"Surely you can't be unfamiliar with the term, Master Fehrwight," said Krell. The old man would have been sticklike if not for the grace of his movements; he paced his study like a dancer in a stage production, manipulated his magnifying lenses like a duellist striking a pose. He wore a loose brocaded gown of twilight-blue silk, and as he looked up now the hairless gleam of his head emphasized the eerily penetrating nature of his stare. This study was Krell's lair, the centre of his existence. It lent him an air of serene authority.
"I am," said Locke, "in the matter of furniture, but as for paintings—"
"It's a rarer thing, to be sure, but there can be no doubt. I have never actually seen the original versions of these ten paintings, gentlemen, but there are critical incongruities in the pigments, brush strokes and general weathering of their surfaces. They are not genuine art objects of the Talathri Baroque."
Jean absorbed this morosely, hands folded before him, saying nothing and ignoring his tea. Locke tasted bile in the back of his throat. "Explain," he said, struggling to keep his temper in check.
Krell sighed, his own aggravation clearly tempered by sympathy for their situation. "Look," he said, carefully holding up one of the paintings thed'r stolen, an image of Therin Throne nobles seated at a gladiatorial game, receiving the tribute of a mortally wounded fighter. "Whoever painted this is a master artisan, a fantastically patient and skilful individual. It would have required hundreds of hours per painting, and the work must have been done with full access to the originals. Obviously, the… gentleman from whom you procured these objects had qualms about exposing the originals to danger. I'd wager my house and all of its gardens that they're in his vault." "But the… incongruities. How can you know?"
"The master artists patronized by the last court of the Therin Throne had a secret means to distinguish their works from those produced by artists serving lesser patrons. A fact not known outside the Emperor's court until years after it fell. In their paintings, Talathri's chosen masters and their associates would deliberately create a very slight visual flaw in one corner of the work, by using brush strokes whose size and direction jarred with those immediately surrounding them. The imperfection that proclaims perfection, as it were. Like the beauty-mark some Vadrans favour for their ladies." "And you can tell this at a glance?"
"I can tell well enough when I find no hint of it anywhere, on any of these ten works." "Damnation," said Locke.
"It suggests to me," said Krell, "that the artist who created these — or their employer — so genuinely admired the original works that they refused to counterfeit their hidden marks of distinction." "Well, that's very heart-warming."
"I can tell you require further proof, Master Fehrwight, and fortunately what remains is even clearer. First, the brightness of these pigments is impossible, given the state of alchemy four hundred years ago. The vibrancy of these hues bespeaks a contemporary origin. Lastly, and most damningly, there is no veneer of age upon these works. No fine cracks in the pigment, no discoloration from mould or sunlight, no intrusion of smoke into the overlying lacquers. The flesh of these works, as it were, is as distinct from the genuine article as my face would be from that of a ten-year-old boy" Krell smiled sadly. "I have aged to a fine old state. These have not." "So what does this mean for our arrangement?"
"I am aware," said Krell, settling into the chair behind his desk and setting the painting down, "that you must have undergone extraordinary hardship in securing even these facsimiles from the… gentleman in Tal Verrar. You have my thanks, and my admiration." Jean snorted and stared at the wall.
"Your thanks," said Locke, "and your admiration, however well meant—"
"Are not legal tender," said Rrell. "I'm not a simpleton, Master Fehrwight. For these ten paintings, I can still offer you two thousand solari."
"Two?" Locke clutched the armrests of his chair and leaned forward. "The sum we originally discussed was fifty thousand, Master Rrell!"
"And for originals," said Rrell, T would gladly have paid that original sum; for genuine artefacts of the Last Flowering, I would have had buyers in distant locations completely unconcerned with the… potential displeasure of the gentleman in Tal Verrar."
"Two," muttered Locke. "Gods, we left more than that sitting at the Sinspire. Two thousand solari for two years, is what you're offering us."
"No." Rrell steepled his spindly fingers. "Two thousand solari for ten paintings. However much I regret what you might have endured to recover these objects, there were no hardship clauses in our agreement. I am paying for goods, not the process required to retrieve them." "Three thousand," said Locke.
"Twenty-five hundred," said Rrell, "and not a centira more. I can find buyers for these; each of them is still a unique object worth hundreds of solari, and well worth possessing or displaying. If pressed, after time passes, I can even attempt to sell them back to the gentleman in Tal Verrar, claiming that I procured them in some distant city. I don't doubt that he would be generous. But if you don't wish to accept my price… you are free to take them to a market square, or a tavern, perhaps." "Twenty-five hundred," said Locke. "Damn it all to hell."
"so I suspect we shall be, Master Fehrwight, in our own good time. But now I'd like a decision. Do you accept the offer?"
2
"Twenty-five hundred," said Locke for the fifteenth time as their carriage rattled toward Vel Virazzo's marina. T don't fucking believe it." "It's more than a lot of people have, I suppose," muttered Jean.
"But it's not what I promised," said Locke. "I'm sorry, Jean. I fucked up again. Tens of thousands, I said. Huge score. Put us back at the top of our games. Lashani noblemen. Gods above." He put his head in his hands. "Crooked Warden, why the hell do you ever listen to me?" "It wasn't your fault," said Jean. "We did pull it off. We did get out with everything we planned. It's just… it was the wrong everything. There was no way we could know." "shit," said Locke.
Their carriage slowed, then creaked to a halt. There was a clatter and a scrape as their footman placed a wooden step, and then the door opened into daylight. The smell of the sea flooded into the compartment, along with the sound of crying gulls.
"Do you still… want to do this?" Locke bit his lip at Jean's lack of reaction. "I know… that she was meant to be here with us. We can just forget about it, leave it where it is, take carriages—"
"It's fine," said Jean. He pointed at the burlap bag on the seat beside Locke. The bag was undulating, as if possessed by a motive force within itself. "Besides, we went to the trouble of bringing a cat this time."
"I suppose we did." Locke poked the bag and smiled thinly at the resulting attack from inside. "But still, you—" Jean was already rising to leave the carriage.
3
"Master Fehrwight! So pleased to finally make your acquaintance. And yours as well, Master—"
"Callas," said Locke. "Tavrin Callas. Forgive my friend, he's had a trying day. I'll conduct our business."
"Of course," said the master of Vel Virazzo's private yacht harbour. Here the pleasure-barges and day-sailing vessels of Vel Virazzo's notable families — who could be counted on two hands without using all the available fingers — were kept under constant guard.
The harbourmaster led them to the end of one of his docks, where a sleek one-masted sailing vessel rocked gently on the swells. Forty feet long, lacquered teak and witchwood, trimmed with brass and silver. Her rigging was the finest new demi-silk, and her furled sails were the white of clean beach sand.