Last Citadel

‘There will be a Citadel, Colonel. There has to be.’

‘Why, Captain?’

‘Because this is our time.’

‘Yes, Captain. I quite agree. I think we should slip back into the room separately. It’ll be quieter that way. You first, please.’

Thoma clicked his heels unnecessarily, there had been nothing formal about their chat out here in the hall. The sound was hard, the way Thoma made himself at Breit’s doubting of the coming battle. Thoma is right, Breit thought, watching the young officer pull open the huge door and disappear behind it. There will be a Citadel. Yes, there must be. Because it is indeed Germany’s time.

Time for Germany’s doom.

* * * *

May 11

1210 hours

Old National Gallery

Berlin

The Impressionists room was often crowded at lunchtime. The more beautiful the weather, the more Berliners strolled for their midday break.

The Americans and the British did not bomb on perfect spring afternoons.

The Yanks did their work only in the mornings, and the Brits raided at night.

So far, they’d mainly contented themselves with wrecking the areas in north Berlin, the manufacturing districts. Downtown remained the nerve center for running the Nazi state, for parks and museums, and the myth of German survival.

Abram Breit carried his sack lunch, a sandwich and a French apple, here to the Old National Gallery beside the Spree River. He spotted an opening on a bench across from a Monet, a blue and violet study of the Palazzo da Mala in Venice. Monet had been so smitten with the dazzling light of Venice on his first trip there that he stayed for four months, painting the ancient facades and canal waters. Breit walked in front of the painting on flat soles, careful not to clout his polished boots against the wood floor.

He snuggled in on the bench. The buttocks of a heavy-set woman rested against his hip, she stared at a Cezanne on another wall, a sketch pad in her lap. Breit dug his sandwich out of the paper bag and unwrapped it, making a game of how quietly he could handle the wax paper. He chewed and looked at the Monet. Breit had always wanted to view the world the way a painter did, to see behind form and color to the world’s vibrations, to gaze not just at an object but at light itself. Abram Breit had tried as a child to make paintings, drawings, anything with a brush or pen, and failed; he lacked the gift of the painter, the sight. So he chose instead to exercise his love of art by becoming a student of it, then a teacher. When the war began, he was a thirty-eight-year-old professor of art history at Heidelberg University facing the reality of military service. He approached the SS, which quickly accepted him into its intelligence corps. Breit was an educated man, with the manners and bearing of the upper class. He was an exemplar of that legend of superiority the SS liked to concoct, especially in Leibstandarte, the first of the SS divisions, grown out of Hitler’s personal bodyguards.

Breit began his work for the Reich by valuating art taken from dispossessed Jews. He made no judgments on where the art came from; few in Germany did that sort of thing once the deportations started. The plight of the Jews was not his concern. Breit busied himself arranging collections and shows, selecting which pieces would be put on public display and which would hang in the private galleries of Goebbels, Speer, Himmler, Goring, Hitler. For this service, the Fuhrer had awarded him the War Merit Cross with swords that hung on the left breast of his tunic. Breit had chosen this Monet for this museum.

He finished his sandwich and began his apple. He was wary not to crunch through the skin and pulp. Breit made no noise.

He never did, and he knew this. As a child, he’d abandoned his wish to be an artist, letting it loose without a pin drop in his heart. As a student, he’d kept his nose in books while Germany rebuilt itself from the debacles of World War I. Again, as a young professor, he stuck to his classrooms and towers at Heidelberg, avoiding the street clashes between the roving brown shirts of the National Socialists and the red sashes of the Communists. When the war started, Abram Breit took up his duty in the dungeons of Jew basements, in echoing great galleries, peering through magnifying glasses at canvases and into tomes of art history. A few years and five million men marched past him, history fell out of the sky, horror rolled past in trucks and tram cars, Germany tore itself to pieces across the globe, and Breit stood silent.

No more.

He chewed the apple thoughtfully, mulling the pulp on his tongue. He stood and walked around the bench to face the other direction, away from the vivid Monet. Sitting, he set his eyes to the Picasso and the Braque he’d chosen for display in this room.

The war had cost Breit his love of the Impressionists. Those painters had become bourgeois, coveted by the well-to-do, sold for large sums, even during their lifetimes. Their groundbreaking work - softening the image, the destruction of age-old realism - had fallen headlong into the mainstream. Monet, Manet, Renoir, Seurat - these weren’t the names of painters any longer so much as they were investments, portfolios for the Jews and others to hedge their bets during the war, hide their money in something other than currency no different than gems or gold bars. Breit cared only for one Impressionist now, the crazy Dutchman van Gogh, who never while alive sold one painting. Van Gogh, of all the Impressionist masters, was untouched, left alone with that madness that had become his vision. Breit preferred the Cubists, the artists who had moved away from the emotion and decorative symbolism of Impressionism. The Cubists -

Picasso and Braque among them, who were put on their path first by the prophetic work of Cezanne - reconstructed the form on the canvas out of its base geometric elements, the spheres, cones, cylinders, and boxes of every object. These were egalitarian ideals, to break man’s world into simple patterns, into every man’s vision, mad or genius or gifted or not, even Abram Breit’s.

The Impressionists looked at their world and made it pretty, captured like butterflies pinned to a mat. But not Picasso. Not Braque. Not like the abstract Russian Kandinsky. These men shattered the world in their hands and gave it back made only of building blocks, with room for the individual and imagination; they invited the viewer onto the canvas and asked him to build a new world out of these raw parts. Abram Breit had fallen in love with the Cubists.

He remained a silent man. There was nothing he could do about his nature. But he could do with his life what the Cubists had done with the image, break his nature into its basic elements and take a clean look. So Breit did this, slowly, with the small brush strokes he never could muster with his hands, but could with his mind. In the mirror, in his tailored SS