Six weeks after the Beaumont, Dr Alice Alcott is sent to a private island on Lake Orta to examine a painting that has not left the villa in fifty-five years.
The work takes a day. The picture is genuine, the loan can proceed, and the foundation that owns it will survive another year. That report never changes. It is the last simple thing.
On her third evening the archivist stops her in a corridor. Renata Vitali is eighty-one, has kept that archive since 1971, and has a question she has evidently been building for some time: does an expert have to give an opinion on a document she was not asked to examine?
Alice gives her the correct professional answer.
Before the first boat next morning, Renata is found in the water at the landing stage, in her indoor shoes, her bag still in the house. Everyone reads it as a fall. Nobody asks Alice to stay – her work is finished, the boat goes on Tuesday, and six people wait very politely for her to leave.
She stays.
A cosy mystery in which the painting is real and the paperwork is not.
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