was a tall, distinguished-looking, balding man with a heavy Swiss accent. When they shook hands, Machada noticed that the index finger on the right hand of his visitor was missing.
Henri Rendell said, "I appreciate this. It is the first opportunity I have had to visit Madrid, and I am looking forward to seeing your renowned works of art."
Christian Machada said modestly, "I do not think you will be disappointed, Monsieur Rendell. Please come with me. I shall personally escort you."
They moved slowly, walking through the rotunda with its Flemish masters, and Rubens and his followers, and they visited the central gallery, filled with Spanish masters, and Henri Rendell studied each painting carefully. The two men spoke as one expert to another, evaluating the various artists' style and perspective and color sense.
"Now," the director declared, "for the pride of Spain." He led his visitor downstairs, into the gallery filled with Goyas.
"It is a feast for the eyes!" Rendell exclaimed, overwhelmed. "Please! Let me just stand and look."
Christian Machada waited, enjoying the man's awe.
"Never have I seen anything so magnificent," Rendell declared. He walked slowly through the salon, studying each painting in turn. "The Witches' Sabbath," Rendell said. "Brilliant!"
They moved on.
"Goya's Self-Portrait - fantastic!"
Christian Machada beamed.
Rendell paused in front of the Puerto. "A nice fake." He started to move on.
The director grabbed his arm. "What? What was it you said, se?or?"
"I said it is a nice fake."
"You are very much mistaken." He was filled with indignation.
"I do not think so."
"You most certainly are," Machada said stiffly. "I assure you, it is genuine. I have its provenance."
Henri Rendell stepped up to the picture and examined it more closely. "Then its provenance has also been faked. This was done by Goya's disciple, Eugenio Lucas y Padilla. You must be aware, of course, that Lucas painted hundreds of fake Goyas."
"Certainly I am aware of that," Machada snapped. "But this is not one of them."
Rendell shrugged. "I bow to your judgment." He started to move on.
"I personally purchased this painting. It has passed the spectrograph test, the pigment test - "
"I do not doubt it. Lucas painted in the same period as Goya, and used the same materials." Henri Rendell bent down to examine the signature at the bottom of the painting. "You can reassure yourself very simply, if you wish. Take the painting back to your restoration room and test the signature." He chuckled with amusement. "Lucas's ego made him sign his own paintings, but his pocketbook forced him to forge Goya's name over his own, increasing the price enormously." Rendell glanced at his watch. "You must forgive me. I'm afraid I am late for an engagement. Thank you so much for sharing your treasures with me."
"Not at all," the director said coldly. The man is obviously a fool, he thought.
"I am at the Villa Magna, if I can be of service. And thank you again, se?or." Henri Rendell departed.
Christian Machada watched him leave. How dare that Swiss idiot imply that the precious Goya was a fake!
He turned to look at the painting again. It was beautiful, a masterpiece. He leaned down to examine Goya's signature. Perfectly normal. But still, was it possible? The tiny seed of doubt would not go away. Everyone knew that Goya's contemporary, Eugenio Lucas y Padilla, had painted hundreds of fake Goyas, making a career out of forging the master. Machada had paid $3.5 million for the Goya Puerto. If he had been deceived, it would be a terrible black mark against him, something he could not bear to think about.
Henri Rendell had said one thing that made sense: There was, indeed, a simple way to ascertain its authenticity. He would test the signature and then telephone Rendell and suggest most politely that perhaps he should seek a more suitable vocation.
The director summoned his assistant and ordered the Puerto moved to the restoration room.
The testing of a masterpiece is a very delicate operation, for if it is done carelessly, it can destroy something both priceless and irreplaceable. The restorers at the Prado were experts. Most of them were unsuccessful painters who had taken up restoration work so they could remain close to their beloved art. They started as apprentices, studying under master restorers, and worked for years before they became assistants and were allowed to handle masterpieces, always under the supervision of senior craftsmen.
Juan Delgado, the man in charge of art restoration at the Prado, placed the Puerto on a special wooden rack, as Christian Machada watched.