How a Madrid workshop is perfecting the art of copying imperiled art, from Egyptian tombs to Renaissance paintings.

THEY SAY YOU never hear the one that hits you. That's true of bullets, because, if you hear them, they are already past. But your correspondent heard the last shell that hit this hotel. He heard it start from the battery, then come with a whistling incommg roar like a subway train to crash against the cornice and shower the room with broken glass and plaster. And while the glass still tinkled down and you listened for the next one to start, you realized that now finally you were back in Madrid.

Madrid, 1937:

Then for a moment it stops. An old woman, with a shawl over her shoulders, holding a terrified thin little boy by the hand, runs out into the square. You know what she is thinking: she is thinking she must get the child home, you are always safer in your own place, with the things you know. Somehow you do not believe you can get killed when you are sitting in your own parlor, you never think that. She is in the middle of the square when the next one comes.