combine those primitive, lumpy Etrurian characteristics typical of Marini with an almost oriental twist of the heads of both horse and rider that was most uncharacteristic. But the fat riderâs stubbed cigar of a penis was a Marini signature. Jonathan walked slowly around the casting, pausing occasionally to take in some detail, his concentration totally committed. So absorbed was he that it was a while before he noticed a man leaning against the far wall, posed under a dim light that had been arranged with almost as much care as that given to the
Horse.
He wore an extremely trendy suit of dusty gold velvet, and a ruffle of starched lace stood at his throat. His arms were folded across his chest, his stance poised and practiced, but an inner tension prevented his posture from appearing relaxed. He watched Jonathan steadily, following him with gray eyes so pale they seemed colorless.
Jonathan examined the man with frank curiosity. It was the most beautiful male bust he had ever seenâan unearthly, bloodless beauty such as masters of the Early Renaissance sometimes touched upon. Intuitively, he knew the man was aware of the effect of his cold beauty, and he had stationed himself in that particular light to heighten it.
âWell, Jonathan?â Vanessa had been standing back out of the light. Her voice was hushed most uncharacteristically.
Jonathan glanced again at the Renaissance man. Something in his demeanor made it clear that he did not intend to speak and did not wish to be spoken to. Jonathan decided to let him play out his silly game.
âWell what?â he asked Van.
âIs it genuine?â
Jonathan was surprised at the question, forgetting as often he did that his gift was quite unique. As some people have perfect pitch, Jonathan had a perfect eye. Once he had seen a manâs work, he never mistook it. It was, in fact, upon that gift that his reputation had been founded and not, as he preferred others to believe, on his scholarship. âOf course itâs genuine. Marini cast three of these and later broke one. No one knows why. Some defect probably. But only two now exist. This is the Dallas
Horse.
I didnât know it was in England.â
âAhââ Vanessa fumbled for a Gauloise to cover her tension, then she asked offhandedly, âWhat price do you think it would bring?â
Jonathan looked at her, startled. âItâs for sale?â
She took a deep drag and blew smoke up at the ceiling. âYes.â
Jonathan looked across at the Renaissance man, who had not moved a muscle and who still watched him, the colorless eyes picked out by a shaft of light just under the dark eyebrows.
âStolen?â Jonathan asked.
âNo,â Vanessa answered.
âDoesnât he talk?â
âPlease, Jonathan.â She touched his arm.
âWhat the hellâs going on? Is he selling this?â
âYes. But he wanted you to have a look at it first.â
âWhy? You donât need me to authenticate it. Its provenances are impeccable. Even a British expert could have certified it.â He addressed this to the man standing on the opposite side of the bar of light illuminating the
Horse.
When the man spoke, his tessitura was just as one would have predicted: precise, carefully modulated, colorless.
âHow did you know it was the Dallas
Horse,
Dr. Hemlock?â
âAh, you speak. I thought you just posed.â
âHow did you know it was the Dallas
Horse
?â
As curtly as possible, Jonathan explained that everyone who knew anything at all about the Marini
Horse
s knew the story of the one purchased by the young Dallas millionaire who subsequently picked it up at the plane himself, loaded it into the back of his pickup, then brought it to his ranch. In unloading, it was dropped and broken. Subsequently it was brazed together by an auto mechanic and, because it was imperfect, it was relegated to adorning the barbecue pit. âAny novice