Daniel Silva 2-Book Thriller Collection: Portrait of a Spy, The Fallen Angel. Daniel Silva

       Chapter 9 The Lizard Peninsula, Cornwall

      WITH THE APPROVAL OF SCOTLAND YARD, the Home Office, and the British prime minister himself, Gabriel and Chiara returned to Cornwall three days after the bombing in Covent Garden. Madonna and Child with Mary Magdalene, oil on canvas, 110 by 92 centimeters, arrived at ten the following morning. After carefully removing the painting from its protective coffin, Gabriel placed it on an antique oak easel in the living room and spent the remainder of the afternoon studying the X-rays. The ghostly images only strengthened his opinion that the painting was indeed a Titian, and a very good Titian at that.

      It had been several months since Gabriel had laid hands on a painting, and he was eager to begin work right away. Rising early the following morning, he prepared a bowl of café au lait and immediately threw himself into the delicate task of relining the canvas. The first step involved adhering tissue paper over the image to avoid further paint losses during the procedure. There were a number of over-the-counter glues suitable for the task, but Gabriel always preferred to mix his own adhesive using the recipe he had learned in Venice from the master restorer Umberto Conti—pellets of rabbit-skin glue dissolved in a mixture of water, vinegar, ox bile, and molasses.

      He simmered the noxious-smelling concoction on the kitchen stove until it was the consistency of syrup, and watched the morning news on the BBC while waiting for the mixture to cool. Farid Khan was now a household name in the United Kingdom. Given the precise timing of his attack, Scotland Yard and British intelligence were operating under the assumption it was linked to the bombings in Paris and Copenhagen. Still unclear was the terrorist affiliation of the bombers. Debate among the television experts was intense, with one camp proclaiming the attacks were orchestrated by al-Qaeda’s old-line leadership in Pakistan and another declaring that they were clearly the work of a new network that had yet to produce a blip on the radar screens of Western intelligence. Whatever the case, European authorities were bracing for more bloodshed. MI5’s Joint Terrorism Analysis Center had raised the threat level to “critical,” meaning another attack was expected imminently.

      Gabriel focused most intently on a report dealing with questions over Scotland Yard’s conduct in the minutes before the attack. In a carefully worded statement, the commissioner of the Metropolitan Police acknowledged receiving a warning about a suspicious man in an oversized coat headed toward Covent Garden. Regrettably, said the commissioner, the tip did not rise to the level of specificity required for lethal action. He then confirmed that two SO19 officers had been dispatched to Covent Garden but said they had no choice under existing policy but to hold their fire. As for reports of a weapon being drawn, police had questioned the man involved and determined it was not a gun but a camera. For reasons of privacy, the man’s identity would not be revealed. The press appeared to accept the Met’s version of events, as did the civil libertarians, who applauded the restraint shown by the police even if it had meant the loss of eighteen innocent lives.

      Gabriel switched off the television as Chiara entered the kitchen. She immediately opened a window to drive out the stench of the ox bile and vinegar and berated Gabriel for fouling her favorite stainless steel saucepan. Gabriel only smiled and dipped the tip of his forefinger into the mixture. It was now cool enough to use. With Chiara peering over his shoulder, he applied the glue evenly over the yellowed varnish and adhered several rectangles of tissue paper to the surface. Titian’s handiwork was now invisible and would remain so for the next several days, until the relining was complete.

      Gabriel could do no more work that morning except to check on the painting periodically to make certain the glue was drying properly. He sat in the covered gazebo overlooking the sea, a notebook computer on his lap, and scoured the Internet for more information about the three bombings. He was tempted to check in with King Saul Boulevard but thought better of it. He had neglected to inform Tel Aviv of his brush with terror in Covent Garden, and to do so now would only give his former colleagues an excuse to intrude on his life. Gabriel had learned from experience it was best to treat the Office like a jilted lover. Contact had to be kept to a minimum and was best conducted in public places where a messy scene would be inappropriate.

      Shortly before noon, the last remnants of a midnight gale passed over Gunwalloe Cove, leaving in its wake a clear sky of crystalline blue. After making one final check of the painting, Gabriel pulled on an anorak and a pair of hiking boots and headed out for his daily march along the cliffs. The previous afternoon he had trooped north along the Coastal Path to Praa Sands. Now he mounted the small rise behind the cottage and headed south toward Lizard Point.

      It did not take long for the magic of the Cornish coast to chase away the memories of the dead and wounded in Covent Garden. Indeed, by the time Gabriel had reached the fringes of Mullion Golf Club, the last terrible image was safely concealed beneath a layer of obliterating paint. As he pressed farther south, past the rocky outcropping of the Polurrian Cliffs, he thought only of the work to be done on the Titian. Tomorrow he would carefully remove the painting from its stretcher and then adhere the weakened canvas to a swath of fresh Italian linen, pressing it firmly into place with a heavy tailoring iron. Next came the longest and most arduous phase of the restoration—removing the cracked and yellowed varnish and retouching those portions of the painting lost to time and stress. While some restorers tended to be aggressive in their retouching, Gabriel was known throughout the art world for the lightness of his touch and his uncanny ability to mimic the brushstrokes