The Dawn of Sin
Page 30
Guido and Caterina arrived. There was a quick round of introductions, followed by some enthusiastic comments about the daring split in her dress, and some irrefutable jokes about his bow tie.
Guido Gobbi was about to become the director of the new regional editorial office of the Union, a four hundred square meters office, eight employees including journalists, graphic designers and administration. The vest and butterfly seemed strategically designed to underscore the authoritativeness of his new role.
The theatre finally opened its doors. People flocked in showing their invitations, badges, or important face.
There could have been no better setting in Castelmuso than the municipal theatre to announce the discovery of a famous work of art.
Guido intertwined his fingers with Caterina’s. She whispered something sweet to him, which the buzz covered.
Filippa, sitting next to her friend, collapsed into the seat, knowing that her bulk would annoy those behind her.
The big girl noticed that two rows behind her was Sandra Magnoli. Next to her, sad and aged, sat Rinaldo Duranti. Filippa thought back to the last meeting he had with Daisy's mother.
"What do you want to do with the interviews?" he asked Guido with interest. "I saw that you classified them as secret files, with passwords inaccessible to everyone in the editorial staff. What does that mean?"
Guido was about to answer when he heard a voice..
It's time to close the circle.
It had been more than a year since he had last heard from her. Guido closed his eyes, reflecting on Filippa's thesis.
Collective psychosis.
The argument held. He had meditated for a long time, trying to see beyond that subtle boundary where logic ended and the mystery began to fester. He was tired of finding no answers.
Yes. It was time to close the circle.
He was going to destroy the secret files.
The curtain ropes flowed into a row of rings, opening the two heavy red velvet drapes, discovering the scene in the middle.
On stage, a precious silk fabric hid a picture considered lost.
Eugenio Zevi approached the easel supporting the canvas.
The scholar explained that it was found in the rubble of the Benedictine monastery, remaining miraculously intact despite being buried under metres of mud. Some wondered why the monks had kept it hidden all those centuries. But the matter would now take a back seat. Everyone was trembling to admire Melchiorri's masterpiece.
Zevi's pale hand removed the silk cloth, which fell rustling lightly onto the canvas.
Beauty and Damnation, the unhappy painter's masterpiece, had finally returned to the light.
Filippa Villa observed her in disbelief. She took Guido's hand and held it tight. He, at the sight of the painting, felt a gasp in his heart.
Sandra Magnoli looked at the canvas with tears in her eyes.
The painting was full of delicate and powerful brushstrokes, dirty with beauty and truth.
The painter had painted Him.
And next to it was her.
Their lost angel.