The Raphael Affair (5 page)

‘Lot twenty-eight. Raphael. A portrait of Elisabetta di Laguna, about 1505. Oil on canvas, sixty-eight centimetres by a hundred and thirty-eight. I’m sure many of you know the background to this work, so we will start the bidding at twenty million pounds. What am I bid?’

To start the bidding at such a high price was audacious, but just the right touch of muted flamboyance needed. Only a few years ago to have
ended
the session on such a figure would have been a sensation. Only four pictures in the world had ever fetched more. Without any noise, and without any member of the audience appearing to move at all, the bidding flashed past thirty million, then thirty-five, then forty. At forty-two million, some dealers manning a rank of telephones along one side of the room spoke to their clients in dozens of different countries. At fifty-three million, some put down their phones and folded their arms, signifying that their clients had pulled out. At fifty-seven million it was clear that the bidding was down to two people, a burly man in the third row who insiders knew had acted in the
past for the Getty Museum, and a small man who made his bids with a nervous gesture with his hand, chopping sideways briefly as though making a point in an animated conversation.

It was this second man who won. After he had offered sixty-three million pounds, the burly man with the purple cravat looked up, hesitated and then shook his head. There was silence for perhaps three seconds.

‘Sold. For sixty-three million pounds. Yours, sir.’

The room exploded in applause, the tension welling up suddenly then bursting into relief and euphoria. It was not only a record, but an enormous record. The only reservation in the minds of the professional part of the audience was who the buyer had been. The art world is a small universe and almost everyone in it knows everyone else and who they work for.

No one had the slightest idea who this man was, and he vanished through a side door before anybody could ask him.

4

It took only a few days before the word seeped through the secret passages riddling the world of dealers, connoisseurs and collectors that the small unknown man who had outbid the Getty was a senior civil servant in the Italian treasury, sent to the sale with a blank cheque from the government and instructions to get the work at any cost. The news itself caused another mild stir. Like most other state museums, the Italian system was given an annual budget that was wholly inadequate. Like the curators of every museum in Europe, the director of the Museo Nazionale had had to stand by, consumed by a mixture of rage and envy, as work after precious work reached prices that his entire budget for the next twelve months could not have covered. But he was a man who regarded the saving of works for Italy as a moral duty, and had been lobbying everyone in authority for months to set aside more funds. He had won his point and, when Elisabetta came up for sale,
had cajoled and fought for the government to honour its promises.

Clearly, some remarkable manoeuvring had been going on in the labyrinthine and obscure network of intrigue known as the Italian government. In fact, it was another example of politics at work. The interest that the portrait had generated elsewhere in the world was nothing compared to that seen in Italy itself. The way that a cunning English dealer had snatched Elisabetta from the hands of State and Vatican, and had legally evaded all the restrictions designed to stop such an event, made the government appear foolish, the museum curators slow-witted, and the art historians incompetent.

And several members of the government remembered the furore that had preceded the founding of Bottando’s sezione only a few years before. So the authorities gave way to the ferocious and persuasive lobbying, made available the special grant they had promised, and sent off their man. In some ways it was a daring thing to do: the opposition Communist Party instantly did its best to make capital out of the move by pointing to a dozen better ways of spending that sort of money. Others wrote polemical articles in the newspapers on the Italian budget deficit and how the country could not possibly afford such indulgences.

But the government, and particularly the arts minister, had calculated correctly. He posed as a champion of the Italian heritage, willing to defend the patrimony at all costs. If Italy had lost such a valuable painting, then it must have it back. If this cost money, then so be it; that amount would be paid to safeguard the nation’s
artistic integrity. It turned out to be a popular move; opinion polls showed that the electorate’s patriotic nerve had been touched. Besides, there is something peculiarly gratifying in owning the most expensive picture in the world, and to have outspent the Americans and Japanese in a fair fight. Outside the country also, the Italian move was applauded. Directors from national museums everywhere cited the purchase as an example for their own governments to follow; some newspapers even began pointing to the minister – a man of little administrative ability and small intelligence – as embodying the sort of dynamism and vision that could make an effective prime minister.

Which didn’t endear him to the current incumbent, but as the government as a whole reaped some of the advantages of being considered effective, swift of foot and cultured – the last quality in some ways more important in Italy than the first two – nothing was said. But it was noted, and the minister was marked down for special attention in case he should show further signs of getting above himself.

The actual return of the painting was conducted like a state visit from a visiting sovereign. A month after the auction, once it had been put through a series of tests and examinations in London by specialists, it arrived in an air-force transport at Fiumicino airport and was carried in a procession – with attendant motorcycle outriders and armoured cars – to the National Museum. The armoured cars seemed a little excessive, but Bottando’s department, in liaison with his comrades in the regular army, was taking no chances. The Brigate Rosse, the
urban guerillas of the seventies, had lain dormant for several years, but you never knew.

In the Museo Nazionale itself, Elisabetta was set up like an icon. A room was emptied to take the portrait which would rest, behind the rope barrier keeping viewers ten feet away, in solitary splendour. Again, caution prevailed. Both police and curators remembered the sledgehammer attack on Michelangelo’s
Pietà
in St Peter’s a few years before; too many pictures in recent years had been slashed with knives or peppered with pellets from shotguns by maniacs who claimed to be the archangel Gabriel, or resented the adulation of some long-dead artist while their own talents went unrecognised. And everyone agreed that the painting’s fame made it a perfect target for some deranged attention-seeker.

Finally, the room was bathed in subdued lighting, with a single spotlight illuminating the work. The museum’s interior designers freely admitted to their friends, if not to anybody else, that this was a bit melodramatic. Drawings, such as Leonardo’s
Madonna
in the National Gallery in London, actually needed such protection from light to preserve them. Oil paintings were much more resilient and could do perfectly well in natural light. But the effect was splendid, creating an atmosphere of almost religious awe and causing visitors to speak in respectful, hushed tones which added greatly to the work’s impact.

Visitors there were in abundance. In the first few months attendance at the museum doubled. A visit suddenly became almost compulsory not only for tourists – who had often left it out hitherto because of its inconvenient location out of the centre – but even for Romans
themselves. Thousands of postcards were sold; Elisabetta di Laguna T-shirts were popular; a multi-national biscuit company paid the museum a fortune for the right to put her face on one of their products. Combined with the hugely increased entry fees, the museum directors calculated the state would have recovered most of the vast cost of the picture within four years if the painting’s popularity continued at this rate.

For Bottando and his assistant, the return of the painting had triggered one of their busiest periods for years. Setting up security, keeping tabs on known national and international thieves, worrying lest anything should go wrong, chained them to their desks.

Bottando, looking at the work through the eyes of an old-time policeman whose budget was already not big enough, spent much of his time in a frenzy of anxiety. He knew perfectly well that, whatever the picture’s artistic merits, it was a painted time-bomb for his department. If anything should happen to it, the blame would move around the government with the speed of a ball in a pinball machine before coming to rest on his desk.

Much of his work, therefore, consisted of preparing his defences. Although not a cynical man, and no politician, he was no fool either. A lifetime’s work under the aegis of the ministry of defence had taught him a great deal about survival techniques in a world that made fighting in the army seem genteel and civilised. So he spent many hours sweating over cautiously worded reports, drafted and redrafted memoranda and wasted a great deal of
time taking a few, carefully selected, bureaucrats and politicians to dinner.

The result was not entirely to his liking, but better than nothing. He had lobbied for extra manpower, using Elisabetta as a way of making his case for a larger budget. In fact, the result was that the security staff of the Museo Nazionale was doubled. Although it was never stated directly, the effective conclusion was that his department was relieved of any responsibility for guarding the picture once it was hung.

This provided some protection. But Bottando realised, with a perception honed by years of watching for trouble, that there existed no official document proving his lack of responsibility, and that was worrying. Especially because in Cavaliere Marco Ottavio Mario di Bruno di Tommaso, the sublimely aristocratic director of the National Museum, he was dealing with a man who would have been a natural politician had he not gone into the museum business. A smoother operator, in fact, was not to be found in the Camera dei Deputati. Tommaso had had a painting snatched from under his very nose, had been forced to buy it back at an outrageous price, and had turned it into a triumph. Impressive, without a doubt.

He was reminded of the justice of this opinion as he stood talking to the director at a reception thrown to celebrate the picture’s installation in the museum. A very select junket indeed. A sizeable chunk of the cabinet and their inevitable hangers-on; museum folk, the occasional academic, a few journalists just so the affair would reach the papers. Tommaso was, if anything,
Bottando’s superior in making sure glowing reports of his activities frequently adorned the pages of the newspapers.

‘Taking a bit of a risk, aren’t you? I mean, all these dubious types around your prized possession?’ Bottando gestured contemptuously at the justice minister and an army chief peering at the work, cigarettes in hand.

Tommaso moaned softly in agreement. ‘I know. But it’s difficult to ask the prime minister not to smoke. He gets withdrawal symptoms after ten minutes. We had to switch off all the fire alarms to make sure they weren’t all drenched by the sprinklers. Can’t say it makes me all that happy. But, there you are. What can you do? These people will insist on sharing the limelight.’ He shrugged.

The conversation dragged on for a few minutes more, and then Tommaso slid off to talk to others. He was always like that. Everybody got the regulation five minutes of urbane conversation. He was a perfect host; Bottando merely wished that he didn’t make you feel it all the time. He was always pleasant, always remembered everyone’s name, always recalled something about your last conversation with him to make you think he valued your company. Bottando hated him. The more so because he’d just sprung a very nasty surprise.

There was to be another liaison committee, he’d said. Were there not enough already, for heaven’s sake? A joint meeting of the museum and the police, to discuss security matters in the museum: Bottando heading the police end and Antonio Ferraro, the head of sculpture, the museum side. It had been Ferraro’s idea, apparently. Serve him right. Had Bottando heard about this
in advance, he could have sabotaged the whole thing. But Tommaso had gone ahead, getting all the various approvals, before broaching the subject.

It was, of course, true that what this place did need was a long, hard look at its security procedures, which were neolithic. But a committee wasn’t going to achieve much and, in fact, it wasn’t intended to. Instead, Tommaso meant it to serve as a layer of protection between him and responsibility if anything should go wrong.

The only person Bottando felt sorry for was Ferraro, standing over on the other side of the room. Tall, broad, and powerful-looking. Dark hair, of the sort that clung to his scalp as though it had been heavily anointed with hair dressing. A voluble conversationalist, one of those who tends to interrupt you in mid-sentence so that he can continue his enthusiastic narrations. Mid-thirties, with a permanent look of mild sarcasm on his face. A clever, impatient man. No wonder he and Tommaso never got on well; neither was prepared to accept the other in anything but a subservient role. Maybe Bottando could have him replaced on the committee with someone a bit more amenable?

‘You’re scowling,’ said a voice by his side. ‘I deduce that you’ve just been talking to our beloved chief.’

Bottando turned around, and smiled. Enrico Spello was unofficially the deputy director and someone he had a certain liking for. ‘Right as usual. How did you guess?’

Spello clasped his hands together to indicate the mysteries of human intuition. ‘Simple. I always look like that after a conversation with Tommaso as well.’

‘But he’s your boss. You’ve a right to dislike him. He’s always pleasant to me.’

‘Of course. He’s always delightful to me, as well. Even when he’s cutting my budget by twenty-five per cent.’

‘He’s done that? When?’

‘Oh, it’s been going on for a year or more. No interest in the Etruscans any more. For archaeologists and antiquarians. What’s needed is more brightness, stuff to bring in the crowds. As you know, he’s a bit of a whizz kid, our Tommaso. My department gets sliced so he can afford some very expensive beige fabric on the walls of western art.’