah Weinberg appeared on the screen, he flinched as though struck by an invisible blow. Afterward, his expression darkened and his green eyes seemed to burn with anger. Cohen was tempted to ask the legend whether he had known the woman, but decided against it. One could talk to him about paintings and the weather, but when bombs exploded it was probably better to keep one’s distance.

On the last day, the day of Uzi Navot’s journey to Paris, Gabriel arrived at the lab before dawn and remained in his little grotto long after the museum had closed for the night. Ephraim Cohen found an excuse to stay late because he sensed the end was near and wanted to be present to witness it. Shortly after eight o’clock he heard the familiar sound of the legend laying his brush—a Winsor & Newton Series 7—on the aluminum tray of his trolley. Cohen peered furtively through the slender gap in the curtain and saw him standing before the canvas, a hand resting against his chin, his head tilted slightly to the side. He remained in the same position, motionless as the figures in the painting, until the fawn-eyed bodyguard entered the lab and pressed a mobile phone urgently into his palm. Reluctantly, he lifted it to his ear, listened in silence, and murmured something Cohen couldn’t quite make out. A moment later both he and the bodyguard were gone.

Alone, Ephraim Cohen slipped through the curtain and stood before the canvas, scarcely able to draw a breath. Finally, he plucked the Winsor & Newton paintbrush from the trolley and slipped it into the pocket of his smock. It wasn’t fair, he thought, as he doused the halogen lamps. Perhaps he really was an archangel after all.