no idea what these people would want to reveal to – or hide from – the police, but he preferred that he and Vianello should arrive unannounced.
The heat made it impossible for them to think of walking to the Misericordia, and there was no easy way to get there by vaporetto, so Brunetti had Foa take them in a police launch. He and Vianello stayed on deck: even with the windows open, the cabin of the slow-moving launch was unbearable. Foa had raised the awning above the tiller, but it did little to help against the sun. It was minimally cooler in the open air with the breeze, and perhaps being on the water helped, but it was still so hot that none of them could bear to mention it. The only relief they found were in the occasional patches of cool air through which they passed, a phenomenon Brunetti had never understood: perhaps it seeped out of the porte d’acque of the palazzi they passed, or perhaps some system of wind and air currents trapped pockets of cooler air at random places in the canals.
When they pulled up near the palazzo, Brunetti told Foa to go back to the Questura, remembering Patta’s morning swim. He said he’d call when they were finished or, if it took too much time, that he and Vianello would go somewhere for lunch and get back on their own.
The top bell on the panel beside the portone read ‘Fulgoni’. Brunetti rang it.
‘Chi è?’ a woman’s voice inquired.
‘Polizia, Signora,’ Brunetti answered. ‘We’d like to talk to you.’
‘All right,’ she said after only a moment’s hesitation and clicked open the entry door.
They expected the cooler air in the courtyard, and so it did not delight them the way the surprise pockets of cool air in the canals had. As they passed the place where Fontana had been killed, Brunetti noticed that the red and white tape remained, though the pavement had been wiped clean. There was still no sign of a statue.
They walked to the top floor. The door was ajar and a tall, broad-shouldered woman in her fifties stood in the doorway. Seeing her hair, Brunetti remembered having seen her on the street: it was dark as a raven’s wing, brushed back from her pale face in two aerodynamic waves that created the look of a helmet, no doubt kept in place by some sort of substance known to women and hairdressers. In contrast, her face was so pale it looked as though it had been brushed with rice powder, and she wore no makeup save a light pink lipstick. She wore a dark green blouse with frills hardly suited to a woman her size. The colour, too, was inopportune and clashed with her blue skirt. Brunetti could tell the clothing was expensive and might have looked good on a person with the right colouring, but neither blouse nor skirt was in any way flattering to Signora Fulgoni.
‘Signora Fulgoni?’ Brunetti asked, extending his hand.
She ignored it and stepped back to wave them both inside. She led them silently down a corridor and into a small sitting room with parquet floors, a small sofa and one easy chair. The bright covers of magazines looked up happily from a low table; one wall was lined with bookcases bearing books that looked as though they had been read. Light streamed into the room through striped linen curtains drawn back from three large windows, a sharp contrast with the obscurity of the Fontanas’ apartment, one floor below them. The walls were the palest of pale ivory: on one of them hung what looked like a series of Otto Dix prints; another held more than a dozen paintings that appeared all to be by the same hand: small abstracts that used only three colours – red, yellow, white – and that appeared to have been painted with a palette knife. Brunetti found them exciting and peaceful at the same time but had no idea how the artist had achieved this.
‘My husband paints,’ she said with careful neutrality, raising her hand to indicate the paintings and then continuing the gesture to show them the sofa. Brunetti was interested by her phrasing – not that her husband was a painter – and waited for the explanation. It came: ‘He’s a banker and paints when he can.’ She spoke with audible pride in a voice that was calm and exact and had a very pleasing, low timbre.