CHAPTER TWENTY TWO
Daniel felt a tug of disappointment when they arrived at the house of Italo Peeters. He had expected some grandiose old palace in the center of town like Pier Paolo Manetti’s home, or some luxurious mansion like that of Montgomery Dyson, or some fine art studio like Pierre Lafontaine’s place.
Instead, he found himself entering a humdrum apartment on the edge of town, spacious but modern and utterly unremarkable.
At least until he got inside.
Once past the local police officer guarding the door, he came to a living room that was anything but unremarkable. The walls were covered in paintings and framed sketches on old parchment and vellum. The art all looked like it dated to the 17th century, and included three small religious paintings, several complex alchemical engr
