LITMIR.BIZ

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carriage on the train journey back to Purley, he was left with the uneasy sensation that the professor’s parting warning had been the true purpose of their meeting.

      A week later, Adam was gone. He changed trains in Paris, aware that this was as far south as he had ever travelled in his life. On Professor Leonard’s advice, he slipped some francs to the guard and was allotted a spare sleeping compartment to himself.

      He didn’t sleep. He tossed in the darkness, France rattling by beneath him, and he thought (far more than he would have liked) of Gloria and of the look on her face when she had said to him, ‘I don’t know why. I think maybe it’s because you’re a touch boring.’

      He might have been less stung if they hadn’t just made love. Twice.

      ‘Boring?’

      ‘No, not boring, that’s unfair. Bland.’

      ‘Bland?’

      ‘No.’

      ‘What, then?’

      ‘I don’t know. I can’t put my finger on it. I can’t think of a word.’

      Great. He was a category unto himself – a unique cat egory indefinable by words but falling somewhere between ‘boring’ and ‘bland’.

      He had lost his temper, hurling a pillow across the room and swearing at her. He could still recall every moment of the long walk back to his own college, creeping down the staircase from her rooms, stepping through the pale dawn of Trinity Great Court, the bittersweet taste of self-pity rendering him immune to the daggered look from the porter on duty in the lodge.

      Pathetic, really, when looked at from a distance, from the darkened sleeping compartment of a train hurtling through the French night, for example. He tried to stem the flow of his thoughts, or at least divert their course. When he failed, he turned on the light and worked on his Italian grammar.

      Dawn rose, bringing with it the barely discernible mass of a steep Alpine valley. A few hours later, they were free of the mountains.

      All he saw of Milan was the Fascist splendour of the Stazione Centrale as he hurried between platforms to make his connecting train. He was aware of the heat and the smell of unfamiliar tobacco, but not much else. He briefly glimpsed Shelley’s ‘waveless plain of Lombardy’ before nodding off.

      A deep and dreamless sleep carried him all the way to Florence, where he was woken brusquely by the guard, who talked at him in a language quite unlike the Italian he’d learned at school and recently brushed up on. Ejected on to the platform, it certainly wasn’t the kind of reception he’d been led to believe he might receive in Italy.

      He found a pensione on Piazza Santa Maria Novella, a short walk from the station. The owner informed him that he was in luck; a room had just fallen vacant. It was easy to see why. Adam made a speculative survey of the dismal little box in the roof and told himself it was only for one night.

      He stripped off his shirt and lay on the sagging mattress, smoking a cigarette, unaccustomed to the humidity pressing down on the city Was this normal? If so, why had no one thought to mention it? Or the mosquitoes, for that matter. They speckled the ceiling, waiting for night to fall and the feast to begin.

      He squeezed himself into the shower room at the end of the corridor and allowed the trickle of water to cool him off. It was a temporary measure. His fresh shirt was lacquered to his chest by the time he’d descended four flights of stairs to the lobby.

      The storm broke as he stepped from the building, the sharp crack of thunder echoing around the piazza, the deluge following moments later as the amethyst clouds deposited their load. He stood beneath the awning, watching the raindrops dancing on the road. Water sheeted down from overflowing gutters; drain holes were lost to sight beneath spreading pools of water. And still the rain came, constant, unvarying in its strength. When it ceased, it ceased suddenly and completely.

      A church bell struck half past the hour, and immediately people began to appear from the shelter of doorways around the piazza – almost as if the two events were connected, the bell alerting the inhabitants of the quarter to the passing of danger, as it had always done. The sun burst from behind the departing slab of cloud. It hit hard, flashing off the steaming flagstones.

      Scuttling figures skipped over puddles, hurrying to make up for lost time. Adam joined their ranks, map in hand, heading south out of the piazza. In Via dei Fossi rainwater still streamed from jutting eaves high overhead, driving pedestrians off the pavements into the road, forcing them to do battle with squadrons of scooters and cars. The narrow street filled with the sound of horns and curses, the cacophony played out with leaps and bounds and wild gesticulations, the distant rumble of the departing storm like a low kettledrum roll underscoring the deranged opera.

      A twinge of anxiety stiffened his stride, though not at the chaos unfolding around him. He knew the city intimately, but only from books. What if he was disappointed? What if Florence’s ‘unique cultural and artistic heritage’, which he’d detailed in his essays with such hollow authority, left him cold? As if on cue, he found himself on a bridge spanning the River Arno – no lively, sparkling torrent, but a strip of brown and turbid water, a river fit for a factory district.

      Five minutes later he reached his destination, and his apprehension melted away. The Brancacci Chapel in the church of Santa Maria del Carmine was deserted when he entered it, and it remained so for the next quarter of an hour. Michelangelo and Raphael had both come here to study, to copy, to learn from the young man who had changed the face of European painting: Tommaso Guidi, nicknamed Masaccio by his friends, the scruffy boy-wonder, dead at twenty-seven. Others had contributed to the same cycle of frescoes – Masolino, Fra Lippo Lippi, names to be reckoned with – but their work was flat, lifeless, when set alongside that of Masaccio.

      His figures demanded to be heard, to be believed in; some even threatened to step out of the walls and shake the doubters into credence. Real men, not ciphers. And real women. His depiction of Adam and Eve’s expulsion from the Garden of Eden required no context in order to be appreciated. More than five hundred years on, it still struck home: the fallen couple, with their bare, rough-hewn limbs, granite hard from toil, cast out like country labourers by some unforgiving landlord. Adam’s face was buried in his hands, a broken man. Eve covered her nakedness in shame, but her face was raised, crying out to the heavens. All the anger, frustration and incomprehension in the world seemed contained within that gaping, shapeless hole Masaccio had given her for a mouth.

      The more Adam stared at the image, the more he saw, and the less he understood. A definition of true art? He was still cringing at his own pomposity when a couple entered the chapel.

      They were French. His thick dark hair was oiled back into two symmetrical wings that protruded a short distance from the forehead. She was extremely slender, quite unlike Masaccio’s Eve, or maybe as Eve would have looked some years after her banishment from the bounty of Eden – pinched and emaciated.

      ‘Good afternoon,’ said the Frenchman in accented English, looking up from his guidebook.

      It rankled that he was so readily identifiable, not just as a fellow tourist but an Englishman.

      ‘American?’ asked the Frenchman.

      ‘English.’

      The word came out wrong – barked, indignant – a parody of Anglo-Saxon self-importance. The couple exchanged the faintest of amused glances, which only annoyed him more.

      He looked at the man’s perfectly coiffed hair and wondered just how distressing that flash downpour must have been for him. Or maybe the oil helped; maybe it assisted run-off.

      He only realized he was staring when the Frenchman shifted nervously and said, ‘Yes…?’

      Adam gestured to the frescoes. ‘Las pinturas son muy hermosas,’ he said in his best Spanish.

      As he left the chapel, abandoning the couple to Masaccio’s genius, he wondered whether his antagonism towards them owed itself to their interruption of his experience, or whether the work itself had somehow

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