CHAPTER TWENTY ONE
Sitting in the archives of Florence’s Uffizi Gallery, Remi pored over the records of the four paintings once again, looking for any trace of evidence of the painting of Famine by Frerik Peeters. There was nothing. Her Dutch friend, the Belgian art curator Eleah Smets, had also double checked and come up with nothing.
Remi had hoped that the Uffizi, as one of Europe’s great art museums, might have something new on the Four Horsemen of the Apocalypse, but once again she had come up short. She knew she had been grasping at straws. The Uffizi specialized in Italian art, not outré paintings by minor Dutch artists.
And certainly nothing about the set’s most elusive painting. Other than a few references to Hendrick van Berckenrode commissioning the piece, there was no trace
