Breitwieser delivers new paintings to his attic and notices that even great works of art lose some dignity without a frame.
In Mulhouse, he stumbles upon a framer's shop, and meets the proprietor, Christian Meichler, initiating a friendship through mutual interest and appreciation for art.
Meichler is aware of the sensitive, sentimental and discerning side of Breitwieser, as his friendship with him forms beyond the quartet of Breitwieser's most intimate relationships.
French psychologist Lucienne Schneider gave Breitwieser a psychological assessment in 2004, describing him as narcissistic, obsessional, and unable to handle frustration, but also sensitive and vulnerable.
According to Schneider, Breitwieser's attachment to art is a source of psychological suffering, which she suggests is a catalyst for his misconduct.
Breitwieser comes to appreciate Meichler more as he realizes their shared enthusiasm for the same style of art - the European oil works from the end of the Renaissance and the start of the Baroque period.
Breitwieser feeds Meichler a few lies about his art collection, including his relationship to a known painter and a falsified account of how he acquires his art.
Breitwieser starts an informal apprenticeship with Meichler, learning the craft of framing, but maintains caution about revealing too much about his stolen art.
Despite these lies to maintain their friendship, Meichler has no idea about Breitwieser's life as one of the biggest art thieves in history.
Meichler sense that Breitwieser's unfulfilled love for art and passion to possess it might lead him to trouble, even without knowing about his thieving activities.