The downfall of Letztpfenning was of interest to the world, as somebody’s downfall always is, but by the autumn of 1938, not long after Francis’s twenty-ninth birthday, the Munich Crisis took precedence over all other news, and the apparent triumph of Neville Chamberlain in concluding an agreement with the German Führer gladdened the hearts of millions of innocents who wanted peace and were ready to believe anything that seemed to promise peace. But not everyone trusted that pact; the Countess and Saraceni were two of these. There was uneasiness and change at Düsterstein. Amalie was sent off to a distinguished school in Switzerland, and though Ruth Nibsmith stayed on to help the Countess in secretarial work, she knew that her time in that capacity was short, and before Christmas she had taken affectionate farewells of everyone and returned to England. Saraceni likewise found that he had imperative business in Rome, and could not say how long it would be before he returned—though he assured the Countess that he would certainly return. And the Countess announced that pressing work in Munich, relating to her sales of farm produce, would keep her in that city for several weeks and perhaps for months.

Saraceni and Francis had, between them, in the year past, completed a substantial amount of work, some of which was ambitious. Bigger and bigger pictures were making their way to the wine merchants’ cellars—pictures so large the canvases had to be dismounted from their stretchers, and packed around the insides of the big barrels, carefully wrapped to protect them from the wine. The stretchers and the old nails that belonged to the pictures travelled in two large bags of golf clubs, which Prince Max had added to his luggage. These were ambitious pictures of battle scenes, and a number of portraits of minor historical figures, all greatly improved by Saraceni and also by Francis, who was trusted with increasingly significant work. What was to become of Francis during the Meister’s long absence? The day before he left, Saraceni told him.

“You have done well, Corniche, and you have done it much quicker than I thought you would. The explosion of Letztpfennig has given you a name—a modest name, but nevertheless a name. Still, before you are ready to appear before the world as amico di Saraceni instead of the lesser alunno di Saraceni there is an important test I want you to accept now. Quite simply it is this: can you paint as well as Letztpfennig? He was a master, you know, in this lesser realm of art. I can say it, now that you have disposed of him. I am not talking of course of faking, for that is contemptible, but I mean the ability to work truly in the technique and also in the spirit of the past. Unless you can satisfy me of that I shall not feel absolutely certain about you. Drollig Hansel was good. What you have done during the past year is good. But when you are not under my eye and subject to my advice and relentless criticism—I know I’m a bastard, but all great teachers must be so—can you really bring it off? So: while I am away I want you to paint an original picture on a large scale—not just big, but big in conception—and I want you to do it not in imitation of anyone, but as you would paint yourself if you were living in the fifteenth or sixteenth century. Find your subject. Grind your colours. I have found a groundwork for you.

“Look here; it is, as you see, a triptych, an altar-piece of fair size in three panels that hung in the chapel here before it was done over in the great Baroque style. It is a wreck, of course. It has been standing for at least two hundred years in one of the innumerable service corridors of this castle from which we have recovered so many discarded paintings, but it was never very good and now it is rubbish. Clean it, right down to the wood, and go to work. I am expecting something that will tell me just how good you are, when you work independently. You will have plenty of time. I shall return in the spring, or perhaps a little later. But I shall certainly return.”

So, shortly before Christmas of 1938, Francis found himself the virtual master of Düsterstein. The family rooms, as well as the great rooms of state, were transformed by dust-sheets and muslin wraps for the chandeliers into the habitations of ghosts. One small room was left for his use, and there he sat and ate his meals when he was not busy in the shell-grotto. He took walks in the grounds, squelching over mossy paths under weeping trees. Another man might have found it melancholy, but Francis welcomed the solitude and the dimness, for he was turned in upon himself and wanted no distraction, no invitation to play. He was seeking his picture.

The philosophy of Saraceni, as distinguished from the avarice and opportunism of Saraceni, was not something he had learned as Amalie learned her lessons. He had absorbed it, and ingested it, and had made it part of his own wholeness. What was so plainly unworthy in the Meister he regarded with amusement; he was not such a fool as to suppose that great men do not have their foibles, and that such flaws might not be great ones. He had consumed the wheat and discarded the chaff, and the wheat was now bone of his bone. It was his belief, not his lesson.

What did he now believe, at the end of a toilsome and sometimes humiliating apprenticeship? That a great picture must have its foundation in a sustaining myth, which could only be expressed through painting by an artist with an intense vocation. He had learned to accept and cherish his vocation, which was none the less real because it had been reached by such a crooked path. He had worked in the shell-grotto as a man under orders, but now he was to work under no orders but his own, even though he must express himself in a bygone mode of painting. But what was his picture, the masterpiece which would conclude his apprenticeship, to be?

Rooted in a myth, but what myth? In the tangle of mythology, the cosmic bedroom farce and vulgar family wrangles of the gods of Olympus or their diminished effigies as conceived by the Romans? Never! In the finer myth of the Christian world, as seen in a thousand forms in the Age of Faith? Catholicism he certainly possessed, but it was still the sweet Catholicism of Mary-Ben rather than that of the rigorous Church Fathers. In the myth of the greatness of Man, as the Renaissance had asserted, or the myth of Man Diminished and Enchained as it appeared to the Age of Reason? What about Romanticism, the myth of the Inner Man sharply declining to the myth of Egotism? There was even the nineteenth-century myth of Materialism, the exaltation of the World of Things, which had evoked so many great pictures from the Impressionists. But these must be rejected at once, even if they had strongly attracted him (which they did not), because his orders—and he was still under orders—were to paint a picture in the manner of the Old Masters, a picture that would contain some technical instruction even for the ingenious Letztpfennig.