iancaldwell&dustinthomason.theruleoffour-第12章

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　in　for　a　quest　left　inplete。　The　generational　clock　ground　out　another　revolution；　and　time　turned　friends　to　strangers。　Francesco　Colonna；　who　kept　the　key　that　wound　the　watch；　must　have　thought　his　secret　safe。
　
　Chapter　7
　
　〃Which　way？〃　I　ask　Paul　as　the　library　fades　behind　us。
　〃Toward　the　art　museum；〃　he　says；　hunched　over　to　keep　the　bundle　of　cloths　dry。
　To　get　there　we　pass　Murray…Dodge；　a　stony　blister　of　a　building　in　the　thick　of　north　campus。　Inside；　a　student　theater　pany　is　performing　Tom　Stoppard's　Arcadia；　the　last　play　Charlie　had　to　read　in　English　151w；　and　the　first　one　he　and　I　will　see　together。　We　have　tickets　to　Sunday　night's　show。　Bubbling　over　the　cauldronlike　walls　of　the　stage　es　the　voice　of　Thomasina；　the　thirteen…year…old　prodigy　of　the　play；　who　reminded　me　of　Paul　the　first　time　I　read　it。
　If　you　could　stop　every　atom　in　its　position　and　direction；　she　is　saying；　and　if　your　mind　could　prehend　all　the　actions　thus　suspended；　then　if　you　were　really；　really　good　at　algebra　you　could　write　the　formula　for　all　the　future。
　Yes；　stammers　her　tutor；　who　is　exhausted　by　the　engine　of　her　mind。　Yes；　as　far　as　I　know；　you　are　the　first　person　to　have　thought　of　this。
　From　a　distance；　the　front　entrance　to　the　art　museum　appears　to　be　open；　a　small　miracle　on　a　holiday　night。　The　museum　curators　are　a　strange　lot；　half　of　them　mousy　as　librarians；　the　other　half　moody　as　artists；　and　I　get　the　impression　most　would　rather　let　kindergartners　fingerpaint　on　the　Monets　than　let　an　undergrad　into　the　museum　when　it　wasn't　strictly　necessary。
　McCormick　Hall；　home　of　the　art　history　department；　sits　slightly　in　front　of　the　museum　proper；　the　wall　of　its　entrance　paneled　in　glass。　As　we　approach；　security　guards　eye　us　through　the　fishbowl。　Like　one　of　the　avant…garde　exhibits　Katie　took　me　to　see；　which　I　never　understood；　they　have　all　the　trappings　of　being　real；　but　are　perfectly；　silently　motionless。　A　sign　on　the　door　says　MEETING　OF　PRINCETON　ART　MUSEUM　TRUSTEES。　In　smaller　letters　it　adds：　Museum　Closed　to　Public。　I　hesitate；　but　Paul　barges　in。
　〃Richard；〃　he　calls　out　into　the　main　hall。
　A　handful　of　patrons　turn　to　gawk；　but　no　familiar　faces。　Canvases　punctuate　the　walls　of　the　main　floor；　windows　of　color　in　this　dreary　white　house。　Reconstructed　Greek　vases　sit　on　waist…high　pillars　in　a　nearby　room。
　〃Richard；〃　Paul　repeats；　louder　now。
　Curry's　bald　head　turns　on　its　long；　thick　neck。　He　is　tall　and　wiry；　wearing　a　tailored　pinstripe　suit　with　a　red　tie。　When　he　sees　Paul　walking　toward　him；　the　man's　dark　eyes　are　all　affection。　Curry's　wife　died　more　than　ten　years　ago；　childless；　and　he　now　looks　on　Paul　as　his　only　son。
　〃Boys；〃　he　says　warmly；　extending　his　arms；　as　if　we　are　half　our　ages。　He　turns　to　Paul。　〃I　didn't　expect　to　see　you　so　soon。　I　thought　you　wouldn't　be　done　until　later。　What　a　nice　surprise。〃　His　fingers　are　tickling　his　cuff　links；　his　eyes　full　of　pleasure。　He　reaches　over　to　shake　Paul's　outstretched　hand。
　〃How　have　you　been？〃
　We　both　smile。　The　energy　in　Curry's　voice　belies　his　age；　but　in　other　ways　the　hounds　of　time　are　closing　in。　Since　I　last　saw　him；　only　six　months　ago；　signs　of　stiffness　have　crept　into　his　movements；　and　the　faintest　hollow　has　formed　behind　the　flesh　of　his　face。　Richard　Curry　is　the　owner　of　a　large　auction　house　in　New　York　now；　and　the　trustee　of　museums　much　bigger　than　this　one…but　according　to　Paul；　after　the　Hypnerotomachia　disappeared　from　his　life；　the　career　that　replaced　it　never　became　more　than　a　sideline；　a　campaign　to　forget　what　came　before。　No　one　seemed　more　surprised　by　his　success；　and　less　impressed　by　it；　than　Curry　himself。
　〃Ah；〃　he　says　now；　turning　as　if　to　introduce　us　to　someone。　〃Have　you　seen　the　paintings？〃
　Behind　him　is　a　canvas　I've　never　noticed　before。　Looking　around；　I　realize　the　art　on　the　walls　is　not　what's　usually　here。
　〃These　aren't　from　the　university　collections；〃　Paul　says。
　Curry　smiles。　〃No；　not　at　all。　Each　of　the　trustees　brought　something　for　tonight。　We　made　a　bet　to　see　which　one　of　us　could　put　the　most　paintings　on　loan　to　the　museum。〃
　Curry；　the　old　football　player；　still　has　a　residue　in　his　speech　of　wagers　and　gambles　and　gentlemen's　bets。
　〃Who　won？〃　I　ask。
　〃The　art　museum；〃　he　says；　deflecting　the　question。　〃Princeton　profits　when　we　strive。〃
　In　the　silence　that　follows；　he　scans　the　faces　of　the　patrons　who　haven't　fled　the　great　hall　after　our　interruption。
　〃I　was　going　to　show　you　this　after　the　trustees'　meeting；〃　he　says　to　Paul；　〃but　there's　no　reason　not　to　do　it　now。〃
　He　gestures　for　us　to　follow　him；　and　begins　walking　toward　a　room　to　the　left。　I　glance　at　Paul；　wondering　what　he　means；　but　Paul　seems　not　to　know。
　〃George　Carter；　Sr。；　brought　these　two　。　。　。〃　Curry　says；　showing　us　the　artwork　along　the　way。　Two　small　prints　by　Dürer　sit　in　frames　so　old　they　have　the　texture　of　driftwood。　〃And　the　Wolgemut　on　the　far　side。〃　He　points　across　the　floor。　〃The　Philip　Murrays　brought　those　two　very　nice　Mannerists。〃
　Curry　leads　us　into　a　second　room；　where　late…twentieth…century　art　has　been　replaced　by　Impressionist　paintings。　〃The　Wilson　family　brought　four：　a　Bonnat；　a　small　Manet；　and　two　by　Toulouse…Lautrec。〃　He　gives　us　time　to　study　them。　〃The　Marquands　added　this　Gauguin。〃
　We　travel　across　the　main　hall；　and　in　the　room　of　antiquities　he　says；　〃Mary　Knight　brought　only　one；　but　it's　a　very　large　Roman　bust；　and　she　says　it　may　bee　a　permanent　donation。　Very　generous。〃
　〃What　about　yours？〃　Paul　asks。
　Curry　has　brought　us　in　a　great　circle　through　the　first　floor；　back　to　the　original　room。　〃This　is　mine；〃　he　says；　waving　his　hand。
　〃Which　one？〃　Paul　asks。
　〃All　of　them。〃
　They　exchange　a　look。　The　main　hall　contains　more　than　a　dozen　works。
　〃e　this　way；〃　Curry　says　to　us；　returning　to　a　wall　of　paintings　close　to　where　we　found　him。　〃These　are　the　ones　I　want　to　show　you。〃
　He　walks　us　before　every　canvas　on　the　wall；　one　at　a　time；　but　says　nothing。
　〃What　do　they　have　in　mon？〃　he　asks；　after　letting　us　take　them　in。
　I　shake　my　head；　but　Paul　sees　it　at　once。
　〃The　subject。　They're　all　the　biblical　story　of　Joseph。〃
　Curry　nods。　〃Joseph　Selling　Wheat　to　the　People；〃　he　begins；　pointing　to　the　first。　〃By　Bartholomeus　Breenbergh；　about　1655。　I　convinced　the　Barber　Institute　to　lend　it　out。〃
　He　gives　us　a　moment；　then　moves　to　the　second　painting。　〃Joseph　and　his　Brothers；　by　Franz　Maulbertsch；　1750。　Look　at　the　obelisk　in　the　background。〃
　〃It　reminds　me　of　a　print　from　the　Hypnerotomachia；〃　I　say。
　Curry　smiles。　〃I　thought　the　same　thing　at　first。　Unfortunately；　there　doesn't　seem　to　be　a　connection。〃
　He　walks　us　toward　the　third。
　〃Pontormo；〃　Paul　says　before　Curry　can　even　begin。
　〃Yes。　Joseph　in　Egypt。〃
　〃How　did　you　get　this？〃
　〃London　wouldn't　let　it　e　directly　to　Princeton。　I　had　to　arrange　it　through　the　Met。〃
　Curry　is　about　to　say　something　else；　when　Paul　spots　the　final　two　paintings　in　the　series。　They　are　a　pair　of　panels；　several　feet　in　size；　rich　with　color。　The　emotion　rises　in　his　voice。
　〃Andrea　del　Sarto。　Stories　of　Joseph。　I　saw　these　in　Florence。〃
　Richard　Curry　is　silent。　He　paid　for　Paul　to　spend　our　freshman　summer　in　Italy　researching　the　Hypnerotomachia；　the　only　time　Paul　has　ever　left　the　country。
　〃I　have　a　friend　at　the　Palazzo　Pitti；〃　Curry　says；　folding　his　hands　over　his　chest。　〃He　has　been　very　good　to　me。　I　have　them　on　loan　for　a　month。〃
　Paul　stands　frozen　for　a　minute；　struck　silent。　His　hair　is　matted　to　his　head；　still　wet　from　the　snow；　but　a　smile　forms　on　his　lips　as　he　turns　back　to　the　painting。　It　occurs　to　me；　finally；　after　watching　his　reaction；　that　the　canvases　have　been　mounted　in　this　order　for　a　reason。　They　form　a　crescendo　of　significance　only　Paul　can　understand。　Curry　must　have　insisted　on　this　arrangement；　and　the　curators　must　have　agreed　to　it；　obliging　the　trustee　who　brought　more　art　than　all　the　others　bined。　The　wall　in　front　of　us　is　a　gift　from　Curry　to　Paul；　a　silent　congratulation　on　the　pletion　of　his　thesis。
　〃Have　you　read　Browning's　poem　on　Andrea　del　Sarto？〃　Curry　asks；　trying　to　put　words　to　it。
　I　have；　for　a　literature　seminar；　but　Paul　shakes　his　head。
　〃You　do　what　many　dream　of；　all　their　lives；〃　Curry　says。　〃Dream？　Strive　to　do；　and　agonize　to　do；　and　fail　in　doing。〃
　Paul　finally　turns　and　puts　a　hand　on　Curry's　shoulder。　It's　then　that　he　steps　back　and　takes　the　bundle　of　cloths　from　beneath　his　shirt。
　〃What's　this？〃　Curry　asks。
　〃Something　Bill　just　brought　me。〃　Paul　falters；　and　I　sense　he's　unsure　how　Curry　will　react。　He　carefully　unwraps　the　book。　〃I　think　you　should　see　it。〃
　〃My　diary；〃　Curry　says；　stunned。　He　turns　it　over　in　his　hands。　〃I　can't　believe　it。　。　。　。〃
　〃I'm　going　to　use　it；〃　Paul　says。　〃To　finish。〃
　But　Curry　ignores　him；　as　he　looks　down　at　the　book；　his　smile　disappears。　〃Where　did　it　e　from？〃
　〃From　Bill。〃
　〃You　said　that。　Where　did　he　find　it？〃
　Paul　hesitates。　An　edge　has　entered　Curry's　voice。
　〃In　a　bookstore　in　New　York；〃　I　say。　〃An　antiquarian　shop。〃
　〃Impossible；〃　the　man　mumbles。　〃I　looked　for　this　book　everywhere。　Every　library；　every　bookstore；　every　pawnshop　in　New　York。　All　of　the　major　auction　houses。　It　was　gone。　For　thirty　years；　Paul。　It　was　gone。〃
　He　turns　the　pages；　carefully　scanning　them　with　both　his　eyes　and　his　hands。　〃Yes；　look。　Here's　the　section　I　told　you　about。　Colonna　is　mentioned　here〃…he　advances　to　another　entry；　then　to　another…〃and　here。〃　Abruptly　he　looks　up。　〃Bill　didn't　just　stumble　onto　this　tonight。　Not　the　night　before　your　work　is　due。〃
　〃What　do　you　mean？〃
　〃What　about　the　drawing？〃　Curry　demands。　〃Bill　gave　you　that　too？〃
　〃What　drawing？〃
　〃The　piece　of　leather。〃　Curry　forms　dimensions　from　his　thumbs　and　index　fingers；　about　one　foot　square。　〃Tucked　into　the　centerfold　of　the　diary。　There　was　a　drawing　on　it。　A　blueprint。〃
　〃It　wasn't　there；〃　Paul　says。
　Curry　turns　the　book　in　his　hands　again。　His　eyes　have　bee　cold　and　distant。
　〃Richard；　I　have　to　return　the　diary　to　Bill　tomorrow；〃　Paul　says。　〃I'll　read　through　it　tonight。　Maybe　it　can　get　me　through　the　final　section　of　the　Hypnerotomachia。〃
　Curry　shakes　himself　back　to　the　present。　〃You　haven't　finished　your　work？〃
　Paul's　voice　fills　with　anxiety。　〃The　last　section　isn't　like　the　others。〃
　〃But　what　about　the　deadline　tomorrow？〃
　When　Paul　says　nothing；　Curry　runs　his　hand　over　the　diary's　cover；　then　relinquishes　it。　〃Finish。　Don't　promise　what　you've　earned。　There's　too　much　at　stake。〃
　〃I　won't。　I　think　I've　almost　found　it。　I'm　very　close。〃
　〃If　you　need　anything；　just　say　so。　An　excavation　permit。　Surveyors。　If　it's　there；　we'll　find　it。〃
　I　glance　at　Paul；　wondering　what　Curry　means。
　Paul　smiles　nervously。　〃I　don't　need　anything　more。　I'll　find　it　on　my　own；　now　that　I　have　the　diary。〃
　〃Just　don't　let　it　out　of　your　sight。　No　one　has　done　something　like　this　before。　Remember　Browning。　'　What　many　dream　of；　all　their　lives。'〃
　〃Sir；〃　es　a　voice　from　behind　us。
　We　turn　to　find　a　curator　stepping　in　our　direction。
　〃Mr。　Curry；　the　trustees'　meeting　is　beginning　soon。　Cou