THE TELEPHONE CALL from Julian Isherwood provided Gabriel with the excuse he’d been looking for to remove the last traces of Chiara from the flat. He contacted a charity for Russian immigrants and said he wished to make a donation. The following morning, two skinny boys from Moscow came and removed all the furniture from the living room: the couches and chairs, the end tables and lamps, the dining room table, even the decorative brass pots and ceramic dishes that Chiara had selected and placed with such care. The bedroom he left untouched, except for the sheets and the duvet, which still bore the vanilla scent of Chiara’s hair.

During the days that followed, Narkiss Street was visited by a succession of delivery trucks. The large white examination table arrived first, followed by the fluorescent and halogen lamps with adjustable stanchions. The venerable art supply shop of L. Cornelissen & Son, Great Russell Street, London, dispatched a shipment of brushes, pigment, medium, and varnish. A chemical firm in Leeds sent several cases of potentially dangerous solvents that aroused more than the passing interest of the Israeli postal authorities. From Germany came a costly microscope on a retractable arm; from a workshop in Venice two large oaken easels.

Daniel in the Lions’ Den, oil on canvas, dubiously attributed to Erasmus Quellinus, arrived the following day. It took Gabriel the better part of the afternoon to disassemble the sophisticated shipping crate, and only with Shamron’s help was he able to maneuver the enormous canvas onto the twin easels. The image of Daniel surrounded by wild beasts intrigued Shamron, and he stayed late into the evening as Gabriel, armed with cotton swabs and a basin of distilled water and ammonia, began the tedious task of scrubbing more than a century’s worth of dirt and grime from the surface of the painting.

To the degree possible he duplicated his work habits from Venice. He rose before it was light and resisted the impulse to switch on the radio, lest the daily toll of bloodshed and constant security alerts break the spell the painting had cast over him. He would remain in his studio all morning and usually worked a second shift late into the night. He spent as little time as possible at King Saul Boulevard; indeed he heard of Lev’s resignation on the car radio while driving from Narkiss Street to Mount Herzl to see Leah. During their visits together, her journeys to Vienna were shallower and shorter in duration. She asked him questions about their past.

“Where did we meet, Gabriel?”

“At Bezalel. You’re a painter, Leah.”

“Where were we married?”

“In Tiberias. On Shamron’s terrace overlooking the Sea of Galilee.”

“And you’re a restorer now?”

“I studied in Venice, with Umberto Conti. You used to visit me there every few months. You posed as a German girl from Bremen. Do you remember, Leah?”