The Da Vinci Deception (17 page)

“You are looking at the drawing Melzi was certain to have referred to when he painted the standing Leda.
Il Cigno
.”

Jonas motioned for Tony to come to his side. Both men stared at the drawing for several minutes, then Jonas set it on the table. No sooner had he put it down than he picked it up again and brought it within inches of his myopic eyes. He waved the sheet at Giorgio.

“This is a copy!”

“Are you surprised we have Xerox machines in Como? They are everywhere and produce an excellent copy. In fact, the copy may serve the artist better than the original.”

“That's not our agreement. You are to turn over everything. You keep nothing.”

“We have no such agreement. True, that is what you asked, but I did not agree to those terms. When we struck our bargain, I agreed to create a number of Leonardo's lost folios—fourteen, in fact. Then, when they were transformed to appear as the genuine work of Leonardo, I would provide evidence they had been discovered in the hands of a descendant of Francesco Melzi. I further agreed to vouch for their authenticity and encourage others who share my views of Leonardo to do the same. For all this you have paid me the sum of fifty thousand dollars.”

“Precisely so. You were paid the money well in advance. I have gambled, not you. We agreed that you would turn over all the drawings. Not some worthless copies.” Jonas tossed the sheet to the floor.

Giorgio picked up the sheet and very calmly placed it on top of the other pages still on Jonas's lap. “You have gambled with money, I with my reputation. Remember, there was more to the arrangement we made. You offered to pay a fixed amount each time you succeeded in selling a half folio at auction or to a private buyer. I did not agree to that arrangement. But we did touch our glasses on my proposal, which provides
that I receive ten percent of the price you receive for each manuscript page you sell.

The agitation showed clearly in Jonas's reddened face. The heavy meal and too many glasses of wine and now the obstinacy of the arthistorian-turned-capitalist caused the perspiration to flow freely.

“There is no quarrel with our financial arrangement. The terms are generous. But our agreement was very specific regarding the disposition of the drawings. You are to give each one to me. If you violate the agreement, then I am no longer obligated to pay any additional money after the manuscripts are sold.”

“But you will pay,” Giorgio said slowly and without his usual smile. “You are taking an unreasonable position, Jonas. You will need my cooperation when it is time to work closely with your artist. The manuscripts must never be discovered as forgeries.”

It was the first time the word had been used and Jonas was struck by the realization that Giorgio was fully tuned in to its ominous significance. He loosened his tie and rubbed a handkerchief across his neck.

“The matter is simply resolved. Give me all the drawings and—”

“I will not do that. They are my assurance that the risks I am taking will be rewarded. And they are quite safe. I have hidden them behind two feet of stone in an ancient villa overlooking Lake Como.”

“This—this is . . .” Jonas was spluttering anger and frustration showed in his eyes. “This is extortion.”

Giorgio permitted his smile to return. “No, it is what we call good business in my country. It will be easier for us to trust each other if the original sheets are in my possession. As each manuscript page is sold, I shall present you with the original.”

Giorgio watched the huge man twist nervously in the chair that was too small for him. He saw him look to Tony for support, but the impeccably dressed aide appeared to be completely uninvolved in the argument. Finally Jonas broke the long silence.

“My congratulations, Giorgio. Your precautions are unnecessary, but I commend you for taking them.”

“It is true I have taken precautions, but there is something more to all of this. We are honorable men plotting a dishonorable deed. Such action can twist a man's mind, and I only wish to be protected against consequences I cannot control. I have worked long hours to produce these papers and I have learned something quite profound. No one has ever put his mind to the task of creating a page from the missing
Leonardo manuscripts; no researcher has ever dared put his speculations on paper to suggest what those sheets might contain, and yet I have given you fourteen complete folios.

“I have come to know Leonardo as if he were my brother. And I know the other minds and artists of his time. Hear me, Jonas, just as his contemporaries, he copied what he liked. It was a way of learning. We would say they were plagiarists and be wrong. The times required it. And they were honorable men. If Leonardo knew what I have done, he would ask only that it be honest. Every drawing on every page is one I know was set down by that great man. But his sheets are lost. Now, the world will see them again. If I receive a reward for this work, I shall consider that I have earned my compensation honestly.”

Giorgio's ramblings ceased and he took a chair across from Jonas. Both men remained silent for many minutes until Jonas returned to the manuscript pages and began the slow process of studying every drawing on every page.

Wednesday became Thursday and finally at 2:00 A.M. Jonas confessed that he could no longer focus his eyes or his attention. They agreed to reassemble in the morning.

Tony became a full participant when they met again at ten o'clock. Each of Giorgio's sheets contained at least one drawing and Leonardo's commentaries. Two of the sheets formed a page or leaf, and two leaves made a folio. Tony in effect assembled a catalog of all fifty-six sheets and assigned a number to each. His notes were intended to help Curtis schedule the work he would soon commence.

They agreed to assign a three-digit number to each folio and began with the architectural drawings. These four folios were designated 201, 202, 203, and 204. The folios containing drawings that related to Leonardo's paintings, and which would have far greater value, were numbered 401 through 410.

The pages that formed the 200 series were devoted to studies and ideas Leonardo found most challenging. Some of the drawings had military overtones, others touched on details of a basilica that very likely might have been a commission from Lodovico Sforza. Four were exquisite renderings of Leonardo's own ideas for a cathedral in Florence. Giorgio had not lost his ability to draw architectural subjects, nor would the drawings in the 200 Series prove difficult for Curtis Stiehl. Offsetting this advantage was the requirement to place more of Leonardo's handwriting on each page, a complicated task.

After much discussion, the forty sheets comprising the 400 series were paired and paginated. The first through the tenth pages were Leonardo's preliminary studies for the
Mona Lisa.
Pages eleven through sixteen contained drawings of a maiden and a swan thought to be important in the lost
Leda.
Giorgio showed these pages with particular pride. “I am sure that what I have done here will add further controversy to the mystery of the
Leda.
It is said that the finished painting has not survived, but I feel that gives us license to suggest that Leonardo treated Leda and the swan with greater sexual feelings. As you see, Zeus is shown as a small figure in the background.”

Ten pages were devoted to head and hand studies of the disciples in
The Last Supper.
Leonardo's notes revealed how difficult it was for him to secure models for Judas and for Thomas. Eight pages contained Leonardo's famous warrior horses, intended as preliminary to
The Battle of Anghiari,
the mural he painted in the Council Hall in Florence. The last six pages were densely packed with sketches of the Virgin and Christ child. One drawing showed the babe clutching a lamb and another with His hands reaching out for the animal. Either drawing would be hailed as preliminary to the lost
Madonna of the Children at Play.

Giorgio lifted four sheets. “These comprise folio 400-1M as I wish it to be identified, and contain sketches for the
Mona Lisa.
” He took two more sheets. “And these become the first page in folio 400-2C. Judas and Thomas. Your Curtis can concentrate his efforts on these pages. I am providing him with many references, all works of the Master to guide him.” With a smile he added, “They will create much excitement at the auction, Jonas. The studies for the
Mona Lisa
will be the first ever to be discovered.”

The little “O” on Jonas's lips disappeared quickly. “Perhaps we shouldn't be so bold. We should establish credibility first. Let's begin with an architectural study, it will be less controversial.”

“I disagree, Jonas. As I have said, while the architectural drawings are more easily drawn, the writing on a typical sheet is extensive and can be very difficult. The value of these pages will be far greater once the others have been sold. But there is something else to consider. I come from the world of art and I know how they think. There will always be the nay-sayers, but there are as many, even more who will cheer at the suggestion that new works of Leonardo have surfaced. There will be many, many art experts who will want these new drawings of Leonardo to
be—as we would say—
autentico.
They will argue most loudly in your support for the full accreditation.”

“Your point is well taken; however, I believe we should have a choice when it is time to present the first manuscript page.”

“
Bene.
I suggest these drawings of fountains for a new palace that Leonardo planned for Lorenzo di Piero, who was the nephew of Pope Julius. The fountains are beautiful and should not present a problem for Curtis. What Leonardo had to say about them will be more difficult.”

Luncheon was served from a cart wheeled into the room. They ate sparingly, even Jonas picked at the generous array of meats and cheeses. The day had been overcast and not until the gray sky turned black did they complete their close study of Giorgio's many pages. During a brief break in the afternoon, Jonas broached the subject of the original drawings Giorgio claimed were safely hidden. He argued once more that all of the drawings were rightfully his property.

“
Basta! Basta!
There is no more to say about it.”

Giorgio let loose with a sample of his fiery temper. He had no intention of backing down. After the brief outburst, he returned to his gentle, patient manner. He shared his immense knowledge of Leonardo's life and precious heritage. At times he spoke with awe and reverence, then regaled Jonas and Tony with ribald stories of the great artist's private life.

But now Giorgio was tired. The long hours without fresh air or diversion had taken effect. “Forgive me, I do not wish to be rude, but I am very tired. I did not rest well last night and I feel now I could sleep forever. Ah, and to make matters more unhappy, I must be up early to visit several shops for Ivonne and be at the airport in the early afternoon.”

Jonas poured a tumbler half full of scotch. The time for the meeting he reluctantly agreed to attend was not far off and he felt a nervousness somewhere in his very generous stomach. “I am flying to Milan this weekend,” he blurted out.

“Then you can visit with us. The lake is beautiful at this time of year.”

“Lake Como is beautiful at all times of the year. You showed me that. Soon I will ask you to be my guest.”

“
Sì?
You have bought the property you told me about?”

“Another one. It is on the eastern side of the lake. Below Torno.”

“The Villa Grigio?” Giorgio's face showed his excitement. “That is the Vescova estate and has been vacant for many years.”

“That is the one,” Jonas replied. “It is larger than I had planned, but I couldn't pass it by.”

“Ah . . . that explains the busy activity. Many workers and boats anchored by the docks.” He shot a knowing glance at Jonas. “It is very costly to bring such an old building to life again.”

“It's an investment, Giorgio. Perhaps I shall sell after it has served its purpose.”

“I took my boat to the dock and tried to land so I might learn what was being done to that great villa. But I was waved off by a guard aiming his rifle at my heart.”

“I'm sorry if you were frightened,” Jonas said. He swallowed the last of the scotch, then added, “The security I demanded is apparently in effect. But to your discomfort, I am afraid. Soon you'll be free to tie up your boat and visit
Il Diodario.
”

“That is what you call it?
Il Diodario
?”

“You know that name?”

“It is most unusual. I have heard the word but cannot remember its meaning.”

“I'll refresh your memory. Leonardo used the name in one of the myths he was so fond of writing. It's obscure—one I like very much.”

“Ah, I think now I recall something.
Il Diodario
has to do with money, or with the treasury. Is that not so?”

“That's the interpretation I chose,” Jonas replied.