The Fallen Angel by Daniel Silva

Attic stamnos vase decorated with maenads.
    Gabriel snapped a photo of the open page with his BlackBerry before making his way over to Falcone’s storage shelves. Chrome and spotless, they were lined with antiquities arranged by type: pottery, household utensils, tools, weapons, and bits of iron that looked as though they had been extracted from the basement of time. It was evidence of looting on a massive scale. Unfortunately, it was a crime that could never be undone. Ripped from their original settings, these antiquities now said very little about the people who had made and used them.
    At the far end of the building were four large stainless steel pools, approximately five feet in diameter and three feet in height. In the first three vats, there were bits of pottery, statuary, and other objects clearly visible in the reddish liquid. But in the fourth, the acid was opaque and very close to spilling over the side. Gabriel retrieved the spillo and inserted it gently into the liquid. Just beneath the surface, it collided with something soft and pliant.
    â€œWhat is it?” asked Chiara.
    â€œI could be wrong,” Gabriel said, wincing, “but I think we just found Roberto Falcone.”

10
    PIAZZA DI SANT’IGNAZIO, ROME
    I N THE HEART OF R OME , between the Pantheon and the Via del Corso, is a pleasant little square called the Piazza di Sant’Ignazio. On the northern side stands a church by the same name, best known for a glorious ceiling fresco painted by the Jesuit brother Andrea Pozzo. On the southern flank, across an expanse of gray paving stones, is an ornate palazzo with façades of creamy yellow and white. Two official flags fly from its third-floor balcony, and above the solemn entrance is the seal of the Carabinieri. A small plaque states that the premises are occupied by the Division for the Defense of Cultural Patrimony. But within the world of law enforcement, the unit is known simply as the Art Squad.
    At the time of its formation in 1969, it was the only police organization anywhere in the world dedicated exclusively to combating the lucrative trade in stolen art and antiquities. Italy surely had need of such a unit, for it was blessed with both an abundance of art and countless professional criminals bent on stealing every last bit of it. During the next two decades, the Art Squad brought charges against thousands of people suspected of involvement in art crime and made numerous high-profile recoveries, including works by Raphael, Giorgione, and Tintoretto. Then the institutional paralysis began to set in. Manpower dwindled to a few dozen retirement-age officers—many of whom knew next to nothing about art—and inside the graceful palazzo, work proceeded at a decidedly Roman pace. It was said by the unit’s legion of detractors that more time was spent debating where to have lunch than searching for the museum’s worth of paintings that went missing in Italy each year.
    That changed with the arrival of General Cesare Ferrari. The son of schoolteachers from the impoverished Campania region, Ferrari had spent his entire career battling the country’s most intractable problems. During the 1970s, a time of deadly terrorist bombings in Italy, he helped to neutralize the Communist Red Brigades. Then, during the Mafia wars of the 1980s, he served as a commander in the Camorra-infested Naples division. The assignment was so dangerous that Ferrari’s wife and three daughters were forced to live under twenty-four-hour guard. Ferrari himself was the target of numerous assassination attempts, including a letter bomb attack that claimed two of his fingers and his right eye. His ocular prosthesis, with its immobile pupil and unyielding gaze, left some of his underlings with the unnerving sense that they were staring into the all-seeing eye of God. Ferrari used the eye to great effect in coaxing low-level criminals to betray their superiors. One of the bosses Ferrari eventually