What’s Bred in the Bone tct-2

by Robertson Davies

  “I know what it is. I’ve never seen a painting of it.”

  “They are extremely rare. It was a favourite theme in manuscript illuminations and sometimes in stained glass, but it did not appeal to painters. It is Christ redeeming the souls of the better class of pagans from Hell, where they had presumably languished until His death on the Cross. Well—if it were real and not something Letztpfennig had fudged up himself, it would be interesting, and if it were in the Gothic style it might reasonably go to the Führermuseum, if the German experts passed it. Though those highly intelligent men have so far shown themselves willing to deal only with reputable people like the group with whom I—and you, now that Drollig Hansel has given such satisfaction—are associated. But Letztpfennig, like the blockhead he is, asserts that a signature—by which he means a monogram—is on the picture that establishes it as the work of Hubertus van Eyck.

  “When that leaked out, there was a sensation, and an immediate request for information and a chance to bid from an American collector. One of the biggest, and when I tell you that his agent and expert is Addison Thresher you will know whom I am talking about. And there were complications, because, as you know, the Reichsmarschall is a keen collector himself, and if there were a Hubertus van Eyck to be had, he wanted it. To be paid for, I need hardly tell you, by paintings from German museums. Great men are above trivialities in such negotiations. He offered, or his agents offered on his behalf, some splendid Italian things, and Letztpfennig was out of his meagre wits trying to decide whether he should grab the American dollars at once, or grab the Italian pictures, for resale in the States.

  “That was when the Dutch government stepped in. You know how dearly they love the Reich. Their Ministry of Fine Art said that a great masterpiece by Hubertus van Eyck was a national treasure and could not leave the country. You would have thought that Belgium would have intervened and said that the picture had, after all, been found in Belgium, but nothing was heard from Belgium and that made Addison Thresher suspicious that the picture had never been in Belgium and was probably a fake.

  “Not to toil through all the details, the picture is now in the protection of the Dutch Ministry of Fine Art, and all sorts of people have been visiting it, trying to decide whether it is genuine or not. Medland and Horsburgh from the British Museum and National Gallery laboratories in London have seen it, and can’t give an opinion unless they are permitted to use X-rays and chemical tests—which the Dutch so far won’t allow. Lemaire and Bastogne and Baudoin from Paris and Brussels have hemmed and hawed. Two Dutch experts, Dr. Schlichte-Martin and Dr. Hausche-Kuypers, are at each other’s throats. Addison Thresher is now almost ready to break off all negotiations on grounds that the thing is a fake, and the German experts Frisch and Belmann are outraged because he suggests that they are afraid to speak their minds for fear of being proved wrong.

  “They are running out of experts. Of course, they can’t have Berenson, ostensibly because his area is confined to Italian art, but really because he is a Jew and the Reichsmarschall would be outraged. Duveen can’t get near it or bring anybody to look at it for the same reason. It’s the old wrangle between scientific testing and aesthetic sensibility, and Huygens, the judge who is in charge of the matter, is tired of it and wants to have somebody say that the thing is genuine, or that it is dubious and the scientific tests should proceed. So he has sent for me. And I’m not going.”

  “Why not?”

  “Because of the delicacy of the situation in which our group finds itself. It must never for one moment be thought that we want to destroy Letztpfennig, but Letztpfennig must be destroyed or the Germans may become more suspicious than they naturally and quite rightly are, as professionals in art appreciation. We don’t want every fool with an old picture horning in on the work we are doing. So I have written to Judge Huygens saying that my health is precarious, but that I shall send my trusted assistant to his aid, and if it proves absolutely necessary, I shall make the journey to The Hague myself. You are going.”

  “To do what?”

  “To decide whether The Harrowing of Hell is by Hubertus van Eyck, or not. To show, if you can, that Letztpfennig either painted it himself on an old canvas, or at least over-painted an existing picture, and put in the van Eyck monogram. This is your chance to establish yourself as an art expert. Don’t you understand, Corniche? This is one of your great tests, and I am putting it in your way.”

  “But what is being tested? You are sending me with instructions to declare the picture a fake and to discredit a rival. It doesn’t sound like art criticism to me.”

  “It is a part of art criticism, Corniche. Your North American innocence—to use an absurdly kind word for it—must come to terms with the world in which you have chosen to put your life. It is a cruel world and its morality is not simple. If I had the least feeling that this thing in The Hague was a genuine Hubertus van Eyck I would be on my knees before it, but the chances are ten thousand to one that it’s a fake, and the fake must be exposed. Art is very big money, these days, owing to the extraordinary exertions of certain geniuses, of whom Duveen is certainly the greatest. Fakes cannot be endured. Good art must drive out bad.”

  “But the morality of that—which I understand—won’t square with what we have been doing here.”

  “The morality of the art world is not square, my dear pupil and colleague; it is a polyhedron. But it is a morality, none the less. So—go and win your spurs!”

  “And what if I don’t?”

  “Then I shall come and do what you have failed to do, by one means or another, including even the Evil Eye—if anyone is so foolish as to believe in it, which I don’t, as I have made clear—and if you and I have any further association, it will be simply as master and perpetual apprentice. You will have failed and I shall have to find another successor to myself. In this affair you are being tested as well as Letztpfennig.”

  The Dutch Ministry of Fine Art treated its guests well—indeed, in princely style—and when Francis arrived in The Hague he was put up at the Hotel Des Indes, and ate a splendid meal into which he admitted no scrap of veal. The next morning he presented himself to Judge Huygens, who looked precisely as a judge should, and who took him after an exchange of civilities to a handsome room, where the disputed painting was displayed on an easel. Francis settled to his work, and it was soon clear that the Judge meant to stay in the room all the time he was there. A large, watchful, uniformed attendant was also on guard at the door.

  The Harrowing of Hell was a most impressive picture, larger than Francis had expected, and obviously meant for a church. The colours glowed with the extraordinary light and appearance of transparency that the brothers van Eyck were reputed to have perfected and brought to the world of painting in oils; colour had been used at its greatest strength above a light ground, which created the magical glow of even the darkest pigment. In the middle of the picture was the figure of Christ, triumphantly bearing the banner-cross of the Resurrection in His left hand and gesturing toward Adam and Eve, the prophets Enoch and Elijah, and figures of Isaiah, Simeon, and Dismas, the Repentant Thief, with His right hand; He was beckoning them to follow Him through the gates of Hell, which stood open behind Him. On His left, averting their faces from His glory, cringing, gnashing their teeth, and seeking to escape, were Satan and his attendant fiends. The background was a true Dutch sky, flecked with delicate clouds, beneath which was to be seen some parts of a truly Dutch landscape, lying behind the gates of Hell—and Hell obviously employed a brilliant and imaginative metalsmith.

  Francis studied the picture for perhaps half an hour. If it were a fake it was a magnificent fake, done by a painter of enviable talent. But there have been magnificent fakes in the history of art. Well, that’s enough aesthetic judgement, thought Francis; now we get down to the really inquisitorial inspection. He had brought, in a brief-case, what he thought of as his Little Jiffy Bernard Berenson Art Expert’s Set, consisting of a pair of binoculars, a large magnifying glass, and
a brush of medium size. He looked at the picture through the binoculars, from the greatest distance the room allowed; then looked at it through the wrong end of the binoculars. Neither magnification nor diminution suggested anything peculiar about the composition. He looked at the picture through his magnifying glass, inch by inch, and then at his request the large attendant stood the picture on its head, and he examined it again from that aspect. With a reassuring nod to the Judge he dabbed at it here and there with his soft brush. He examined the back, tapped the canvas, inspected the workmanship of the stretchers. To the astonishment of Huygens and the guard he crumpled his handkerchief, warmed it with a cigarette-lighter, and held it to the canvas for perhaps ninety seconds. He sniffed the heated area loudly. No: not a whiff of formaldehyde. Then he sat down again and looked at the picture for another hour, occasionally turning away and suddenly rounding on it, as though it might have relaxed some of its pervasive van Eyck-ishness while his back was turned. He spent a good deal of time peering at the monogram, small but easily enough seen when you knew where to look, hidden in the folds of Isaiah’s robe. It might have been many things: Hubert of Ghent? Signatures didn’t matter, anyhow; the real signature was the quality of the painting, and try as he might he couldn’t find anything wrong with it.

  Fakes, as he well knew, tend to declare themselves a generation or two after they have appeared and been accepted as originals. Truth, the daughter of Time, reveals indications of another age, another temper and taste, in a picture which is painted long after the period to which it has been attributed. Paint ages in the wrong way. Fashions in faces change, and the change may be seen when the fashion for a certain conformation of features has passed. But he did not have fifty years to wait. His job was to declare the picture a fake, and to do so as soon as possible.

  When at last he said to the Judge that he had seen enough he received a shock. “Several of your fellow-experts are in the city at present,” said Huygens. “They are anxious to hear what you have to say, as I am myself. You speak, we know, with the authority and probity of Tancred Saraceni and we have agreed that your opinion shall carry great weight, and indeed will doubtless prove decisive. Will you meet us here tomorrow at eleven o’clock? The painter will be here also. Understandably he expects a triumphant vindication.”

  “And you, Edelachtbare Heer?”

  “I? Oh, my opinion is of no importance. I am simply the director of the investigation. Indeed, it would be improper if anyone holding strong opinions about this sort of painting had been appointed to preside. I do, of course, represent the Netherlands government.”

  At luncheon, as Francis was treating himself to another veal-free blow-out at the expense of his hosts, he was joined by a smiling American.

  “Mind if I sit down? I am Addison Thresher, and I’m here from the Metropolitan Museum in New York. Also representing one or two other interested parties. There’s no harm in our talking; Huygens said it was perfectly all right. What did you think?”

  Addison Thresher was an expensively dressed, conservatively dressed, more than ordinarily tastefully dressed man, with silver-rimmed glasses and those American teeth, so disconcerting to the European eye, that always seem to have been furiously brushed not more than an hour ago. His manners were wonderful and he smelled of a costly toilet water. But in his eyes there was a steely glint.

  Warily, Francis told him what he thought, which in effect was nothing at all.

  “I know,” said Thresher; “that’s the trouble, isn’t it? Not a thing you can quite lay your hand on. The signature is a fake, of course, but that’s not important. But there is something about the whole affair I don’t like. You’ve seen the composition before, of course?”

  Francis shook his head, his mouth being full.

  “Have you ever looked at that late-medieval manuscript of the Cooks and Innkeepers Play, in the Chester group? There’s a miniature of the Harrowing. Very suggestive. Could van Eyck have seen it? Barely possible. But a faker could know it. There’s nothing that hints at the Fra Angelico or the Bronzino of the Harrowing; that would have been a dead give-away, for Hubertus van Eyck couldn’t have seen either. But there is also a strong feeling of that big wall painting at Mount Athos, and that would be funny, wouldn’t it—two minds with but a single thought, and God knows how many centuries between them? The influences, if they are influences, are so damned scholarly. Nothing in any of the work of either of the van Eycks suggests that they were learned in that way. Painters in those days simply weren’t.”

  “Yes, I see what you mean,” said Francis, trying to conceal the fact that he was learning fast. “But still—nothing that proves fakery.”

  “That’s what the Germans say. And also what the Dutch say. They want it to be genuine, of course, because it would be a marvellous acquisition for a Dutch gallery. The man from the Mauritshuis is particularly keen. If it proves to be a national treasure they’ll never let it out of the country, and they’d love to thwart Göring. They fight about details but they’re wholly agreed on that. They’ll pay Letztpfennig a goodish price, but not the really big money he would get from the States, or the splendid swaps he could get from the Germans.”

  “What do you know about Letztpfennig?”

  “Nothing to his discredit. Indeed, he is rather an impressive figure. Lectures learnedly on Dutch art, and is probably the best restorer in Europe—except for Saraceni, of course. Knows perhaps a little too much about Old Master painting techniques to be entirely trustworthy in a situation like this. But I mustn’t let my suspicions run away with me. It’s just that in my bones I sense something wrong, and as long as the scientific boys from London are kept at bay, I have to rely on my bones. Aesthetic sensibility, we call it in the trade, but it comes down to a feeling in the bones.”

  “Like Berenson.”

  “Yes, Berenson has wonderfully shrewd bones. But when Joe Duveen is paying you a full twenty-five per cent of the sale price of a picture for an authentication, I wonder if your bones can always be heard above the sweet music of the cash register. It costs a lot of dough to live like Berenson. Of course, it’s all academic to me; whatever happens I won’t get the picture. But I hate a faker. Bad for business.”

  Addison Thresher’s manners left nothing to be desired. He did not hover over Francis but took himself off, saying that they would meet again in the morning. And what was Francis to do? Go to the Mauritshuis and look at the pictures? He had been there before and he was sick of looking at pictures. Encouraged by his good lunch he went to the Wassenaar, and spent the afternoon at the zoo.

  Jean-Paul Letztpfennig’s hand, when he gave it to Francis to shake, was unpleasantly damp, and Francis immediately drew out his handkerchief and wiped his own hand somewhat too obviously. Some of the other men in the room were quick to notice. Professor Baudoin, whom Francis had already decided was the nasty one, sucked in his breath audibly. This was much better than when he blew it out, generously, as he did in conversation, for his breath suggested that he was dying from within, and had completed about two-thirds of the job. It was a striking contrast to Addison Thresher, whose breath smelled of the very best caries-defying toothpaste. He was dressed this morning in a completely different outfit, somewhat formal and suggestive of great affairs.

  Indeed, great affairs were in hand. Expectancy was in the air, and all the sensitive bones of all the experts must have felt it. Dr. Schlichte-Martin, ample and red-faced. Dr. Hausche-Kuypers, young and merry, were like men playing a game of Snakes and Ladders; if the van Eyck were real, the fat old man advanced and the young jolly one was thrown back, but if it were the other way round, youth rejoiced and age grieved. Frisch and Belmann, the Germans, wore iron-grey suits and iron-grey expressions, for they were losers whatever happened. They rather hoped Letztpfennig would be exploded and regretted their earlier excitement about his find. Lemaire and Bastogne and Baudoin were philosophical, but inclined to negative opinions; the two Frenchmen would have liked the picture to be genuine, but doubted if
it could be; the Belgian wanted it to be a fake, for he was a friend of whatever was negative. They were all hedging their bets in the guarded manner of critics the world over.

  “Everyone knows everyone else, I believe? Shall we proceed to our business, which may be brief? Mr. Cornish, will you tell us what your conclusions are?” The Judge was by far the calmest man present. The Judge, and the big guard at the door.

  Francis approached his task with inward shrinking, but outward calm. He was inclined to like Letztpfennig, though he wished he could wash the corpse-sweat from his right hand. Letztpfennig was by no means the comic figure of Saraceni’s derision. A grey man, with the appearance of a deeply intellectual man, thickly spectacled and possessing a mop of grey hair which might have suggested an artist if the man were not so obviously cast in the mould of a professor. A carefully dressed man, with a white handkerchief peeping from his breast pocket in just the right proportion. A man whose shoes gleamed with loving care. His appearance of calm impressed nobody.

  Well, here goes, thought Francis. Thank God I can be both decisive and honest.

  “I fear the picture cannot be accepted as genuine,” said he.

  “That is your opinion?” said Huygens.

  “More than simply an opinion, Edelachtbare,” said Francis; the occasion he thought deserved the fullest formality. “The picture may indeed be an old picture. The quality of the painting is superb, and it strongly suggests van Eyck. Any painter at any time might be proud to have painted it. But you cannot even attribute it to alunno di van Eyck or amico di van Eyck; it is probably a century after van Eyck.”

  “You speak with great certainty,” said Professor Baudoin, with unconcealed gloating. “But you are—if you will allow me to speak of it—a very young man, and the certainty of youth is not always appropriate to such matters as this. You will give us reasons, of course.”