The Rule of Four (37 page)

“The bonfire of the vanities,” I say.

“Right. The gangs returned with cart after cart. They came back with cards and dice. Chessboards. Eye shadow, rouge pots, perfume, hair nets, jewelry. Carnival masks and costumes. But most importantly, pagan books. Manuscripts by Greek and Roman writers. Classical sculptures and paintings.”

Paul returns his drawing to the manila envelope. His voice is somber.

“On Shrove Tuesday, the seventh of February, 1497, the city came out to watch. Records say the pyramid was sixty feet high, two hundred and seventy feet around at its base. And all of it went up in flames.

“The bonfire of the vanities becomes an unforgettable moment in Renaissance history.” He pauses, looking past me at the scraps of paper on the wall. They heave faintly when the vent puffs air into the carrel. “Savonarola becomes famous. Before long he’s known throughout Italy and beyond. His sermons are printed and read in half a dozen countries. He’s admired and hated. Michelangelo was captivated by him. Machiavelli thought he was a fake. But everyone had an opinion, and everyone admitted his power. Everyone.”

I see where he’s leading me. “Including Francesco Colonna.”

“And that’s where the
Hypnerotomachia
comes in.”

“So it’s a manifesto?”

“Of sorts. Francesco couldn’t stand Savonarola. To him, Savonarola represented the worst kind of fanaticism, everything that was wrong with Christianity. He was destructive. Vengeful. He refused to let men use the gifts God gave them. Francesco was a humanist, a lover of antiquity. He and his cousins spent their early years studying with the great instructors of ancient prose and poetry. By the time he was thirty, he had amassed one of the most important collections of original manuscripts in Rome.

“Long before the first bonfire, he had been gathering art and books, employing merchants in Florence to buy up what they could and ship it to one of his family estates in Rome. It put a major rift between Francesco and his family, because they believed he was squandering his money on Florentine trinkets. But as Savonarola gained power, Francesco became more resolute: he couldn’t bear to think of the pyramid going up in smoke, no matter what the cost to him or his fortune. Marble busts, Botticelli paintings, hundreds of priceless objects. And most of all, the books. The rare, irreplaceable books. He stood at the other end of the intellectual universe from Savonarola. To him, the greatest violence in the world was against art, against knowledge.

“In the summer of 1497, Francesco travels to Florence, to see for himself. And what everyone else admires about Savonarola—his holiness, his ability to think about nothing but salvation—makes Francesco feel the deepest kind of hatred and fear. He sees what Savonarola is capable of doing: destroying the greatest artifacts of the first resurgence in classical learning since the fall of ancient Rome. He sees the death of art, the death of knowledge, the death of the classical spirit. And the death of humanism: the end of the quest to overstep boundaries and exceed limitations, to see the full possibility of thought.”

“
That’s
what he wrote about in the second half of the book?”

Paul nods again. “Francesco wrote everything into it, all the things he was too scared to come out and say in the first half. He recorded what he saw in Florence, and what he feared. That Savonarola was growing in influence. That he would somehow earn the ear of the French king. That he had admirers throughout Germany and Italy. You can see it increasing, the longer Francesco writes. He became more and more convinced that there were legions of supporters behind Savonarola, in every country of Christendom.
This preacher,
he wrote,
is only the beginning of a new spirit of Christianity. There will be uprisings of fanatical preachers, outbreaks of bonfires throughout Italy.
He says Europe is on the brink of a religious revolution. And with the Reformation approaching, he’s
right
. Savonarola won’t be around to see it happen, but like you said, when Luther sets things into motion a few years later, he’ll remember Savonarola as a hero.”

“So Colonna saw it all coming.”

“Yes. And after seeing Savonarola for himself, Francesco takes a stand. He decides to use his connections to do what very few other people in Rome, or anywhere in the West, could’ve done about it. Using a small network of trusted friends, he begins to collect even more great works of art and rare manuscripts. He communicates with a huge network of humanists and painters to gather together as many treasures, as many artifacts of human knowledge and achievement, as possible. He bribes abbots and librarians, aristocrats and businessmen. Merchants travel to cities across the continent for him. They go to the ruins of the Byzantine Empire, where ancient learning is still preserved. They go to infidel lands for Arabic texts. They go to monasteries in Germany, France, and the North. And the whole time, Francesco keeps his identity a secret, protected by his closest friends and humanist brothers. Only they know what he intends to do with all of these treasures.”

Suddenly I remember the portmaster’s diary. Genovese, wondering what could possibly be carried on such a small ship, coming from such an obscure port. Wondering why a nobleman like Francesco Colonna would be so interested in it.

“He finds masterpieces,” Paul continues. “Works that no one has seen for hundreds of years. Titles no one knew even existed. Aristotle’s
Eudemus, Protrepticus,
and
Gryllus.
Greco-Roman imitations by Michelangelo. All forty-two volumes by Hermes Trismegistus, the Egyptian prophet believed to be older than Moses. He finds thirty-eight plays of Sophocles, twelve by Euripides, twenty-three by Aeschylus, all of them considered lost today. In a single German monastery he finds philosophical treatises by Parmenides, Empedocles, and Democritus, all squirreled away for centuries by monks. A scout in the Adriatic discovers works by the ancient painter Apelles—the portrait of Alexander, the Aphrodite Anadyomene, and the line of Protogenes—and Francesco is so excited he tells the scout to buy them even if they might be fakes. A librarian in Constantinople sells him the
Chaldaean Oracles
for a small pig’s weight in silver—and Francesco calls it a bargain because the oracles’ author, Zoroaster the Persian, is the only known prophet older than Hermes Trismegistus. Seven chapters by Tacitus and a book by Livy appear at the end of Francesco’s list as if they’re nothing. He almost forgets to mention half a dozen works by Botticelli.”

Paul shakes his head, imagining it. “In less than two years, Francesco Colonna assembles one of the greatest libraries of ancient art and literature in the Renaissance world. He brings two seamen into his inner circle to captain his ships and move his cargo. He employs the sons of the trusted members of the Roman Academy to protect caravans traveling roads across Europe. He tests the men he suspects of treachery, recording their every move so he can cover his tracks. Francesco knew he could only trust his secret to a select few, and he was willing to do whatever it took to protect it.”

It’s hitting me now, the full force of what my father and I stumbled onto: a single loose thread in a web of communication between Colonna and his assistants, a network designed for the sole purpose of protecting the nobleman’s secret.

“Maybe Rodrigo and Donato weren’t the only ones he tested,” I suggest. “Maybe there are more belladonna letters.”

“Probably,” he says. “And when Francesco was done, he put everything he owned in a place no one would ever think to look. A place where he says his treasures will be safe from his enemies.”

I know it even before he says it.

“He petitions the senior members of his family for access to the huge tracts of land they own outside Rome, under the pretext of a profit-making enterprise. But instead of building above ground, in the middle of the forests where his ancestors used to hunt, he designs his crypt. A huge underground vault. Only five of his men ever know its location.

“Then, as 1498 approaches, Francesco makes a crucial decision. In Florence, Savonarola seems to be more popular than ever. He declares that on Shrove Tuesday he will build a bonfire even bigger than the last one. Francesco records part of the speech in the
Hypnerotomachia.
He says all of Italy is at a fever pitch with this new kind of religious madness—and he fears for his treasures. He’s spent virtually all of his fortune already, and with Savonarola gaining a foothold in the mind of Western Europe, he senses that goods are becoming harder to move and hide. So he gathers up all that he’s collected, places it in the crypt, and seals it off for good.”

Slowly it occurs to me that one of the oddest details of the second message finally makes sense.
My crypt,
Colonna wrote,
is an unequalled contrivance for its purpose, impervious to all things, but above all to water.
He waterproofed the vault, knowing that otherwise, locked underground, his treasures would rot.

“He decides that in the days before the bonfire is lit,” Paul continues, “he will travel to Florence. He will go to San Marco. And in a final attempt to defend his cause, he will confront Savonarola. By appealing to the man’s love of learning, his respect for truth and beauty, Francesco will persuade him to remove the objects of lasting value from the bonfire. He will stop the preacher from destroying what the humanists consider sacred.

“But Francesco is a realist. After hearing Savonarola’s sermons, he knows how fiery the man is, how convinced he is that the bonfires are righteous. If Savonarola won’t join him, Francesco knows he has only one choice. He must show Florence how barbaric the prophet really is. He will go to the bonfire and remove the objects from the pyramid himself. If Savonarola tries to light the fire anyway, Francesco will be martyred on the pyre, in front of the entire city. He will force Savonarola to become a murderer. Only this, he says, will turn Florence against fanaticism—and with Florence, the rest of Europe.”

“He was willing to die for it,” I say, half to myself.

“He was willing to
kill
for it,” Paul says. “Francesco had five close humanist friends in his confraternity of brothers. One was Terragni, the architect. Two were a pair of real brothers, Matteo and Cesare. The final two were Rodrigo and Donato, and they died for betraying him. He would’ve done anything to protect what he believed in.”

The tiny space of the carrel seems to warp for a second, angles colliding like fragments of time intersecting. I see my father again, writing the manuscript of
The Belladonna Document
on the old typewriter in his office. He knew exactly what that letter meant; he just didn’t know its context. Now Paul has found its place. Though there’s a sudden satisfaction to that, there’s also a growing sadness I feel as Paul continues his story. The more I hear about Francesco Colonna, the desperate man who couldn’t trust even his friends, the more I think of Paul, slaving over the
Hypnerotomachia
the same way Colonna did, on either end of a single thread in time, a writer and a reader. Vincent Taft may have tried to poison Paul against us, telling him that friends were fickle, but the more I see what Paul has done for this book—how he has lived in it for years now, the way I only lived in it for months—the better I understand. It was Francesco Colonna, as much as any living man, who made him doubt.

Chapter 23
                           

“In the months before Francesco leaves for Florence,” Paul says, “he takes the one precaution he thinks is foolproof. He decides to write a book. A book that will disclose the location of the crypt, but only to a fellow scholar—not to a layman, and above all, not to the fanatics. He’s convinced that no one could solve it except a true lover of knowledge—one who would fear Savonarola as much as Francesco does, and who would never allow the treasures to be burned. And he dreams of a time when humanism will reign again, and the collection will be safe.

“So he finishes the book and asks Terragni to have it delivered anonymously, by courier, to Aldus. By pretending to be its patron, he says he will urge Aldus to keep the book under wraps. He won’t identify himself as the author, so that no one will suspect what’s in it.

“Then, as Carnival nears, Francesco enlists the architect and the two brothers, the only three remaining members of his Roman Academy circle, and travels to Florence. They are men of principle, but Francesco understands how difficult their task is, so he insists that every man take an oath to die, if necessary, at the Piazza della Signoria.

“On the night before the bonfire, he asks all three friends to join him for a meal and a prayer. They tell stories of their adventures together, their travels, the things they’ve done in their lifetimes. That entire evening, though, Francesco says he can see a dark shadow gathering over their heads. He doesn’t sleep that night. The next morning, he goes to meet Savonarola.

“From that point forward, all of the text is written by the architect. Francesco says Terragni is the only man he can trust with such a task. Knowing he’ll need someone to oversee his interests should anything happen in Florence, he gives Terragni a huge vote of confidence. He gives the architect his final cipher and asks him to add a postscript, coded into the final chapters, to describe what becomes of the friends from the Roman Academy. He gives Terragni the responsibility of supervising the
Hypnerotomachia
after it reaches Aldus, to be sure it makes it into print. Francesco says he has had a vision of his own death, and knows he can’t accomplish everything he wants by himself. He takes Terragni with him to record the meeting with Savonarola.

“By then, Savonarola is waiting for them at his cell in the monastery. The meeting was arranged ahead of time, so both sides are prepared. Francesco, trying to be diplomatic, says he admires Savonarola and shares the same goals, the same hatred of sin. He quotes Aristotle on virtue.

“Savonarola counters by quoting Aquinas, almost an identical passage. He asks Francesco why he prefers a pagan source over a Christian one. Francesco praises Aquinas, but says that Aquinas borrowed from Aristotle. Savonarola loses patience. He delivers a line from the Gospel of Paul:
I am going to destroy the wisdom of the wise and bring to nothing the understanding of any who understand. Do you not see how God has shown up human wisdom as folly?