All the same he couldn’t resist moving his paper a fraction to one side so he could bring the group into his left eye’s field of vision.

There they were. Mailer’s back was still turned towards Barnaby. He was evidently talking with some emphasis and had engaged the rapt attention of the large couple. They gazed at him with the utmost deference. Suddenly both of them smiled.

A familiar smile. It took Barnaby a moment or two to place it and then he realized with quite a shock that it was the smile of the Etruscan terra-cottas in the Villa Giulia: the smile of Hermes and Apollo, the closed smile that sharpens the mouth like an arrowhead and — cruel, tranquil or worldly, whichever it may be — is always enigmatic. Intensely lively, it is as knowledgeable as the smile of the dead.

It faded on the mouths of the couple but didn’t quite vanish, so that now, thought Barnaby, they had become the Bride and Groom of the Villa Giulia sarcophagus, and really the man’s gently protective air furthered the resemblance. How very odd, Barnaby thought. Fascinated, he forgot about Sebastian Mailer and lowered his newspaper.

He hadn’t noticed that above the map in the wall there hung a tilted looking-glass. Some trick of light from the revolving doors flashed across it. He glanced up and there, again between the heads of lovers, was Mr. Mailer, looking straight into his eyes.

His reaction was indefensible. He got up quickly and left the hotel.

He couldn’t account for it. He walked round Navona telling himself how atrociously he had behaved, “Without the man I have just cut,” he reminded himself, “the crowning event of my career wouldn’t have happened. I would still be trying to re-write my most important book and very likely I would fail. I owe everything to him!” What on earth had moved him then, to behave atrociously? Was he so ashamed of that Roman night that he couldn’t bear to be reminded of it? He supposed it must be that but at the same time he knew that there had been a greater compulsion.