A Death in Vienna Read Free Page A

and his palette, his pigments and his medium. He switched on a bank of fluorescent lamps. The painting, the last of Giovanni Bellini’s great altarpieces, glowed under the intense lighting. At the left side of the image stood Saint Christopher, the Christ Child straddling his shoulders. Opposite stood Saint Louis of Toulouse, a crosier in hand, a bishop’s miter atop his head, his shoulders draped in a cape of red and gold brocade. Above it all, on a second parallel plane, Saint Jerome sat before an open Book of Psalms, framed by a vibrant blue sky streaked with gray-brown clouds. Each saint was separated from the other, alone before God, the isolation so complete it was almost painful to observe. It was an astonishing piece of work for a man in his eighties.
    The restorer stood motionless before the towering panel, like a fourth figure rendered by Bellini’s skilled hand, and allowed his mind to float away into the landscape. After a moment he poured a puddle of Mowolith 20 medium onto his palette, added pigment, then thinned the mixture with Arcosolve until the consistency and intensity felt right.
    He looked up again at the painting. The warmth and richness of the colors had led the art historian Raimond Van Marle to conclude the hand of Titian was clearly in evidence. The restorer believed Van Marle, with all due respect, was sadly mistaken. He had retouched works by both artists and knew their brushwork like the sun lines around his own eyes. The altarpiece in the Church of San Giovanni Crisostomo was Bellini’s and Bellini’s alone. Besides, at the time of its production, Titian was desperately attempting to replace Bellini as Venice’s most important painter. The restorer sincerely doubted Giovanni would have invited the young headstrong Titian to assist in so important a commission. Van Marle, had he done his homework, would have saved himself the embarrassment of so ludicrous an opinion.
    The restorer slipped on a pair of Binomags and focused on the rose-colored tunic of Saint Christopher. The painting had suffered from decades of neglect, wild temperature swings, and the continuous onslaught of incense and candle smoke. Christopher’s garments had lost much of their original luster and were scarred by the islands of pentimenti that had pushed their way to the surface. The restorer had been granted authority to carry out an aggressive repair. His mission was to restore the painting to its original glory. His challenge was to do so without making it look as though it had been churned out by a counterfeiter. In short, he wished to come and go leaving no trace of his presence, to make it appear as if the retouching had been performed by Bellini himself.
    For two hours, the restorer worked alone, the silence broken only by the shuffle of feet outside in the street and the rattle of rising aluminum storefronts. The interruptions began at ten o’clock with the arrival of the renowned Venetian altar cleaner, Adrianna Zinetti. She poked her head around the restorer’s shroud and wished him a pleasant morning. Annoyed, he raised his magnifying visor and peered down over the edge of his platform. Adrianna had positioned herself in such a way that it was impossible to avoid gazing down the front of her blouse at her extraordinary breasts. The restorer nodded solemnly, then watched her slither up her scaffolding with feline assurance. Adrianna knew he was living with another woman, a Jewess from the old ghetto, yet she still flirted with him at every opportunity, as if one more suggestive glance, or one more “accidental” touch, would be the one to topple his defenses. Still, he envied the simplicity with which she viewed the world. Adrianna loved art and Venetian food and being adored by men. Little else mattered to her.
    A young restorer called Antonio Politi came next, wearing sunglasses and looking hung over, a rock star arriving for yet another interview he wished to cancel. Antonio did not bother to wish the