media event. The best restorers from the museums were called in to scrape away the paintwork of Mantini and remove the layer of protective varnish over the precious object underneath. Almost every week, bulletins on television would show the team of white-coated professionals – half scientific, half artistic – applying a variety of exotic solvents that could be relied upon to do their appointed task and no more. Then yet more programmes and articles in magazines monitored the second cleaning process, which would restore the painting to its original perfection.
Almost everybody knew by now that underneath the painting by Mantini there lay a portrait of Elisabetta di Laguna, the mistress of an earlier Marchese di Parma and, by repute, the most beautiful woman of her age. What someone like Raphael, who had made much less attractive women look like veritable Venuses, would have produced with such a sitter was anybody’s guess. Critics from the London Standard to the Baltimore Sun speculated freely. Some even ventured to suggest that Leonardo’s Mona Lisa would be knocked off its perch as the world’s favourite painting.
While the picture was under wraps, the jockeying for position got under way amongst the likely buyers. The Louvre indicated its interest, if it could afford the price. Two large New York banks and three pension funds in Tokyo also let it be known they might attend the auction. In an attempt to frighten off the opposition, the Getty Museum in Malibu Beach hinted that it might unleash all its vast buying-power to take possession. And all over the world, lesser millionaires and billionaires assessed their position, counted their money and attempted to work out whether they could, in a few years, sell it for a profit. Many decided they could.
When the picture was finally revealed to the public, the event was stage-managed in exquisite detail. The unveiling took place in a large meeting-room at the Savoy Hotel in the Strand, and hundreds of people were invited. The picture stood on a raised platform, covered with a large white sheet. Before the great moment, a presentation was made to the assembled press, television cameras, dignitaries from the worlds of museum and art-history faculties. The senior curator of the Louvre sat alongside the local staffer from Associated Press and the great Japanese collector Yagamoto; while the keeper of western art from the Dresdener Staatsgalerie was sandwiched between his great rival from one of the richest museums in the American Midwest and a sweaty individual from one of the London tabloids.
All of them had been served with champagne, courtesy of Byrnes Galleries, and all listened with appropriate attention as Byrnes himself ran through the now well-known story of how the painting was discovered; long forgotten in the little church in central Rome, and covered by another painting as a result of one of the greatest artistic fraud attempts of all time. Byrnes did a competent job of it, but was far from coming across as the archetype of the smooth art dealer. A small, timid-looking man with horn-rimmed spectacles and a bald head which ducked and bobbed nervously as he spoke, he was not at all like most people’s image of an international aesthete.
Nor, to Flavia in the fifteenth row on the right, did he look like the Machiavellian beast of Jonathan Argyll’s evidently fevered imagination. She was there largely out of curiosity; the presentation having come during one of her visits to London for informal discussions with the London art squad.
Flavia had gently asked her opposite number in London to organise an invitation. The squad was out in force to guard the picture, and Byrnes could hardly refuse them. So she sat and listened to him making his concluding remarks. Then he introduced Professor Julian Henderson, doyen of Renaissance studies, who gave a brief lecture. The picture, he told them, in an eminently polished delivery, was, without doubt, Raphael’s masterpiece; the apogee of the Humanist ideal of feminine beauty.
The lecture hall was not one that the journalists in the audience were used to, but they listened politely, and the photographers got on with their business. Henderson concluded by comparing the picture to other portraits by Raphael, and suggesting that the evidence now indicated that Elisabetta had been the model for the portrait of Sappho in the mural of Parnassus in the Vatican. The new work that the discovery would engender was enough to keep historians of the Italian High Renaissance in business for years.
Amid minor laughter and light applause he sat down and Byrnes moved towards the picture.
Flavia was beginning to find the showbiz style of the meeting a little wearisome, and was glad that Byrnes avoided any excessive display in the final stages. Not that it was needed; the audience’s sense of anticipation needed no further stimulation. With only a minor flourish, the cover was gently removed, and there was a quiet gasp as the onlookers, and the cameras, focused on what had become one of the most famous paintings in the world.
Because of the incessant coverage it had received in the last few months, almost everyone had some idea what the portrait looked like. Seeing it in the flesh was nonetheless exhilarating. It was a beautiful painting of a very beautiful woman. From her position, Flavia could not see very well, but it seemed to be a bust length with the head turned slightly to the right. Fair hair was gathered loosely at the back of the head so that the left ear was partly covered. The left hand reached up to touch a necklace, and the subject was dressed in a close-fitting dress of a gorgeously rich red. The background was conventional, but excellently produced. The sitter – lean and with none of the fleshy appearance that made many of Raphael’s Madonnas look just a little overweight – was in a room. In the left background was a window giving out to a wooded hill, on the right, wall hangings, a table and some ornaments. The organisation of the figure itself radiated an air of remarkable tranquillity, with just a hint of the sensuality that the painter so often brought out.
But she was most struck by the reaction from the audience. They were not admiring the delicacy of the brush strokes, the masterly application of shading or the subtleties of the composition, that was certain. They were ogling. Not a usual reaction for connoisseurs. She herself was caught up in the enthusiasm. The picture, both in its history and subject, was extraordinarily romantic. This most beautiful woman, nearly half a millennium old, had been lost for nearly three hundred years. It could hardly fail to capture the imagination. She even felt herself forgiving Byrnes.
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The enthusiasm that greeted Elisabetta’s entry onto the world scene after her long absence carried the painting right through to the auction, held in the main sale room of Christie’s about a month later. That affair also lived up to expectations.
The auctioneers knew how to put on a show. Expensively printed catalogues with full-colour photographs, a satellite link to sale rooms in Switzerland, New York and Tokyo, live television coverage in eight countries; these were the most obvious signs that an event of great importance was taking place. The atmosphere in the room, casually lined with other works of lesser significance, was electrifying. Like all good salesmen, the auctioneers had style. The sale was officially dubbed only ‘sixteenth- and seventeenth-century old master oils and drawings’, and Elisabetta was humbly placed as number twenty-eight on the list. The only difference was that, unlike many of the other lots, the Raphael had not been given an estimated sale price.
The audience had risen to the occasion also. London auctions range widely in style, background and purpose. At one end, there are the routine sales held in the shabby auction rooms in insalubrious neighbourhoods like Marylebone where the main clientele are unshaven dealers who congregate to chat, eat sandwiches, and pick up paintings for a couple of hundred pounds.
At the very top of the pile are the great houses in St James, where uniformed doormen open the broad brass doors, the employees speak with the accents of the privileged, and the clientele look as if they could buy a few hundred thousand pounds-worth of oil painting and not even notice. Even here, however, dealers tend to predominate, but these are the princes of their trade, with galleries in Bond Street or Fifth Avenue or the Rue de Rivoli. They are the sort of people who have enough to live on for a year if they sell one painting every three months, who own firms – not companies and never shops – that were often founded a century or more before. Not
