The chapter describes a series of art crimes committed in France between 1996 and 1997, which were investigated by Bernard Darties.
A repetitive pattern of crimes involving the theft of 16th-century artworks, often by a male-and-female team, has been identified.
Based on these recurring patterns, Darties surmises that the suspects are likely a cultured, educated, possibly academic couple with a passion for art and a skill for thievery.
Darties, a former anti-terrorist operative, draws parallels between art theft and terrorism both of which have destabilizing effects on society.
One notable theft on Darties’s list was the theft of a 16th-century portrait of Madeleine de France painted by Corneille de Lyon, a court painter to the French King François I.
This poignant portrait of the ailing princess was regarded as one of France’s most valuable artworks and was displayed in the Museum of Fine Arts in Blois.
The artwork was stolen from the museum without trace or clue under the curious circumstance of still leaving its large outer frame in place.
Given the sensitivity, Darties is forced to keep the investigation covert in order to avoid tipping off the criminals and damaging the chances of recovering the artworks.
Despite lack of information about each other's efforts, detectives in both France and the neighboring Switzerland investigate every new art theft for possible links to these recurring crimes.
Similar circumstances and suspect descriptions in multiple other art thefts, across different places, prompt another independent investigation by a division of the French regional police.
The chapter ends on the note that with three agencies looking into the matter, it is only a matter of time before the couple committing these bold crimes are caught.