"I sure would, baby!" Revanche whispered.
He knew, of course, that the statue could not hear him. But by timing his questions to correspond with its disk-recorded utterances an illusion of conversation could be maintained. To imagine even for a brief instant that he could bend so lovely a creature to his will brought out all of the latent sadism in his nature.
"I'm not interested in you as a work of art, baby," he said. "I guess you know that."
"Pass on, man of culture," the statue said. "You linger too long here. If you look about you, you will find others more beautiful than I!"
Abruptly the illusion snapped. Scowling, feeling outrageously cheated, Revanche swung about, and resumed his arrogant stride.
There were many vivoil paintings of scenes that gave the illusion, if you looked at them obliquely, of leaves fluttering, birds flying, women walking, and water flowing. All were signed with the name of the famed poet-scientist-financier-engineer-architect-painter-sculptor-cyberneticist and lover of the Second Italian Renaissance—Benangelo Michelardo Da Vincelleo.
There was only one man on Earth who was more widely known, more powerful. It was a measure of B. T. Revanche's importance that no practical jokes were played on him.
Da Vincelleo was famous for his complicated, rubegoldbergish, and sometimes morbid sense of humor. Visitors had to have strong nerves if they cared to see him—and survive.
It was not unusual for trap-doors to open beneath their feet and drop them, kicking and screaming, down a two-story shaft before they were eased by anti-grav to a slow stop. Or for a visitor to find the doorknob to the master's office had turned into a shriveled plastic head. Or to step into what he thought was the office, and find himself neck-deep in water, or some less acceptable fluid.