Quart came out of the Dona Maria Hotel, but instead of walking the thirty metres or so to the archbishop's palace, he wandered over to the Plaza Virgen de los Reyes and looked around. He was standing at the crossroads of three religions: the old Jewish quarter behind him, the white walls of the convent of La Encarnacion on one side, the archbishop's palace on the other, and at the far end, adjoining the wall of the old Arab mosque, the minaret that had become a bell-tower for the Catholic cathedral, La Giralda. There were horse-drawn carriages, postcard vendors, begging Gypsy women carrying babies, and tourists looking up in awe as they queued to get in to see the tower. A young girl with an American accent left her group to ask Quart for directions to some place close to the square; an excuse to get a closer look at him. Quart gave a brief, polite answer to get rid of her. The girl went back to her friends and they glanced at him, giggling and whispering. He heard the words "He's gorgeous". It would have amused Monsignor Spada. Quart smiled at the thought of the director of the IEA and the advice he'd given him on the Spanish Steps during their last conversation in Rome. Then, still smiling, he looked up at La Giralda, at the weather vane that gave the tower its name. Spain, the south, the ancient culture of Mediterranean Europe, could be sensed only in places such as that. In Seville different histories were superimposed and interdependent. A rosary stringing together time, blood, and prayers in different languages, beneath a blue sky and wise sun that levelled everything over the centuries. Stone survivors that could still be heard. You just had to forget for a moment the camcorders, postcards, coaches full of tourists and cheeky young girls, and put your ear to the stones and listen.

He still had half an hour before his appointment at the archbishop's palace, so he walked up the Calle Mateos Gago and had a coffee in the Bar La Giralda. He felt like sitting at the bar and enjoying the black-and-white tiled floor, the prints of old Seville and the coloured tiles on the walls. From his pocket he took the Eulogy of the Templar Militia, by Bernard de Clairvaux, and read a few pages at random. It was an extremely old octavo edition which he read every day between matins, lauds, vespers and compline; a routine he followed rigorously, with a strictness that had more to do with pride than piety. Often, during the many hours spent in hotels, cafes, and airports, in between appointments or work trips, the medieval sermon that for two hundred years had served as spiritual guide for the soldier-monks fighting in the Holy Land helped him bear the loneliness his work entailed. Sometimes he let himself be carried away by the mood that reading it induced, imagining himself as the last survivor from the defeat at Hattin, the Tower of Acre, the dungeons of Chinon, or the fires of Paris: a weary, solitary Knight Templar whose brothers in arms had all died.

He read a few lines (although he could have recited them from memory): "They are tonsured, covered with dust, black from the sun that scorches them and the chain mail that protects them.. He looked out at the bright street, the people walking beneath the orange trees. A slim young woman, probably foreign, stopped a moment to check her reflection in the half-open cafe window. She looked beautiful as she raised her bare arms gracefully to tie back her hair. Suddenly her eyes met Quart's through the window. For an instant she held his gaze, surprised and curious, before becoming self-conscious. Just then a young man with a camera round his neck and a map in his hand came up and drew her away, slipping an arm round her waist.

It wasn't exactly envy, or sadness. There was no word to define the desolate feeling familiar to any cleric who beholds the closeness of couples: men and women lawfully playing out the ancient ritual of intimacy, with gestures such as stroking a neck down to the shoulders, a hand following the gentle curve of a hip, a woman placing her fingers over a man's mouth. For Quart, who would have had no difficulty in becoming intimate with many of the beautiful women who crossed his path, the certainty of his self-discipline was even stronger and more painful. He was like an amputee who still feels tingling or discomfort in a limb that is no longer there.

He looked at his watch, put his book away, and stood up. On his way out he almost bumped into a very fat man dressed in white. The man apologised politely, removing his panama hat, and then watched Quart as he went out into the square. When Quart reached the brick-red baroque building behind a row of orange trees, a caretaker stepped forward to check his identification, but immediately let him through when he saw the dog collar. Quart passed under the main balcony bearing the coat of arms of the archbishops of Seville carved in stone, supported by two double columns, and he entered the courtyard in the shadow of La Giralda. He mounted the magnificent staircase beneath Juan de Espinal's vault with cherubs looking down at the pedestrians with a bored air, killing time in their centuries-old immobility. Upstairs were corridors of offices, busy priests coming and going with the self-assurance of those who know the terrain. They almost all wore suits with round collars, shirt fronts and black or grey shirts, and some wore ties or polo shirts under their jackets. They looked like civil servants rather than priests. Quart didn't see a single cassock.

Monsignor Corvo's new secretary came to meet him. He was a soft little cleric, bald, very clean-looking and with a gentle manner, in a grey suit and dog collar. He had replaced Father Urbizu, killed by the chunk of cornice from Our Lady of the Tears falling on his head. Without saying a word the secretary led Quart through a reception room. The ceiling was divided into sixty coffers containing biblical scenes and symbols intended to inspire virtue in the Sevillian prelates as they governed the diocese. The room also contained some twenty frescoes and canvases, among them four by Zurbaran, one Murillo and one Mattia Preti depicting St. John the Baptist with his throat slit. As Quart walked along beside the secretary, he wondered why there was always a head on a tray in archbishops' and cardinals' anterooms. This thought was still in his mind when he saw Don Priamo Ferro. The priest of Our Lady of the Tears was standing at one end of the room, stubborn and dark in his old cassock. He was talking to a very young, fair-haired priest with glasses. Quart recognised the young priest as the builder outside the church who had stared at him when he met Father Ferro and Gris Marsala. The two priests stopped talking and looked at him, Father Ferro expressionless, the young man sullen, defiant. Quart nodded briefly at them, but neither responded. They had obviously been waiting some time and had not been offered a chair.

His Grace Don Aquilino Corvo, archbishop of Seville, liked to adopt a pose rather like the Gentleman with his Hand on his Chest that hangs in the Prado. Against, his dark suit he would rest his white hand bearing the emblem of his rank: a ring with a large yellow stone. Thinning hair, a long angular face, and the gold cross on his chest all reminded one of the painting, an impression the archbishop was happy to go along with. Aquilino Corvo was a pedigree prelate, the result of a careful process of ecclesiastical selection. Skilful, manipulative, accustomed to sailing on stormy seas, he had not been appointed archbishop by chance. He enjoyed considerable support within the nunciature of Madrid, had the backing of Opus Dei, and had excellent relations with both the government and the opposition in the Junta de Andalucia. None of this prevented him from engaging in marginal, even personal activities. He was, for instance, a bullfighting aficionado and always had a front-row seat when Curro Maestral or Espartaco were appearing. He was also a supporter of both local football clubs, Betis and Sevilla, out of pastoral neutrality as well as prudence, his eleventh commandment being "Don't put all your eggs in one basket". Last but not least, he detested Lorenzo Quart.