The Bernini Bust. Iain Pears
He had arrived a few days back, alarming the museum staff by bearing the small picture wrapped up in a supermarket bag and transported as hand luggage on the aircraft. It was firmly removed from his care, encased in an especially designed wood and velvet box weighing an extraordinary amount, and carried in an armourplated wagon from the airport to the museum, where a team of six began to study it and another three considered where it might best be hung. Argyll was impressed. He thought one person with a hammer and nail would have done the trick well enough.
But it was the consequences of the sale that bothered him, and cooled off the warm glow of affluent well-being that should, ordinarily, have suffused him. If there was one thing worse than an unhappy employer, it was a happy one, it seemed…His thoughts returned yet again to the unwelcome generosity of Sir Edward Byrnes, proprietor of the Bond Street gallery bearing his name, and Jonathan Argyll’s employer. But, as he knew that no satisfactory decision was likely to result from thinking any more about Byrnes’ offer – instruction, rather – that he return to London after nearly three years in Italy, he was not completely disappointed to be interrupted by the sight of a cab pulling slowly off the street, driving along the driveway of carefully laid, hand-fired terracotta tiles, through the mist keeping the lawn in fine fettle, and finally stopping outside the museum entrance.
The man who emerged was tall, excessively thin and had a carefully cultivated air of aristocratic fastidiousness combined with just a suggestion of aesthetic flair. The first side was indicated by the immaculately fitted suit and watchchain crossing his stomach; the second by a handsome ebony and gold walking stick in his right hand and a lilac handkerchief in his breast pocket.
As the taxi drew away, this man stood still and gazed imperiously about him, very much with the air of someone faintly surprised not to see the full welcoming committee that must be around somewhere. He also looked distinctly annoyed, and Argyll sighed heavily. His day was spoilt already.
It was much too late to escape. The man’s gaze, having little else to alight on, fixed on him and Argyll saw the look of recognition spread over the ageing but still handsomely chiselled face.
‘Hello, Hector,’ Argyll said, accepting the inevitable, but refusing to show any form of welcome by budging from his marble slab. ‘You’re the last person I expected to see here.’
Hector di Souza, a Spanish art dealer resident in Rome for longer than anyone could remember, walked over and saluted the Englishman with a well-practised wave of the walking stick.
‘In that case, I have the advantage,’ he said smoothly. ‘I fully expected to see you. Although not, of course, in such a languorous posture. I trust you’re enjoying your stay?’
That, of course, was Hector all over. Stick him at the North Pole and he’d act as though he owned the place. Argyll tried to think of a suitably cutting reply, but inspiration failed him, as usual. So he yawned, leant over and stubbed out his cigarette in an inconspicuous corner of the marble.
Fortunately di Souza neither wanted nor waited for a reply. Instead, he resumed his gaze around the landscape, looking with right eyebrow delicately raised to indicate a somewhat contemptuous disapproval of American urbanism. Eventually his eye came to rest on the museum itself, and he sniffed loudly in a fashion that was utterly damning.
‘This is a museum?’ he asked, squinting at the bland and anonymous building behind Argyll’s left shoulder.
‘For the time being. They plan to build a bigger one.’
‘Tell me, dear boy, is it as bad as they say?’
Argyll shrugged. ‘Depends what you mean. By bad, that is. The truly disinterested might say it’s full of tat. But as it’s just shelled out a large amount of money for one of my pictures, I am honourbound to defend it. But I think they could have spent the money better.’
‘They just have, my dear, they just have,’ he said with quite unbearable self-satisfaction. ‘Twelve of the finest pieces of Graeco-Roman sculpture on the market.’
‘Provided by yourself, I suppose? How old are they? Fifty years? Or did you have them carved to order?’
Argyll’s sarcasm was perhaps a little heavy-handed, but to his mind it was perfectly excusable. If not one of the biggest rogues prowling the Roman art market, di Souza was at least one of the more consistent. Not that people didn’t like him; far from it. Admittedly, some had trouble with the way he would come over all a-quiver at the very sight of an aristocrat; others found his baroque gallantry with women (the richer the better) annoying. But, on the whole, once you got used to the arrogance, the affected accent and his uncanny inability to find his wallet whenever a bill for a meal arrived, he was quite good company. If you like that sort of thing.
The only trouble was he could never resist the opportunity to make money, and a naïve and inexperienced Argyll had once come into his sights. Not serious, really; a little matter of an Etruscan figurine (fifth-century BC) cast in bronze a matter of weeks before Argyll was persuaded to buy it. It is difficult to forgive that sort of thing. Di Souza had taken it back – more than he had ever done for a real client – and apologised, and taken him out for a meal in recompense, but Argyll still nursed a certain grievance over the affair. The man had, after all, forgotten his wallet that time as well.
Hence his scepticism, and di Souza’s wish to brush the matter aside.
‘Selling things to you is one thing; selling things to old man Moresby is another,’ he said airily. ‘I’ve been trying to catch him for decades. Now I have, I don’t want to lose him again. The stuff I’ve sent here is perfectly genuine. And I’d much prefer it if you didn’t start casting aspersions on my integrity. Especially considering the favour I’ve done you.’
Argyll regarded him sceptically. ‘And what favour is that?’
‘You got that Titian off your hands at last, didn’t you? Well, you’ve me to thank. That man Langton asked about you, and I gave you a marvellous write-up. Of course, a recommendation from myself carries considerable weight in the more knowledgeable quarters. I told him your Titian was superb, that you were a man of great integrity. And here you are,’ di Souza concluded with a broad sweep of the cane around the landscape which implied strongly that he had personally called it into being.
Privately, Argyll considered that a recommendation from di Souza was no great favour, but let it pass. At least it partly cleared up the point of how Langton had come to him. He’d wondered about that.
‘So,’ di Souza went on, ‘your career in Italy is now on a much more secure footing. You may thank me later.’
Certainly not, Argyll thought. Besides, it looked like his career in Italy was drawing to a close, and he rather resented di Souza for reminding him.
How could he refuse Byrnes’ offer? The art market hadn’t collapsed entirely, but it was shaky round the edges and even a well-established figure like Byrnes was having to draw in his horns. He needed his best personnel on hand to advise him, so someone, either Argyll or his opposite number in Vienna, was going to be summoned back to London. The sale of the Titian made him choose Argyll. It was a gratifying show of confidence.
But – and it was a big but – to leave Italy? Go back to England? The very idea made him miserable.
The same thoughts again. Di Souza’s garrulousness was proving useful for the first time in their acquaintance, taking his mind off matters.
‘It’s a fairly new place, isn’t it?’ he was saying, impervious to Argyll’s inattention. ‘Can’t say I’m all that impressed.’
‘Nor is anyone else. That’s the trouble. Arthur Moresby spent so much money and this is all he gets for it.’
‘Poor man,’ said di Souza sympathetically.
‘Indeed. I’m sure it must be terrible. So now they think it’s not grand enough to stand comparison with the Getty. They’re on the brink of an all-out construction war. You know the Getty Museum is a replica of the Villa dei Papyri at Herculaneum?’
Di