The Monuments Men Murders (The Art of Murder 4)

“De Haan was convinced the Thompsons are concealing the rest of the items taken from Engelshofen Castle. What if he went looking for them?”

“Let’s say he did. Let’s say he even found something. It’s quite a jump from lying about looted art to committing murder.”

“I know. But those missing pieces are worth a lot of money. That Vermeer alone—”

“Even so. You’re talking about two very different psychological profiles.”

“But that kind of crossover happens. Shadow on the Glass—your own book—details a couple of cases where petty criminals escalate to violent, horrific crimes.”

“There’s a sexual component in all those cases that’s missing here. Your subjects are not the perpetrators of the original theft. They had zero involvement. At most, they’re guilty of concealing evidence, lying to federal investigators, and hiding stolen property. Correct?”

“Well, yes. But—”

“The murder of de Haan is a very different skill set, and—as you pointed out yourself—no principal in your case has a strong motive for eliminating your victim.”

“Crazy isn’t enough of a motive?”

“In my discipline, yes. In yours, no.”

“Hm. Well, I don’t know about that lack of motive theory,” Jason said. “If de Haan was correct and the Thompson family is hiding the rest of the treasure, I think several million dollars is a pretty decent motive.”

Sam’s pale brows rose. “Several million?”

“Yes. If the Vermeer is part of that treasure trove, it’s probably worth at least ten million. In fact, given the legendary status of the painting, I think it would be worth a lot more.”

“But this particular Vermeer is a myth, isn’t it?”

“No. Well, yes. The painting did exist at one time, but it could well be history now. Literally. But there was some painting in that treasure trove that fits the gene

ral description, which is pretty unique in paintings by Dutch Masters. Or anyone else.”

“How so?”

“Interior. In which a gentleman is washing his hands in a perspectival room with figures, artful and rare.”

“That’s the title?”

“Title and description.”

“And that’s a rare scene in Dutch art?”

“It is, yes. At least as far as gentlemen go. There’s a fair bit of ladies washing their hands. But really, there’s not a whole lot of handwashing in Vermeer of either sex. There’s some foot washing and some jug pouring, but no handwashing. The washing of hands was probably an allegory for cleansing the soul, but that just makes it all the more interesting.”

Sam made a you-don’t-say expression and took a swallow of his drink.

“I’m guessing he probably used the composition of Girl Reading a Letter at an Open Window. He liked that window a lot. At first, I was thinking he might have used the same composition as in The Milkmaid or Young Woman with a Water Pitcher, but the addition of the ‘artful and rare figures’ would require a more elegant setting.”

“Sure,” Sam said in the tone of one humoring a difficult patient.

“Sorry. I’m babbling.” Jason rubbed his forehead. He really did want to believe in that Vermeer. And he really was very tired.

“Hey,” Sam said softly. Jason’s eyes flashed up to meet his gaze. “You’re not babbling. A little overstimulated maybe, but you’re making perfect sense to me. And I’m not saying you’re wrong about the motive behind de Haan’s murder. The Thompsons may not be a good fit, but a random act of violence seems even less likely.”

Jason’s smile was wry. “Thanks.”

“You want to get out of here?”

“Yeah, I do.”