The Da Vinci Deception Read Free Page B

prove the Master’s incredible genius. Consider that he had little formal education, yet his curiosity was so intense that he would spend hours with a putrid corpse, dissecting it by the light of a lantern, then create these minutely detailed drawings.” Jonas peered intently through his thick glasses at Stiehl. “Leonardo knew that to paint the human form he had to know what lay beneath the skin. Study these drawings carefully, Curtis. Note his technique, his mastery of shading and shape.”
    Stiehl picked up one then another of the drawings. He had a vague familiarity with Leonardo’s anatomical works but could not grasp the
point Jonas was making. He was at an even greater loss to understand what bearing it had on him.
    Jonas continued. “Leonardo was left-handed. His stroke was from right to left.”
    â€œAnd he wrote in reverse,” Stiehl added. “I’ve seen examples.”
    â€œIt is most convenient that you are left-handed, Curtis.”
    â€œYou knew that?”
    Jonas nodded. He then took one of the drawings and placed it in front of Stiehl. The sheet contained two human skulls, one drawn above the other. “Can you duplicate what you see on this page?”
    â€œWhy would I want to?”
    â€œThe question is not why. Can you? And exactly as you see them?” Stiehl studied the skulls. “Yes, I could do that. It would take time before I’d be sure of myself. It’s pen and ink, and all line. But the handwriting. That’s far more difficult.”
    â€œI had no illusions it would be simple.” Squinting eyes stared out from behind thick glasses. “It is critically important that you tell me you can, after sufficient practice, create an exact duplicate of what you see on that sheet of paper.”
    â€œThat would be impossible. Only a camera could make an exact duplication.”
    â€œBut suppose Leonardo had never put these skulls on paper. Could you draw them so they would appear as if they had been drawn by Leonardo?”
    â€œI can’t be sure that I could. Perhaps.”
    â€œYou are unsure. Yes or no,” Jonas shot back, his good humor fading.
    â€œDamn it, I can’t be sure. Not until I try. Copying is one thing, creating is another. And it’s not my strong suit.”
    â€œYou underrate your own talents. You’ll have hundreds of his sketches and drawings to guide you. And there are a thousand more skulls in the medical books.”
    â€œSuppose I could draw the skulls. The handwriting would be difficult. It requires an entirely different technique.”
    â€œYou will have expert assistance. There are countless studies and references dealing with his handwriting. Just as you will have writing instruments and inks that are authentic to the period. The paper will be hundreds of years old, also dated to the time of Leonardo. You will not make a copy of this lithograph. You will have the genuine Leonardo drawing to guide you.”

    â€œYou have a card to the Royal Library?” Stiehl smiled.
    â€œThey’re not in the habit of lending their Leonardos,” Jonas replied. “But come, let me explain why I must know if you can produce a duplicate of the skull drawing.” He returned to his desk.
    â€œThe most valuable collection of Leonardo’s manuscripts is at Windsor. Nearly two-thirds of Leonardo’s surviving drawings are in the Royal Library. Note I said drawings. There are many volumes and notebooks in other libraries and museums; however, those contain Leonardo’s theories and observations on a wide variety of subjects. Scattered through those manuscripts are the remaining drawings.
    â€œIt is known that when he died, Leonardo left other notebooks and drawings. Perhaps a thousand pages have never been discovered. No one knows how many fine drawings are on those lost sheets. Some have probably been destroyed. But what of all the others? What drawings have been lost? And