In a corner, on a Louis XV bureau, sat a hi-fi surrounded by piles of records: Don Cherry, Mozart, Miles Davis, Satie, Lester Bowie, Michael Edges, Vivaldi… On one wall a gold-framed Venetian mirror presented Julia with a slightly blurred image of herself: shoulder-length hair, faint shadows (from lack of sleep) under her large, dark and, as yet, unmade-up eyes. Whenever Cesar saw her face framed in gold by that mirror, he used to say that she was as lovely as one of da Vinci’s models, ma pui bella. And although Cesar could be considered more of an expert on young men than on madonnas, Julia knew that what he said was absolutely right. Even she enjoyed looking at herself in that gold-framed mirror, because it always gave her a sense of having suddenly emerged on the other side of a magic door, a door through which she’d leapfrogged time and space, and it returned to her an image of herself that had all the robustness of an Italian Renaissance beauty.

She smiled to think of Cesar. She always smiled when she thought of him and had since she was a child. It was a smile of tenderness, often a smile of complicity. She put the X-ray photos down on the table, stubbed out her cigarette in the heavy bronze ashtray signed by Benlliure and sat down at her typewriter.

The Game of Chess

Oil on wood. Flemish school. Dated 1471.

Artist: Pieter Van Huys (1415-1481).

Base: Three fixed oak panels, joined by glue.

Dimensions: 60 x 87 cm (three identical panels of 20 x 87).

Thickness of panel: 4 cm.

State of preservation of base: No warping. No noticeable damage by woodworm.

State of preservation of the painted surface: Good adhesion and cohesion of the layer structure. No changes in colour. Some craquelure due to ageing, but no blistering or scaling.