Editorial Content for The Master of the Prado

Imagine standing in Madrid’s Prado, one of the world’s greatest museums, before a huge painting by Raphael, just contemplating the masterpiece, when a man who has stood quietly next to you breaks the silence with a question that stuns you. He strikes up a conversation that, despite your better judgment, you cannot resist. The painting you have been admiring has hidden meaning, he says. Moreover, so do many others within these walls. Would you like to hear more?

That is just what happened in 1990 to Javier Sierra in this “fictional memoir.” The man he met on a cold winter day in the Prado called himself Luis Fovel, and he promised to return again and again to reveal the secrets scattered throughout the galleries. True to his word, whenever Javier visited the Prado, somehow Fovel found him, appearing as if by magic. It so unnerved him that Javier laughingly wondered if the man was real or a ghost.

"[T]he book is a beauty and the ideas abound, almost to the point of being overwhelming. Thus, if you are of the mind that you can’t have too much of a good thing, THE MASTER OF THE PRADO is for you."

A journalism student, Javier had school obligations, but as soon as he could complete them, he eagerly hurried off to meet with the Master, as he began to call Fovel. Also, as a healthy young man, he had a young lady friend, Marina, who he wished to become more than a friend. Luckily, many of her interests ran parallel with his. In fact, she nearly begged to be part of his newfound activities. Because of this, he took her into his confidence. Maybe they could work together on these discoveries, yet Javier remained reticent to introduce Marina to Fovel. Something kept him from sharing his Master with his girl. Maybe he didn’t want to lose either of them, or perhaps he wanted each to be his alone. Whatever the reason, he had to face the consequences of his decisions.

Aside from the great artists who are the focus of the story, there are few main characters, but a sinister one does pop up: a man Javier dubs Mister X. He threatens Javier’s continued meetings with Fovel and even his relationship with Marina. What does Mister X fear that Javier might find out?

There are fascinating secrets revealed and intriguing theories proposed about what some paintings might portray if one looks beyond the obvious. In the Master’s conversations with Javier, he expounds on symbolism and ideas about scenes and the magic they hold. A real treat for the reader is the full-color artwork peppered throughout the book, which is there in order to join Javier in his visual search for the answers to the teachings of the Master.

There is no question that Sierra has a superb grasp of his subject. However, it felt a bit like a lesson that was trying to disguise itself as a mystery. The story thread at times seemed a bit thin. The long conversations with Fovel, while interesting for art historians or students of religious debates, dragged on somewhat for me as a fiction reader. More menace from Mister X and more interaction with Marina might have added to my reading pleasure. Still, the book is a beauty and the ideas abound, almost to the point of being overwhelming. Thus, if you are of the mind that you can’t have too much of a good thing, THE MASTER OF THE PRADO is for you.