There was a small collection of old movie magazines, now crumbling and yellow, over which he had once gloated with the ignorant lust of an adolescent boy. The beauty queens of an earlier day showed their knees daringly, and peeped from beneath grotesquely marcelled hair. There were some pictures cut from Christmas Editions of The Tatler, the Bystander, and Holly Leaves that his grandfather had brought home as part of the seasonal celebration, and in these were drawings of coy girls of the twenties in “teddies”, or transparent nightgowns, or (very daringly) playing with a dear doggie whose body concealed the breasts and The Particular—but not quite. He saw these now as part of the pathology of Art, the last gasps of the school of erotic painting that had flowered under Boucher and Fragonard. Kitsch, as Saraceni called it.

What he was most anxious to find and destroy was a small bundle of rags—odds and ends of silk and chiffon—in which, in his adolescent days, he had absurdly rigged himself up as a girl, in what he believed was the manner of Julian Eitinge. He now knew, or thought he knew, what that had meant; it was the yearning for a girl companion, and for the mystery and tenderness he thought he might find in such a creature. He had even some intimation that he sought this companion in himself. Browning’s lines, written when he was still very young, came to mind:

But even Ruth had not been that young witch, and Ismay, who so completely looked the part, was a sardonic parody of its spirit. Where was the young witch? Would she ever come? It was not as a lover he wished for her, but as something even nearer; as a completion of himself, as a desired, elusive dimension of his spirit.

Thus Francis came to terms, as he thought, with his strange boyhood, in which there had been so much talk of love, and so little to warm the heart. He did not feel lonely in Blairlogie, even as he sat for long evenings in the hotel, rereading—how many times had he read those pages—his favourite parts of Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects. He did not feel lonely when he visited the Catholic cemetery, and found the marker for Francis the First, the Looner, the shadow of his boyhood and, if Uncle Doctor was to be believed, still an unexploded bomb in his manhood—the secret, the inadmissible element which, as he now understood, had played so great a part in making him an artist, if indeed he might call himself an artist.

But had not Saraceni, that stern judge, called him Meister, without irony and without offering an explanation?

He could not visit the grave of Zadok. Not even Victoria knew where it was, except that it was in that part of the Protestant cemetery which was called, with Blairlogie harshness, the Potter’s Field. But Francis was not by nature a hunter of tombs, and he did not care. He remembered Zadok tenderly, and that was what mattered.

So St. Kilda was put up for sale at auction, as was also Chegwidden Lodge, which had been on rental for several years. A local speculator bought them both, cheap, and there was the end of an old song, as Francis told the family in Toronto, wondering if any of them would understand the reference. From his childhood home he took nothing, except the picture that had hung in his bedroom. No, not the remarkable picture of Christ that opened its eyes when you looked at it, but Love Locked Out.

In the manor near Cardiff, in 1946, there was much to be done, many files to be digested and put in order, and hundreds of photographs to be catalogued. Francis needed an assistant who knew what was in the wind, and Aylwin Ross, not long out of the Canadian Navy, was sent to him.

Aylwin Ross was not at all the sort of young man Francis had come to associate with the work of MI5 and MI6. There was no hint of the snoop about him, and he had some trouble concealing his amusement at the cautious, official way in which Francis explained what had to be done.

“I get you, chief,” he said. “We’ve got to know all these pictures well enough to recognize them, even if they reappear somewhat hocussed to deceive the eye, and so far as we can we’ve got to get them back to the people with the best claim to them. I’m pretty good at recognizing pictures, even from rotten black-and-white photographs like these. And if any ownership is in doubt, as will certainly be the case, we’ve got to nab as many as we can for the people we’re working for.”

Francis was shocked. Of course, what Ross said was true, but that wasn’t at all the way to phrase it. He protested.

“Oh come on, Frank,” said Ross. “We’re both Canadians. We don’t have to kid each other. Let’s make it as simple as we can.”

So, when at last the Allied Commission on Art moved into action, and the sector of it in which Francis and Ross were to work assembled in Munich, that was indeed the way they worked, and Ross had so far loosened Francis from his official persona that he greatly enjoyed himself.

Their part in the Commission’s work was a large one, and there were many familiar figures in the splendid room—a section of a palace—before which pictures recovered from the enemy were deployed for identification and reclamation. Francis and Ross were by no means the whole deputation from the United Kingdom. The formidable Alfred Nightingale was there, from the Fitzwilliam Museum in Cambridge, and Oxford was represented by the no less knowledgeable John Frewen. From the National Gallery and the Tate there were, predictably, Catchpoole and Seddon. But Francis and Ross were the experts on what paintings had gone astray in the war years, and what paintings might have vanished beyond recovery in the New World.

Saraceni was there, wearing conspicuously on his left arm a black band which Francis interpreted as mourning for the Signora, although it was fully three years since she had been obliterated in her South London refuge of pickled oak and cheery chintz.

“I shall never forget her,” the Meister said, “a woman of the greatest, most tender spirit, even though we did not see eye to eye on matters of taste. While I live I shall not cease to mourn.” But grief had in no way clouded his fearful vision—could it really be the Evil Eye?—or diminished the ironic mirth with which he treated the opinions of colleagues who disagreed with his judgements. The chief of these was Professor Baudoin, from Brussels, more evil-smelling than ever and not mellowed by wartime sufferings. From Holland Dr. Schlichte-Martin was present, and with him Hausche-Kuypers, who had been in a resistance group and lost an arm, but was merry as ever, and greeted Francis with a shout.

“Aha, the Giant-Killer! Poor Letztpfennig! How you polished him off!”

“Ah yes, the young man who knows so much about (sniff) monkeys,” said Professor Baudoin. “We shall have to keep our eyes open for any zoological problems that evade our mere connoisseur’s estimations.”

“Who’s the old bugger with the charnel-house breath?” whispered Ross. “He’s got it in for you, chief; I can see it in his eye”

The German members of the commission were not Frisch and Belmann; their eagerness in the matter of the Führermuseum had discredited them. Germany was represented instead by Professors Knüpfer and Brodersen. From France came Dupanloup and Rudel, and there were men from Norway, Luxembourg, and a number of other interested states. From the U.S. Francis was glad to see Addison Thresher, who would certainly be a voice of reason, as his country had lost no art in the conflict, though what it might have gained it would not be tactful to inquire.