The altarpiece—Virgin and Child in Glory with Saints by Paolo Veronese—was as he had left it, too. It was just one of several remarkable paintings Veronese had produced for the church between 1556 and 1565. His tomb, with his glowering marble bust, was on the left side of the presbytery. At moments like these, when the church was empty and dark, the restorer could almost feel Veronese’s ghost watching him as he worked.
The restorer switched on the lamps and stood motionless for a long moment before the altarpiece. At the apex were Mary and the Christ Child, seated upon clouds of glory and surrounded by musician angels. Beneath them, gazing upward in rapture, was a group of saints, including the patron saint of the church, Sebastian, whom Veronese depicted in martyrdom. For the past three weeks, the restorer had been painstakingly removing the cracked and yellowed varnish with a carefully calibrated mixture of acetone, methyl proxitol, and mineral spirits. Removing varnish from a Baroque painting, he liked to explain, was not like stripping a piece of furniture; it was more akin to scrubbing the deck of an aircraft carrier with a toothbrush. He first had to fashion a swab with cotton wool and a wooden dowel. After moistening the swab with solvent, he would apply it to the surface of the canvas and twirl, gently, so as not to cause any additional flaking of the paint. Each swab could clean about a square inch of the painting before it became too soiled to use. At night, when he was not dreaming of blood and fire, he was removing yellowed varnish from a canvas the size of the Piazza San Marco.
Another week, he thought, and then he would be ready to move on to the second phase of the restoration, retouching those portions of the canvas where Veronese’s original paint had flaked away. The figures of Mary and the Christ Child were largely free of damage, but the restorer had uncovered extensive losses along the top and bottom portion of the canvas. If everything went according to plan, he would finish the restoration as his wife was entering the final weeks of her pregnancy. If everything went according to plan, he thought again.
He inserted a CD of La Bohème into the stereo, and a moment later the sanctuary was filled with the opening notes of “Non sono in vena.” As Rodolfo and Mimi were falling in love in a tiny garret studio in Paris, the restorer stood alone before the Veronese, meticulously removing the surface grime and yellowed varnish. He worked steadily and with an easy rhythm—dip, twirl, discard … dip, twirl, discard—until the platform was littered with acrid balls of soiled cotton wool. Veronese had perfected formulae for paints that did not fade with age; and as the restorer removed each tiny patch of tobacco-brown varnish, the colors beneath glowed intensely. It was almost as if the master had applied the paint to the canvas only yesterday instead of four and a half centuries ago.
The restorer had the church to himself for another two hours. Then, at ten o’clock, he heard the clatter of boots across the stone floor of the nave. The boots belonged to Adrianna Zinetti, cleaner of altars, seducer of men. After that it was Lorenzo Vasari, a gifted restorer of frescoes who had almost single-handedly brought Leonardo’s Last Supper back from the dead. Then came the conspiratorial shuffle of Antonio Politi, who, much to his annoyance, had been assigned the ceiling panels instead of the main altarpiece. As a result, he spent his days sprawled on his back like a modern-day Michelangelo, glaring resentfully at the restorer’s shrouded platform high above the chancel.
It was not the first time the restorer and the other members of the team had worked together. Several years earlier, they had carried out major restorations of the Church of San Giovanni Crisostomo in Cannaregio and, before that, at the Church of San Zaccaria in Castello. At the time, they had known the restorer as the brilliant but intensely private Mario Delvecchio. Later, they would learn, along with the rest of the world, that he was a legendary Israeli intelligence officer and assassin named Gabriel Allon. Adrianna Zinetti and Lorenzo Vasari had found it in their hearts to forgive Gabriel’s deception, but not Antonio Politi. In his youth, he had once accused Mario Delvecchio of being a terrorist, and he regarded Gabriel Allon as a terrorist, too. Secretly, he suspected it was because of Gabriel that he spent his days in the upper reaches of the nave, supine and contorted, isolated from human contact, with solvent and paint dripping onto his face. The panels depicted the story of Queen Esther. Surely, Politi told anyone who would listen, it was no coincidence.
In truth, Gabriel had had nothing to do with the decision; it had been made by Francesco Tiepolo, owner of the most prominent restoration firm in the Veneto and director of the San Sebastiano project. A bearlike figure with a tangled gray-and-black beard, Tiepolo was a man of enormous appetites and passions, capable of great anger and even greater love. As he strode up the center of the nave, he was dressed, as usual, in a flowing tunic-like shirt with a silk scarf knotted around his neck. The clothing made it seem as though he were overseeing the construction of the church rather than its renovation.
Tiepolo paused briefly to cast an admiring glance at Adrianna Zinetti, with whom he had once had an affair that was among the worst-kept secrets in Venice. Then he scaled Gabriel’s scaffolding and barged through the gap in the tarpaulin shroud. The wooden platform seemed to bow under the strain of his enormous weight.
“Careful, Francesco,” said Gabriel, frowning. “The floor of the altar is made of marble, and it’s a long way down.”
“What are you saying?”
“I’m saying that it might be wise for you to lose a few kilos. You’re starting to develop your own gravitational pull.”
“What good would it do to lose weight? I could shed twenty kilos, and I’d still be fat.” The Italian took a step forward and examined the altarpiece over Gabriel’s shoulder. “Very good,” he said with mock admiration. “If you continue at this pace, you’ll be finished in time for the first birthday of your children.”
“I can do it quickly,” replied Gabriel, “or I can do it right.”
“They’re not mutually exclusive, you know. Here in Italy, our restorers work quickly. But not you,” Tiepolo added. “Even when you were pretending to be one of us, you were always very slow.”
Gabriel fashioned a fresh swab, moistened it with solvent, and twirled it over Sebastian’s arrow-pierced torso. Tiepolo watched intently for a moment; then he fashioned a swab of his own and worked it against the saint’s shoulder. The yellowed varnish dissolved instantly, exposing Veronese’s pristine paint.
“Your solvent mixture is perfect,” said Tiepolo.
“It always is,” replied Gabriel.
“What’s the solution?”
“It’s a secret.”
“Must everything be a secret with you?”
When Gabriel made no reply, Tiepolo glanced down at the flasks of chemicals.
“How much methyl proxitol did you use?”
“Exactly the right amount.”
Tiepolo scowled. “Didn’t I arrange work for you when your wife decided she wanted to spend her pregnancy in Venice?”
“You did, Francesco.”
“And do I not pay you far more than I pay the others,” he whispered, “despite the fact that you’re always running out on me every time your masters require your services?”
“You’ve always been very generous.”
“Then why won’t you tell me the formula for your solvent?”
“Because Veronese had his secret formula, and I have mine.”
Tiepolo gave a dismissive wave of his
