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+{"text":"\n\n**A G AME OF INCHES**\n\nCopyright \u00a9 2016 by Webb Hubbell\n\nAll rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information, storage or retrieval system, without permission in writing from the Author. Inquiries should be addressed to Webb Hubbell, 820 East Kingston Ave., Charlotte, N.C. 28203.\n\nLibrary of Congress Cataloging-in-Publication Data  \n\/ Hubbell, Webb\n\nISBN\n\nCOVER DESIGN BY\n_To:_\n\nSuzy, my Razorback Teammates, and George\n\n## **A UTHOR'S NOTE**\n\nIN 1899, THE Sewanee Tigers of the University of the South reveled in a 12-0 season. Their opponents included the University of Georgia Bulldogs and the University of Tennessee Volunteers. In mid-season the team took an extended road trip, playing five teams in six days. Not only did the Tigers win all five games, each game was a shut out. During this remarkable feat they beat Texas, Texas A&M, Tulane, LSU, and Ole Miss\u2014not a \"weak sister\" among them. Joe Paterno, former head coach of Penn State, said that this accomplishment by the \"Iron Men of Sewanee\" had to be one of the most staggering achievements in the history of football.\n\nToday, the school is better known for its academic excellence as one of the southern Ivies. The Sewanee Tigers still play football, but not in the Southeastern Conference (\"SEC\"). Instead they play at the Division Three level in the Southern Athletic Association. Their opponents include Rhodes and Millsaps, not Auburn or North Carolina. In 2012, their record was 3-7. The Tigers don't play to thousands of screaming fans on national TV. They play to small crowds of students, parents, academics, alums, and the stray dogs who run around in the end zone. But the rules of the game are still the same; the scholar-athletes still risk serious injury every practice and game; and the individual effort isn't any less than in Division One.\n\nBilly Hopper is a fictional character. He didn't attend Sewanee, wasn't awarded a Rhodes scholarship, and didn't play football for the Tigers. He is simply a compilation of characters I've known. The book is primarily set in Washington, DC. You might recognize some of the restaurants and neighborhoods I describe, but the characters and events in this novel have no connection to reality\u2014they only exist in the imagination of this author and his readers.\n\n## **P ROLOGUE**\n\nON THE MORNING of March 20, 2016, a drowsy Billy Hopper stretched his arm across the bed in his room at DC's Mayflower Hotel to discover a woman lying by his side. As his brain began to focus he realized he was covered in blood and that she was clearly dead. He flew out of the bed in horror, backing himself against a wall. His whole body shook as he tried to figure out what to do. He had no idea who she was. She was naked and had been stabbed multiple times. There was so much blood\u2014gulping for air, he called the only man he knew he could trust. Needless to say, every TV or radio sports news show has focused on little else.\n\nDuring the previous NFL season, Billy \"Glide\" Hopper had been the \"go to\" rookie wide receiver for the newest NFL football franchise, the Los Angeles Lobos. His story of coming from obscurity to rookie success was a sports publicist's dream until the events of March 20, which quickly became known as the \"Mayflower Mutilation.\" At just 6 feet, barely 200 pounds, Hopper doesn't quite fit the image of a pro football player. Baby-faced with golden locks and deep tan, he looks more like a skier or a surfer. He has neither blazing speed nor a whopping wingspan but he does have two things going for him on a field dominated by giant gladiators\u2014a unique ability to elude pass defenders and hands of Gorilla Glue. During the first game of the season, Seattle's all-pro cornerback was overheard to say. \"Coach, I can't cover that dude. He ain't fast, but he glides right by me.\" The nickname stuck.\n\nHopper played college football in obscurity at the University of the South in Sewanee, Tennessee. No one from Sewanee goes to the Pros\u2014even the football players are there for an education. He dreamed of a pro career, but not a single NFL scout looked at Billy or considered his 3673 receiving yards as a Tiger. After graduating with Honors in 2013, Hopper spent the next two years earning an MPhil at Oxford on a Rhodes scholarship. As there were no philosophy jobs waiting for him back in Tennessee, he decided to consult his old coach at Sewanee. Sure of Billy's talents, Coach Samko convinced Billy to attend an open tryout for the new LA franchise. The rest is history. In his rookie year, he had 111 receptions for 1773 yards and 18 touchdowns.\n\nHopper's phenomenal year propelled the first-year franchise Lobos to 4-12 in their first NFL season\u2014a record much better than expected. The team won their last two games of the season including an upset of New England in the last week of the season, knocking the Patriots out of the playoffs. Billy caught three touchdown passes in that game\u2014all highlight reel catches. He was unanimously elected the Associated Press offensive rookie-of-the-year.\n\nThese days all the controversy surrounding Hopper centers on how the sport of football continues to produce off-the-field violence and how it might have prompted Hopper to commit such a heinous crime. Faithful Patriot fans are ready enough to throw this southern kid under the bus, as are the police, politicians, the press, and most preachers. After all, the unidentified young woman was in his bed, he had been drinking at the banquet, and his fingerprints allegedly were found on the murder weapon\u2014a room service steak knife.\n\nHe will surely be charged with murder. Speculation focuses more on the murdered woman\u2014who was she? Not a soul has come forward to identify the body, despite law enforcement's repeated appeals for help.\n\nAs for Hopper, it seems everyone is ready to condemn him\u2014late-night talk show hosts make crude jokes at his expense, and the media are willing to give anyone an audience and air-time if they can to say they knew Hopper, no matter what they have to say.\n\nThe dam of speculation finally broke at 4:45 p.m. on Friday, April 15, 2016 when the following came across the banner of ESPN:\n\nBreaking News: The U.S. Attorney for the District of Columbia has charged Los Angeles Lobos' rookie wide receiver Billy Hopper with first-degree murder in connection with the slaying of an as yet unidentified woman at the Mayflower Hotel on March 20, 2016. Hopper has been in the custody of law enforcement since the incident. He will be arraigned on Monday.\n\nA second banner left little doubt as to the Lobos' reaction:\n\nBilly Hopper's contract has been terminated, and he has been released from the team. The Lobos will have no further comment.\n* * *\n\n## **FRIDAY**\n\n* * *\n\n## **April 15, 2016**\n\n### **1**\n\nPHILANTHROPY IS TRULY a good and wonderful thing, and I am fortunate to be a part of the Margaret and Walter Matthews Foundation. I mean that. But just now, sitting at my desk in DC, I must admit to playing with pencils. I was bored. I'm a lawyer, both by training and profession\u2014administration just doesn't float my boat. The insistent rumblings of my cell phone interrupted my inner grumblings.\n\n\"Senator Robinson asks that you join her for cocktails this evening at her home. Please arrive promptly at seven.\" Nothing else. I was left staring at the phone as it went dead.\n\nThe cool invitation by the Senator's administrative assistant caught me completely off guard. How did she have my cell number? I hadn't heard from or seen Lucy Robinson in almost two years. Her assistant's assumption that I would drop everything on less than four hours' notice didn't surprise me\u2014Lucy's arrogance was legend. But the invitation itself did. The last time I'd seen Lucy, she'd taken me to the woodshed for a well-deserved tongue-lashing.\n\nAfter her husband, Senator Russell Robinson, was murdered, Lucy was appointed to fill her husband's unexpired term as U.S. Senator from Arkansas. She took to the job like a duck to water, quickly becoming a rock star in a city full of politicians who craved the limelight. A wealthy, attractive, and savvy woman in a world still dominated by men, she is a media darling and frequent Sunday talk show guest. It didn't hurt that after an appropriate period of mourning Lucy was spotted at Georgetown's Caf\u00e9 Milano on the arm of Charles \"Red\" Shaw, former marine colonel, billionaire government contractor, and owner of the new Los Angeles Lobos football team.\n\nI was tempted to bag it. Lucy and I had never been close. Her late husband and I hadn't seen eye to eye in college\u2014in fact, I couldn't stand the bastard. But my late wife Angie and Lucy remained friends even after we left Arkansas, and Lucy had supported Angie in her own way as Angie battled ovarian cancer. I was sure the invitation signaled payback time for my having represented the man charged with her husband's murder. I might as well find out what price she would exact.\n\nThe invitation also meant I had to go home and change into a coat and tie, a tired uniform I tried to avoid whenever possible. Traffic was always a pain from my office in downtown DC to Chevy Chase, and traffic back to Lucy's Georgetown home would be just as bad, if not worse. At least I had somewhere to go on a Friday night. I usually began my weekend at Pete's on Connecticut Avenue for Greek food before going home to a bad movie or worse TV. A Saturday morning golf game with my usual foursome at Columbia Country Club was almost always the highlight of my weekend.\n\nMy playing partner, Walter Matthews, and his wife Maggie were in Tuscany, so tomorrow's game was off. It was just as well\u2014an old friend from Little Rock, Judge Marshall Fitzgerald, had flown in for a short-notice visit, and we were meeting for lunch.\n\nI decided to catch a ride to Lucy's, figuring I would need several martinis to endure the evening. Thanks to an eager cabbie I arrived at seven on the dot. Lucy's household staff was surprised by my timely arrival and didn't bother to hide their displeasure. I ought to have known better. In DC, it's a matter of pride to be late, a clear indication of your importance elsewhere. The well-trained butler escorted me into the large living room without a glance, leaving me to peruse the art and d\u00e9cor of Lucy's stylish Georgetown townhouse in solitude.\n\nLucy's choice of art was fairly catholic\u2014\u2014Motherwell, Lichtenstein, and a small Stella but the inclusion of a Gursky photograph came as a surprise. The furnishings were a comfortable mix of antique and contemporary. Everything was in its place, the bookshelves lined with first editions interspersed with objects d'art. I looked for reminders of her deceased husband, Russell, but found none. There were plenty of photographs in silver frames of Lucy with her children, Lucy with President Obama, and Lucy with Red, but Russell was nowhere to be found. Guess she'd moved on.\n\nI was admiring the Lichtenstein over the fireplace when the waiter brought me a martini, and I heard from across the room, \"Dear Jack, I'm so glad you could come.\"\n\nLucy wore a shimmering full-length blue dress that emphasized her natural attributes almost as well as the elegant strand of diamonds around her neck. She smiled like we were old high school sweethearts, which we definitely were not. She crossed the room arm-in-arm with Red Shaw\u2014the stocky build, strong jaw, and military haircut were easily recognizable. Lucy held out her cheek, and I managed the obligatory air kiss. Red\u2014he insisted I call him that\u2014extended his hand for a vigorous shake.\n\n\"Lucy has told me so much about you. I hope we'll have time tonight for a real talk.\" His voice was a bit raspy, but his tone was genial enough.\n\nThe doorbell rang before I could respond, and Lucy and Red turned to greet their guests.\n\nThe living room quickly filled with men in tailored suits and women in expensive cocktail dresses. I was just about the only man without an attractive woman at my elbow, but I was used to being the odd man out at social events. I recognized a lot of the guests\u2014senators from both political parties, former members of Congress who were now highly paid lobbyists, and a careful assortment of the mainstream media. Tonight was about access and being seen\u2014a DC power event.\n\nI had to hand it to Lucy\u2014she'd learned the protocol. No one had to wait more than a few seconds for a refilled glass or another tiny hors d'oeuvre. Rather than the expected chatter about the presidential primaries, the conversation centered on Billy Hopper. Everyone had an opinion. The latest scandal at the Pentagon created a second buzz\u2014apparently the Navy had paid billions for the design and construction of a stealth submarine that had sunk somewhat further than expected. Fortunately, the skeleton crew had been able to escape. Red's company had just been awarded a multi-million dollar contract to recover the wreckage.\n\nThe ringing of a silver spoon against expensive crystal caught our attention, and all eyes turned to Lucy and Red who were now standing at the bottom of the stairs.\n\nLucy smiled warmly and spoke, \"I want to thank all of my closest friends for coming on such short notice. It means the world to Red and me that you're here.\" Red was beaming ear to ear. Lucy slipped her hand into his.\n\nShe continued, \"When my late husband Russell was tragically murdered, I thought my world had come to an end. But thanks to so many of you in this room, I've been able to continue his important work.\"\n\nLucy paused to emphasize the drama. \"But something in my life was missing.\"\n\nShe waited for the room to go absolutely still, then turned to Red and gave him a look that would have thawed Antarctica. She returned to the crowd blushing. I have to hand it to Lucy\u2014she was a natural.\n\n\"Then Red charged into my life, and once again I'm a complete woman. I won't share the details of his proposal\u2014Red can really be quite romantic,\" she grinned. \"But he's asked me to marry him, and I've accepted. We wanted to share this moment with you, our closest and dearest friends, before you read it in the _Post_. So thank you all for coming and, of course, you will all be invited to the wedding.\"\n\nImmediately an army of waiters bearing crystal champagne flutes entered the room, toasts were given, and Red and Lucy graciously accepted congratulations from all.\n\nI watched the unfolding scene from the back of the room, sipping on champagne and wondering why in the world I was here.\n\nI also observed a woman in a deep red dress detach herself from a nearby group and walk directly toward me. I saw that she was quite attractive with full, dark hair, but it was the dress that first caught my eye. Black is the color of choice for most all Washington women\u2014for some reason color is almost unheard of in the posher circles. The dress and her jewelry were understated in a manner that evokes both class and money. She wasn't bone thin either, another anomaly.\n\n\"You have to hand it to Lucy. Once she set her sights on Red, he didn't stand a chance,\" she whispered as we raised our glasses for another toast.\n\nI smiled, knowing exactly what she meant. Her first husband, Russell, had experienced a similar assault in college.\n\nShe turned to me, \"I don't think we've met. I'm Carol Madison.\"\n\nHer smile was warm and contagious, her eyes bright, and she had a distinct southern accent.\n\n\"Jack Patterson.\" I extended my hand.\n\n\"I'll bet I'm not the only one tonight who wonders why you're here. After all, you did represent her husband's killer.\"\n\nI couldn't think of a reason either.\n\nShe rescued my silence with an easy laugh. Her hand slid down my arm and hooked into my elbow.\n\n\"Come on. Let me introduce you to a few people. They won't bite, and I promise you have nothing to fear from me. Let's mingle.\"\n\nShe worked the room with me as her attachment, and I tried to follow the conversations as I wondered about my new companion.\n\nActually, I knew a few people myself, which seemed to surprise her. In fact, it surprised me. But Carol seemed to know everyone, and they clearly knew her. We chatted with a few members of Congress and a couple of cabinet secretaries. They seemed to be comfortable, so I concluded she couldn't be with the press. She never let go of my elbow and fed my ego by introducing me as \"the famous attorney.\"\n\nWe spent the next hour making small talk. I'm not a big fan of large cocktail parties. I usually find a corner to shrink into and drink more than I should, but this time I found myself enjoying the evening. Several martinis and Carol's company didn't hurt. I lost track of time until I realized most everyone else had left. I was about to get up the nerve to ask Carol out to dinner, when Lucy approached.\n\n\"I am so glad you two met. I had a feeling you'd get along. Red would like a few minutes, Jack. I hope you don't mind, Carol?\"\n\nMaybe it was wishful thinking, but I thought I detected disappointment in Carol's eyes. Dinner with Carol sounded much more appealing than a few minutes with Red Shaw, but we both understood Lucy wasn't really asking.\n\nIf Carol was disappointed she quickly let it go. \"Of course. I really need to go anyway my workday is far from over. And again\u2014congratulations, Lucy, let's plan on lunch soon.\" She kissed Lucy on the cheek, and as Lucy turned away, Carol pulled me close and dropped something into my coat pocket.\n\n\"Be careful tonight.\" She gave me a peck on the cheek and slipped through the front door before I could respond.\n\n\"Be careful?\" What was that about, I wondered as I followed Lucy into her study.\n\n### **2**\n\nTHE STRAIGHTFORWARD MASCULINITY of Lucy's study caught me by surprise, but I remembered that the townhouse had originally belonged to Lucy and her former husband. The desk was enormous and all the chairs in the room were covered in dark leather. Bookshelves adorned the walls, filled artfully with designer books and what appeared to be first editions. Photographs of Red and various sports figures had been cozied up in every vacant niche. The wall inside the bookshelf directly across from the desk supported a new, curved Samsung Smart TV. A talking head spouted financial news, but the sound had been muted. The TV remote held a place of honor on the desk. Clearly Red had taken over this part of Lucy's house.\n\nA uniformed waiter handed me a generously filled brandy snifter and silently left the room. Red sat behind the desk chomping on a cigar and twirling his own brandy. Two other men stood off to the side. Red offered me one of the wingbacks in front of the desk and introduced the men.\n\n\"Jack, meet Lynn and Guy. They're my good friends and financial advisors. I don't take an important meeting without them. I hope you don't mind?\"\n\nLynn and Guy looked more like professional hit men in dark suits than financial advisors, but who was I to judge.\n\n\"Of course not\u2014nice brandy,\" I responded, sinking into the leather.\n\n\"I'd offer you a Cuban, but Lucy won't let me smoke in the house. I import the brandy from France, glad you like it. Lynn, make sure Jack gets a couple of bottles.\"\n\nLynn grunted.\n\n_Interesting instruction and reaction to and from a financial advisor._\n\nRed leaned forward across the desk.\n\n\"Lucy says you're a whiz-bang antitrust lawyer, the best of the best. Well, I've also made a few calls, learned the hard way to do my own research. Turns out she's right\u2014when it comes to antitrust you're the man.\"\n\nLovely, thanks\u2014what next?\n\n\"Lucy also tells me you owe her a big favor, and I'm free to call on it. I expect you know what she's talking about. I didn't ask.\" Red managed a grin even as the gnawed cigar moved up and down.\n\nNo reaction called for: first the compliment then the reminder of an obligation. Red was following the playbook. I waited for the ask.\n\n\"Jack, let me get right to the point. The NFL pays lobbyists a bloody fortune to make sure the NFL's anti-trust exemption remains the law of the land. They pay attorneys even more to fight nuisance lawsuits trying to get around our exemption.\"\n\n_Here it comes._\n\n\"The real danger lies with the Department of Justice and the FTC. Our exemption drives them nuts. I'm worried they might ferret out a weak link in the law or manage to get some liberal judge to side with them. The League may be happy with its lawyers, but I want my own. I want you on the Lobos' payroll to monitor everything we do with an eye to antitrust exposure. Two hundred and fifty thousand a year sound about right?\"\n\nWell, shit, I wasn't expecting this. If I were twenty years younger I'd have said yes before Red could whistle Dixie, but I wasn't.\n\n\"Well\u2014Red, I'm tremendously flattered, but I have a fairly good law practice, and I'm also heavily involved with the Matthews Foundation. I can't simply abandon the foundation and my clients. I'm honored and thank you, but I'm not quite ready to become an employee, much less move to LA. But I'm happy to recommend a few highly qualified lawyers who might be willing to move for that amount....\"\n\nI spoke firmly, hoping to end the conversation, but Red interrupted with a growl.\n\n\"Oh, hell, Jack. I didn't mean coming to work for the Lobos full-time or moving to LA. I own the damn team, and I'm not about to move out to la-la land. I don't expect you to either. I'm talking about...well I guess it would be a retainer, I want you on retainer as our antitrust guy. You can represent whomever else you want as long as it isn't another team, one of my players, or the damn union. I'll have the team lawyers draw up a contract and deliver it to your office next week. You go over it, clean it up however you want, and sign it. I won't take no for an answer.\"\n\nI didn't know what to say, but my lawyer's caution told me to go slow. It was one hell of an offer, but straight out of the blue. Why? Lucy Robinson, a lifelong adversary for most of my life, has me over for cocktails to witness her wedding announcement. After dinner her future husband offers me a lucrative retainer agreement with the Lobos, the NFL's newest franchise. Retainers are highly sought after by law firms because they lock the client into a relationship. They usually provide for additional sums to be paid if the client is sued or the hours spent exceed a specified number. Most lawyers or law firms would kill for such an arrangement, especially when the client's an NFL franchise worth roughly, oh, say two billion dollars.\n\nRed wasn't finished.\n\n\"I'll make sure the lawyers include provisions that entitle you to get the same perks as other Lobos' executives\u2014skybox seats, away game tickets, Super Bowl tickets, etc. Hell, Jack you'll be howling at the moon like the rest of us before you know it.\"\n\n\"Howling at the moon\" referenced the Lobos' fans unique pre-game call and cheer. It reminded me of the Arkansas Razorback's famous \"Hog Call.\" Not as good, but the LA fans loved it.\n\nI didn't answer.\n\n\"What's wrong, Jack? You're too damn quiet. I don't like that. Tell me it's not about that Hopper kid. Hell, he's already cost me millions and probably millions more when that woman's family dredges up some ambulance chaser and sues the team, but it's not the end of the world. All the bad publicity will die down soon enough once he pleads guilty. If it's about the money, tell me what it will take. I want you on board before I turn to the next draft. I've got a winning team to build.\"\n\n\"Nothing's wrong with your offer\u2014the amount is very generous.\"\n\n\"Great.\" Red smiled, stood up, and extended his hand across the table. I remained seated.\n\n\"I'm overwhelmed. I don't know quite what to say. Your guys can draw up the contract, but I want to think about my other commitments, be sure I can do the work you expect of me. Give me the weekend, but unless I have a complete change of heart, I look forward to becoming the Lobo's second biggest fan.\"\n\nI rose and took his hand. Red seemed genuinely pleased.\n\nAs if on cue, Lucy came into the room, took me by the arm and said, \"Jack, I'm so excited. I wish we could talk a while, but...\" I wondered why I was now getting the bum's rush, but shrugged it off. They were bound to have dinner plans. She gave me a quick, dry kiss, and I was quickly out the door, wondering what rabbit hole I'd fallen into.\n\nBefore I'd made it down the steps, I noticed a black Lincoln town car parked in front. The back door swung open, and inside I saw the smiling face of Carol Madison.\n\n\"Those little pastries weren't enough\u2014I'm hungry. How about you buying me dinner?\"\n\n### **3**\n\nRED SHAW PULLED back the drapery and watched from the window as Jack stepped into Carol's town car. He smiled and murmured, \"Perfect.\" Lucy wasn't so pleased.\n\n\"He didn't agree on the spot?\"\n\n\"No, my dear, he didn't. He's a lawyer. Caution is second nature. He'd have been skittish as a cat if I'd given him a contract all ready to go. I'll up the ante and add a few perks. Don't worry. I'll have his signature before the end of the week. Let's go to dinner, I'm starving. How about Joe's for some crab?\"\n\nLucy frowned, \"But make sure it's happens. We can't afford to screw this up.\"\n\nShe asked the nearest maid to bring her a wrap, kissed Red on cheek, reached down to his groin and gave him a seductive rub.\n\nHe took her hand and said, \"No worries, Lucy. You'll see.\"\n\n*********\n\nI climbed into Carol's car knowing I would wake up from this dream any second now. A very wealthy, very cocksure client had just dropped into my lap, and now I was on my way to dinner with a woman I hoped to get to know a whole lot better. And, let's face it\u2014I didn't have anything better to do.\n\n\"Jack, say hello to Pat\u2014he's my regular driver.\" Pat nodded at me in the rear view mirror, and I returned the gesture. \"DeCarlo's okay? I understand it's one of your favorites.\"\n\nDeCarlo's, a neighborhood restaurant in northwest DC, is one of my favorites, although I wondered briefly how she knew. DeCarlo's serves maybe the best pasta Bolognese in the city. But I come back time and again because I can hear my companions talk and myself think. The service is excellent, Sinatra still croons in the background, and people leave you alone unless they know you\u2014even then they're pretty discreet.\n\nI was taken aback to find Carol busy texting. She looked up long enough to say, \"I hope you don't mind. I have to get this off. Sit back and enjoy the ride while Pat manages the traffic. We have the rest of the night, I promise.\" I tried not to read too much into her slow smile.\n\nI had reverted to my normal skepticism before we turned the first corner. The car pulled up to a dark red awning beneath the door. Lucy DeCarlo greeted me warmly, but embraced Carol like they were family. She had the \"perfect\" table for the two of us. Carol slipped her arm into mine.\n\n\"I usually I sit up front so I can see and be seen but not tonight. Cellphone is off, and it's time I properly introduced myself.\"\n\nWe quickly agreed to share a Caesar salad and soft shell crabs. A New Zealand Sauvignon Blanc was the perfect crisp foil to the rich crabs.\n\n\"Jack, you look nervous. I'm not stalking you if that's what you're worried about. Surely you know how tough DC can be on marriages, what with lots of single women hovering, hoping for a break. Trust me\u2014you did me a huge favor by letting me escort you around the room tonight like we were an item. So, let me tell you what I do to pay the bills. Let's get that out of the way so we can enjoy ourselves and maybe put a lie to tonight's charade.\"\n\nI leaned forward, ready to listen.\n\n\"I'm in the information and observation business. I maintain a select number of clients who pay me large annual fees to feed them information about anything and everything that goes on in DC, particularly with the current administration and Congress. I don't lobby\u2014never have, never will. My clients have armies of lobbyists.\n\n\"I merely feed the clients information and my personal observations\u2014some public, most not so public. What they do with it isn't my concern. Most of the time, I'd rather not know.\n\n\"I make friends with people from both parties. On occasion I'm able to help a cabinet officer get through the confirmation process, or make sure someone in trouble get the right lawyer or banker. But mostly I keep my eyes and ears open and report to my clients by way of confidential reports and emails. I am very good at what I do.\" Her slow smile revealed both her charm and confidence.\n\nI believed her. I had heard of people who did exactly what she described, but had never known one personally. At my old law firm, Banks and Tuohey, I'd been the beneficiary of information from such a source. My antitrust client was fighting the merger of two rivals without much success at the Federal Trade Commission. Then a source spilled the beans\u2014the two rivals had no real interest in merging: it was all a sham. They were using the merger process to manipulate their own stock prices, while causing my client to spend millions to fight the merger. Relying on this tip, we quickly withdrew our objection to the merger, and my client's rivals had to do some fast backtracking. I wondered whether that source could have been Carol.\n\nI asked reluctantly, pretty sure I knew the answer, \"I expect I'm in for a disappointment, but is this dinner part of your information gathering?\"\n\n\"Wow, you really are jaded. I've got my work cut out for me tonight. Of course not, silly. I admit I'm curious why you were at Lucy's this evening, but my meter stopped running when we entered the restaurant. For the first time in a long while, I'm here to enjoy the company of a handsome man, talk about anything but politics, and eat some good food.\n\n\"Red Shaw's companies are clients, but, honestly, I have no idea what he wanted with you. As for Lucy, lots of people would like to know what makes her tick, and I bet you know more about her than anyone else in this town. But I'm not about to risk a nice evening by quizzing you about that stuck-up bitch.\"\n\nBlunt talk from someone who makes her bread and butter from politicians. Frankly, I didn't care if she was lying. As far as I knew, I didn't have any information worth sharing.\n\nI raised my hand with a shrug, ready to talk about something other than Red or Lucy. She seemed pleased, and soon we were exploring each other's interests. It turned out Carol loved the Washington Nationals, so most of the rest of the evening was spent talking baseball. I hadn't met many women who knew so much about the game, much less an individual team.\n\nWe drifted on to families. She seemed to know quite a bit about mine, including the fact that I'd lost my wife Angie and that my daughter Beth was teaching at a wonderful school in New Orleans while her constant companion, Jeff, was doing his residency at Touro Infirmary in New Orleans.\n\nShe'd grown up in Charlotte, NC, graduated from UNC Chapel Hill, and received a Masters in Public Affairs at Harvard. She moved to Washington, DC to work for Senator Moynihan, but when the Senator declined to run again, she started her own \"information\" business, inspired by the success of others. I was surprised to learn she had never been married, but figured correctly that it was none of my business.\n\nWe lingered over coffee, turning the conversation back to baseball. Our waiter was hovering somewhat anxiously, and I realized we were the last party remaining, so I asked for the check. Carol's driver was waiting out front\u2014in fact, we caught him snoozing. When the car pulled up to my house I said something awkward about having really enjoyed the evening and hoping to see her again. _I was so out of practice._\n\nCarol reached behind my head and pulled me to her, gave me a soft kiss on the lips, and whispered in my ear, \"You forgot to invite me in for a nightcap.\"\n\nShe took one look at my face, laughed, and pushed me out the door. \"You should at least ask, Jack.\"\n* * *\n\n## **SATURDAY**\n\n* * *\n\n## **April 16, 2016**\n\n### **4**\n\nI SLEPT LIKE a log, waking with a start to find my dog Sophie staring intently at me. As we went on her morning walk, I wondered if I could bribe my daughter Beth to take Sophie with her to New Orleans. Then again, New Orleans's heat and humidity would be too much for a Bernese mountain dog. DC summers were bad enough.\n\nI also let my thoughts wander to last night\u2014Lucy's invitation, Red Shaw's offer, and Carol Madison. Each presented a bit of a mystery. Back in college we used to describe Lucy as \"a piece of work.\" Ambitious, aggressive and attractive, Lucy was a force to be reckoned with even then, and the last thirty years hadn't changed anyone's opinion, certainly not mine.\n\nRed came across as blunt, gruff and forceful\u2014didn't bother me in the least, especially when I remembered he was originally from west Texas. I had worked with clients like Red all my life. They were usually difficult, but you always knew where you stood. I was at a loss to understand his offer, almost too good to be true. I suspected once his lawyer's put the deal in writing it wouldn't look so attractive.\n\nEvery NFL team needs antitrust advice. In 1961, Congress granted the league an anti-trust exemption, an event that has driven the antitrust lawyers at the Department of Justice crazy for decades. But why on earth had Lucy Robinson recommended me?\n\nCarol was even more puzzling. Classy and intelligent\u2014why had she singled me out? I was flattered, but my radar was up. Had Red asked her to entertain me? Had Lucy? Maybe I just looked lonely and available.\n\nI showered and decided to opt for a real breakfast, not my usual Grape-Nuts. DC doesn't have any true breakfast places where they don't serve granola and the smells take you back to your grandmother's kitchen. Bethesda has a few places that come close, but on a Saturday morning they're packed. I opted for the grill at Columbia Country Club even though I wasn't going to play golf that morning. The eggs were cooked well, sausage was seasoned, and the hash browns were nice and crisp. Besides, I could read the newspapers in peace.\n\nThe _Washington Post_ covered the Billy Hopper story as if he had murdered the President\u2014sidebars interviewing former teammates and friends and lots of commentary on the violence of the game. Everyone was \"shocked,\" but at the same time assumed he was guilty. The prosecutor announced that he looked forward to locking up Hopper for the rest of his life and again asked for assistance in determining the identity of the victim. They released her details: about 21 years old, 5'6''tall, weight 110 pounds, natural auburn hair cut extremely short. An artist's sketch accompanied the article in _The Post_. She'd worn a blonde wig and had a birthmark on the nape of her neck.\n\nHopper was in town to attend the NFL Honors banquet the evening of the murder. Gossip at Lucy's party was that the police had private videos of Hopper drinking at the banquet and leaving with three women in a limousine. I knew it was only a matter of time before those videos were leaked, as well as the gruesome pictures of the injuries to the young woman. Hopper was in a world of hurt. At least the District had abolished the death penalty years ago. Hopper would live out the rest of his life in a small prison cell in a super max prison. What a waste and what a shame.\n\nAs a lawyer, I couldn't help but wonder who would represent Hopper, but no attorney was mentioned in any of the articles. His agent had refused comment. It was common knowledge that Hopper had played last year on a NFL minimum contract. So unless he had family money, attorney's fees would quickly eat up whatever cash he had left after the season. Then again, he wouldn't need much in prison.\n\n_Stop thinking that way, Jack._ I'm a true believer in the presumption of innocence: give the young man the benefit of the doubt. Don't lock him up and throw away the key before he even enters a plea or goes to trial.\n\nI had plenty of time after breakfast before I was to meet Marshall, so I took the opportunity to go to the practice range and try out the new driver the club pro had convinced me to buy. Golfers are always tinkering with their swing, their putting stroke, or new equipment, hoping against hope that a small change will make a huge difference in their game. It seldom works, but dedicated golfers never quit trying.\n\nAs I started to get the feel of the new driver, my mind wandered back to Carol Madison. Should I call her? Should I send flowers? Should I wait a few days before asking her to the Nat's next home game? I thought about asking Beth for advice. I usually call her every Saturday morning, but she was off on a working retreat for teachers this weekend. The other option was my best friend Maggie, but she and Walter were still away.\n\nMaggie had been my assistant, paralegal, and right arm when I practiced antitrust law at Banks and Tuohey. Two years ago she married Walter Matthews, the president of Bridgeport Life. Together they chair the Walter and Margaret Matthews Foundation. I now have a solo practice, and the foundation is one of my principal clients. Maggie is still my assistant and her husband is my best friend and golf partner. It's complicated, but somehow it all works.\n\nBefore I knew it I'd worked up a good sweat. I showered, changed, and left the club to meet Marshall at the restaurant attached to his hotel, the Hay-Adams. The hotel sits right across Lafayette Square from the White House and directly across the street from St. Johns Episcopal Church. It surprised me that Marshall would stay at such an expensive hotel, but when I had suggested an equally nice but less expensive option he politely declined. Clearly, Marshall had his reasons, and who was I to tell him where he should stay or how he should spend his money.\n\nI had also offered for Marshall to stay with me. I rattled around in our old family home, but Marshall explained that my house contained too many memories of my late wife. Marshall was the closest thing Angie had to a brother, maybe even closer if that's possible. I understand how he felt about the memories. On many a sleepless night I thought about selling the house, but it was too much to think about, used up too much energy.\n\nI climbed the marble stairs off the lobby up to the restaurant, where the ma\u00eetre d' nodded his welcome and escorted me to Marshall's table. He stood, and we embraced. Marshall was one of my three best friends both in high school and college. He stands over six feet three inches tall and is as solid as a rock. He was dressed in a dark gray suit, starched white shirt and conservative tie. I felt way underdressed in my golf shirt and slacks.\n\nMarshall is a brilliant judge who chooses to sit on the trial bench in Little Rock, Arkansas rather than accept the Federal appellate judgeship that has been offered on several occasions. He had officiated over the preliminary hearing of Woody Cole's shooting of Senator Russell Robinson, Lucy's husband. Our friendship was tested during that ordeal, but with those issues resolved our friendship has resumed, as close as ever.\n\nWe spent the first few minutes catching up on Beth. He wanted to know all about her job in New Orleans and when she and Jeff were going to get engaged. I told him that a father doesn't ask about marriage plans these days. He might not like the answer.\n\n\"Nonsense,\" he bellowed. \"It's time that young lady and I had a good talk. Tell her if she doesn't call me soon, I may have to pay her and Jeff a visit. It's time for them to fish or cut bait.\"\n\nI assured him I'd be pleased to convey the message. I had no doubt that Beth was more likely to confide in Marshall than me. She once told me that her Uncle Marshall was the only one she could talk about \"certain things.\" I knew that one of those things included being \"neither black nor white.\" Washington is a progressive town, and it had never occurred to either her mother or me to raise the issue.\n\nI asked what brought him to town, knowing he would be circumspect. The Attorney General had become a close friend of Marshall's after the Cole case, but they both preferred to keep that friendship private.\n\n\"A very sad duty, I'm afraid to say,\" he answered, and I saw my friend's large brown eyes well with tears.\n\n\"I'm sorry, Jack. I'm pretty shaken up about this. Give me a minute.\"\n\n\"Of course.\" I smiled, wondering what could be bothering him. \"It's okay. Today my time is yours.\"\n\nThe waiter approached, and we both looked at our menus, giving Marshall time to collect himself. I was surprised when he asked for a beer. I'd never known Marshall to have alcohol with lunch unless we were eating barbeque at Ben's in Little Rock. When the waiter pointed out the many choices on the menu, Marshall looked confused and finally asked for a Stella.\n\nHe caught me watching him and said without a smile, \"I suggest you order something strong as well, my friend. This story may take a while.\"\n\n\"Marshall, has something happened back in Little Rock? Is Mrs. Cole okay?\"\n\nHelen Cole is Woody's mother\u2014she practically raised Marshall and me during high school, a very special woman.\n\n\"Don't worry, Jack. Helen is fine.\"\n\n\"What's wrong then?\"\n\n\"I'm here to meet with the Constance Montgomery, Deputy U.S. Attorney, about a telephone conversation I had.\"\n\nI felt my throat tighten. \"You're not in some kind of trouble, are you?\"\n\n\"No, nothing like that. William Hopper called me the morning he found that woman in his bed. Ms. Montgomery offered to come to Little Rock to take my statement, but I was already on my way to the airport.\"\n\n\"Good God, Marshall, Billy Hopper? Are you serious? Why would he call you?\"\n\nHe didn't respond, just looked down at his hands, seemingly surprised to see them shaking. I knew I needed to slow down.\n\nHere's the thing\u2014Marshall is brilliant, but he's very literal, linear in this thinking. I learned a long time ago that his brain needs time to process information to see the broader meaning. Crowds create anxiety, whether it's a parade or a cocktail party. He's shy with strangers, particularly women, slow to form friendships. Compassionate rather than judgmental, he's slow to anger, but sure of his convictions. Marshall's friends learned long ago that pressure in any form just doesn't work. Prepared for stress, he handles it coolly and with intelligence, but put him in a tense situation he's not ready for, and he's likely to act more like an ostrich than a tiger.\n\nRight now Marshall was traveling inside, and it wasn't a healthy place to be.\n\n\"Marshall, I've got an idea\u2014you listenin'?\n\n\"Of course I'm listening.\"\n\n\"Let's ditch this place. I'll pay for our drinks while you go upstairs and change into real clothes. Meet me out front in ten minutes, and I'll treat you to the best barbeque and coldest beer in DC, a place where we can talk in absolute confidence.\"\n\n\"Jack, how many times have you told me there is no real barbeque in the District?\"\n\n\"Well, it's not Ben's, but it'll be good enough.\"\n\nIn less than ten minutes, he stepped out of the elevator looking much more comfortable. The cab was waiting, and before long came to a halt in front of an old, slightly seedy house on the Hill\u2014no sign, no name, just a street number above the door. I led him around back to stairs leading to a basement door where we were greeted by a wiry fellow of about seventy with a full head of once dark hair sitting at a desk working the _Times_ crossword. An old rotary phone sat on the right corner of the table. I signed us in and introduced him to Marshall.\n\n\"Welcome back to Barker's, Mr. Patterson. Haven't seen you in a while.\" I made polite noises as he buzzed us through another door.\n\nWe found ourselves in a room familiar to me\u2014creaky pine floors and paneled walls, a room smelling of cigars, old money, and sweat. The bar was topped with jars of pickled eggs, peanuts, and beer sausages. Nobody ate that stuff, except the peanuts, but the dated trappings somehow made you feel comfortable. I wondered idly how a twenty-something would react to them. The few other diners barely gave us a second glance.\n\n\"No craft beers,\" I said. \"Just Bud, Miller, and I think they have Sam Adams now. If you want something stronger, the bar is fully stocked. The wine cellar is the envy of many DC restaurants. I wouldn't suggest a pickled egg or sausage, but that's your call.\"\n\nThe juke box was silent, but I led us to a quiet booth in the corner. The waitress delivered a pitcher of cold beer and two frozen mugs, and I was relieved to see him perk up. I ordered two pulled pork sandwiches and a side order of dry-rubbed ribs. Baked beans, slaw, and collards quickly arrived without having been ordered.\n\nMarshall busied himself with slaw and hot sauce, took a spoonful of beans, and asked, \"I trust you when it comes to barbeque, even in DC. But where exactly are we and how come you've never told me about it?\"\n\n\"Well, Barker's is private club, not a very posh club, but a very private one. Roger knows every member, and no one gets in unless there's a member at his side.\n\n\"You won't find any menus at the bar. Every day there's one special and a few staples such as salads, cheeseburgers, barbeque, and a shrimp burger that will break your heart. They've got what you might call a formal dining room upstairs. Barker's is a cozy place to meet and talk over drinks and real food in total confidence. Leak an overheard conversation or disclose who is meeting with whom and your membership is revoked, no excuses, no recourse. If a guest violates the confidentiality rule, they're never allowed to return and the member is fined. Big bucks, not a slap on the wrist. One learns the hard way not to bring a guest with loose lips.\n\n\"Members can stay overnight in private rooms upstairs. It's really quite nice \u2014showers, a workout room, everything one would find at a good hotel. Most of the members are male, although a few women have been admitted in the last few years. I'd love to show you, but guests aren't allowed anywhere in the building except for the dining rooms and a few meeting rooms. Mr. Barker makes the rules, and the first rule is\u2014screw up, even once, and you're out. If I ever wanted to disappear for a week or two, Barker's would be the perfect place.\"\n\n\"Why would you want to disappear, Jack?\"\n\nAgain, so literal.\n\n\"Just an expression, Marshall. I thought about it right after Angie died. I got so worn out by well-wishers I just wanted to escape for a few days, but I couldn't do that to Beth.\"\n\n\"How many members are there, and how hard is it to get in? Who decides?\"\n\n\"No one knows except the Board of Governors and Mr. Barker. You have to be nominated by a member, unanimously voted in by the Board, and finally interviewed and approved by Mr. Barker. If he says no, there is no appeal.\"\n\n\"Sounds pretty autocratic.\"\n\n\"Barker's rules, he owns the place. He spent several years in England and came to appreciate the value of the exclusive gentlemen's club. He brought the concept back to DC, realizing that the exclusivity alone would appeal to men and women of the city who need a source of good food and drink, privacy, and camaraderie.\"\n\n\"Is it indeed exclusive?\" Marshall asked. I knew exactly what he meant.\n\n\"No, I'm happy to say, it is not. The membership is very representative of the DC community. The only people who seem to have been excluded are those who are known to care about being seen and written about in the papers. Needless to say, you won't find many members of Congress dining here.\"\n\nThe waiter delivered hot sandwiches and ribs, and we concentrated on pulled pork for a while. I poured us another beer, and he smiled his approval, saying, \"I think I could get used to this, Jack. It's not Ben's, but I really like your club.\"\n\n\"I could tell you much more about it, but let's get down to business, so to speak. Marshall, in your position you shouldn't talk to Ms. Montgomery by yourself. Let me go with you.\"\n\n\"That's very kind of you, but totally unnecessary. I'm not worried about me. And that's not why I'm upset or why I'm here.\" Marshall's head lowered.\n\n\"Well, then, what's up?\" _Why was this so hard?_\n\n\"I've come to help William. He needs a friend, and I'm here to figure out how best I can help.\"\n\n\"What? How in the world do you know Billy Hopper? And why do you want to help him?\" I tried unsuccessfully to keep my tone neutral.\n\n\"Well, I don't know why I shouldn't.\"\n\n### **5**\n\nMARSHALL OFTEN USED the phrase. \"I don't know why I shouldn't.\" He had first used it when I asked him to convince Angie to go out with me, and for that reason alone I enjoyed hearing it every time. The phrase had become expected and somewhat amusing, but this time I sensed an edgy, almost querulous tone. I wanted to jump in with all sorts of warnings and advice, but instinct held me back.\n\n\"I have a boatload of reasons why you shouldn't, but before I unload the boat, why don't you tell me why Billy Hopper called you and why in the hell you think you\u2014not his family, not his agent, and not his lawyer\u2014are the person who needs to help.\"\n\nMarshall seemed to shrink, almost physically. I ordered another pitcher of beer and leaned back in my chair. Patience didn't come easy to me.\n\n\"Billy Hopper doesn't have any family, his agent has abandoned him, and he doesn't have a lawyer yet.\n\n\"I've known this young man since he was a counselor at Camp Carolina. My boys loved him, and when Jerry Stone\u2014he'd run the camp for about thirty years by then\u2014told my wife about his family situation, the next thing I knew William was a fixture at our house most every holiday or college break. I couldn't have asked for a nicer houseguest, and he was a great influence on the boys. Grace treats him like a son, and I guess I do, too. I know William almost as well as I do my own boys. I simply can't believe he murdered that woman. Now you know why I'm here and why I have no choice but to help. If it were Beth, you'd be doing the same. It took all I have to keep Grace and the boys from coming. Thank goodness for school and exams.\"\n\nWell, now that I understood the relationship, I knew it would be tough to talk him out of getting involved. But what are friends for other than to keep you from doing stupid things. I was ready to start my sermon, but Marshall beat me to the punch.\n\n\"Before you give me a lecture, I want to tell you a little more about the young man you probably only know as a pro football player and supposedly a murderer. William was born in a little town in the hill country of east Tennessee. His father butchered his mother when the boy was just eight years old\u2014literally butchered her with a Bowie knife. I realize that experience doesn't bode well for his defense, and it will come out\u2014everything always does. William's alcoholic father then picked up the child and drove off with him in his pick-up. Fortunately the father didn't go far, exactly as far as the nearest bar. While the father was inside drinking, William climbed out of the truck, walked into the country store across the street and told the owner, 'My Dad just killed my mother.'\n\n\"William's father ultimately pled guilty to manslaughter, claiming he was too drunk to know what he was doing. For some reason judges and juries seem to think murdering a stranger is worse than murdering your wife, so he got off with a light sentence. But he never made it out of prison. He attacked another inmate with a knife he'd stolen from the kitchen, and a guard shot him. It's only a matter of time before a reporter or law enforcement discovers William's father's history and tries to link his father's behavior to William.\"\n\nI said, \"A propensity to murder with a knife is hardly part of one's DNA.\"\n\nMarshall shook his head, \"Nor is a father's conduct relevant or admissible in a trial of the son, but let's not be na\u00efve. A good prosecutor will make sure both the public-at-large and the jury know of William's past. You can bank on it.\"\n\nMarshall waited in silence while the waiter cleared the table and then continued.\n\n\"Tennessee Social Services didn't know quite what to do with William, so he began the merry-go-round of one foster home after another. They tried to find a suitable relative to take the boy, but it turned out that the father's family was as bad or worse than the father. The mother's family was another matter. No one had any idea who she was. They found no birth or marriage certificate in the trailer; she didn't have a driver's license or any other form of ID in her purse. No one came to claim her body. The father's family was no help. They said that Zeke Hopper\u2014 that was his name\u2014just showed up one day with a young pregnant girl named Donna. Sadly, she ended up in a pauper's grave.\"\n\nA potter's field\u2014not something you think about often, if ever. Surely everyone deserves some sort of decent burial. I was reminded of a friend in Santa Barbara who memorializes the lives of the homeless in his home overlooking the Pacific.\n\nI shook off a little shiver and said, \"Very sad, and very hard to believe in this day and age.\" I took another sip of beer. \"The similarity won't be lost on anyone when it comes out.\"\n\nMarshall replied, \"I'm afraid not. Psychologists on both sides will have a field day.\"\n\n\"Do you think Billy snapped? Maybe he has a shot at a temporary insanity defense?\"\n\n\"Not a chance. Insanity pleas are seldom successful. You know that from Woody's case. Besides, I have no doubt about William's sanity. He's a very intelligent young man, knows exactly what he's doing. You will meet him one day. But let me continue with his history.\n\n\"When he was older, William spent a good deal of time trying to find out about his mother. She seemed to have no history before showing up in the hills of Tennessee with Zeke. There's no proof she was ever married. William's birth certificate lists Donna Hopper as the mother and Zeke as the father. That's it, no birthplace or home address, not even a middle initial. She could have been anyone.\"\n\n\"Jeez,\" I said, interested despite myself. \"So how on earth did Billy turn out to be a Rhodes scholar? For that matter how did he get into a tough academic school like Sewanee\u2014a football scholarship?\"\n\n\"No, Sewanee doesn't offer football scholarships. Quit jumping ahead, Jack. It would be easy to say William was lucky, that somehow he found the perfect foster parents who recognized his unique skills. I think a more truthful analysis is that school, church, and sports provided the needed escape from multiple terrible home situations. From a young age, William spent every moment he could in school, in church, in the library, or on the practice fields to avoid going back to houses that weren't homes. Most of his foster parents couldn't care less where he was as long as he was present when social services took a body count for the monthly check. Sometimes genes and brains do win out over environment.\n\n\"He also had the occasional teacher, coach, or pastor who saw a special light in the young man. It was a junior high coach who convinced Jerry Stone to take a chance on him at Camp Carolina, although truth to tell Jerry doesn't take much convincing when it comes to hard luck stories. It was a teacher who concocted reasons for William to stay after school and recommended books for him to read. It was an Episcopal priest who made sure he had decent clothes, didn't go hungry, and steered him to Sewanee. William touched a lot of lives in the Tennessee mountains. Something about him made people care.\n\n\"William was valedictorian of his high school, and he came to be more than just okay on the football field. He has the ability to get open for a pass and an uncanny talent for hanging on to the ball, but that's not worth much if your quarterback can't throw the ball. His high school football coach was still running a version of the wishbone, so William went unnoticed by the college scouts. Sewanee was a perfect fit\u2014great academic school where football is played for the fun of it.\"\n\nI responded. \"Okay, you've convinced me that whatever happened at the Mayflower was out of character and that he deserves your loyalty, but what can you do? You're a judge in Arkansas, not licensed to practice law in DC, and even if I could get you admitted for the limited purpose of representing him, you are even more unqualified to defend a capital case than I am.\"\n\n\"I know that, but I can help him decide who should represent him. I'm not a rich man, but I have a little money put aside that can help pay the lawyer. And I can be present in the courtroom so William knows he isn't alone. He needs someone he trusts. He's bound to be scared to death and probably thinks he doesn't have a friend in the world.\" Marshall emptied his mug, waving off my offer of a refill. I filled it anyway.\n\n\"Well, be careful. Don't let him tell you too much. Unless you're his actual lawyer, whatever you talk about is fair game. I'm sure Ms. Montgomery hopes he confessed when he called you the morning he discovered the body. He didn't, did he?\" I had to ask.\n\n\"No, he did not. He was scared to death. He told me blood was everywhere. He had no idea what to do\u2014who would? Could he take a shower and put on some clothes before anyone got there? Apparently he was in his birthday suit when he woke up.\"\n\n\"What did you tell him?\"\n\n\"I told him to call the police immediately, not to touch anything, especially the woman. He told me he'd already thrown the knife across the room. It was on his chest when he woke up. I told him it was okay to put on some clothes. He should just tell the police. Did I do the right thing?\"\n\n\"Hell if I know. I mean what else could you tell him. Did you tell him not to answer any questions without a lawyer present?\"\n\n\"I did, but I don't know if he was listening. I could almost hear him shaking. I have no idea what he said to the police or anyone else. I haven't talked to him since that morning. As I said, Ms. Montgomery offered to take my statement in Little Rock, but I told her I would come to DC and asked to see William. She gave me a firm 'no,' but I insisted and she finally gave in, as long as I agreed to be interviewed first. William needs someone, so I agreed.\"\n\nI'd never seen Marshall this upset\u2014I spoke without thinking.\n\n\"Look, they probably won't let me sit in on the interview unless I'm your lawyer, but I can wait right outside the door and provide moral support. I can also help you find him a good lawyer. I know several excellent white-collar defense lawyers in DC\u2014they'll know who can handle this kind of case and who won't take advantage of either you or Billy, at least I hope not. What time is the interview?\"\n\n\"Nine o'clock Monday morning at the Federal Courthouse. I've got the room number back at the hotel, I believe it's on the third floor.\"\n\n\"What about Billy's arraignment? The papers said it was Monday, but I don't remember the time.\" I asked.\n\n\"It's scheduled for three o'clock in the afternoon. Constance Montgomery said she'd let me see William sometime before the arraignment. I suppose they'll hold him somewhere inside the courthouse.\"\n\n\"Did Billy say anything to you that might be interpreted as a confession?\"\n\n\"Absolutely not. What he said was that he woke up to find her lying next to him. They were both naked. He said she was dead, and there was blood everywhere. He said he had no idea who she was or not even how he'd gotten back to his room the night before.\"\n\n\"Right... sure he doesn't.\" I said, earning a really dirty look from my friend.\n\n\"Look, Jack\u2014I'm not a fool. I know William is in a world of hurt and that it will take a miracle to get him out of this mess. I'm here because he's a wonderful young man\u2014my wife and children love him like a brother and a son, and he needs someone to believe in him.\"\n\n\"You understand that by going public with your support of Billy you may blow any chance you have of being appointed to the Eighth Circuit Court of Appeals, don't you? Your friend the Attorney General thinks that's where you belong, and so do I. It's a real possibility, and you may be throwing it all away if you do anything more than give your statement and go home.\" I had to say it.\n\nMarshall finished his beer before he spoke.\n\n\"What kind of person would I be if I deserted William now? What would you think of me? What would my family think? William is special. I know it looks bad, but I don't believe he could have done such a thing. The least I can do is do everything possible to help him\u2014the Court of Appeals be damned. I'm well aware that if you get in trouble in DC, your friends disappear like lightning, but I'm not from here. In my book, loyalty and basic kindness trump ambition every time.\"\n\n### **6**\n\nTHERE WASN'T MUCH left to say. We agreed to meet at the Hay-Adams for breakfast on Monday. Apparently Marshall had other plans for the evening. He didn't say what they were, and I didn't ask. We took a cab back to the hotel. He said he needed a nap after \"some damned fine barbeque and more beer than was good for me.\" I retrieved my car and headed home\u2014we both needed a break.\n\n*********\n\nMr. Kim listened to the report that Patterson and Judge Fitzgerald had met for lunch. He wasn't pleased to hear that Patterson had taken the Judge to Barker's, a place he hadn't yet found a way to infiltrate. The meeting wasn't unexpected. He knew Hopper had called the Judge, and he knew Patterson and Fitzgerald were good friends. Nothing unusual about their having lunch, no reason the Judge shouldn't consult Patterson. He was still anxious about what was discussed. If they had remained at the Hay-Adams he would be listening to a recording of the conversation at this very moment. Nevertheless, he called the client to report.\n\n*********\n\nEven on Saturday, the DC traffic was tough, and I figured I might need a nap, too. When my cell phone vibrated, I almost tapped ignore, but decided to pick it up.\n\n\"You up for playing escort again? I think we make a handsome couple, don't you?\" Carol's voice was cool and inviting.\n\n\"I'd love to play your escort\u2014tell me when and where.\" I knew I sounded too eager, but who cared?\n\n\"How about right now? Pat will pick you up in an hour. Pack casual for a couple of days at my place on the Eastern Shore. I have plenty of tennis rackets, but you'll need to bring swimming trunks. That's about it. I'm having a few clients and their guests up for a weekend at my place and thought I'd see if you were up for a repeat performance.\"\n\n\"Couple of days\" was a problem. I'd just committed Monday morning to Marshall. He'd probably tell me to forget it, but I couldn't break the date for a better offer.\n\n\"Why don't you give me directions, and I'll drive up. I've got to be at the courthouse Monday morning, but I'd love to spend the rest of the weekend with you.\"\n\nAfter an uncomfortably long pause, she finally responded.\n\n\"No\u2014Pat is already on his way back to DC to pick you up, should be there in about an hour. If he has to, he'll drive you back tomorrow night, but I hoped we could have some time together after my guests left. Oh well, if you have to leave, you do. I'll take as much of you as I can get. Get your cute butt up here\u2014time's a wastin'!\"\n\nMy ego was blown way out of proportion, but the flirting was probably just part of her shtick. I thought about the weekend ahead: lots of small talk with a bunch of strangers and probably not much time with Carol, a woman I'd barely met. I knew I should probably put the brakes on, at least make a few calls, but it could wait until next week. Maybe she was exactly what she seemed: attractive, ambitious, successful, and slightly lonely. What could a weekend on the shore hurt?\n\nOnce home, I quickly arranged for my neighbor's daughter, Amy, to take care of Sophie. I called on her so often to dog sit, Sophie probably wondered where she really lived. I'd thought about offering to give Sophie to Amy, but knew she'd be crazy to take her. Right now, I was providing Amy enough money in dog sitting income to pay for a college education.\n\nPat was right on time. I tried to join him in the front seat of the town car, but he insisted I sit in the back, pour myself a gin and tonic, and relax. He said someone sitting beside him was a distraction especially when he needed to push the speed limits. Carol had called and instructed, \"Haul ass.\"\n\nI did as he suggested and enjoyed the scenery as we crossed the Bay Bridge on the way to the Eastern Shore of Maryland. Over the years, I'd occasionally enjoyed a weekend at the home of a friend on the Choptank River, near Easton, Maryland. The hectic and stress-filled life of DC calls out for retreats where exhausted people can escape on the weekend to a beach, the hill country of Virginia, or the peaceful plains of Maryland. The Eastern Shore is filled with the weekend and summer homes of those who can afford it.\n\nIt didn't surprise me that Carol had a weekend home she used to entertain DC's influential and powerful\u2014what a perfect atmosphere for gleaning information. I looked forward to seeing her place, but not nearly as much as seeing her again. I felt as giddy as a school boy who had a great first date, but was nervous about whether the girl would ever go out with him again. Carol had not just said yes, but she'd made the call.\n\nI asked Pat if he'd been shuttling guests all day.\n\n\"No, most come in by copter or have their own driver,\" he responded.\n\nCopter? Now I was curious about the other guests, but decided not to distract Pat any more. As fast as he was driving he needed to concentrate.\n\nI thought about Carol's explanation that having someone on her arm helped her accomplish her purposes. The male guests wouldn't try to hit on her, and the female guests weren't as touchy about her spending so much time with their male companions. Her reasoning seemed fairly shallow and not particularly PC, but it did reflect reality. Sexual dynamics seldom turn out to be politically correct.\n\nAnother motive occurred to me\u2014I was being asked to play the role of a \"beard.\" Maybe she was involved with one of the guests and my presence would serve to prevent suspicion.\n\nMy inferiority complex was clearly alive and well. But Carol had sought me out at Lucy's party, and we had a wonderful dinner afterwards. She had suggested we spend time alone after the guests left. I know I can be pretty na\u00efve, but it all sounded pretty good to me.\n\n_How about it Jack?_ Why don't you just enjoy yourself this weekend, get to know Carol a little bit better, and maybe meet some other people. I have a tendency to get ahead of myself rather than living in the present. At least, that's what Maggie would say.\n\nWe made it to Carol's in what had to be record time. As we drove slowly down a long driveway lined with pecan trees, I expected to see something like Tara of _Gone with the Wind_ fame. Instead, a contemporary home right out of Frank Lloyd Wright's playbook surprised me. The landscaping reminded me of the Japanese Embassy in DC. The information business must be doing quite well.\n\nI caught sight of Carol on the tennis court, hitting balls with a guy I assumed was a guest. Made me want to take up tennis again. Carol waved, and they both walked off the court. The guy took her racket and walked toward the rear of the house. She greeted me with a kiss flush on the mouth and a lingering hug. I might have thought the greeting was staged, but there were no witnesses except Pat.\n\n\"I'm so glad you could come. I can't wait for you to meet everyone.\"\n\n\"Don't stop your game for me,\" I began to pull away, but she interrupted.\n\n\"Really Jack. Ray and I were just hitting balls, waiting on you to get here. He's a great guy, you'll like him a lot.\n\n\"Pat, we're going to the back porch; everyone's gathering for cocktails. Put Jack's bag in our room, and please join us. Senator Boudreaux's companion, Claudia, is all about specialty cocktails, and Deputy Secretary Cantwell says you're the only one who knows how she likes her martini. I'm afraid it's going to be a long weekend.\"\n\n\"I can carry my own bag.\" I said.\n\n\"Nonsense,\" she said as she wrapped her arm around mine and led me toward the house. \"You'd get lost. Do you need to freshen up?\"\n\nShe showed me to a bathroom next to the living room, a massive high-ceilinged room filled with comfortable looking chairs and couches, all facing a fireplace and a huge big screen TV.\n\n\"Take all the time you need. I'll change for dinner in a bit, but what you have on is perfect\u2014everyone's casual. I can't tell you how excited I am that you're here.\"\n\nI splashed some water on my face and checked myself in the mirror, deciding not to ask what she meant by \"our bedroom.\" When I opened the door, I found her waiting. She took my hand and asked, \"What will you say if some one asks how long we've known each other?\n\nI'd thought about that possibility on the drive up.\n\n\"I'll just smile, because no one would believe me if I told the truth.\"\n\nShe reached up and kissed me gently, whispering, \"Perfect.\"\n\nWithout another word we walked into a large, screened-in porch overlooking the river. The room was unexpectedly filled with vintage 60's metal furniture and old rocking chairs, all covered with contemporary fabric and cushions. Behind the rattan bar in the corner stood Pat, martini shaker in full shake. The casual chatter ceased almost immediately.\n\n\"Friends, I want to introduce you to Jack Patterson, the famous lawyer and my special friend.\" Carol smiled.\n\nWith that announcement, she reached up and kissed my cheek. Not a soul in the room would doubt we were lovers except Carol, myself, and maybe Pat who maintained his bland expression. I noticed he wore the same look when Carol asked him to put my bag in \"our room.\"\n\n### **7**\n\nAFTER A ROUND of introductions, Carol excused herself to change, and I asked for a glass of wine. No telling what my head was going to feel like in the morning\u2014beer, gin, and now wine, still better than a martini. She returned wearing white pants and a loose fitting pale pink silk blouse. Her dark hair was well cut, stopping just below her shoulders, and large gold loop earrings highlighted her face. She needed no other ornaments.\n\nCarol wasn't a super model or gorgeous in the movie star sense. Instead the force of her personality dominated her appearance. Her smile was broad and engaging, and like last night, her clothes were understated, classy, and perfect. I was drawn to her deep hazel eyes, but others might admire her figure and the way she carried herself. A young female staffer probably wouldn't feel threatened by Carol, but she should.\n\nI handed her a glass of wine and eased back into a corner to watch her work the room. As I said, I'm not particularly good at parties. In fact, I'm usually fairly uncomfortable, but I do enjoy watching the social mechanics. Carol had an easy way about her. Each man was convinced she was hanging on his every word, and if he made a joke, she laughed sincerely, touching his arm ever so gently. I noticed she was careful to give her full attention to women, especially wives. She never looked away and usually nodded in agreement.\n\nDC folks, especially at this level, know how to mix, how to take care of themselves and their agenda. But Carol took the extra step, occasionally pulling one person into a different group or towards a single person, thus furthering her own agenda. No one went more than ten seconds without a full drink. I was tickled to hear her ask Pat to give Secretary Cantwell \"a little cover\"\u2014meaning a full glass.\"\n\nHer glance turned toward the newly opened kitchen door, and I saw the cook nod her head, then close the door silently.\n\n\"All right, everyone, dinner is served.\" She had raised her voice just enough to carry through the room. Her guests began to sort themselves out and drift toward the dining room, but she edged her way to my corner.\n\n\"Why are you stuck in this corner? Not enjoying my party?\"\n\n\"Just enjoy watching a professional work. You're good.\" I meant it as a compliment.\n\n\"Years of practice. But I also want you to have a good time. I hoped you might like a few of my guests. Just stay away from Jackie Erskine. She's checking you out.\"\n\n\"Really, which one is Jackie?\" I smiled.\n\n\"She's the sort of boozy blonde in the navy linen blazer. She's on the Board of the Federal Reserve, one of its newer members, but don't even think about it.\" She kidded back.\n\n\"Didn't she bring her companion, Michael Brooks?\"\n\nCarol looked at me in surprise and laughed. \"Well, well\u2014full marks to you. But he's not really her companion, and I'm very possessive, so watch out.\"\n\nBoth of us enjoyed the banter, and I enjoyed the fact that she was possessive.\n\nDinner was casual, too\u2014rich crab cakes served with an avocado and lime sauce, a fluffy corn pudding, sliced heirloom tomatoes marinated with onions and cucumber, followed by peach cobbler topped with homemade ice cream. Throw me in that briar patch any time. We were seated at two square tables, close enough to enjoy either our dinner companion or the whole group, as we preferred. Even I chimed in every now and then.\n\nCarol had seated her guests carefully. I listened as a senior member of the Senate Appropriations committee quietly debated with an executive of a defense contactor about the need for more fighter aircraft rather than drones. Carol had given them the opportunity to discuss their opinions out of the limelight. Nothing confidential or inappropriate was discussed as far as I knew. The Senator and the executive could talk without the intrusion of media or staff and Carol was able to add their opinions and desires to her store of knowledge.\n\nDC hasn't worked very well for quite a long time, but this is how it worked when it did\u2014leaders with differing interests seeking compromise away from the vitriol of partisan ideology and the glare of the media, in a comfortable setting of relative privacy. Of course, this process is open to only a few and flies in the face of open government, but surely it's better than the take no prisoners attitude that seems to worsen every year.\n\nAfter dessert, Carol announced she had a movie, only recently released, waiting in the living room. She suggested we all get an after dinner drink and find a comfortable chair or couch. She shepherded me to a large recliner, and as soon as I sat down with my glass of port she curled up at my side. Soon, the lights went out and the movie began.\n\nPat silently kept watch, making sure glasses were never empty. I thought I detected a glower when he refilled my glass, but really didn't care.\n\nSeveral couples peeled off to their rooms before the movie was over. Muttering thanks, the remaining guests departed as the credits began to roll. Carol took me by the hand and escorted me to a bedroom at the end of a long hall, obviously her own. She turned so we were face-to-face and pulled me to her. We enjoyed a deep and lingering kiss, but she pulled away, flushing slightly.\n\n\"I can't tell you how much I'd rather be with you right now, but I can't. I have go to my office and file reports. Please, forgive me. It won't always be like this, but I need to get tonight's observations and insights recorded while they're fresh in my mind. Promise me you aren't upset?\"\n\n\"Well, I'll get over it, but give me a few minutes.\" I drew her into the room, and we sat carefully on the side of the bed.\n\n\"Why have me stay in your room?\"\n\n\"My other guests all think we're in bed together at this very moment. Not a soul thinks I'm headed to my office to file reports. They all know what business I'm in, and they expect, even want me to report to my clients what I learned tonight, but they also expect me to be discreet. It would take away from the climate I'm trying to create and the appearance of a social gathering if I were obvious.\n\n\"My guests don't mind what I do, but I don't throw it in their face. I never reveal a confidence, and their companions never have a clue, at least not from me. It may sound overblown, but this weekend is important to a functioning government. For example, the Senator has been trying for months to meet in private with Chuck Morrison.\n\n\"I'm in the information business, but I'm also in the facilitation business. I facilitate meetings that can't be arranged through normal channels. I also report on such meetings to those who need to know, all with the consent of the participants. It has taken months to put this specific weekend together. The Senator and Chuck trust me, or it wouldn't have happened.\n\n\"Part of all this weekend is an elaborate ruse so those two can have very private conversations, but part of it's not. For example, I think our Senator's staffer is learning at this very moment that for a man of his age the Senator has amazing stamina.\"\n\nCarol gave me a soft kiss before she continued.\n\n\"I'm sorry if it sounds like I'm using you. I invited you on a whim because I find you interesting and attractive, but I admit that having you here helps further a sense of normalcy, just an ordinary weekend on the Shore. I'll probably have to work for most of the night, but I can't tell you how much I'd rather climb into this bed with you.\"\n\nAgain she wrapped her arms around my waist and murmured. \"We can make this work. I know we can.\"\n\nI took her face in my hand and gently kissed her cheek.\n\n\"Well, my ego has taken a hit, but go do what you have to do. I'm not going anywhere.\"\n* * *\n\n## **SUNDAY**\n\n* * *\n\n## **April 17, 2016**\n\n### **8**\n\n\"I'M NOT GOING anywhere\" wasn't exactly true. She already knew I needed to leave late tomorrow afternoon.\n\nI got ready for bed and was asleep almost before my head hit the pillow. I hoped my dreams would be filled with Carol, but for some reason they were filled with me playing baseball at Yankee stadium, naked as a jaybird. I was disappointed when I woke in the middle of the night and realized she wasn't there. I threw down a couple of Tylenol with a full glass of water, hoping to sleep until morning.\n\n*********\n\n\"Wake up, sleepyhead, lets go for a swim.\"\n\nCarol stood next to the bed, wearing a bathing suit and a filmy cover-up. Light was pouring into the room from the porch doors leading to the pool outside her bedroom. I could have sworn I closed those curtains before I went to bed.\n\n\"C'mon. I'll meet you outside. Bloody Mary or Mimosa?\"\n\nI squinted in the sun. \"You're up early.\"\n\n\"Never went to bed, no time. I'll catch up on my sleep when everyone leaves. Meet you at the pool in ten.\"\n\n\"Mimosa.\"\n\n\"That's my man. It's time we got the party started.\"\n\nI headed to the bathroom and glanced at the alarm clock\u2014seven-thirty. The party was certainly starting early.\n\nI walked out to the pool in trunks and an old Stafford State t-shirt, still yawning a bit. Clearly no one else was quite ready to party. Stretched out on a recliner, Carol peered up at me from beneath a broad brimmed straw hat, Bloody Mary in hand. My Mimosa sat on the table beside her.\n\n\"Are we the only ones up?\" I asked.\n\n\"Probably, unless the Senator and his companion are having an eye-opener.\"\n\n_Good grief, the man was at least seventy._\n\nI took a sip of the Mimosa. \"Um, nice, but a little early. Think I'll swim a few laps and let the water shrink my head from yesterday's festivities.\"\n\n\"Good idea, it's going to be a long day.\" I wondered why she was in such a good mood and how she could be so, well, awake. As far as I knew, she hadn't slept a wink.\n\nThe April water was cold, but it felt good. I stretched out my body in a long freestyle stroke and began swimming laps. Up and down, up and down, until I was totally awake, and my body had begun to complain.\n\nAs I leaned against the wall in the shallow end of the pool to catch my breath, Carol dove into the pool with barely a ripple. When she surfaced she threw her arms around my neck, jumped up slightly and wrapped her legs around my waist.\n\nHer mouth joined mine and while her tongue probed, her hips began to rise and fall slowly. Needless to say I responded with enthusiasm. I didn't know how we were going to make this work in the pool, but I was confident we'd find a way.\n\nI was pulling down the straps of her bathing suit when we both heard.\n\n\"Excuse me, madam, but I believe you will want to take this call.\"\n\nCarol's arms were still around my neck, but her legs fell to the pool floor in a hurry.\n\n\"Really. Right now? Mattie, your timing is atrocious.\"\n\nI turned to see a woman in a maid's uniform, looking very uncomfortable. At least she wasn't Pat.\n\n\"I'm really sorry, Ms. Madison.\"\n\nThe moment was gone. Carol climbed out of the pool and wrapped herself in the towel offered by the blushing Mattie, grabbed the cover-up and stalked off toward the kitchen, followed by the embarrassed maid.\n\nI sank into a cushy chaise lounge and sipped my Mimosa, wondering when Carol might return. I realized our fun was over when the Senator from Tennessee and his companion walked out to the pool, Bloody Mary's in hand.\n\n_What was his companion's name? Then it came to me\u2014Claudia._\n\n\"My God, what happened to you?\" Claudia exclaimed.\n\nI realized my shirt was still off; the old scars were hard to miss. I tried to sound nonchalant as I tugged my shirt back on. \"A bad night.\"\n\n\"Can't you get that fixed?\" she asked.\n\nI was tempted to give her the answer she deserved, but was ready to change the subject.\n\n\"I could, but I usually just keep my shirt on. Y'all sleep well?\"\n\nClaudia turned bright red, but the Senator rescued her. \"Like babies.\"\n\nHe continued, \"Carol says you specialize in antitrust law. I don't recall seeing you or any of your clients, for that matter, before my committee.\"\n\n\"I work hard to be sure you don't.\" I smiled, and he laughed. He started to tell me the sad story about some lawyer who had come before his committee unprepared. It was a long story. Quickly bored, Claudia left to refill our drinks.\n\nHe watched her backside as she left, then rumbled, \"Carol says you can be discreet. I wouldn't want anything that's said or done this weekend to make its way into the papers or be the subject of rumor. Chuck and I need to meet in private from time to time.\"\n\nA senior member of the Senate Appropriations Committee meeting in private with an executive of an aerospace company was not something either one of them would want to see on the front page of the _Post._ Carol had probably been very selective in inviting her guests to this casual weekend.\n\n\"Senator,\" I gave him a slow grin, \"I have a terrible memory for faces, names, or even what happened yesterday. No one, especially you, Senator, has any reason for concern. Carol Madison is the only subject of my interest this weekend. Anything else is none of my business.\"\n\n\"Good man\u2014speaking of Carol, if I were a younger man....\" His returning grin was a bit wolfish. _Old goat._\n\nClaudia returned, followed by Pat, drink tray in hand. Carol's other guests emerged slowly from within, some ready for a brisk swim, but most content to lounge about, sipping whatever they liked. Mattie brought out a large basket of tiny cinnamon rolls and mini quiches, designed to tide us over before brunch.\n\nThey were all chatting happily around the pool\u2014except me. Carol was nowhere to be seen, and I felt like a fish out of water. So after a few hearty \"good mornings\" I retreated to shower, shave, and change into khakis and a golf shirt.\n\nI gave it about twenty minutes before returning, but still no Carol. With no other option, I asked for another Mimosa and joined the rest of the group. The conversation was centered on\u2014what else but Billy Hopper? Needless to say the group was confident it was only a matter of days before Billy pled guilty and was sent away to prison for life. The women were much tougher on Billy than the men, several suggesting the U.S. Attorney should have sought the death penalty, even though in DC it would be impossible to obtain.\n\nCarol finally joined the group, but she clearly wasn't herself. She played the perfect hostess, greeting everyone with kisses on cheeks and cheery comments. I wondered it I was the only one to see her performance as pantomime.\n\nShe came to me at last and spoke softly, \"Mattie was right to interrupt. I needed to take the call.\"\n\n\"You okay? You seem out of sorts?'\n\n\"No, no. Lack of sleep caught up with me, and I took a little nap.\"\n\nThe lie was obvious. The phone call had clearly shaken her. I figured she would tell me about it when she was ready, but I was worried for her and couldn't let it go.\n\nCarol seemed to bounce back quickly\u2014played tennis, waved a couple off on a boat ride with Pat, even helped one guy try to catch crabs off the deck. But she had hardly a word for me. Left to my own devices I tried to play my escort role, even spelling Pat as the bartender\u2014it gave me something to do. From time-to-time, I thought I saw her glance my way, yet she kept her distance. The hands on my watch moved at a snail's pace. I couldn't wait to leave.\n\nI learned one thing during the afternoon's activities. The Senator's assistant wasn't as na\u00efve as she let on. When she thought she was out of sight she tossed her drink onto some unfortunate plant and then called out for another. She also found unobtrusive ways to listen in to conversations while maintaining her role as the perfect staffer. The Senator was clearly smitten, and she had him eating out of her hand.\n\nYet, I also felt sorry for Claudia. Here she was, sleeping with a man twenty years older than her father and pretending to be a ditz. To what end? Proximity to power, especially in DC, causes strange behavior.\n\nClaudia approached me before dinner and asked, \"Lover's quarrel?\"\n\n\"I'm sorry?\"\n\n\"Honey, last night Carol couldn't keep her hands off of you. I was surprised she made it through the movie before y'all got it on, but today she's acting like you're the hired help. It's none of my business of course, but just in case.\" She handed me a napkin with a phone number on it and turned away with an arch smile.\n\n_What was that about? But I kept the napkin._\n\nAs the sun was setting, Mattie called us all to the porch for dinner. The tables had been pushed together and covered in newspapers. She poured out dozens of steamed Maryland blue crabs out onto the middle, followed by fresh corn and biscuits. We all hammered away, picking out lumps and bits of crab to our heart's content. Carol continued to ignore me, so I concentrated my attention on Claudia, who was intently following the conversation between Chuck Morrison and the Senator. Her tongue worked in a funny way as she tried to figure out how to deal with her crab. Pat kept filling her glass, and she continued to dispose of its contents without drawing attention.\n\nBefore too long the sun faded and folks began to fidget. Out of the blue, assorted limousines and town cars pulled up the long driveway to whisk Carol's guests back to DC or to the copter pad. I'd had about enough of the cold shoulder, so I asked Pat if he was ready to take me home.\n\n\"I'll pull the car round front.\" Nothing overt in his tone, but no sorrow at my departure either.\n\nI found Carol shaking hands with the Senator and waving to Claudia as they left in a limo.\n\n\"Thanks for the weekend. I hope it was successful.\" I didn't bother to hide my irritation.\n\nShe reached up to my shoulder, but dropped her arm just as quickly. \"It could have been better. You have every right to be pissed. I'm so sorry.\"\n\nNot even a kiss on the cheek this time\u2014but what did I expect. This was over.\n\n\"Whatever\u2014I hope your problems work out.\" I stepped into the back of the town car Pat had pulled up. She stepped up to the half-open door.\n\n\"You're the problem, Jack, a big damn problem, but I'll work it out.\"\n\n### **9**\n\nI WAS THE problem? What the hell! Maybe someone didn't think much of my presence\u2014I wasn't part of the circle, obviously a last minute addition. I fumed in silence for a while, but the more I thought about it, it had to have been the phone call. Whatever\u2014her mood swing had pretty much spoiled the weekend for me.\n\nI lost interest in my little snit before too long and noticed that Pat didn't seem to be in much of a hurry. I caught him glancing at me in the rear view mirror. \"Does Carol ever give you time off? It can't be easy keeping to her schedule.\"\n\n\"I don't mind. She's a very generous person. Mattie and I are compensated very well, and she helped both my wife and Mattie's husband get good jobs in the government.\"\n\nHis eyes found mine in the mirror again. \"You probably could tell I wasn't real thrilled that she invited you this weekend.\"\n\nI smiled. \"I did, but nothing wrong with being protective of your employer. I admire that.\"\n\n\"She told me I was obvious.\"\n\n\"Well, maybe just a little.\" I kidded.\n\n\"I was wrong. She's had a few other guys out to the Shore, and one way or the other they've all tried to take advantage. She's had some bad experiences with men over the years, so I'm pretty protective. You seem to be on the up and up, and she seems to be truly interested in you. Sorry\u2014I probably shouldn't be saying any of this.\"\n\n\"No, it's fine\u2014I appreciate your candor. And maybe you can help. She got an unexpected phone call this morning. After that, the whole weekend vibe seemed to change, she practically ignored me. Any idea what happened?\"\n\n\"Mattie said you two were enjoying a morning dip.\" I could see his careful grin. \"If I did know who called or what it was about I wouldn't tell you. But she deals with a lot of big shots who are demanding and unreasonable most of the time. Trust me, whatever the call was about, she'll handle it. Don't read too much into one day: this weekend was a really big deal for her business. You were probably becoming too much of a distraction.\"\n\n\"Thanks. I admit the sudden freeze was pretty hard on my ego.\"\n\n\"Well, if it makes you feel any better, Ms. Erskine pulled her aside before dinner and suggested she'd be happy to give you a ride home. Mr. Brooks had to leave early, and she had plenty of room. She was hardly out of earshot when Ms. Madison told me to be sure that didn't happen.\"\n\nI didn't want to think about Ms. Erskine.\n\nThe traffic thickened as we approached DC, and our conversation faltered. I leaned back to relax and enjoy the view. The city really sparkles just after sunset. The sky becomes a dark marbled haze to the west and the monuments light up with a pink glow. It was slow going on the beltway, but Pat was a master at avoiding the \"crazies from Maryland,\" and I was soon home.\n\nI'd left my phone at home, a bad habit I constantly tried to correct. No messages from either Marshall or Beth. I checked my personal email, but again nothing but the usual commercial solicitations. Work email could wait. Maggie had left a message on my landline chiding me for not answering my cell and informing me that she and Walter would be back in town Wednesday. Would I like to have dinner with them on Thursday night?\n\nMy life story\u2014dinner for three.\n\nTherapists had assured me that these frequent bouts of minor depression were normal. I knew I could shake it off in time. I had no idea why I was indulging in such a pity party. After Angie died I had no desire to socialize. It had been six years now, and only two women had held much interest for me. My sometime law partner in Little Rock had turned out to be exactly that, and in the end it was much better for both of us. Marian South, a high school flame who was now a college professor in Vermont, turned out to be more attached to Vermont than to me. I had no intention of moving to Vermont.\n\nIt was still early, so I opened a bottle of wine and sat down to stare at my computer. An antitrust lawyer's work is usually about as lively as my social life. But if I was going to spend most of tomorrow with Marshall, I needed to sort out my workweek. I spent a while juggling various appointments and finally felt pretty good about my schedule. Angie and I used to spend our Sundays much the same way, relaxing and coordinating our schedules for the week ahead. The familiar ache of loss was a bit duller, but thinking about her brought me back to tomorrow's task\u2014Marshall Fitzgerald.\n\nI'd be left cooling my heels while the deputy U.S. Attorney interviewed Marshall about the phone call he'd received from Billy Hopper. I wasn't concerned that Marshall was in any trouble or that he would lose his cool. But I was concerned that she might broaden her inquiry beyond the phone call. Marshall had firmly refused my attempts to intervene. He could handle it and didn't need my services as his lawyer.\n* * *\n\n## **MONDAY**\n\n* * *\n\n## **April 18, 2016**\n\n### **10**\n\nMARSHALL CUT A handsome and imposing figure at breakfast, He wore a dark suit, perfectly knotted tie, a cuffed white shirt and dark dress shoes, polished to perfection. I had given in to a sports coat and khakis\u2014at least I hadn't spilled anything on my shirt during breakfast.\n\n\"You certainly are dressed to impress.\" I complimented him.\n\n\"I've found that on certain occasions it's best to look one's best. Today is one of those occasions. Besides, I received a call earlier this morning. Agents from the FBI will also take part in the interview.\"\n\nWell, that changed the ball game. I wondered why the FBI would get involved. Murder was normally a local matter, but the reality was that in DC they don't need much of a reason and frequently intervened in high profile cases. We sipped our coffee and I tried to emulate his nonchalance. I thought I'd set a few ground rules, but Marshall beat me to it.\n\n\"I appreciate you coming to the interview, but I don't want you to do anything that will keep me from seeing William\u2014understand?\"\n\n\"Of course, but I've been thinking about this a great deal. I don't want you to inadvertently say something that puts you at risk. I thought before we begin I'd at least ask them to verify that you are not a target of any investigation. I also want to put some limits on what areas they can question you about. For example, I don't want them to question you about Billy's family background.\"\n\n\"None of that Jack\u2014nothing that will give them an impression that I'm not being cooperative. Besides, why would you think I'm a target?\"\n\n\"I don't, but don't handcuff me. If it were up to me I probably wouldn't let you be interviewed at all without working out a complete understanding about the scope of this interview with the U.S. Attorney's office. We're talking the FBI, remember?\"\n\n\"I am well aware of the practices and methods of the FBI. You are not my lawyer. I will simply thank you very much and go by myself if you attempt to impede this interview in any way.\" His formal tone evoked the very image of the judge he was.\n\n\"Okay, it's your funeral,\" I said in frustration.\n\nI insisted we take a cab to the courthouse. I didn't want either of us to look hot and bothered when we arrived. We cleared security easily and soon stood outside Room 316. I gave a brief rap, opened the door and saw four men and one woman sitting silently at a table. The men were clearly from the FBI, so the poised young black woman must be with the U.S. Attorney's office.\n\nOne of the men looked up and said, \"I'm sorry, this is a private meeting\u2014you've got the wrong room.\"\n\nMarshall emerged from behind me, and the man backtracked, \"I'm sorry, Judge Fitzgerald, you're in the right place. I didn't know you were bringing anyone with you. Come on in.\"\n\nI spoke up, \"Jack Patterson. I don't think I've met any of you. Here's my card.\" I tossed a few business cards on the table, expecting everyone to do the same. The exchange of business cards is a Washington ritual, but no one returned the courtesy. The man who had originally spoken turned to Marshall.\n\n\"Judge Fitzgerald, this is to be a private interview. Is there some reason you need counsel?\"\n\nMarshall responded evenly. \"Mr. Patterson is not my lawyer; he is a long-standing friend. I'm a simple Arkansas trial judge, and thought I'd be more comfortable having a friend sit in, but if that's not permitted, may he sit outside the door until I'm finished?\"\n\nThe woman rose to address Marshall. She wore a dress with a jacket rather than the ubiquitous dark suit of the legal world. Her voice was kind, but firm.\n\n\"I'm sorry, Judge, but we cannot allow Mr. Patterson's presence to be here unless he's your lawyer. But I see no reason why he can't sit outside, and you may certainly confer during breaks. Mr. Patterson, your reputation precedes you. I'm Constance Montgomery, Deputy U.S. Attorney. My colleagues will introduce themselves.\" She passed two of her cards across the table and the men did likewise. Two of them were with the FBI, Travis Barry and Fred Pitcock. The third was one of her deputies\u2014I didn't catch his name.\n\nConstance continued, \"Judge, the FBI will conduct this interview. Mr. Salem and I are here only to observe.\"\n\nSo she would set the rules but pretend to only observe. She spoke to Marshall, but looked me directly in the eye. She didn't expect a challenge, and I didn't give her one.\n\nThe others pulled out legal pads, and as soon as I left the room the questioning began. Fortunately, Marshall has a wonderful memory, and he was able to recite most all their questions during the first break.\n\nFor the first half hour agent Travis took the lead, asking Marshall to recite his name, address, educational background, marital status, etc. Easy information they could have pulled of the Arkansas's Judiciary's website in a couple of minutes. Interview Techniques 101\u2014begin the interview with easy questions to put the prey at ease.\n\nTravis continued. \"Judge, thank you for giving us your background information. Let's move foreword to the morning when William Hopper brutally stabbed and killed a woman in his hotel room. Mr. Hopper made three phone calls that morning. One to 911, one to the front desk at the Mayflower asking for security. But the first call was to a number you have identified as your home phone number. Is that correct?\" His tone was still very cordial.\n\n\"I don't know anything about how many calls William made or what you allege William might have done, but he did call me at my home the morning of March twentieth.\" Marshall wasn't about to give them an inch.\n\n\"Okay, he called you at home. The Mayflower's phone records indicate that the call lasted approximately ten minutes. Does that sound right?\"\n\n\"I don't know if you have any phone records, or what they show, but if you are asking me how long we spoke, I'd say about ten minutes.\"\n\n\"Judge, why did he call you?\" Travis asked.\n\n\"I don't have any knowledge of his reason. You will have to ask him.\"\n\nMarshall said at that point Travis became a little testy. \"Judge could you be a little more cooperative. What did Mr. Hopper say when he called?\"\n\n\"Well, first he apologized for calling so early, then said he needed help.\"\n\n\"What did you say in response?\"\n\n\"I told him there was no need to apologize and asked how could I help.\"\n\n\"Please, Judge. We'll be here all day if I have to drag this phone call out of you in bits and pieces. Can't you just tell me about your conversation?\n\nMarshall said he knew it was time to quit playing.\n\n\"William told me he had woken up in his hotel room and found a strange woman lying next to him in the bed. He said there was blood everywhere, that he jumped out of the bed and had no idea what to do. I asked him if she was alive, and he said he was pretty sure she was dead\u2014she hadn't moved. So I told him to call 911 and hotel security.\"\n\nTravis seemed pleased. \"Did he mention a knife?\"\n\n\"He said he's found a bloody knife on his chest when he woke up, and that he'd thrown it across the room.\"\n\n\"He said it was on his chest?\"\n\n\"That's correct.\"\n\n\"Did he tell you why he threw it across the room?\"\n\n\"No, of course not. Wouldn't you have done the same thing?\"\n\n\"Okay, did he tell you anything about the girl?\n\n\"Only that he had no idea who she was.\" That seemed to get Travis's attention.\n\n\"Did you ask him anything else?\"\n\n\"I asked him if he was okay, was he injured, things like that.\"\n\n\"And...?\"\n\n\"He said that he was okay, that the blood must be hers.\"\n\n\"He said that?\" Travis was digging in. \"He said the blood was hers?\"\n\n\"No, he said, 'The blood must be hers.'\" Marshall recognized the subtle difference.\n\n\"Did he say anything else about his own condition?\"\n\n\"He said he couldn't remember anything from the night before. He didn't know who the woman was, and couldn't remember how he got back to the hotel from the banquet.\"\n\n\"So he couldn't remember a thing.\"\n\n\"That is what he said.\" Marshall answered.\n\n\"Anything else about his condition other than he wasn't injured, and he couldn't remember anything?\"\n\n\"He didn't have any clothes on.\"\n\nMarshall said that Travis looked surprised, as did the others. \"How do you know?\"\n\n\"Well, I don't know. It's what he told me. He said he was naked when he woke up and that he was covered in blood. He wanted to know if he could take a shower.\"\n\n\"What did you tell him?\"\n\n\"I told him he couldn't shower until the police arrived. I told him it was okay for him to put on clothes, but to be sure and tell the police he had been naked earlier.\"\n\nMarshall said that at this point Constance had suggested they take a break, but had a single question first.\n\n\"Before you hung up did you tell Mr. Hopper not to talk to anyone without a lawyer present?\"\n\n\"No. I told him not to talk to anyone until I got here, but I didn't mention a lawyer. Why?\"\n\n### **11**\n\nTHE DOOR OPENED and the men filed out. Marshall looked relieved, and I was about to suggest we get coffee in the cafeteria on the first floor when Constance tapped my arm.\n\n\"Mr. Patterson?\" She nodded at Marshall. \"Judge. Can I have a minute before the break, just the three of us?\"\n\nI wasn't about to argue, so we returned to the room. She spoke directly to Marshall. \"I know you're anxious to speak to Mr. Hopper, and I'm not revealing any confidences when I say he won't talk to anyone without your presence. However, I'd like to finish your interview before you meet with him, and I'm afraid that's going to take a little longer.\"\n\nMarshall grumbled. \"And why is that?\"\n\n\"Whether you realize it or not you're a critical witness. You explain why the knife wasn't near the woman's body, why blood was on the inside of Hopper's sweats, and that he told you he didn't remember anything that had happened. His phone call to you answers a lot of questions we've had, and we're only getting started.\"\n\n\"Whether you realize it or not you're a critical witness. You explain why the knife wasn't near the woman's body, why blood was on the inside of Hopper's sweats, and most importantly he told you he didn't remember what happened. His phone call to you answers a lot of questions we've had, and we're only getting started.\"\n\n\"My testimony won't change. It is the truth. How can it hurt for me to see him before you're finished?\"\n\n\"I know you're telling the truth, and I know you would never lie even if it could save your friend, but your present memory is untainted by any contact with Mr. Hopper. I'd really appreciate it if you would allow us to finish before you speak with him.\" She spoke carefully, clearly treating him gently.\n\n\"Will we have concluded before the arraignment this afternoon? Will I be able to speak with him before it convenes?\"\n\n\"I honestly don't know. But certainly you can attend the arraignment. I'll make sure you have the chance to speak at least briefly with him. Mr. Hopper doesn't have a lawyer yet, and as I've said, he refuses to talk to anyone until he talks to you. He has taken your advice literally. He won't even talk to a public defender. Other than to be polite, he refuses to talk at all. I'm as ready to have you see him as you are.\"\n\n\"Can I tell him it's okay to talk to the pubic defender?\" Marshall asked.\n\nConstance seemed intrigued for a second.\n\n\"Since they haven't yet conferred, today the public defender will simply enter a not-guilty plea for him at the arraignment. I'll be sure the jail lets you spend as much time with him as you need tomorrow. You can tell him anything you like. Right now, get a cup of coffee, and we'll reconvene in\u2014let's say twenty minutes.\n\nI spoke carefully, \"Ms. Montgomery, it was only a very brief phone call. May I ask why this interview should take so long?\"\n\n\"I don't want to go into everything, but you're a good lawyer, Mr. Patterson. What would you like to ask if you were in my shoes? I suspect you already have a good idea.\"\n\nWith that she rose, closing the door gently on her way out. Marshall sat with his head in his hands. I was afraid he was going to cry.\n\n\"C'mon. Let's go downstairs and get a cup of coffee. This room is suddenly suffocating.\"\n\nMarshall rose slowly and followed me out the room. We made our way to the cafeteria in the basement. I ordered two coffees while Marshall snagged a table.\n\n\"Jack, the least I can do is get him a lawyer. I need your help. It's already been more than two weeks. I bet he thinks I've abandoned him.\"\n\n\"No way. If he thought you'd abandoned him, he wouldn't be refusing to talk to anyone. He'll be sure when he sees you at the arraignment. Right now let's focus on what they might want to ask you next. Then we can figure out a process to get him a good lawyer quickly.\"\n\n\"How do we do that?\"\n\n\"I don't know yet, but I'll think of something. Have you ever known me not to figure out a way?\"\n\nFor the first time today I saw Marshall's pearly whites.\n\n\"No, Jack. Your methods are sometimes suspect, but you always find a way.\"\n\n\"All right. Let's get ready for the next set of questions. I bet what you just went through was the easy part. The next session will probably test your patience and really piss you off.\"\n\n\"What do you mean? I don't know anything more than I've already told them. What could they ask?\"\n\nI told him, and as I had predicted he was pissed.\n\n### **12**\n\nA DIFFERENT AGENT\u2014NEITHER of us could remember his name\u2014wasted a good deal of time reviewing the earlier interview, but Marshall kept his patience. Finally, agent Barry intervened.\n\n\"Judge I'm going to show you some photographs. Take your time. Do you recognize the woman in any of these pictures?\"\n\nTravis pushed five photographs across the table, all of the same naked woman lying in a pool of blood. I had prepared Marshall for this grisly tactic. He took his time, carefully examining each photograph.\n\nMarshall spoke deliberately. \"I do not recognize the woman.\"\n\n\"You took a long time, Judge. You sure you don't have some idea who this woman is?\"\n\n\"You told me to take my time. I have no idea who the woman is.\"\n\n\"This is the woman who was found in Billy Hopper's bed when the police arrived after he phoned you. Yet you say he wanted to know whether he could take a shower? Don't you think he should have more concerned about calling an ambulance than getting legal advice about showers and clothing?\"\n\nMarshall told me he took his time before answering.\n\n\"I am not a practicing lawyer. I don't give legal advice. William is a friend, and he asked me what to do. I told him to call nine-one-one and hotel security, which according to you he did immediately after calling me and even before putting any clothes on.\"\n\nTravis considered this response before asking, \"Judge, why do you think Mr. Hopper called you?\"\n\n\"William has been a family friend since he was a counselor at Camp Carolina where my sons attended camp.\"\n\nMarshall said this revelation seemed to surprise the listeners.\n\n\"Why would he have called you rather than, say, his parents or a sibling?\"\n\n\"His parents are deceased. As far as I know, he has no siblings.\"\n\n\"Really. How do you know this?\" Travis probed.\n\n\"He told me.\"\n\n\"Okay, you said he was a family friend. Has he ever been in your home?\"\n\n\"Yes.\"\n\n\"More than once?\"\n\n\"Yes, indeed.\"\n\n\"Judge, you can be a little bit more forthcoming. How often would you say Billy Hopper has been in your home?\" Travis let his irritation show.\n\n\"I can't tell you how many times he has been in our home. When he was in college he spent breaks and most holidays at our house. He spent some time with us before he went to Oxford, and more after he returned. After he signed with the Lobos he moved to Los Angeles. He didn't come for Christmas this last year, but he spent a long weekend at our home right after the season was over. Is that detailed enough?\"\n\nMarshall told me they conferred briefly in whispers before announcing they would break for lunch.\n\nMarshall was irritated by the continual delays, but I was glad to have the extra time. I suggested lunch at one of my favorite restaurants, _701_ on Pennsylvania Avenue. While we waited for lobster bisque and salad, Marshall filled me in on the interview and his inquisitors' obvious confusion. I laughed.\n\n\"They clearly haven't been able to figure out why Billy called you that morning and why you would care one way or the other. Hopper was born in Tennessee, grew up in Tennessee, and went to college in Tennessee. They're probably going nuts trying to figure out your connection. I'd bet the special agents in Chattanooga and Little Rock have been running ragged. There can never be an innocent explanation\u2014it's just not in their genes.\"\n\nI tried to avoid quizzing Marshall, letting him unwind and tell me whatever he wanted. Constance had told us before we left that they might or might not finish before the arraignment, but either way Marshall wouldn't have any real time with Billy today.\n\nRegardless of Billy's silence, the public defender needed time to explain the arraignment procedure to Billy. Constance had given him Marshall's cell number, and he had texted that we were to sit in the first row of benches behind the rail, an area usually reserved for family. He had also warned him that the press would probably swarm after the arraignment.\n\n\"I hope you're ready, Judge,\" he texted.\n\nI half expected Marshall to say, \"Prepared for what?\" But even literal Marshall understood the warning. As soon as the arraignment was concluded, the press would descend on Marshall with shouts and cameras, all trying to land an interview with the only person in the room obviously sitting in support of Billy Hopper.\n\nBefore we left _701_ , I placed a call to Martin Wells, head of security for Walter Matthews' companies and foundation, and occasionally for me. He agreed to meet me at the courthouse before the arraignment. I explained to Marshall what I was up to on the way back from lunch.\n\n\"I've asked Martin to help us leave the courtroom without being mobbed. I've also employed him to help you get in and out of the courthouse for your visits with Hopper. Don't fight me on this Marshall. You have bailiffs protecting you in Little Rock.\"\n\nI expected Marshall to pitch a fit, but he was unusually cooperative.\n\n\"You really think that's necessary? he asked.\n\n\"I do. Listen, they mean no harm, but the press is starving for news in this case. An Arkansas judge shows up out of the blue to hug the accused in the highest profile murder case in the country. They learn from a confidential source that Hopper called you the morning he discovered the body and that Billy won't talk to anybody but you. You are about to become the center of their attention. So let me help you in the few ways I can. Martin can give you some semblance of privacy. I'll also call Clovis, my friend in Little Rock. He can keep your wife and kids from being harassed.\"\n\n\"Of course I know Clovis. Would they really bother Grace and the boys?\" They're in high school now. Surely...\"\n\n\"You'd better believe it,\" I interrupted. \"Right now Billy Hopper is the biggest fish in the ocean. I think we have a few hours to set things in motion. While you're finishing up the interview, I'll call Grace and tell her to expect a call from Clovis. Martin will take care of everything at this end. He'll also coordinate with your hotel's security, that is unless you want to bunk in with me.\"\n\nMarshall smiled. \"It bothers you that I am staying at such an expensive hotel doesn't it?\"\n\nI nodded.\n\n\"I'll tell you a story over dinner one night. Like you said, 'one never thinks there is a simple explanation.'\"\n\nConstance was waiting for us outside the interview room when we returned. She told us Marshall could have as long as three hours with Billy, beginning at nine a.m. tomorrow. From then on he would need to set up a schedule for visits with the jail.\n\n\"I know the two of you have a lot to discuss, but I hope you can persuade Mr. Hopper to hire a lawyer quickly so we all can put this case behind us. The case against him is cut and dried, and the quicker he pleads guilty and we get his cooperation in discovering the identity of the victim, the better for all of us.\" This time her voice was hard as nails.\n\nMarshall glowered at \"cut and dried\" but didn't argue the point.\n\n\"Let's get the questioning over. I don't want to miss the arraignment.\" With that, Marshall walked into the room.\n\nI found a small, unoccupied office across the hall where I could make calls in private. Grace wasn't happy when I told her that Clovis would be coming by within the hour.\n\n\"Lord Jack, what would those people want with me?\"\n\nI explained as quickly as I could, cutting her questions short so I could get Clovis on board before the press descended. I hoped Clovis could calm her down.\n\nI was able to reach him on the first try and gave him a quick run down on the events so far. Oddly, he didn't seem surprised.\n\n\"Judge Fitzgerald and Billy Hopper,\" he mused. \"Small world.\"\n\n\"It is. Listen, I'll call you again tonight and we can catch up, but for the moment watch out for Grace and the boys\u2014no telling who might show up on her doorstep.\"\n\nIt had been more than a few months since I'd spoken with Clovis. In the last three years I'd returned to Little Rock twice to represent, well, let's just say unlikely clients. Unlikely translates to dangerous, and Clovis had provided me security, saving my life more than once. We've become good friends, and I enjoy his occasional trips to DC. We usually try to catch a Nat's game and I had introduced him to Cantler's, a crab house on Mill Creek just off the Chesapeake Bay\u2014best restaurant crabs in Maryland. He's hooked.\n\nI called Martin again, giving a more detailed explanation and a few instructions. Next, I called my assistant Rose to let her know I wouldn't be in the office today. She said a package had arrived from the law firm of Richards and Sullivan, and a Mr. Shaw had called several times. She gave me his number. I toyed with calling Red, but heard a nearby door close firmly. Red would have to wait.\n\nI walked into the hall to find Constance shaking Marshall's hand and thanking him for his cooperation. The others were already long gone.\n\nShe said, \"I guess it won't do any good to say I'd prefer that you not speak with Mr. Hopper about this interview.\"\n\nMarshall was direct. \"No. It won't do any good.\"\n\n\"Well... Anyway, Judge, get your friend a lawyer so we can put this case to rest.\"\n\nMarshall had heard enough about Billy's obvious guilt.\n\n\"Has it occurred to you, Ms. Montgomery, that perhaps William is not guilty?\"\n\nShe looked him straight in the eye and said firmly, \"No. It hasn't even crossed my mind. He's guilty as sin.\"\n\n### **13**\n\nTHE COURTROOM WAS already packed. Fortunately, no cameras were allowed. I told the marshal who we were, and he escorted us to the reserved seats up front. The crowd fell silent as all eyes turned to watch our entrance. The press was crowded into a couple of middle rows, but one look at Marshall's countenance silenced even the most jaded reporter.\n\nA harried young man strode in and plopped a group of folders on the appropriate table. His eyes scanned the crowd, and he walked straight up to Marshall.\n\n\"Judge Fitzgerald, I'm Rich Slaughter, deputy public defender.\" He handed Marshall his card. \"Mr. Hopper was relieved to hear you're here. He still won't talk to me other than to answer the most basic questions, and he was extremely disappointed you couldn't talk before this arraignment. He knows you'll see him tomorrow morning, and he understands that today is just a formality. I'll waive the reading of the indictment and enter a not guilty plea. Hopefully that will be the extent of my representation. Any questions?\"\n\nMarshall shook his head and thanked Rich for his help.\n\nConstance Montgomery, accompanied by at least six or seven other lawyers, took over the prosecution table, opening briefcases and spreading out papers. Constance greeted the public defender, but ignored the two of us. She wouldn't show any part of her hand until she was good and ready.\n\nBilly Hopper was led into the courtroom by two marshals. He wore the expected jumpsuit, hands and ankles chained to a belt around his waist. They made sure he was seated before unfastening the chains. Marshall had risen and was trying to reach out to Billy when we heard:\n\n\"All rise!\" Judge Morris Langston strode into the room in flowing robes. He was modest in size, wore horn-rimmed glasses, and seemed very much at ease.\n\n\"Welcome, everyone. We are here for the initial arraignment in the case of the District of Columbia versus Billy Hopper. Who's representing the government?\"\n\n\"Constance Montgomery, your honor, Deputy U.S. Attorney.\" Her colleagues seemed disappointed that she didn't introduce them as well, but she didn't even look in their direction. _Interesting._\n\n\"And for the defense?\" the judge asked.\n\n\"Rich Slaughter, assistant public defender, your honor.\"\n\n\"I take it Mr. Hopper hasn't engaged counsel yet. Should I be thinking about appointing counsel?\n\n\"I don't think so, your honor. I believe his lack of counsel is a temporary situation.\" Rich obviously wanted to distance himself from Billy every way he could.\n\n\"Okay, but I want you let me know if he doesn't obtain counsel in the immediate future. I want to move this case off the docket as soon as possible.\"\n\n_Even the judge\u2014why the rush? This was a first-degree murder case, not some routine assault and battery case after a bar fight._\n\n\"Okay, Mr. Slaughter. Is the defendant willing to waive the reading of the indictment and enter a plea?\"\n\n\"Yes, your honor. The defendant enters a plea of not guilty.\"\n\nA loud murmur from the gallery was met with a loud rap of the gavel.\n\n\"All right, that's enough. I've received requests from the press to allow cameras in the courtroom. I will rule on those requests after defense counsel is on board. If there is nothing further, court is adjourned.\"\n\nWe all rose, but before the marshals could get to Billy he was enveloped in Marshall's arms. Neither said a word.\n\nThe press exploded with questions: \"Why'd you do it, Billy? Anything you want to tell your fans? Who is this man, Billy? How are you being treated? Who was the woman, Billy?\"\n\nTo some extent, my presence and Martin's blocked them from getting too close to Marshall. The rail kept them away from Billy. Finally the embrace ended. Both men were fighting back tears. The uninformed would have assumed Marshall was the pro-football player\u2014he towered over Billy.\n\nThe marshals pulled Billy away, and Marshall said, \"I'll see you tomorrow. Everything will be okay.\"\n\nBilly nodded and gave a weak smile as they hurried him out of the courtroom. Now it was just Marshall and the press. Fortunately, Martin was prepared. He grabbed Marshall by the arm and pressed him close behind two large guys who were running interference toward the door. I followed behind.\n\nMartin quickly led us to a bank of elevators where another one of his men had been holding the door. The doors closed, and we had a break from the shouting for at least for a minute or so. I dreaded the mob we would face when we reached the front door to the courthouse, but Martin had a better plan.\n\nThe elevator took us to the basement, where Martin led us through a twisting route to a garage where Martin had left a large black Suburban. As we got in he explained.\n\n\"I called in a couple of favors and got permission to use the marshal's garage. We'll be out of the building in no time and headed back to the hotel. It won't be so easy tomorrow, but leave it up to me, Judge. This is the way the marshals get protected witnesses in and out of the building.\"\n\nMarshall was in shock. He had been forced to deal with the press during the Cole case, but they had shown him respect. In DC, he was a person of interest and fair game.\n\n\"Judge, your hotel's security team will ensure your privacy whenever you're inside their doors. I'll have my people there as well. We'll do our best to get you in and out with as little hassle as possible.\" He looked at me. \"If you need working space, I recommend you use Jack's offices.\"\n\n\"We have plenty of room,\" I said. \"You are welcome to use one of our offices to interview lawyers, make phone calls, or anything else. Our building has tight security, and either Maggie or Rose can help you with anything you need.\"\n\nHe looked overwhelmed, even a little bewildered.\n\n\"Seeing Billy had to be tough, and I know how you hate crowds. Let's go back to your hotel, have a glass of wine and a bite to eat before I go home, and then I'll leave you alone. Just follow Martin's lead tomorrow, okay.\"\n\nHe nodded.\n\nSoon back at the Hay-Adams, we washed up and Marshall checked in with Grace. We were the only ones in the dining room since it wasn't even six o'clock. We ordered drinks, and I tried to keep the conversation away from today by asking about our mutual friends in Little Rock\u2014Sam Pagano, Helen Cole, and Ben, the owner of my favorite barbeque place. But Billy Hopper's ghost was sitting at the table. Marshall was the first to bring today up.\n\n\"I don't know what I would have done without you today. I thought I could deal with all this all by myself. Thank you.\"\n\n\"What are friends for? The most difficult thing for you will be the press. They'll keep hounding you until they ferret out your relationship with Billy. We might want to consider giving an interview to a friendly reporter. You can set the ground rules, but once one reporter breaks the story the rest are more likely to leave you alone.\"\n\n\"I'm not so sure that's a good idea\u2014Ms. Montgomery might retaliate. We haven't talked about my last session. She repeated her request that I not talk to William or anyone else about the interview.\"\n\n\"That was to be expected.\" I said.\n\n\"I know, but she also said they there was a chance they might want to interview Grace and the boys.\"\n\n\"A nice implied threat to guarantee your continued cooperation,\" I noted. And one frequently used by the FBI, I thought to myself, wondering again why they were involved at all.\n\n\"Absolutely, subtle but unmistakable. You know, Jack, being a Judge can insulate one from the real world sometimes. This experience has already been an eye-opener. Maybe I should have seen the other side of law enforcement a long time ago.\"\n\nThe server brought cheeseburgers and extra crispy fries that we both devoured with quiet relish. It's amazing how much tension can be diffused by solid comfort food.\n\n\"Marshall, I wouldn't wish what you are going through on anyone. A second-child charged with murder, an FBI investigation, threats on your family, and who else knows what's next. People counsel 'one-day-at-a-time.' I think you'd be well advised to do just that.\"\n\nMarshall had begun to relax, at least a little. A second scotch didn't hurt.\n\n\"Grace told me that Clovis was at the house fifteen minutes after your call. He's talked to the kids. There's a satellite truck planted outside the house, but it sounds like he's got everything under control.\"\n\n\"Another reason to give an interview. Think about it overnight. For now, we've insulated you as much as we can. Do you want to talk about getting him defense counsel? Do you want me to make some calls?\"\n\nMarshall picked up his drink, took a small sip, and appeared to be considering his answer. His mouth took a funny shape like a light bulb had gone off.\n\nFinally he answered. \"Hold off on any calls for now. Like you said, one-day-at-a-time. I want to meet with William and talk all this over with him first.\"\n\n\"Be careful. Anything you discuss is not privileged. Make sure you tell him to say nothing about what happened or the FBI will be interviewing you again.\"\n\n\"I'm aware of that, Jack,\" he said sharply.\n\nOf course he was. He was smart, a lawyer, and a judge. I was stating the obvious, but it never hurt to be reminded.\n\n\"Sorry\u2014just being a mother hen. What will you talk about?\"\n\n\"His agent told me he has very little money left. Apparently the Lobos still owe him money under the old contract and for several incentive bonuses. They never dreamed he would be selected offensive rookie-of-the-year, which carries a quarter of million-dollar bonus. Then again his agent never thought his client would be charged with murder or that the Lobos would invoke the morals clause of the contract to fire him.\"\n\n\"He has to have some money left, even under an NFL minimum contract,\" I stated.\n\n\"He did. But according to his agent he used most of it to pay off his student loans and to pay back every single person who lent him money over the years, including yours truly. I still have every penny he gave me and will use it to hire a lawyer, but I am afraid it won't be nearly enough.\"\n\n\"Will his agent help?\"\n\n\"To put it in his words, 'Not no, but hell no.' Talk about a rat leaving a sinking ship. He got a large percentage of everything William earned in salary, bonuses, and endorsements, but as soon as the ship took on water, he jumped over the side.\" His face was the picture of disgust.\n\n\"Too bad. He might know the perfect lawyer.\"\n\n\"More to the point, he might know something about that evening. He was at the banquet with William to bask in the glory. I'd bet he even charged the whole weekend at the Mandarin hotel to William's American Express card.\"\n\n\"Can he do that?\" I asked.\n\n\"Apparently lots of agents put their clients on an allowance and give them an American Express card to pay for all their expenses. Makes for good recordkeeping as long as your agent is honest. Like I said, I want to talk to William.\"\n\n\"Did the agent tell you what he remembered about the evening?\"\n\n\"No surprise\u2014the FBI asked him not to discuss anything about that evening with anyone, and he wasn't about to argue.\" Marshall shrugged his shoulders.\n\n\"Constance got to him early. The FBI has more than likely talked to everyone sitting at Billy's table that night, waiters, the bellman at the Mayflower and anyone else who had contact with him. They saved you for last.\"\n\nI should have anticipated the FBI's strategy\u2014there was nothing surprising about it. They had slow walked Marshall, not allowing him to see Billy until they had all the witness testimony locked up.\n\nMarshall again gave me a peculiar look. He finished his scotch and said, \"I'm going to call it a night. I want to call Grace again. I'm exhausted, and want to have all my wits about me tomorrow. I'll come to your office after I meet with Billy.\"\n\nHe refused to let me pick up dinner, insisting serenely that I was his guest whenever we were in the Hay-Adams.\n\nI had hoped to hear his story about the hotel, but it would have to wait. He saw me to the door and for the third time tonight got an odd grin on his face.\n\n\"You haven't asked me about Micki,\" he said casually as we left the restaurant.\n\nMicki Lawrence had been my co-counsel in both the Cole and Stewart cases. She was the outdoorsy type: very tall with short, sun-bleached hair. When she wasn't in the courtroom she was riding or grooming her horses. She was also a very good lawyer, dedicated to a clientele that consisted mostly of criminals and hard luck cases. We worked well together and once talked about a loose law partnership. Last time I saw her she was practically engaged to a Little Rock doctor. Another reason for us to work together hadn't come up, and we hadn't spoken in more than six months.\n\n\"No, I haven't. She must be married by now.\" I ducked the comment. Micki's probable marriage was not a subject I cared to discuss.\n\n\"You might want to check in with her.\"\n\nThere was that grin again. I made a mental note to check in with Micki sometime soon.\n\n### **14**\n\nI UNLOCKED THE front door and was immediately greeted by a tail-wagging Sophie, excited by the prospect of a walk. I was ready to call it a day, but as I hooked on her leash, I realized I hadn't checked my email or voicemail all day. I was ready for Maggie to come home. She was great with both the press and testy clients, most of whom melted at her refined British accent.\n\nSophie and I returned after a quick round the block, and I settled down at my desk. I knew Rose deserved my first attention.\n\n\"Jack, don't ever do that to me again. The phone never stopped ringing and a few reporters even got past security. They all want to know how you're connected to Billy Hopper, and who the black man with you in court today was, I mean, I know who Judge Fitzgerald is, but they don't, and I didn't know what to say. And that was just the beginning\u2014that man Shaw, who called before, was downright rude. He demanded to know where you were and why you weren't returning his calls. He said\u2014well, I didn't like what he said and hung up on him. Jack, I'm just not up to this. What's going on? I need Maggie\u2014it's her job to handle stuff like this.\"\n\n_My sentiments exactly._ I had left my old law firm, Banks and Tuohey, a few years ago under difficult circumstances. Both Maggie and Rose had come with me. They had been caught up in my work, both were tired of the large law firm atmosphere, and both had decided to put their trust in me. I owed Rose a lot, but I knew her limitations. This was more than she could handle.\n\n\"I'm sorry, Rose, and thank you. I know today was tough, and you did great. Calm down and don't worry. I'll take care of Mr. Shaw. Listen, I'll be in the office early tomorrow. Can you come in early?\n\n\"Judge Fitzgerald is going to use one of the spare offices and the conference room for at least the next few days. I'll talk to our security folks about keeping the press out. Better yet, I'll get Martin to take care of it.\"\n\nI heard her take a deep breath, knew she was trying to regain her poise.\n\n\"Of course, you know I will. But what's all this got to do with Billy Hopper? He murdered that girl in cold blood, you know\u2014terrible, terrible thing. He's every women's nightmare, cute and innocent, but underneath another violent jock who thinks he can get away with murder.\"\n\nI would have to convince to Rose to keep her opinions to herself, but not tonight.\n\n\"Get some rest, Rose; tomorrow's going to be a long day.\"\n\nI knew I should call Red, but I needed to unwind. I didn't want to know what he'd said to Rose, but it was worrisome.\n\nI went through my emails; most of them were from the press. I read each one, then punched delete. Same with the voicemails\u2014delete. I usually tried to keep reporters happy\u2014you never knew when you might need a favor. But I didn't want to saddle Maggie with the mess, and I had no skin in this game.\n\nA few messages were from friends questioning my sanity. Several were rude, almost threatening. But one message caught my attention: a call from an old friend, Cheryl Cole. She wasn't exactly a friend, in fact she was\u2014well, she is Woody Cole's former wife, who managed to parlay her relationship with Woody into a popular evening talk show on Fox News.\n\n\"Jack, you owe me. Marshall Fitzgerald and Jack Patterson attending Billy Hopper's arraignment. I smell a really big story; you owe me and you know it. Call me any time day or night.\" To the point, as usual.\n\nI wasn't about to let Cheryl within a city block of Marshall. Maggie was really going to hate making this call. She didn't think much of Cheryl, but I did owe her a favor for her participation in the Stewart case. Of course, her cooperation had worked to her benefit as well, usually the case with Cheryl.\n\nI sighed and punched in Red's number, really hoping he would be out to dinner.\n\n\"Where in the hell have you been?\" he answered. So much for dinner.\n\n\"Sorry I've been hard to reach. I've been at the courthouse all day.\"\n\n\"Yeah, well I know that. It's all over the news. Don't you have better things to do than being a courthouse groupie? They said you were on the front row. How early did you have to get there to get a front row seat?\"\n\nCourthouse groupie\u2014I wondered who gave him that phrase. Sarcasm does not impress me.\n\n\"Not early at all\u2014the bailiff had saved me a seat. Marshall Fitzgerald, an old friend of mine from Little Rock came to town on Saturday. It turns out he is close to Billy Hopper. I offered to go to the arraignment with him. Lucy knows him\u2014she can explain the relationship.\"\n\nThere was along pause. I suspected Lucy was standing right there.\n\n\"Well, I'll be damned. I guess your presence makes some sense. I was worried I'd put my money on the wrong horse. Did you get the contract from my lawyers?\" Red's tone was almost polite.\n\n\"I did, but I didn't go into the office today. I'll go over it and get back with you tomorrow.\"\n\n\"Good. You know I liked that kid... Hopper... cost me a lot of money and my people think I should sue him.\"\n\nWhy in the world would Red pile on Billy? \"I'd say he has bigger worries than a civil lawsuit from his former team.\"\n\nRed gave out a boisterous laugh. \"I guess you're right. Don't understand it. The kid had the world by the tail and threw it all away for a one-night stand with some hooker. Doesn't make any sense. All of us have spent millions trying to distance football from the issue of violence against women, and now Hopper has undone all that work in one damn night.\"\n\nI was ready to cut the conversation short.\n\n\"I'll call you tomorrow, or should I call your lawyer?\"\n\n\"If it's something major, call me; if it's wording or whatever other stuff you lawyers worry about, work it out with them. Let's get this done. Thanks to Hopper, I bet some damn Senator is already planning some sort of hearing to appease the women's rights groups. I need you on board.\"\n\n\"That Senator wouldn't be having dinner with you right now?\" I joked.\n\n\"Nope, not this Senator, I hope! I like you, Patterson. You punch back.\" I heard a laugh, and he hung up.\n\nI was ready to dislike Red Shaw, probably for no good reason. To begin with, I was wary of anyone close to Lucy. He was gruff and demanding, and from what Marshall told me, had been pretty stingy with Billy Hopper's contract.\n\nYet, something told me not to judge so quickly. This latest incident of violence against a woman had created another storm of bad publicity for the NFL, especially for the Lobos. An indignant Congress was likely to pile into the fray. They love the free publicity of hearings, especially if they don't really have to do anything.\n\nI needed to make one last phone call before I called it a night, but before I could call Clovis my cell phone began to vibrate. I didn't recognize the number but I answered it nonetheless.\n\n\"You miss me?\"\n\n### **15**\n\nIN SPITE OF myself, my heart jumped when I heard Carol's voice.\n\n\"Well, sort of, I guess,\" I said warily, \"but after Sunday...\"\n\n\"Don't be silly,\" she interrupted. \"I told you I'd work it out, and I have. I can explain later, if you insist. But let's get serious. The Nationals are in town Thursday night, and I look damn good in a baseball jersey and jeans. You can teach me how to keep score.\"\n\nI bet she looked very good\u2014my ego already felt better. I racked my brain...Thursday, Thursday. Damn. Maggie and Walter.\n\n\"I'd like nothing better than to catch a Nationals game with you, but I already have plans.\"\n\n\"Do I have competition?\" She was toying with me.\n\n\"Not what you think. Maggie and Walter Matthews are getting back from a month in Italy, and I committed to dinner with them. How about Friday night? Strasburg is pitching.\"\n\n\"I have a better offer. Pat will pick you up Friday afternoon, and he'll bring you out to my place. The party won't arrive until Saturday morning, so we'll have some time to ourselves. I promise not to work so hard this weekend. This group is a lot more fun.\"\n\nI wasn't used to being chased, but I wasn't about to turn down the offer.\n\n\"Sounds perfect. Strasburg's arm is sore anyway.\"\n\n\"Bring your bathing suit.\" She actually giggled and hung up.\n\nSounded like whatever was bothering Carol had been resolved. I'd miss golf on Saturday with Walter, but he'd understand.\n\nI took a few moments to imagine the upcoming weekend. Good thing Maggie was coming home. She'd bring me back down to earth.\n\nClovis filled me in on his efforts with the Fitzgerald family. At first, Grace had resisted, trying to make light of the situation, but when the satellite truck showed up and parked in the middle of the front yard she retreated to the kitchen. Clovis had spoken gravely to all the boys, giving each of them his card and instructing them to keep away from both the truck and the reporters.\n\n\"They're all convinced Hopper didn't do it. Amazing.\"\n\n\"You ought to hear Marshall. I guess this is normal. The family is the last to know. The DC prosecutor is convinced he did it, and I don't think she's putting on an act.\"\n\nClovis responded. \"Of course, he did it. The woman was in his bed, the knife was a room service steak knife, and he left the banquet with three women arm in arm. The videos are all over ESPN and CNN.\"\n\nSo the prosecutor had already begun to leak damaging evidence. It would be drip, drip, and more drip. Both the potential jury pool and the trial judge would be convinced of Hopper's guilt long before the trial. It isn't fair, but the prosecutor holds all the cards and controls the media by way of leaks.\n\nClovis continued, \"Jack, tell the Judge he needs to come home. The more he's associated with Hopper, the worse it's going to be for him back here. Hopper is the new poster child for violence against women. The longer the Judge appears to be befriending him, the more likely the women's groups are going to go after him. I'm not just talking about drumming up an opponent next time he's up for reelection. I'm talking about picketing his courtroom and his house. Folks get riled up and things can get out of control pretty quick.\"\n\nI had worried Marshall might lose his shot at the Court of Appeals. It hadn't crossed my mind that it could cost him his current job as well.\n\nMarshall had peaked my curiosity so I asked Clovis, \"So, Clovis, how's Micki?\"\n\n\"Uh,... Why do you ask?\" He seemed to have lost his usual sangfroid.\n\n\"Well, first Marshall suggests I give her a call, and now you sound like you've choked on a soup bone. What's up?\"\n\n\"She'll kill me if I tell you.\"\n\n\"Do I need to get on a plane and come down there to find out? What in the hell is going on? You won't have to worry about Micki killing you, I'll do it myself if you don't start talking.\"\n\n\"Okay, calm down. So, Micki and Eric split, and she didn't deal with it very well. Pretty classic story: she came home from a fishing trip a day early and caught him in her bed with some nurse. She didn't much mind him cheating, but in her bed was a bit too much. Then he threw gasoline on the flames by blaming it all on you.\"\n\n\"What?\" I asked, astounded.\n\n\"Yeah, after she calmed down he accused her of still being in love with you, and that's why he was cheating on her.\"\n\n\"What a crock.\"\n\n\"That's what she said, too,\" Clovis replied. \"At any rate, she threw him out on his ear and started drinking. A lot, a whole lot. Finally, Debbie called Sam and me.\"\n\nSam was my friend Sam Pagano, the local prosecutor and her former boss. Debbie was her office manager.\n\nI asked. \"Why didn't you call me?\"\n\n\"After we spent a couple of days sobering her up, she made us swear not to tell you. She said she'd start drinking again if we told you. I told her you would ultimately find out, but she made us swear anyway. I think she had finally convinced herself to marry Eric, and somehow she now blames you.\"\n\n\"Is she okay? Should I call her?\"\n\n\"Well, she's back at work, and I've seen her out with another guy now and then. I'd let the sleeping cat lie if I were you.\"\n\n\"Why would Marshall suggest I call her? Does he know?\"\n\n\"I have no idea. I guess he doesn't.\" Clovis said.\n\n\"So my good friends Sam, Debbie, and you knew all this and didn't say a word to me?\"\n\n\"Well, Jack, her demands were pretty specific. I had no reason to tell you until you asked. You haven't exactly been beating down her door\u2014or even asked about her recently, as far as I know.\"\n\n\"Valid point. I'll leave her alone, but dammit, if she stumbles again, I expect a call\u2014okay?\"\n\n\"Deal.\"\n* * *\n\n## **TUESDAY**\n\n* * *\n\n## **April 19, 2016**\n\n### **16**\n\nI DIDN'T SLEEP well. Yesterday had been a whirlwind, and the last two phone calls had been pretty unsettling. I didn't know quite what to think of Carol's renewed interest, couldn't quit wondering what had happened. Was Red somehow behind her call? And Clovis was right: I hadn't spoken to Micki in months, and her love life was none of my business. Still... I never did like Eric, and it wasn't my fault he was having a fling with a nurse in Micki's bed.\n\nI arrived at the office with a sack of warm blueberry muffins, a peace offering for Rose. A fresh pot of coffee was brewing in the kitchen, and for the moment the phones were silent. Martin called to tell me the press still hadn't discovered where Marshall was staying\u2014a miracle. But he worried about getting Marshall inside the courthouse today without getting mobbed.\n\nBetter him than me, I thought and then felt guilty. I wasn't the one who didn't do well with reporters.\n\nRose and I quickly went over my notes from last night. I couldn't help but wonder what Billy would tell Marshall and how Marshall would handle it, but I schooled myself: Billy Hopper wasn't my business. I would help Marshall any way I could, but Hopper was his problem. The contract from Red's lawyers sat on the corner of my desk. I toyed with it for a minute, but left the envelope unopened. Instead, I prepared for a nine-thirty meeting with a client about a merger that had drawn the attention of the Justice Department.\n\nThe client arrived right on time, accompanied by an entourage of lawyers who knew nothing about antitrust law. We reviewed his options for the next hour or so, finally devising a reasonable plan of action. They were pleased and for a few minutes I enjoyed the warm feeling of having done a good job.\n\nRose and I were reviewing my calendar when Marshall arrived. Rose took one look at him and quickly excused herself. Apparently his morning hadn't gone as well as mine.\n\n\"Does Barker's serve a late lunch?\" He asked brusquely. \"I think we need to hurry.\"\n\n\"Absolutely. Let's go.\" I said.\n\nMartin whisked us into his Suburban just as a handful of reporters ran back to their waiting cabs. I knew we wouldn't be able to dodge them much longer.\n\nDespite the hour, Barker's was crowded, but after a few quiet words we were led to a corner table. Marshall sat down abruptly and ordered a beer\n\n\"You have one, too, Jack, I don't like to drink alone.\" I ordered a draft.\n\n\"That bad?\" I asked.\n\n\"That bad.\"\n\nHe jerked his hand up and down impatiently as the waitress delivered the beer and waited for our orders. Today's special was fried catfish, hushpuppies, and slaw. No reason to even look at the menu.\n\nAs soon as she left, he began. \"At first they put him in what they call the Hinckley cell at the courthouse. Named for John Hinckley, the man who shot Reagan. They were worried he might come to harm if he were put with the general population at the jail.\n\n\"But after the arraignment they got a call from the office of a powerful member of Congress complaining about favorable treatment. The marshal told me they had no choice but to move him in with the general population. He said they would do their best to see he wasn't harmed, but couldn't make any guarantees.\"\n\n\"What jerk complained? Don't they have anything better to do.\"\n\n\"Apparently somebody senior enough to put the fear of God into the head of the jail.\" Marshall was clearly distressed.\n\n\"Let me make some calls. I still have a few friends in the Marshal's service.\"\n\n\"Don't waste your breath. I said I would call the Attorney General, and the deputy said, 'Even the AG wouldn't buck this senator. Let it go, Judge.'\"\n\nA U.S. Senator intervening to make sure Billy didn't get special treatment. Sounded like Red was right. The congressional wolves were out for blood.\n\n\"Okay, so what happened next?\"\n\n\"Well, I told him that anything he told me wasn't privileged so we couldn't talk about what happened. I had to explain to him what 'privileged' means.\n\n\"He spent most of his money paying off student debt and paying back friends. Everyone thought the Lobos would want to negotiate a new contract to lock him in long-term, and he was counting on the incentive bonus to tide him over until next season. Paying off his loans made sense.\"\n\n\"Does he know the woman?\"\n\n\"I didn't ask. I could tell he really wanted to talk about what happened, but every time he tried, I stopped him.\"\n\nI said, \"I know it must have been tough, but you had no choice. You did the right thing.\"\n\n\"God, Jack, I don't know.\"\n\nThe waitress appeared with our lunch, good hot fried catfish. Nothing better, and it provided a nice distraction. We even indulged in lemon icebox pie, hardly saying a word.\n\nFull as a tick, I leaned back, thinking we should probably head back to my office. But Marshall had his own ideas.\n\n\"Can we talk, old friend to old friend?\"\n\nI kidded. \"Do I need a stiff drink?\"\n\nLiteral Marshall answered. \"A nice glass of wine might be in order, but only if I'm buying.\"\n\nNever, never, had I known Marshall to have more than a beer at lunch. Now he had suggested wine and was offering to buy. Either the world was coming to an end, or we were about to have one damn serious conversation. I told him his money was no good here and ordered a bottle of Cabernet.\n\nWe waited, again in silence, as the server delivered the bottle, dealt with the corkscrew and poured each of us a generous glass. I knew well enough that Marshall's brain was working overtime.\n\n\"Jack, where do I begin? Since high school you have been my best friend. You were best man at our wedding. Your wife was like a sister to me, and your daughter is not only my godchild, I think of her as my daughter. Whenever I need you, you show up, seemingly ready for anything.\"\n\n\"I could say the same for you.\" I had no idea where this was going.\n\n\"Yes, but you weren't a skinny black kid in an all-white school. When the football coach tried to run me off, there you were, refusing to play unless I played. You took a stand that day. What you did made a difference. It took a while, but things got better because you were willing to do what was right. And that wasn't the only time.\"\n\n\"Okay, but that was a long time ago, and I knew the team needed a really good left tackle. You were there for Angie and me\u2014remember?\"\n\n\"Jack, have you ever been so sure of someone's character, that no matter what others said about him, what others say he did, you just knew something wasn't right? That there had to be more to the story?\"\n\n\"Woody Cole.\" Didn't need to think about that one.\n\n\"Say no more, of course you have. You believed in Woody despite Sam telling you he had changed, and I was pretty much there myself.\"\n\n\"I remember.\"\n\n\"Well, so you will understand when I tell you I believe William didn't kill that woman. I know this young man, probably better than my own sons. A father has a blind spot for his children, but I don't for William. So he plays football\u2014does that mean he has an uncontrollable mean streak? Surely most football players are regular, nice fellows who engage in a sport they're good at. Yes, it's rough and players get hurt, but Americans love it\u2014every Saturday, Sunday, Monday, and now Thursday. William can run fast, and he has an uncanny ability to catch a football, but he's as gentle a soul as anyone I've ever encountered. He is polite, respectful and considerate of everyone, especially women.\"\n\n\"Marshall, I hear you. I appreciate what you're saying. I'm one of those guys who watch football on Thursday night. But look at the facts. Maybe his past caught up with him, or maybe all the new fame and glory, or maybe he just snapped. I mean, you know, guys just sometimes go off the wall when it comes to booze and women. Maybe they were\u2014oh, I don't know, but look at the evidence.\"\n\nHe took a minute, twirling his glass, thinking about how he would respond.\n\n\"Jack, I see cases of domestic violence and violence against women almost every day. This particular virus is epidemic, and no matter how many men I lock up it keeps growing. But I tell you: William Hopper is not a man who would ever abuse a woman, much less murder one. I've seen how he treats women of all ages, from Grace, to the girls my boys have brought home to our house, to the girls at Sewanee he dated. Without exception he was kind and respectful. I've never even heard a cutting remark or a derogatory term come out of his mouth.\"\n\n\"Well, something must have changed him. Maybe his year in LA\u2014maybe unfamiliar circumstances....\"\n\n\"Not a chance.\" Marshall's voice had grown chilly.\n\n\"Marshall, you won't like it, but I need to point out that the longer you stay here helping Billy, the more likely you are going to be the recipient of some of the anger directed towards him. It could hurt you politically, could even cost you your judgeship.\"\n\n\"Grace and I have discussed that very issue. We saw what the anti-gay marriage folks tried to do to Judge Piazza after he issued his ruling overturning the ban. You want to know what Grace told me?\"\n\n\"Of course.\" I said, thinking I probably already knew.\n\n\"She said, 'Husband, Jack Patterson didn't abandon Woody Cole no matter how bad it looked. Right now William doesn't have a friend in this world except for our family. All those hangers-on, LA movie stars, and football groupies have run for cover. The whole world thinks he's a lost cause. Well, lost causes are the one's worth fighting for. So don't come home until your job is done.\"\n\n\"I didn't abandon Woody because his mother wouldn't let me.\"\n\n\"Don't give me that. I witnessed your passion for Woody in my courtroom. You may have been a little out of control, but you clearly believed in Woody.\"\n\n\"Okay, so let's get him a lawyer so you can go home.\"\n\n\"Jack, I'm well aware that Billy needs a lawyer, and a damn good one. But I have one more favor to ask of you, and I guess it's one you'll have to think about. You've done a lot of favors for me, but you did them on your own, right?\" He gave me a bit of a grin, and I was helpless.\n\n\"I haven't much thought about it,\" I had no idea where this was going, but I was sure I wouldn't like it.\n\n\"I want you to see William in the jail.\"\n\n\"Ah, Jeez, why would I want to do that?\" I knew the answer as soon as I spoke.\n\n\"I don't know why you shouldn't.\"\n\n### **17**\n\nTHIS THOUGHT CLEARLY hadn't just popped into his head, so I waited for him to explain his logic.\n\n\"I can't ask Billy about what happened that night, as you have pointed out to me more than once.\"\n\nI nodded. \"The attorney-client privilege doesn't apply to you. Whatever he tells you is just as if he was talking straight to the prosecutor. You can't lie or refuse to relate what he says to you, or you'll end up in an adjoining jail cell. Grace wouldn't be happy.\"\n\nMarshall chuckled at the image of Grace finding out he was in jail.\n\n\"I do know that, Jack. But I also know that a lawyer who is interviewing him to become his attorney can speak with him in confidence. The privilege applies to that conversation, does it not?\"\n\n\"Yes, it does. But even if we pretended that my interview was in connection with potential employment, I couldn't tell you what he tells me. I would be destroying the privilege by telling you anything. My interviewing him doesn't accomplish anything. You still need to get him his own lawyer.\"\n\n\"You're wrong\u2014it accomplishes a lot.\"\n\n\"What?\" I asked.\n\n\"You are the only lawyer in DC I can completely trust. If you interview him and say 'Marshall, he did it,' I will help him financially and be supportive, but Grace and I can get on with our lives. If you tell me he's innocent, I'm all in until it's all over.\"\n\n\"I probably can't help you there either. A good lawyer never asks his client if he committed the crime. That knowledge limits his options at trial. Probably the most I could say is that I'm not sure he did it. I can't believe I'll get much out of him anyway.\"\n\n\"But you will at least have a better idea of what kind of lawyer I should be hiring\u2014someone who's a take-no-prisoners type or a negotiator.\"\n\n\"True. But remember: ultimately who Billy hires is up to Billy, not you or me.\"\n\n\"Not true. He's authorized me to hire counsel on his behalf. He said he wouldn't have any idea how to choose a lawyer. Three lawyers have already made appointments to meet with him tomorrow trying to get hired. Boy are they going to be disappointed.\" He smiled.\n\n\"It's unethical to solicit business, although you wouldn't know it from all the billboards across the country.\" I was appalled.\n\n\"I know that, but some folks always manage to find a way around the rules. As far as I'm concerned, all three are out of the running. What I don't like is they have taken up all the visiting hours tomorrow. I can't get you in to see him until Thursday morning.\"\n\n\"You've already made the appointment? I haven't said 'yes' yet.\"\n\n\"Jack, I know this is wrong of me, but please say 'yes,' if not for me, for Grace and my boys.\"\n\nI took a sip of wine, and my mind went to one night over twenty-five years ago when Marshall had carried Angie several miles to the hospital. No way could I tell this man no.\n\nI smiled. \"I don't know why I shouldn't.\"\n\nWe both laughed.\n\nI would learn why I shouldn't very quickly. I still would have given in, but I should have given it a little more thought.\n\nWe still had wine to finish, so I asked Marshall to tell me more about Billy Hopper. In fact, I asked him to start at the beginning and not leave anything out. I had no desire to represent Billy, but if I was going to decide in a single interview whether Billy could have murdered this young woman, I needed to know as much as I could.\n\nFor the next two hours, I heard a story that made out Billy sound to be too good to be true. I know from experience that we all have a dark side, but if Billy had a dark side it first made an appearance at the Mayflower Hotel.\n\n*********\n\nMr. Kim had finished reading the transcript of Fitzgerald's meeting with Hopper. He hadn't learned much except the Judge was in charge of hiring a lawyer for the young man. Too bad, the lawyer they wanted Hopper to hire was meeting with him tomorrow, but now that would be a total waste of time. The Judge had more influence over Hopper than they had anticipated.\n\nWorse, Patterson was scheduled to meet with Hopper on Thursday morning. The Judge and Patterson had just walked into Barker's, he assumed for lunch. Damn Barker and his obsession with privacy! In fact, he had no idea what they were doing or what they might be discussing, but he was pretty sure it wasn't Donald Trump. After a moment's thought, he decided to call a colleague in Brazil before he reported to the client.\n\n### **18**\n\nMARSHALL AND I finished our wine and walked outside to find Martin waiting in the Suburban. He looked uneasy.\n\n\"The press is camped outside your office. Building security has kept them out of the lobby so far, but Rose is in high panic. Apparently they are under the impression that you're meeting with Billy Hopper on Thursday about legal representation. They've figured out who Marshall is and made the connection.\"\n\nMarshall apologized. \"I'm sorry, Jack. I was na\u00efve. I had to give the jail your name. I should have known better.\"\n\n\"That's okay\u2014these are games you're not used to playing. Martin, let's get Marshall back to the Hay-Adams. I'll tell Rose to close the office and go home for the day.\"\n\nMarshall knew we'd set up an office for him at the foundation, but we both agreed that it might be better for him to remain at the hotel until the press lost interest. Martin walked him into the hotel and returned to drive me home. Not a single reporter in sight, thank goodness.\n\nI took Sophie out for a quick walk and then settled in behind my desk to check email and make a few calls. The first was to Maggie. I hated to ruin her last day in Italy, but I also didn't want her to arrive home to a firestorm without warning.\n\n\"Oh, Jack. I should have known you'd get into some kind of mischief while I was gone. I'm surprised there's not a women involved. Just don't get shot before I get home. Ciao.\" She obviously had better things to do than shoot the breeze with me.\n\nMy cell phone flashed a message from Beth, asking me to call. For the umpteenth time I wondered why she didn't just call in the first place. Of course, I called.\n\n\"Uncle Marshall is in DC, and you didn't tell me?\"\n\n\"You were at a silent retreat, remember?\"\n\n\"It was over on Sunday night. Anyway, it's all over the news that you're going to represent Billy Hopper. They're calling you a magician who takes on impossible cases. You know most of my girlfriends will think you're scum.\" Her throwaway comment got my attention.\n\n\"That's real nice, Beth. Don't they understand the right to counsel?\"\n\n\"They understand, but the thought that you might get a ruthless murderer off with a slap on the wrist is pretty hard to stomach. If I hadn't met him with Uncle Marshall, I'd be right there with them.\"\n\n\"He's facing life in prison, not a slap on the wrist. And don't worry: I'm not his lawyer. You've met him?\"\n\n\"Yeah. Billy arranged for Uncle Marshall to sit in the owner's box when the Lobos played the Saints last fall, and Uncle Marshall arranged for us to meet him for dinner. He and Jeff really hit it off\u2014at the time my friends were green with envy. He is very good-looking and so sweet. Hard to believe he'd do something so terrible. Jeff thinks he was set up.\"\n\n\"What do you mean?\"\n\n\"Oh, it's just speculation on the part of his fantasy football buddies. Apparently a lot of high stakes fantasy players lost big bucks because of Billy. His game against New England really burned up a lot of fantasy teams the last week of the regular season. He also upset a lot of high-stakes betting pools. Jeff and his pals think the mob set him up.\"\n\n\"Jeff watches too much TV.\"\n\n\"That's what I told him. Want to know what I think? There's too much violence on the football field, too much emphasis on hitting\u2014it's bound to pour over into the players' lives. Billy should've played soccer.\" Spoken by a Davidson soccer star.\n\nI knew we could debate this issue all afternoon, so I asked her about the retreat and reminded her that Marshall was expecting a call from her. She gave me a rather lengthy rundown of the retreat; apparently it wasn't exactly silent after all.\n\nWe agreed to find a good weekend for me to come to New Orleans soon. We didn't get along nearly as well when she came back to DC for a visit. I thought she'd want to spend all of her time with me, and she thought trips home meant seeing all her old high school classmates and staying up way past my bedtime. Some nights she didn't even go out until after my bedtime.\n\nOur conversation ended abruptly as she said, \"Sorry, Dad. My kids are walking into class\u2014gotta go!\"\n\nI wasn't really hungry, but I ordered pizza anyway. DC isn't known for good pizza and for good reason: there isn't any. At least nothing like Theo's Pizza in New Orleans. You don't think about New Orleans and pizza, but trust me: Theo's is worth the trip. I'd put it up against Chicago's best.\n\nRose had emailed me a list of messages. I ignored the ones from reporters, tabled two from friends, but knew I had to return Red's angry call.\n\n\"Are you crazy?\" he shouted.\n\n\"Quite possibly,\" I answered, stalling for time. If I publicly denied any desire to be Billy's lawyer, the jail probably wouldn't let me see Billy nor would the privilege attach to our conversation if they did. I had come up with a response I thought might work until a real criminal defense lawyer was hired. Might as well test it out on Red.\n\nMy affirmative response to his question had taken him aback, so I jumped in before he could respond.\n\n\"Crazy yes, stupid no. Your fianc\u00e9e can tell you how close I am to Marshall Fitzgerald. He asked that I meet with Hopper, and I agreed because I owe him. She will tell you I owe him at least that. But, Red, I'm not foolish enough to sacrifice a quarter of a million dollar retainer. For my loyalty to Marshall, I'm going to catch hell with the press for a few days, but I expect Billy to have an experienced criminal lawyer in a few days, and you and I can practice howling at the moon by the weekend.\"\n\nNothing but silence. I could almost hear him thinking.\n\n\"You know if you'd simply sign the contract my lawyers sent over, I'd feel a lot better.\"\n\n\"Sorry, it's on my desk. The press descended on us before I had time to go over it. I should be able to give it my full attention tomorrow.\"\n\n\"You know, I've never had so much trouble trying to hire somebody.\" His irritation was obvious.\n\n\"I'm worth it.\" I don't know what gave me so much bravado, but the words came out naturally.\n\n\"Damn, I'm beginning to like you, Patterson. I expect the same loyalty you are showing to Fitzgerald, I hope you know that.\"\n\n\"You'll have it.\" Boy was I walking a tightrope.\n\nThe doorbell rang as I put the phone down with relief. I had dodged a bullet. I pulled a twenty out of my wallet and opened the door.\n\n\"You ordered pizza, but it's going to cost you.\"\n\n### **19**\n\nCAROL STOOD ON the steps holding a pizza box in one hand and a bottle of red wine in the other. She had caught the pizza guy pulling up and paid him. The wine had always been part of her plan.\n\nMy response was totally overwhelmed by Sophie pelting down the stairs barking furiously. Laughing, Carol held the pizza high as I struggled to get Sophie under control.\n\n\"What a great dog\u2013 you've been holding out on me. And representing Billy Hopper\u2014really?\" She pecked me on the cheek and sailed right past me toward the kitchen.\n\n\"It's not the way it seems.\" I managed to get Sophie corralled on the back porch.\n\nI took the pizza from her and put it in the oven to keep warm. While I opened the wine she wandered through the downstairs of the house, stopping to look at pictures of Beth, Angie, and my three best friends from high school: Woody, Sam, and Marshall.\n\n\"Good looking daughter, she looks a lot like her mother,\" she said, as she took the glass of wine I offered.\n\nShe was dressed casually in jeans and a white cotton shirt, sleeves rolled up. No fancy jewelry, but small diamond earrings and what looked like a David Yurman link ring on her right hand. I only knew because Walter had recently given one to Maggie. A diamond tennis bracelet seemed natural on her wrist.\n\n\"I hope I'm not interrupting.\"\n\n\"You can interrupt anytime you want; as you can tell, I wasn't exactly expecting company. To what do I owe this unexpected pleasure?\"\n\n\"Billy Hopper. You played innocent last weekend\u2014are you really going to represent him?\" She got right to the point.\n\nI didn't want to lie to her so I avoided answering.\n\n\"See that picture of four boys with our arms around each other? One is Woody Cole and the tall black man is Marshall Fitzgerald. He's known Billy since his kids were at camp in North Carolina. I'm meeting with Billy at his request.\" I said.\n\n\"I know who he is\u2014the other one is Sam Pagano, the prosecutor in the Cole case, your high school teammate and roommate in college. You forget I'm into information. I know a lot about you; it's my business.\"\n\n\"That's right. It's kind of scary that you know so much.\"\n\nShe came across the room, looked up into my eyes, and then kissed me square on the lips. \"Not enough.\"\n\nI was at a loss for a response, suddenly remembering the washout of last weekend. She rescued me.\n\n\"Now feed me, and let's talk. We've got some ground rules to set.\"\n\nWe sat on stools at the bar eating pizza and drinking a very nice Chianti.\n\n\"Ground rules?\" I asked.\n\n\"Ground rules. In case you can't tell, I'm interested in you more than having you as my escort at social events. I like your company, and I'm definitely interested in having an uninterrupted swim together, very soon.\" She touched my hand.\n\n\"Well, in case you haven't noticed, you have my full attention. If getting to know you better means enduring boring DC cocktail parties and discussions about drones and fighter planes, I guess I can manage.\" I meant every word.\n\n\"Okay, so ground rules. I don't want to be in the position of giving clients information I learn from you. I want you to trust me, and I want to be able to trust you.\n\n\"For example, half a dozen clients would like very much to know how DOJ is going to come down on the Simpson-Whitfield merger, not to mention the real story of your involvement with Billy Hopper. So here's the deal. I won't ask, and you won't talk about your business with me. Then I won't have anything to report. However, if you talk about business with others at one of our weekends or at a party, or if you slip up and tell me something without my asking, I'm free to report it to my clients.\"\n\n\"I hate to disappoint you, but I don't talk about my clients or my business with anyone. Is there a reason to worry about all this?\" I responded, a little confused about why we needed ground rules at all.\n\n\"That's pretty obvious. Not a soul this weekend had any idea that you had a connection with Hopper. Everyone was talking about him, but you were as quiet as a mouse, almost as if you didn't read the papers.\"\n\nShe paused, biting her lower lip, and I waited for whatever was next.\n\n\"Jack, the other day at the shore I was not my best. I'd like to explain about the phone call.\"\n\nThis time I reached across and put my finger to her lips.\n\n\"Please don't. Ground rules are set. You don't ask me about my business, and I don't want to know about yours. We now have our own version of don't ask, don't tell.\"\n\nShe took my fingers and held them to her cheek. I could almost see the tension in her shoulders relax.\n\nI asked, \"Can you stay?\"\n\nShe smiled sweetly. \"If you don't mind, tonight let's enjoy the wine and talk. I want you, Jack Patterson, don't get me wrong, but I'm not sure tonight's the right time or place. You have a lot of memories here. So let's go slow, okay?\"\n\nShe was right, of course. I had never slept with anyone but Angie in our bed.\n\nWe took our wine to the downstairs study and turned on the ball game, which turned out to be mostly white noise for our conversation. She seemed to know quite a lot about my family, so I asked about hers. She told me that her parents still lived in their rambling house in the Dilworth neighborhood in Charlotte. I laughed when she imitated her father asking, \"Yes, dear, I'm glad you're doing so well, but what is it exactly that you do?\"\n\nShe seldom saw her sister who had married a London attorney a dozen years ago and was now \"quite British.\" Her caustic tone made me look forward to introducing her to Maggie.\n\nHer older brother Daniel owned a car dealership in Raleigh. He'd been a star running back at N.C. State, but had already had both knees replaced.\n\n\"Jack, he has constant headaches and sometimes forgets things, important things. His wife had to ask their son to come home to help with the business. It's so hard to know how to help.\"\n\nI had friends in Arkansas who were going through the same thing. Football had given them early glory, a certain path to success, and then cheated them out of both their joints and their sanity. Somewhere Caesar is laughing.\n\nI opened a second bottle of wine, and we talked about the early days of our careers. I told her how much I had enjoyed my time at Justice, and she spoke of the hurdles she had faced as a young female staffer on the Hill. The hours were long, the pay was paltry and she had to endure frequent and persistent sexual advances from both Members and senior staff. I was even able to talk about Angie\u2014a little.\n\nWe ended up watching the ninth inning in silence; she curled up next to me on the sofa. I hadn't spent such an easy evening with someone in quite a long time.\n* * *\n\n## **WEDNESDAY**\n\n* * *\n\n## **April 20, 2016**\n\n### **20**\n\nI SLEPT LIKE a lamb and woke up the next morning in a great mood. Maggie and Walter would be home today, there were no satellite trucks in my front yard, and I hadn't yet read the papers.\n\nI took Sophie for a long walk after breakfast and decided to take the Metro in to work\u2014easier to slip in the back door without attracting attention. Rose had been delighted to have a day off: the answering service could pick up any calls.\n\nI figured I could work in the morning, meet Marshall for lunch at the Hay-Adams, and maybe get in nine holes of golf. Three hapless lawyers meeting Billy at the jail would occupy the press, and I needed some time to think without really trying, if that makes sense.\n\nI put the coffee on and checked with the answering service for messages. Almost all were from the press, with a select few from people who didn't believe in an accused's right to a lawyer. I took a minute to order flowers for Carol. I couldn't help myself. I reluctantly placed a call to Cheryl Cole\u2014she'd called at least seven times.\n\n\"Jack Patterson, have you forgotten that you owe me from the Stewart case? I need you to come on my show. Which night works for you?\"\n\nYou had to be direct with Cheryl.\n\n\"First, if I remember right, that 'favor' resulted in skyrocketing ratings for your program and a nice big contract for you. Second, the answer to when I'm coming on your show the answer is never. That answer has served me well so far, and I intend to stick with it.\n\n\"So you are going to represent Billy Hopper?\" She was quick.\n\n\"I didn't say that. I am going to meet with Billy Hopper tomorrow. We'll see what happens after that.\"\n\nShe heard exactly what she wanted to hear\u2014and Cheryl couldn't keep a secret. She would be on the air tonight saying according to a confidential source it was only a matter of time before I agreed to represent Billy Hopper. It would be a nice diversion while I helped Marshall get Billy a proper criminal attorney.\n\nI hung up before Cheryl could quiz me further. I opened the _Post_ and found its piece on Hopper on page three, last paragraph:\n\n\"Jack Patterson is well known for having represented Woody Cole, accused murder of Senator Russell Robinson, and Dr. Doug Stewart, the world-famous chemist. Although he specializes in antitrust law, Patterson has a reputation for occasionally taking on seemingly impossible criminal cases. The case against Billy Hopper certainly belongs in that category.\"\n\nI took a few minutes to read the comics, a habit inherited from my mother who had always called them the \"funnies,\" then tossed the paper aside.\n\nI hadn't forgotten what Clovis had told me about Micki\u2014it lurked just below the surface of my thoughts. I decided to take the bull by the horns. Her receptionist, Mongo, answered the phone.\n\n\"Mongo, this is Jack Patterson. May I speak to Micki?\"\n\n\"You sure you want to?\" _Not a good omen._\n\n\"Well, yes, why wouldn't I?\"\n\nNo answer. Instead I heard him shout across the room, \"Hey, Micki, Jack's on the phone for you.\" Same old Mongo. I waited patiently, wondering whether she would pick up or choose to ignore me completely. The answer came loud and clear.\n\n\"If you think I'm going to help you defend that murdering SOB, you're dead wrong,\" she shouted into the speakerphone.\n\n\"Nice to hear your voice, Micki.\"\n\nI heard a click and her normal voice off-speaker. \"Well, hello there. How are you, Jack?\" Her tone was, well, it was sort of uncertain, a little shaky.\n\n\"I was calling to ask you that same question. But to respond to your assumption, I have no intention of representing Billy Hopper.\" I tried to keep my voice level.\n\n\"Then what in the hell is going on? It's all over the news that you're his lawyer.\"\n\n\"Since when do you believe everything you hear in the press? And what happened to my 'everybody deserves competent counsel' defense lawyer?\"\n\n\"She's tired of football players treating women like trash and thinking it's okay to beat the shit out of them or worse.\"\n\n\"I'm right with you. But what if Billy's innocent?\"\n\n\"You don't believe that, do you?\" she asked.\n\n\"Marshall Fitzgerald does.\" I responded.\n\n\"Marshall Fitzgerald? Our Judge Fitzgerald?\"\n\n\"The one and the same. Why else would I be involved?\" She grew calmer with every give and take, and our conversation became less tense.\n\n\"Why in the world does Marshall give two hoots about this guy? And even if he does, I still can't help you, Jack. I've reached my limit when it comes to men taking out their frustrations on women. You have to draw a line somewhere.\"\n\n\"I haven't asked for your help. And, yes, it looks bad for Hopper. But Marshall cares a great deal for this kid, has known him most of his life, and I care a great deal for Marshall\u2014I owe it to him to do what I can. Let me tell you what I know.\"\n\nI went on to explain the relationship between Marshall and Billy. Micki asked a couple of good questions, but didn't seem to be particularly interested.\n\n\"Okay, so now I get it, but let me ask you this\u2014why did you call?\"\n\nI lied. \"We haven't talked in a while, and this unexpected dip into criminal law made me think of you. So how are you?\"\n\nNow she lied. \"I'm fine. We stay busy. Debbie is still driving me crazy, but she and Paul are still together, and otherwise Little Rock is much the same.\"\n\nI decided to leave it be, and we ended with a whimper, promising to stay more in touch, knowing we wouldn't. Micki and I had enjoyed a special relationship during both the Stewart and Cole cases. Too bad we've never found that special case we always hoped for.\n\n*********\n\nMy lunch with Marshall at the Hay-Adams wasn't anything to write home about. After fried catfish and a wonderful Cabernet, today's chef's salad and iced tea were a bit of a downer. We tried to chat, but gave up pretty soon. Billy Hopper was the elephant in the room, and he took up all the oxygen.\n\nI suggested a movie tonight, but he declined, citing other plans. He'd only been in town a day\u2014I couldn't help but wonder.\n\nMost days, the DC Metro is a model of efficiency, and today was no exception. It delivered me to Chevy Chase Circle in less than fifteen minutes, and I was home after a ten-minute walk.\n\nAfter walking Sophie, more to clear my head than to give her exercise, I sat at my desk and tried to prepare for an impossible assignment\u2014interview Billy Hopper for one hour in order to determine whether he had murdered the woman found in his bed. Marshall had given me an untenable task.\n\nI thought I had a pretty good plan for tomorrow. Maggie had texted to say their plane had landed, and they were on their way home, ready for bed. I replied that I wouldn't be in the office tomorrow morning, but I would see them for dinner. I'd bet a dollar to a doughnut she'd call tonight to find out what was going on.\n\nI spent the rest of the afternoon tending to my real job, warmed up the leftover pizza, and went to bed early. Tomorrow would be challenging; little did I know how challenging. If I'd been more attentive to my voice mails I might have returned two phone calls.\n\nOne was one from Red Shaw; the other was from one James, \"the Wall\", Stockdell, the NFL's fiercest linebacker and Billy's teammate.\n* * *\n\n## **THURSDAY**\n\n* * *\n\n## **April 21, 2016**\n\n### **21**\n\nI DRESSED CAREFULLY the next morning: charcoal pin stripes and conservative tie. The seldom-worn Allen-Edmonds wingtips were tight, but surely I could deal with them for one morning. Martin's man told me the press had set up their gauntlet of microphones and cameras right in front of the jail; there was no way in besides plowing through. After meeting Billy, I would join Marshall at the office. Martin had the codes to open the office if they beat me there.\n\nWe pulled to a stop in front of the jail. As the horde of reporters started to shout questions, I slowed just enough to say, \"I will not answer any questions at this time.\" Of course that didn't stop the ruckus, but I continued my slow progress into the building.\n\nI made it through the door with my life. The waiting jailer was chuckling. I started to get out my driver's license, but he said, \"No need for ID, Mr. Patterson. I think your fans out there are identification enough. I will have to search your briefcase though.\"\n\nI handed it over, and he did a half-hearted search. \"Conference room 101, third door on the right. We'll bring him to you.\" I wondered if the jailer knew the significance of Room 101 in Orwell's _1984._\n\nThe room was empty except for a small table and two metal chairs. A pitcher of water and two empty mugs sat on the table. I saw a couple of gnats floating in the water.\n\nThe door opened and Billy walked in. He wasn't nearly as big as I had expected. I'm six foot-three, but seemed to tower over the young man. Beth was right: he was good looking with a fresh face and golden hair, hardly the image of an NFL star. I was pleased to see that he wasn't shackled or chained.\n\n\"Billy, we don't have much time. Did Marshall tell you who I am and that you can be candid with me?\"\n\n\"I've known about you for a long time, Mr. Patterson. I spent a lot of time with the Fitzgerald's\u2014your name came up all the time. The Judge said that talking to you is like talking to him, nothing but the truth.\"\n\n\"Okay, I want you to keep one thing in mind. I will not ask you if you murdered the woman, and I don't want you to tell me. Okay?\" I warned.\n\n\"It's okay because I don't know if I did or not,\" he blurted out.\n\n\"I'm not sure if that's what I wanted to hear.\"\n\n\"But it's the truth. I don't remember a thing,\" he said.\n\n\"Let's slow down, Billy. By the way, may I call you Billy? Marshall refers to you as William\u2014maybe you'd prefer I call you by your Christian name\"\n\n\"Some folks call me Glide, but Billy's fine. That's what Grace and the boys call me. I'm not sure if William is even my real name. My birth certificate says Billy, but the Judge has always called me William. I don't know why.\"\n\n\"Okay. Let me do the asking first. Do you remember going to the NFL Honors banquet?\"\n\n\"I do.\"\n\n\"Who was at your table?\" I asked.\n\n\"My agent, Cliff Parker. I met all the others, but I don't remember their names. Corporations purchase tables, and the NFL spaces players at each corporate table.\"\n\n\"Do you remember who sponsored your table?\"\n\n\"I don't. They had something to do with airplanes, I think. I really didn't pay much attention. Frankly, the guys weren't Presidents or CEO's, they were guys who worked in the corporate headquarters and were thrilled they could spend the night with ball players and bid on sports memorabilia. I remember one of the guys said he was surprised his boss wanted me at their table. Apparently, I'd cost his boss a bundle when I caught that third touchdown pass against New England. There wasn't much I could say.\"\n\nMight as well ask. \"From what I understand, there were several attractive women at the table as well. Did you know them? Do you remember their names?\"\n\n\"No, I'd never seen any of them before. One of them was called Ginger\u2014I remember because she had bright red hair. I got the impression they were with the corporate guys. They were like most all the girls at these events: giggly, friendly, and drank a whole lot.\"\n\n\"Speaking of that, the press says you drank a lot that night.\"\n\nI noticed Billy bow up.\n\n\"Mr. Patterson...\"\n\n\"Call me Jack.\"\n\n\"Mr. P... Jack, I don't drink very much, ever. The Judge said he told you about my background. When your father drinks so much that he carves up your mother, you're not inclined to drink. At least I'm not. I remember sipping on a beer so I wouldn't draw attention to myself. I've learned you can sip on a beer all night, and nobody notices how much you're drinking. But order Perrier, and you get lots of looks and ribbing and end up in trouble.\"\n\n\"True, but ESPN is reporting that the waiter says he filled your wine glass all night.\"\n\n\"The waiter is telling the truth. The young woman sitting next to me drank her own wine and then switched glasses with me. I didn't mind.\"\n\n\"Were any of the women at your table the woman you found in your bed?\" Might as well get it out there.\n\n\"I've given that question a lot of thought. I don't think so. I was pretty shaken up when I discovered her, but I don't think she was one of the girls at our table. It was definitely not Ginger. I can't guarantee that she wasn't one of the other two, but I don't think so. The woman in the bed that morning was a total stranger to me; of that I'm sure.\"\n\n\"Billy, I've told you I can't ask you whether you murdered the woman or not, and you've told me you don't remember a thing. So let's go about it another way. Tell me why I should believe you didn't kill the woman. You have to be asking yourself that same question or the opposite.\"\n\nBilly paused before answering. \"What you're asking me is what would I like to say to the Judge and Grace about the man they took in and loved like their own, given that I don't remember a thing.\"\n\n\"Yes, I am. But I will also say you don't have to answer that question if you don't want to.\"\n\nHe took a deep breath and closed his eyes.\n\n\"I've lived with the image of my father murdering my mother all my life. I was eight years old when it happened, young, but not young enough. I was old enough to remember what alcohol did to my father, but too young to know why Mom and I didn't leave. Too young to ask her about my grandparents, or why they would let her stay with such a man.\n\n\"I've tried to find them, you know. At first, it was something I just did on the Internet, but I had a little money after Oxford, so I decided to dig a little deeper. I think I'm getting close. But that's not what you asked.\n\n\"I loved my mother, and she drummed into me at a young age to respect everyone, but especially women. I would never strike a woman much less kill one. For me it would mean becoming the man I hated so much. Ask any girl I ever dated. Some of them even made fun of me for being so timid and polite. I'm not a prude, Jack. I'm not celibate, and I'm not gay. I believe in every ounce of my being that I could never murder any woman.\"\n\nI started to speak, but he interrupted.\n\n\"I say all that to you, knowing what I woke up to, and terrified every moment that I am my father after all. I'm not sure I could live with that thought.\"\n\nThe moment called for silence. Here was a young man baring his soul to a stranger. I had been conned before, but damned if I didn't believe him. Yet by his own admission, he could have. He didn't remember a thing, and he could have lashed out in a fit of violence. The silence stretched as I tried to measure my response.\n\n\"Billy, I believe you. You are in one hell of a mess, and neither of us knows what happened that night. But you are not your father. Of that I am certain.\"\n\nHe seemed consoled, but exhausted by the exchange. I asked a few basic questions about the morning of the event and tried to get a few more details on his dinner companions. The jailer opened the door, pointing at his watch. I asked him for a few more minutes.\n\n\"Is there anything else you want to say?\" I asked.\n\n\"Thank you for believing me. The Judge said that if you believed me, you would agree to be my lawyer. I sure hope that's true.\"\n\n### **22**\n\nI MANAGED TO smile and shook his hand just before the jailer took him away. I couldn't wait to give Marshall a piece of my mind. Why in the world would Marshall tell him I was going to be his lawyer?\n\nI remained in the room for a few minutes to gather my thoughts before facing the press. I reminded myself I was not a skilled criminal defense attorney. Before I got mad at Marshall, I needed to check my ego at the front door. The entire deck was stacked against this young man. He needed someone to believe in him, someone who could find out what had happened that night. That would take money and talent. Billy didn't have any money, and I certainly wasn't the talent.\n\nI walked straight up to the bank of waiting microphones.\n\n\"Those of you who know me understand I don't try a case in the media, so this will be a short session.\"\n\n\"Are you going to represent Billy Hopper?\" came the first shout.\n\n\"My understanding is that Mr. Hopper is interviewing several lawyers. I met with him today strictly as a favor to a mutual friend.\"\n\nThat wasn't going to satisfy anyone.\n\n\"Why did he murder the girl? Does he hate women?\" came the next question.\n\n\"Next question.\" I stared coldly at the offending reporter. Did he really expect me to answer such an absurd question?\n\n\"Mr. Patterson, you spent almost an hour with Billy Hopper. Can you tell us if you think he did it?\"\n\nI stared at the young woman, knowing I shouldn't answer. \"You know, I don't think he did.\"\n\n*********\n\nMaggie rose to give me a hug as I walked into our office. I could see Marshall in our conference room talking a large man I didn't recognize.\n\n\"I told you not to come in.\" I frowned.\n\n\"What happened to 'Welcome back, Maggie, I missed you'?\"\n\nI gave her a rueful grin and returned her hug, saying, \"I'm sorry. Of course I missed you, and I can't wait to hear about your trip.\"\n\n\"Well, you'll have to. It seems you've been busy in my absence. The press all claim you're going to represent a murderer, Marshall is waiting in the conference room, and it looks like we may have a new client by the name of Red Shaw. In my opinion, he could use a lesson in manners.\" Her sharp tone gave me pause.\n\n\"I did warn you not to come in. How bad was the press?\" I asked.\n\n\"The press doesn't bother me. They don't want to talk to me, and the building manager isn't about to let them block the entrance for the other tenants. Rose could easily get in, but she would probably go crazy with all these phone calls.\"\n\nShe tried to keep a straight face, but we both broke out laughing. I was sure glad to have her back.\n\n\"All right, Jack, you go talk to Marshall, and I'll try to bring some organization back to this place.\"\n\n\"To whom is Marshall talking?\" I asked.\n\n\"He was here when I arrived this morning, said he had been trying to reach you. Name is James Stockdell. I offered to take a message, but he said he'd wait. Apparently they're already acquainted; they've been thick as thieves since Marshall arrived.\"\n\n\"Just what I need\u2014another mystery. Do me a big favor and call Red Shaw. Tell him I'm meeting with Marshall and will call him this afternoon.\"\n\n\"Oh dear, that's what I was afraid of. That man...\" She grimaced.\n\n\"Welcome back, Maggie.\" I smiled as I turned toward the conference room. Her reply was a muted 'hmph.'\n\nI opened the door and extended my hand to a muscular man who was seated next to Marshall. He was at least six-five, built like a Mack truck.\n\n\"Jack Patterson. I apologize for not responding to your message. I've been getting a lot of calls these last few days.\"\n\nMarshall spoke up. \"Jack, this is James Stockdell. He's one of William's teammates.\"\n\nWe shook hands, and I sat down across from them, \"I know you by reputation, Mr. Stockdell. For the life of me, I will never understand why the Redskins released you to be eligible for the Lobos' supplemental draft. Big mistake.\"\n\nHe smiled. \"I was disappointed myself, but then if they hadn't, I wouldn't have gotten to know Billy. I'm here on behalf of a group of his teammates who want to offer our help. We think the world of Billy, and even though the Lobos, the union, and his agent have all abandoned him, we won't.\"\n\n\"That's tremendous, and I'm sure it will mean the world to Billy, but right now there isn't much you can do besides try to see him in jail and be publically supportive. He could use a few friends right now.\" I wanted to be nice, but I needed to talk to Marshall.\n\nJames looked at Marshall and leaned back in his chair.\n\n\"Well, Jack, James is here to offer a little more than emotional support.\" Marshall smiled serenely.\n\n\"That's right, Mr. Patterson. My teammates and I want to put our money where our mouth is.\" He reached in the pocket of his sport coat and pulled out his checkbook.\n\n\"Whoa,\" I said holding out the palm of my hand. \"I can't let you write me a check.\"\n\n\"Don't worry, I'll collect from the other guys. I have their word. I'm not worried about the money.\" James pulled out a pen and began to write.\n\n\"That's not it. I am not his lawyer.\" I said, emphasis on the 'not.'\n\n\"Marshall explained that you aren't officially on board yet, that you still think someone else could do a better job for Billy. I'll leave that up to you two, but I'm heading out of the country for a month, and I don't want money to limit your options.\n\n\"I'm going to leave you with a check. Put it in your trust account and use it for Billy's defense whether it's you or someone else. We can work out a budget when I return. I'm not going to give you a blank check, but if necessary there's more where this comes from.\"\n\nI had no idea how much he was talking about, but what he suggested was generous and made sense. I called Maggie into the room, explained what was going on, and asked her to write up a paragraph for him to sign giving me authority to use the money for Billy's defense if both Marshall and I agreed on the expenditure.\n\nI thought\u2014now watch the check be for a thousand bucks. I thought wrong. The check was for a half a million dollars.\n\nHe saw my jaw drop and said. \"Listen, it's ten teammates at $50,000 a piece, a small price to pay for one of our own. And we're talking about Billy\u2014I bet I can raise twice the amount when I get back. I don't know one guy on the team who won't pitch in, except for maybe the placekicker. He's a different breed of cat. We all know how expensive lawyers are. You're as bad as sports agents and investment advisors,\" he chuckled.\n\n\"I don't know what to say, except thank you. Billy appears to have some very good friends.\" Marshall nodded in agreement.\n\n\"Mr. Patterson, you played baseball. I bet your teammates are still some of your best friends, even now. For football players the ties are even tighter, maybe because of all the pain, misery, and suffering we endure together. Here's the thing: when you play ball with a man, you get to know his heart. Billy Hopper has one of the greatest hearts I've ever encountered. Let me tell you how he saved my career.\n\n\"I came to camp last summer with a bad attitude, pissed off that the Redskins had let me go. Nobody wants to end his career with an expansion team. I decided to take the Lobos money for a year, but not put forth much effort. I let every minor injury send me to the locker room, hoping to be traded.\n\n\"One day toward the end of preseason I saw Billy Hopper staring at me in the locker room. I remember it like it was yesterday. I growled, \"What are you lookin' at, rookie?\"\n\n\"I'm looking at one of the best players in history and wondering when you quit enjoying the game.\"\n\n\"I still love the game, but not with a bunch of losers and rookies. We'll never win a game.\" I shot back defensively. Here's what he said:\n\n'Well, that may be true, but with all the glory, all the money, all the pageantry, it's still a game, and games are supposed to be fun. When it stops being fun, it's time to hang 'em up.'\n\n\"He headed to the showers, and I fumed about some hotshot rookie talking to me like that. The next day I decided to show him what having fun looked like. He came across the middle to catch a pass and I barreled into him on his blind side so hard he flipped up in the air and landed hard. I was pretty sure he'd be out cold.\n\n\"But he bounced up, handed me the ball he was still holding, gave me a grin and said, 'Nice hit\u2014having fun yet?'\n\n\"Every day from then on he'd find just the right time to ask 'Having fun yet, Mr. Stockdell?' Needless to say, we became fast friends.\n\n\"I was named to the pro bowl again this year and without a doubt had more fun playing the game than I've had since junior high. Billy's enthusiasm infected us all, and despite our losing record I think most of us would say this was a winning season. I'm telling you that kid has heart to spare.\n\n\"If not one teammate had agreed to join in paying for his defense, I'd be here writing the same check. Money is temporary, friendship is forever. Anyone who lets go of a friendship for money's sake has his priorities mixed up.\"\n\nMaggie had heard all this, and I saw she was about to tear up. James turned to her and said, \"Come on, young lady. Let's go sign whatever you need me to sign so I can get out of this town. I have a plane to catch, and your Mr. Patterson has a crime to solve.\"\n\n### **23**\n\n\"AMAZING! NO ONE asked, he simply flew to DC, and wrote a half a million dollar check, all for a friend of less than a year.\" I said.\n\n\"William has that effect on people.\" Marshall said.\n\n\"Talk about effect on people, no part of my agreement with you included me representing Billy. Now that money is available, we can get him a real lawyer.\"\n\n\"I saw you on TV. You told those reporters you didn't think he did it. Did you mean it?\"\n\nI paused. I'd only spent an hour with Billy, and most people can be convincing and charming when they want to. But I had to admit it\u2014I didn't think he'd committed the murder.\n\n\"Well, yes, I did. But that's a far cry from a jury finding him not guilty. You have to admit the evidence against him is overwhelming, and I suspect the prosecution has a whole lot more.\"\n\n\"I agree with you there. Don't forget that I'm a judge. In over ninety-five of the criminal cases that go to trial, the defendant is found guilty. The scales of justice are heavily weighted toward the prosecution\u2014the defendant is at a huge disadvantage. In a high drama case like this, with the evidence such as it is, I'd say the possibility of a not guilty verdict is less than one percent.\"\n\n\"That's why we need the best of the best.\" Thank goodness he was coming around to my way of thinking.\n\n\"No, my friend, that's why Billy needs you. Hear me out.\" He held up his hand in a gesture I'd often seen.\n\n\"Jack, this came to me the other day. You're not a criminal lawyer. Your performance in my courtroom in the Cole case wasn't pretty. It was unconventional, outrageous, frustrating, and yet the most effective representation I've ever witnessed. Your passion for your client overcame every advantage the prosecution had. That's why I wanted you to meet William. I'm convinced you will develop that same passion for him.\"\n\n\"But Marshall, you said it. I'm not a criminal lawyer. I represent corporations, not people. I represent money.\"\n\n\"That's why you hired Micki in the Cole case. You have to admit, y'all made a great team. That's why I asked if you'd called her lately.\"\n\n\"I called her yesterday. You don't want to know what she thinks about Billy.\"\n\n\"Micki's been through some rough times in the last few months, sort of lost her center. She needs to work on something she can believe in. I bet you can convince her.\" He clearly hadn't been listening.\n\n\"Jack, I know I've used up my favor when you agreed to visit Billy. But I'm going to ask anyway\u2014I want you to consider taking on Billy's defense. Billy and I went over your strengths and weaknesses the other day. In point of fact, he is a very smart guy. We both think you are his only chance.\n\n\"Money is no longer an issue. So listen. I'm leaving this afternoon for home: Grace needs some calming. Take the weekend, but ask yourself this\u2014don't you want to know who killed that young woman and went to all that trouble setting Billy up? You may not be the best criminal defense lawyer in the country, but I do believe you're the only one who's stubborn enough to discover the real answer to who did this and why.\"\n\nWith that he walked out of the conference room, silently closing the door behind him. He had an unerring sense for the dramatic. Aw, hell\u2014I liked Billy well enough and God knows I would always owe Marshall. I did want to know what really happened, but I was ready for a normal life, one that included Carol Madison.\n\nI tried to unload on Maggie, but she cut me short.\n\n\"Sounds like you have plenty to tell me, but we'll have to catch up later. You have a lunch appointment at Morton's with Mr. Shaw in fifteen minutes. He was insistent. We can talk at dinner. Walter and I are still on European time so we've got an early reservation at the Bombay Club. I've got an itch for their Tandoori Salmon.\"\n\n\"Morton's, huh?\"\n\n\"Yes, and by the way who exactly is Carol Madison?\"\n\n\"Did she call?\"\n\n\"No, her office called to say she would pick you up at three o'clock tomorrow. You didn't answer my question,\" she said tartly.\n\n\"Okay\u2014call the Bombay and tell them you and I will come for drinks a little earlier. It's been an interesting week.\"\n\n### **24**\n\nRED SAT AT a choice table toward the rear of Morton's on Connecticut Avenue. He waved me over, slipping his iPhone back into a coat pocket.\n\n\"Sit down, Jack. Are you always this difficult to pin down? Have a glass of wine.\" He motioned to a waiter who brought me a glass and poured from the bottle Red had chosen.\n\nHe waved off my words of apology. \"I know where you've been. Hell, the whole damn country does.\n\n\"Listen, I've had a change of heart about your contract.\" Just then the waiter came to take our orders. Red asked for a filet with creamed spinach. I opted for the crabmeat appetizer and a chopped salad.\n\nThere wasn't much to say. I hadn't been responsive, and just about everyone thought I would be Billy's lawyer. No wonder he was pissed. If I lost the job, well, I lost the job. Not the end of the world. So his next words came as a surprise.\n\n\"You'll find a revised retainer agreement waiting on your desk. Before you sign it, I want to tell you what I've been thinking about. I told you the other night you could represent anybody but a ball player, the league, or the union. I've decided I'm not going to hold you to that. If you're crazy enough to represent Billy Hopper, more power to you. It's not like you're his agent, or there's any kind of conflict of interest.\"\n\nMy turn. \"In the end, I think Billy will hire someone else, but I'm curious about your change of heart. And before I come on board, I'd also like to know exactly why you've chosen me to be your antitrust counsel.\"\n\n\"Before you think I'm some kind of bleeding heart, I'll set you straight. Pro football is still all about winning, and a big part of player motivation is for the guys to know they have the full and continuing support of the owner as well as the coaches. I'll fight like hell if the commissioner tries to do something silly like suspend or fine one of my ball players, but fighting for Billy is a more difficult matter. We're talking murder, not trash talk or roughing the passer. The commissioner would have had a coronary if I hadn't dropped Hopper.\"\n\nI said, \"The league has a lot invested in trying to distance itself from violence against women, and rightly so. I wish they would let the legal process play out first, but I understand the dilemma.\"\n\n\"Right, but I think in Billy's case my people went overboard in listening to the commissioner's office. I told them, just today, that we're going to pay Billy what we owe him under the old contract, including his rookie\u2013of-the-year bonus. Maybe you can help me with this. His agent has dropped him, right?\"\n\n\"Yup.\"\n\n\"Good, Hopper won't have to share with that jerk. I don't have a clue how Hopper got hooked up with that weasel. I've never ever heard of him. Where should I send Billy's money? Maybe to your friend, Judge Fitzgerald? Let me know, and I'll have the check cut immediately.\"\n\n\"That's very generous.\" I couldn't help but wonder\u2014why the about face?\n\n\"No, it's just good business. Every one of his teammates will know I lived up to my end of the bargain. Billy earned and deserves his bonuses. My people were fools to penny pinch. Makes us look mean and spiteful.\n\nOur meals arrived, and we ate in silence. After the plates had been cleared and our wine glasses were filled again, Red was back to business.\n\n\"Am I right that whatever I tell you is protected by the attorney-client privilege?\" he asked.\n\n\"Yes, if it's in connection with my potential representation.\"\n\n\"Good. Owning an NFL franchise is a gold mine these days. TV revenues are way up, the union contract is stable, everyone is playing to packed houses, and merchandise sales have grown beyond expectations. Better yet, cities and states are begging to help build our stadiums. Tax credits are a given. The taxpayers pay for over seventy percent of pro football stadiums. The tax savings I've negotiated with LA and the state of California will totally cover the debt service on my new stadium and then some. Heck of a deal, wouldn't you say?\"\n\nI agreed. But I was pretty sure it was also a good deal for the city\u2014I'd bet the tax credits were offset by the tourism revenue and the prestige of an NFL team.\n\n\"But that's only the tip of the iceberg. Fantasy football is quickly becoming bigger than the game itself, despite a few states trying to shut fantasy sports down. They won't be successful, but they will be a pain in the ass. You would be shocked by how much money is spent on fantasy sports. Many owners are positioning themselves to take advantage of this growing industry. We've been careful not to draw attention to our growing investment in fantasy and video games, but a few of us already have an ownership stake in these markets.\n\n\"We're also expanding into world markets, not so much to play ball in foreign countries, but to corner merchandising and the fantasy markets. Fantasy sports, especially fantasy football, is a big deal in the Asian markets. A very big deal.\"\n\n\"When your ownership interests in fantasy websites become public, there will be a backlash,\" I observed.\n\n\"You're absolutely correct. I anticipate a political backlash and a flurry of litigation aimed at removing our antitrust exemption when people realize how much of the merchandising, video game, and fantasy market we already own and hope to control. In what other industry can the top thirty-two companies sit down on a regular basis and set prices for their product from tickets to the cost of beer sold in the stadiums? On top of that, we get to divvy up proceeds from TV, merchandising, videos, and now a growing fantasy market.\n\n\"Not such a bad problem to have. But you're inviting litigation and government regulation.\"\n\n\"That's why I want you on board. Jack, I'm not a fool. I know there's no love lost between you and Lucy. She loved your wife and admires your daughter, but you've been on her black list for a while I understand. But our Lucy won't let her personal feelings get in the way of good business. Once Arnot and France gave us an analysis of the top antitrust counsels in the country she said, 'hire the son-of-a-bitch.'\"\n\nLucy's opinion of me came as no surprise. I knew exactly what I thought of Lucy. Her backhanded compliment gave me a little twitch of pleasure.\n\n\"Thanks for laying all the cards on the table. Sounds like if I agree, I've got a bit of a learning curve to overcome.\"\n\n\"I'm only giving you quick synopsis so you know what you'll be up against. Most of the owners are comfortable with the law firm hired by the league, but I'm not.\"\n\n\"Why not?\"\n\n\"First, they put at least five associates on every piddling matter, charging over $500 dollars an hour to do everything from research to making copies. Imagine charging $500 an hour for Xeroxing and having the balls to couch it as document prep on the bill. Second, the antitrust partner is a pompous snob. I'm not sure he's ever been to a ball game in his life. Finally, with thirty-two teams paying outrageous bills, the firm has a huge incentive to drag everything out instead of resolving the matters that should be resolved quickly and cheaply. My share of their bill last year was several million dollars. Jack, you're a bargain at twice the price.\n\n\"I did my homework. Even when you were at Banks and Tuohey, your clients never thought you overbilled them or drug out a matter to make a buck. Your small practice has an even better reputation. I'm lucky someone else didn't gobble you up while I was fighting with Lucy over hiring you.\" He leaned back in his chair, obviously pleased with himself.\n\n\"Okay, but speaking of Lucy, won't you have to defend me and my work every other day. Doesn't sound like a positive working arrangement.\" I was sincere. No sense setting up a client relationship that was destined for failure because of personal differences.\n\n\"Listen, Lucy is my problem, not yours. She and I have come to a unique arrangement because our agreements exceed our disagreements. When it comes to my business, whether it's raising a sunken ship or turning the Lobos into a super bowl champion, I have the final say. When it comes to politics or Lucy managing her family fortune, that's her business. But she'll surprise you sometimes. She knows how valuable Billy Hopper is to the Lobos. When I told her I'd changed my mind, she said, 'Well, if he could get Woody off, maybe there's a chance for Billy. I can't imagine anyone else who'd touch it with a ten-foot pole.'\n\n\"Besides. I think Lucy's dislike is more show than anything else. What is that line from _Hamlet_ : 'The lady protests too much, methinks.' Something tells me she isn't nearly as angry at you as she lets on. Witness this.\"\n\nHe handed me what was clearly a very expensive save the date card. I was flabbergasted.\n\n\"What if I don't go to work for you? Do I give this back?\" I asked, only partly in jest.\n\n\"It was her decision, not mine\u2014no strings attached. She knew we were meeting and wanted me to give this to you in person. The invitation list is all hers. Your daughter is invited as well. She'll get her invitation in the mail.\"\n\nLucy was indeed full of surprises. While I fingered the posh card, Red finished.\n\n\"Okay, I've laid my cards on the table. Go back to your office, read the damn retainer agreement, and sign it. Represent Billy Hopper if you want, and let me know where to send his check.\" He handed me a card with his private number.\n\n\"Again, I think Billy and Marshall will hire a really good criminal lawyer. I'll let you know where to send the check\u2014I can tell you they'll both be very appreciative. And I'll let you know tomorrow if I see any problem with the agreement. You have my word.\"\n\n\"Good. Now before I go out to the patio to smoke a cigar with Lynn and Guy, I want to tell you something. I hope you do represent Billy. He needs someone like you. I saw your press conference, if you can call it that. I thought he was guilty from the get-go, but your words gave me pause. Billy needs someone who believes in him, and I think you might just be that person. Think about it.\"\n\nLynn and Guy appeared as if by magic. Apparently they had been in the bar the whole time. He had one last bit of advice for me.\n\n\"By the way, Carol Madison is also on the guest list. Maybe you two can come together.\"\n\nThere are no secrets in DC.\n\n### **25**\n\nAS I WALKED back to the office I tried to digest all I had learned from Red. He wasn't a man to do anything out of the goodness of his heart; at least I didn't think so. His explanation for paying Billy the money the Lobos owed made some sense, but I wondered...\n\nIt sounded like Lucy hadn't changed much since her days in Arkansas\u2014she was a tough cookie, a strong woman with a take no prisoners attitude. I wondered what was up with the wedding invitation. The fact remained that she didn't like me, and I didn't much care for her either\u2014or maybe we both protested too much. My bet was that Red had more to do with the guest list than he had let on.\n\nI knew the gist of fantasy football, but that was about it. I'd never actually joined a league, but guys talked about their teams and players on the golf course all the time. Basically, there are two types of Fantasy Football leagues. The older version is similar to the old rotisserie baseball leagues I remembered from college. You and a group of friends (or random strangers thanks to the internet) form a league and put money into a pot. You draft players based on position and form your team. Then each week you play other teams in your league with points awarded for your player stats. For instance, if Peyton Manning is your quarterback and he throws a touchdown your team would get 6 points. Each week your team either wins or loses and after fourteen to sixteen weeks, the league has a winner. The money usually goes out to the first second, third and so on.\n\nIt's that simple, and now that scoring is managed online, easy to play. The NFL loves fantasy football because it makes fans all over the world interested in every game every week, rather than just their hometown team. It now matters to a Carolina fan what is happening to a player in Kansas City. It's no coincidence that the rise in value of the NFL over the last two decades (as well as the rise in television revenue) corresponds with the rise in fantasy leagues.\n\nIn the last couple of years a newer and more controversial form of fantasy football has arrived called weekly fantasy football. Controlled by a couple of large internet-based companies, this version allows you to change your team on a week-to-week basis, so you aren't stuck with a hurt player or bad team all season. The payouts are weekly rather than at the end of the season, and a lot more money changes hands. There are now professional weekly fantasy players, (not too different from day traders on the stock market) who make thousands of dollars each week playing online. Unlike the stock market, weekly fantasy is unregulated. It's also not considered gambling because some degree of skill is involved in choosing the players. And players can't bet on the outcome of a single game or the performance of a single player. But it's close enough that it is outlawed in a few states like Nevada and Louisiana, and is coming under more and more scrutiny by state attorneys general.\n\nBack in 2006, Congress gave the fantasy betting sites an exemption from gambling laws. So today no government authority oversees fantasy sports, which still feels like gambling to me. To hear that the NFL was moving into controlling this part of their business didn't surprise me, but it did bother me. Gambling and sports have never been a good mix.\n\nI'm a fan of both college and pro football, especially college. But a lot of the modern game bothers me, and I know I'm part of the problem. The fact is that at least ninety percent of all NFL players will suffer long-term ailments, either physical or cognitive. No statistics are available for NCAA ballplayers, but there's no reason to believe the numbers aren't similar. Is it any more violent than soccer? I don't know. But I admit to watching college ball most Saturdays in the fall, and I occasionally attend Redskins games on Sundays when they're in town, if you can call Landover, MD 'in town.' My support unconsciously condones a sport in which an untold number of young men end up with permanent physical or brain damage, and I pay good money to watch it happen.\n\nI opened the office door to find Maggie still returning press calls. She rolled her eyes, so I shut myself up in my office, took out the revised retainer agreement and read it carefully. The deal was basically the same, but Red had added a few sweeteners regarding travel accommodations and expenses. Let's just say NFL executives don't go anywhere second-class. The agreement spelled out liberal provisions should my work exceed twenty hours a month, and if for any reason the contract was terminated by either party, I would be paid the equivalent of a two year retainer for signing a confidentiality agreement.\n\nI should have signed it on the spot, but Maggie and I had an unwritten rule that I wouldn't take on new business without conferring. Maggie no longer needed to work, but neither of us had ever considered otherwise. She enjoyed the challenge, and I needed her. With the foundation as a full-time client, I could be more selective about choosing other clients. It was a nice arrangement, but I was about to upset the apple cart. We had two pieces of business to discuss\u2014pro football and Billy Hopper.\n\nI spent the rest of the afternoon boning up on the business end of football. Around four o'clock, I poked my head in her office.\n\n\"Maggie, I've had enough for one day. Let's go on over to the Bombay while it's still quiet.\" The colonial Indian restaurant was an easy walk from our offices. Maggie was in good spirits, and why not, after a month in Tuscany.\n\nWe chose to sit in the small bar area, and I ordered champagne.\n\n\"Maggie, I've hardly had time to say 'welcome home.' I'm sorry you got stuck with the press again, but it's been an interesting week. We need to talk about some potential new business.\"\n\n\"Fine, but let's first talk about Carol Madison. Who is she, and where are you going this weekend?\"\n\nI couldn't help but frown. \"You know, I'm not a school kid, and you're not my mother.\"\n\n\"Well, sometime you act like one, and considering your recent track record with women you need someone look out for you. So who is Carol Madison?\"\n\nOkay\u2014so a few of my adventures into dating land hadn't turned out so well. I'd made a few mistakes in the last couple of years that Maggie wouldn't let me forget.\n\n\"I met her at a cocktail party; we had dinner and hit it off. She invited me to her place on the Eastern Shore last weekend along with several other couples. She's invited me back this weekend, and I've accepted. And before you ask, she's in the consulting and information business. I bet Walter has heard of her.\"\n\n\"He has,\" she smiled.\n\n\"What? You already asked him? You already know about her? What did he say?\"\n\n\"He said you've moved up in class, he was impressed. Tell me Jack, is she real?\"\n\nI thought for a minute. \"She's fun, she's independent, and she's smart. And so far she seems to like me. I know this is fast, and I know I don't have a very good track record, but, yes, I like her a lot. I want you to meet her.\"\n\nHer brows shot up. I usually don't say much about a woman I've taken out\u2014usually there isn't much to say. Maggie always seems to know whom I'm seeing, but we seldom talk about it.\n\nI was ready to drop the subject, and she didn't push me any further. So I gave her the basics of Red's proposal and an outline of Billy's problems. Of course, she'd heard about the murder, but had no idea Marshall was involved.\n\nMaggie began. \"Let's talk about the easy one first\u2014Red Shaw. He's demanding and rude, but antitrust is what we do and do well. We'd be crazy to turn down the opportunity. Plus I like the fact we'll be playing in the Premier league.\"\n\nMaggie's reference to the Premier league had something to do with English soccer. I knew about as much about British soccer as she did about American football. But we were both in agreement about Red's business. We weren't so excited about helping him get richer, but that's what antitrust lawyers do. We spent a few minutes mulling over whether we needed to take on another lawyer to help with the growing caseload. It might be good to bring some fresh thinking into the office.\n\nThen we turned to Billy. Maggie was characteristically blunt. \"You took on Woody Cole because he was a friend. It was the right thing to do, even though you almost got yourself killed. Dr. Stewart\u2014that was for Angie. You got that right, too, but if you remember you were almost killed again. 'Third time's a charm' sounds a little risky to me.\"\n\n\"You're right. Marshall is certainly as good a friend as Woody, but he's not in any personal risk. More to the point, we just talked about antitrust being our niche. Billy has plenty of money available now to hire the best counsel available. Marshall doesn't know that Red is going to pay Billy what he's owed. Between the Lobos and Stockdell's generosity, I bet we can find Billy the very best. Besides, I don't think I like that 'third time's a charm' logic either. I'll work with Red to get Billy his money and help Marshall find the right lawyer, but that's enough.\"\n\nI raised a glass in a casual toast. \"Maggie, I'm so glad you're back. Between us, I think we're got this figured out. First thing Monday morning we can work on finding Billy a lawyer he can count on.\"\n\nMy toast was interrupted by a bit of flutter as Walter Matthews strode to the table, kissed Maggie on the cheek and said, \"Jack, it's good to see you. I hear you found a companion while we were gone. Carol Madison's one of the best\u2014my company has her on retainer. And I hear she's a pretty fair golfer.\"\n\nAt the ma\u00eetre d's suggestion, we moved to a table for dinner. Walter steered the conversation to golf. I assured Walter that Carol wouldn't get in the way of our regular golf game, although I wasn't so sure. We spent the next hour enjoying a fine meal and talking about their month in Tuscany. I was more than jealous and more than glad they were back.\n\nI could have stayed at the Bombay and talked the rest of the night, but they were feeling the effects of jet lag, so we called it an early night. As the cab made its way up Connecticut Avenue I felt pretty good about how we had resolved the issues at hand.\n\nI would put everything in place tomorrow morning, ready to enjoy a relaxing evening on the Eastern shore.\n* * *\n\n## **FRIDAY**\n\n* * *\n\n## **April 22, 2016**\n\n### **26**\n\nI HAD NO trouble with the press on Friday morning. Thanks to an article in the Post reporting that I would represent Billy, they had moved on. I was tempted to disavow the story, but what good would that do? No need to stir them up again\u2014they'd know soon enough that Marshall had hired a real criminal lawyer\n\nA small but niggling part of my brain was still bothered by the idea of helping an NFL franchise dodge antitrust laws. For a fact, most of my antitrust clients weren't saints. I reminded myself that one could sometimes do more good from the inside than by shouting at the rain on the outside. Lawyers are experts at rationalizing.\n\nI made a few tweaks to the retainer agreement, nothing of substance, just enough to prove I'd actually read it. Red seemed genuinely pleased when I called to tell him that the revised contract was on the way to his lawyers.\n\n\"Jack, that's terrific. You can fly out to LA with me in a couple of weeks to meet my management team. I try to spend about half my time out there so the timing should work well.\"\n\nHe asked me to put together a list of whatever issues I might want to review and gave me contact information for Regina Halep, who would be my liaison to the team.\n\n\"Gina's as smart as they come; she'll get you whatever you need. I won't be surprised if she becomes president of the franchise one of these days. Puts all the men in my organization to shame.\"\n\nMaggie and I ordered in sandwiches. We had a lot of work to catch up on after her month-long absence. After about an hour she caught me looking at my watch.\n\n\"Jack, go home and pack. Your mind is clearly on the weekend, or should I say your companion for the weekend,\" she said dryly.\n\n\"I apologize. I promise to be back to normal on Monday.\"\n\n\"I hope so\u2014Marshall should be here by early afternoon. I must say I don't envy your discussion. I'll have an office ready for him.\"\n\n\"Thanks Maggie. You and Walter get caught up on your rest. Next week is going to be busy.\"\n\n_Little did I know?_\n\nTraffic over the Bay Bridge was typically heavy on Friday afternoons, and today was no exception. I had decided to forego the pleasure of Pat's company, preferring my own thoughts to his awkward silence.\n\nRed had called while I was packing to invite me to join him at the NFL scouting combine, an event that bothers me as much as anything about Pro football. Think about it: a bunch of predominately white owners and coaches judging young men, mostly African-American, based on physical prowess. Each player is weighed and measured, tested for physical strength and endurance, and put through a regimen of physical and mental drills. I told him thanks, but no thanks.\n\nHe was surprised. \"I know members of Congress who would give their eye teeth to attend.\"\n\nI told him to give one my seat.\n\n\"You don't know what you're missing.\" He sounded legitimately surprised.\n\nRepresenting the Lobos would indeed be a challenge for my conscience.\n\nCarol must have been watching for me because she threw open the front door almost before I stepped out of the car. Her broad smile made me feel terrific.\n\n\"Let's go for a boat ride, have a quiet dinner, and take a swim.\"\n\n\"Sounds like the perfect evening.\"\n\nAnd it was. The ever-useful Pat drove the pontoon boat while we sipped Manhattans and talked about nothing in particular, enjoying the sunset. She gave me the low-down on her guests for the evening\u2014this weekend she had included a couple of congresswomen. Not fair for the guys to have all the fun. The breathtaking sunset over the water brought a chill to the air, and we soon turned back.\n\nI gave a low whistle when she told me that the movie star couple who were spending the weekend at The Inn at Perry Cabin in St. Michaels had agreed to drop by before dinner. They'd spent the week in DC trying to get Congress to support their project in Louisiana.\n\n\"Don't get any ideas. You belong to me this weekend.\"\n\nShe also told me she hadn't included Senator Boudreaux from Tennessee.\n\n\"He makes most of the women uncomfortable, attached or not.\"\n\n\"I'll miss Claudia,\" I kidded.\n\n\"You'll miss her bathing suit. I heard she got a nice promotion. Must have been her knowledge of domestic affairs.\"\n\nFor dinner, Mattie served us fresh grouper grilled and seasoned with something called Anne's Aztec Spice. It was fantastic. We lingered over dinner, both knowing how we wanted this perfect evening to end. Pat and Mattie had magically disappeared.\n\nShe suggested we freshen our drinks and meet in the hot tub.\n\nShe got no argument from me. I changed quickly and carried a bottle of wine and two glasses to the warm pool tucked in next to the swimming pool. I poured the wine, set the glasses on the ledge, and sunk into the warm water. The jets and bubbling water felt absurdly good. It wasn't long before the lights dimmed and I looked up to see Carol removing her robe. I was overdressed.\n\nShe eased herself into the water, wrapped her arms around my neck, and kissed me flush on the mouth. I soon realized that my bathing trunks were superfluous.\n\n\"Silly man,\" she laughed, and they quickly came off.\n\nWe were interrupted forcefully by a deafening blast that seemed to come from right behind my head.\n\n### **27**\n\nI REACHED FOR Carol who I thought must have hit her head on the side of the hot tub. Pat appeared almost immediately and, in one swift motion, took her from my uncertain grasp and wrapped her in towels. She didn't appear to have been injured, but was clearly woozy, probably in a state of shock.\n\n\"Inside, now!\" Pat barked as he gently and quickly guided Carol indoors.\n\nI pulled myself out of the water, grasping ineffectually for my trunks and robe. I tried to get my bearings, but was thrown back by the force of a second blast and the sound of more tile shattering. I've been shot at enough times before to know what a gunshot sounds like. Propriety be damned, I dashed inside buck-naked.\n\nSafe in Carol's living room, I could see that she was sitting up, beginning to shake from the rush of adrenaline. Mattie had brought her a blanket and robe and was holding her tight.Pat threw me a towel.\n\n\"What happened?\" Carol asked, still groggy. She pulled away from Mattie and reached to the back of her head. \"I think I'm bleeding.\" Mattie handed her a towel and stood up, looking a little pale herself. They seemed to be moving in slow motion.\n\nPat said, \"Carol, you're all right. Something hit the tiles behind your head and exploded. I'm fairly certain it was a bullet. Let me check the back of your neck for tile fragments.\" He looked at me before continuing, \"Probably a stray bullet from a drunk deer hunter.\"\n\n\"Twice?\" I asked, coldly. His words had cleared my head. \"Not likely. I'd say it came from a sniper's rifle.\"\n\n\"But the shots missed,\" Pat began. \"A professional sniper wouldn't miss...\"\n\n\"...except on purpose,\" I finished.\n\n\"Mr. Patterson, I can't imagine why anyone would take a pot shot at Carol, it must have been meant for you. But why would someone, I mean who would...\" Pat turned to look at Carol. \"Maybe it was some kind of a warning.\"\n\nHe stopped to let his words sink in.I knew I needed to take charge.\n\n\"I don't think it had to do anything with romance. I'm going to change into some clothes. Mattie!\" I turned to her. She was peeking out through the curtains, trying to eye the hot tub. \"Stay away from the windows! Find some brandy and put on some coffee. Take care of Carol\u2014I'll be back soon.\" I walked over to Carol, kissed her on the forehead, and left to change.\n\nKhakis and a clean shirt gave me a renewed sense of control. I dialed Martin, told him where I was and asked him to come pick me up. He agreed immediately, no questions. I also asked him to bring a clean cell phone and someone who could drive my car home.\n\nMattie handed me a glass of brandy when I returned to the bedroom. Carol collapsed against my chest. She held a mostly empty glass and had stopped shaking. I noticed that both Pat and Mattie had poured themselves a brandy as well. Coffee could wait.\n\nI pulled Carol's chin up. She sniffed a little and spoke.\n\n\"I'm so sorry. I just panicked when I heard the explosion. I hit my head and...oh my God, was it really a bullet?\" I pulled her close, ignoring Pat.\n\n\"It's okay. We're both okay, that's what counts. Do you want to call the police? You should, you know.\"\n\n\"I'd rather not, but I will if you insist. Pat seems to be pretty sure the bullet was meant for you.\" Her voice was steady again.\n\n\"Carol. I'm not sure what happened or why. But I do understand that sirens, a herd of policemen and yards of yellow tape won't do your business any good. So let's play it cool. Pat, my friend Martin Wells will want to send one of his staff around tomorrow to tour the grounds for poachers. Carol's guests will never know he's here.\"\n\n\"Understood.\"\n\n\"Do you need any help protecting Carol for the next few weeks? Martin can easily put a couple of his best at your disposal.\"\n\nPat said, \"I think we'll be fine, but I won't hesitate to ask if I need help.\"\n\nCarol pulled away. \"What are you talking about? I don't need any protection.\"\n\nI put my hands on her shoulders and looked directly into her face.\n\n\"Carol, someone knew you and I would be alone together tonight. I'm not sure what this is about, but I have an idea. I need some time and space to think about it. Tonight was very scary\u2014I don't want there to be a next time.\"\n\nShe allowed herself a bit of a think before asking.\n\n\"So what do we do next?\"\n\nI looked at Pat\u2014he was a smart guy.\n\n\"Carol, I think I need to, well, sort of fly beneath the radar for a few weeks.\"\n\n\"Okay\u2014what does that mean, exactly?\"\n\nI didn't know how far I could trust Pat and Mattie, but I owed her an explanation.\n\n\"We could have been killed, but I think Pat's right. Someone just sent me a warning shot that came within inches of killing us both. I couldn't live with myself knowing you're in danger. If I care about you, which I certainly do, I need to go into hiding. It doesn't mean I'm going to quit doing what I need to do. It just means, I have to do it below the radar screen.\"\n\n\"What do you need to do?\" She was trying not to cry.\n\n\"I think I know why someone sent me the warning shot. Now I have to find out who.\"\n\n\"But do you have to leave right now?\"\n\n\"Believe me, I'd rather not. I'd rather we fixed the hot tub and jumped right back in.\" My grin finally produced a smile.\n\n\"I'll have the tile man out here tomorrow morning before my guests arrive. Promise me you'll come back.\" She gave me a sweet kiss.\n\n\"Promise.\"\n\nI turned to Pat. \"You and I need to talk about a few things. Mattie, do you think I could have a very early breakfast before Martin gets here. All this excitement has made me hungry. In fact, we should probably all try to eat a little.\"\n\nMattie headed to the kitchen.\n\nCarol went back to her room to get presentable, her words not mine. After they left, Pat spoke.\n\n\"You're playing a dangerous game. That bullet missed your head by inches.\"\n\n\"That's why they call it a 'a game of inches.'\"\n* * *\n\n## **SATURDAY**\n\n* * *\n\n## **April 23, 2016**\n\n### **28**\n\nOVER A MIDNIGHT breakfast, I tried to get a little information while assuring Carol that she would be safe, both here and in DC.\n\n\"Carol, I'm curious. Who might have known we'd be here tonight. Just off the top of your head.\"\n\n\"Well, let's see\u2014all the weekend guests, my staff, and a few people who couldn't come. I'll make up a list and email it to you. That is, if you give me your email.\"\n\n\"You mean there's something about me you don't know?'\n\n\"I can get it if I need to,\" she said evenly.\n\n\"Hold off sending it to me until Monday. I'm going to have our office, computers, and phones checked out. I'll let Pat know when it's safe to send me an email.\"\n\n\"Pat. Why not call me? I might like to at least talk to you.\"\n\n\"For the next two weeks at least, there can be no direct communication between us. I don't like it any more than you do, but a professional sniper means someone is spending a lot of money to warn me off something. For all I know, that something could be you. More importantly, I can't have them thinking that they can get to me by getting to you.\"\n\nCarol frowned, and I turned to Pat.\n\n\"Martin will tell you how to get in touch with me. If you want to have your computers and phones checked, he's got an expert who will do that at no cost to Carol.\"\n\nPat asked, \"Do you think that's necessary?\"\n\n\"Never hurts to check.\" I said.\n\n\"Wait a minute. You think it's possible that someone might have hacked my computer or my phone. Confidentiality is critical to what I do.\" Now Carol was paying attention.\n\n\"I hope not, but it's certainly a possibility. Carol, the person I use is really good. Let her check everything out. Even if she doesn't find anything, she might make some recommendations to improve your systems. Take advantage of the situation.\"\n\n\"Okay, but if somebody's hacked into my computer I'm going to be pissed.\" Funny\u2014she'd gotten over almost losing her life pretty quickly, but the idea of someone messing with her livelihood was another matter.\n\nI had to ask her one more question.\n\n\"Carol, any chance you told Red Shaw that I'd be here this weekend?\"\n\n\"I probably did. I certainly invited him. Now that Lucy is in the picture he seldom comes, but he's got pretty much an open invitation. I told you his companies are very good clients, and he has sent a lot of business my way over the years. You don't think he's behind this, do you?\"\n\n\"No, I don't. Yesterday, he actually suggested I represent Billy Hopper. I think Billy may be what this little adventure was all about. Somebody wanted to discourage me. If that's it, they've definitely made their point.\"\n\nMartin was about an hour away, so I excused myself to get the rest of my clothes. I returned to find Mattie and Pat doing dishes and Carol sitting on a couch in her great room. She reached up, and I sat down, wrapping my arms around her.\n\n\"Jack, I have to admit\u2014I'm a little scared.\"\n\nIt probably wouldn't do any good, but I said, \"You'll be okay. Pat knows what he's doing, and I really don't think that bullet was meant for you. Martin will provide him back-up. Just listen to them when they tell you to do something.\"\n\n\"I'm not talking about me. I'm scared something is going to happen to you.\"\n\nThis time I couldn't think of much to say. Frankly, I was too. It took me a few seconds to manage, \"Oh, c'mon, Carol, I'll be fine. You'll see.\"\n\n\"We could go away together. I hear Bali is beautiful. No one would look for us there.\"\n\nThe idea of Carol and I on the beaches of Bali held a lot of appeal.\n\n\"You mean do what the person who hired the sniper wants me to do?\" I asked.\n\n\"Exactly. Walk away. Walk away with me. I want you alive.\"\n\n\"Sounds very tempting. But you know a lot about me. What do you think I'm going to do?\"\n\n\"You're going to go back to DC and figure out who was behind all this tonight and what it's all about. You'll probably get yourself killed in the process. Damn you, Jack, the more I think about it Bali would be perfect.\"\n\n\"You're right, except I hope you're wrong about the getting myself killed part.\"\n\nShe held my face in her hands and kissed me long and hard. Then she pulled away.\n\n\"I hope so, too, but I'm seldom wrong.\"\n\n### **29**\n\nI HEARD A quiet knock on the front door and rose to let Martin in. I gave his associate the keys to my car, and he left immediately. Martin shook hands with Pat who gave him a brief outline of the night's events. He asked to see the hot tub and check the sniper's line of sight before we left. He told Pat he'd be back tomorrow afternoon with a few men, but they would hardly be noticed. They exchanged contact information, while I gave Carol a goodbye hug, promising to be careful. She didn't believe me.\n\nOnce we were in the car, Martin handed me a new phone. \"All set up and ready to go. Clovis and Stella will be here first thing tomorrow. He said he'd be up if you wanted to call. He's curious as to why you need Stella. Mr. Matthew's tech guys are going to be thrilled.\"\n\nI smiled when I thought of Stella\u2014Stella Rice. I had worked with Stella in the Stewart case. She was a computer hacking expert trained by IBM, but sure didn't look the part. She owned a gym and taught high intensity CrossFit workouts, including flipping tractor tires. During the Stewart case she had come to DC to check out our office's computers and had blown away Walter's IT guys. They try to hire her at least once every six months, but she's happy in Little Rock.\n\nShe met Clovis on the same case, and they now live together\u2014a very unlikely pair, but it works. I punched in his number.\n\n\"Clovis, I appreciate your coming,\" I began.\n\n\"Forget it, Jack. What can you tell me? Do you really think someone's after you? Again?\"\n\n\"I know, I know. And the answer is I'm not sure. But that shot was real, and it scared the shit out of me. As far as I know the only unconventional thing I've done in more than a year is meet with Billy Hopper. Look, it's complicated, and I'd rather tell everyone at once. First things first\u2014Beth.\"\n\n\"Paul is already on his way to New Orleans. He didn't want to scare her over the phone. Do you think she needs protection? She won't like it.\"\n\n\"I don't know, but if someone wants to get to me, she's on the very top of the list. I can't afford to take any chances. Thank Paul for me\u2014I hope he won't need to be there very long.\"\n\n\"He volunteered. He and Beth have become friends after what they went through in the Cole case. Why do you need Stella?\"\n\n\"I won't be surprised if she finds our computers and office have been compromised. I also need her to set up a system of communication while I go off grid.\"\n\n\"In other words you need to be on grid while you're off grid?\"\n\n\"Something like that. Why don't you two stay at my house? Sophie loves Stella more than me. Besides, I won't be there.\"\n\n\"Where are you going to be?\" he asked patiently.\n\n\"I'll explain everything when you get here. One of Martin's men will pick you up at the airport. Come to think about it, staying at my house might not be a good idea. Let me think on it: we can decide later.\"\n\n\"Does Maggie know what's going on?\" He was right to ask.\n\n\"Not yet. She just got back from Europe a couple of days ago. Whatever I end up doing, she'll be mad as a wet hen,\" I said glumly, thinking she'd probably blame Carol for the whole thing.\n\n\"You got that right. By the way, Stella wants to know about how long we'll be there.\"\n\n\"No more than two weeks. If we don't have this mystery solved in two weeks, the bad guys will have won.\"\n\n\"Aren't you being a little dramatic?\" Clovis asked skeptically.\n\n\"Well, maybe, but I don't think so.\"\n\nWe hung up after he gave me a rundown on the situation with Marshall and Grace.\n\nMartin drove in silence for a few minutes before I said. \"I hope you don't think it's a reflection on you that I called Clovis?\"\n\n\"Nah\u2014Clovis and I work well together, and from what I just heard we're going to need more than my boots on the ground. Besides, it's about time Stella checked out our systems again. It works out well.\"\n\nWe drifted into our own thoughts for a while. Martin broke the silence.\n\n\"Do you think Mrs. Matthews is at additional risk?\"\n\n\"Well, I hope not, but she might be. Whoever shot at me clearly had no concern for Carol's safety. I hope that if I disappear whoever's responsible will call off the dogs thinking I've been scared off, that the warning shot worked,\" I answered.\n\n\"What happens when they discover it didn't?\"\n\n\"Let's hope they don't, at least not before we're ready.\"\n\n\"You know, Mr. Patterson, that bullet came very close to ending your life. The explosion alone could have knocked you cold, and you could have drowned. It could easily have turned into more than a warning.\"\n\n\"Yeah, that thought has crossed my mind. But if I had been killed, the police would have been called. The press and my friends, I hope, would have investigated, and they might have tied it to Billy Hopper. Why take that risk? No, I think the shots were a warning. For whatever reason, someone wants Billy to take the rap and doesn't want me involved.\"\n\n\"Why not kill Hopper? If Billy didn't kill the girl, the person who did had plenty of opportunity to kill Hopper as well. Why not kill Hopper rather than have him locked away for life?\"\n\nGood question, very good question indeed.\n\n### **30**\n\nI WAS EXHAUSTED after being up all night, but figured I'd have time to sleep soon enough. Martin waited in the car while I packed for a two-week trip. As soon as the hour was civil, I called my dog sitter, telling her there had been an emergency and I'd be gone for at least two weeks. She was delighted when I told her I'd leave a check on the kitchen ledge. I felt a twinge of guilt, but knew she'd take good care of Sophie. The dog loved staying at her house\u2014good thing her parents didn't mind.\n\nIt was Saturday, so only a few of my neighbors were up and outside to see me carrying several bags to Martin's Suburban, but that was enough. My briefcase and laptop completed the subterfuge.\n\n\"Make sure we aren't followed, and then take me to Barker's\u2014my new home for the next two weeks. Until we have Stella check for bugs, don't tell anyone, not even your staff, where I am.\"\n\nI dropped my bags at Barker's\u2014they were expecting me\u2014then Martin dropped me off at the office. Saturday mornings in downtown DC are dead, so I was pretty sure no one had followed us. I asked him where Walter's insurance company put people up when they came to town. I was pleased to find out one of the hotels was the Mayflower. We could kill two birds with two stones.\n\nMartin would book a room for Stella and Clovis in the name of Bridgeport Life. It would appear they were in town to work for Walter's insurance company, something they both did all the time. Clovis could do a little investigative work for me, and no one would be the wiser.\n\nI put on a pot of coffee and made a call to a friend, Susan Sandler, with Evers Real Estate, a well-respected DC brokerage.\n\n\"Susan, this is Jack Patterson.\"\n\n\"Jack\u2014I haven't heard from you in a while. What's going on?\"\n\n\"Well, I think I've decided to sell my house. What do I need to do next? I hear the market's good, but I honestly don't have any idea what it's worth.\" She didn't answer immediately\u2014she was a seasoned professional.\n\n\"We'll have no trouble selling it if it's priced correctly. It's a great house in a wonderful neighborhood. First thing, I'd like to walk through with a couple of colleagues to get their thoughts. Then we should sit down with the paperwork and talk price and timing, etc. We might want to discuss making some cosmetic repairs. I won't know until I walk through.\"\n\n\"I'm going to be out of town for a couple of weeks, but my next door neighbor has a key. Their daughter walks Sophie while I'm out of town. Now that I've decided to do this, I'd like to get moving. I trust you: you figure out a price, and email me. I'm sure y'all use Docusign or something like that.\"\n\nSusan wasn't about to let me be sloppy about such an important decision. \"Tell you what\u2014I'll go through the house today. I may ask my partner Ellen to go with me. I'll run the comps over the weekend and get you something by Monday. We should also talk about where you want to land. Your house will move quickly once it's on the market.\"\n\n\"We'll do that. Listen, go ahead and put up one of those signs that says 'coming soon,'\u2014it's fine with me.\"\n\n\"Donna thinks those signs are misleading, so do I. I don't put up a sign until the house is ready to go. Besides, let's make sure the house is priced right and ready for the market. I'll move quickly, don't worry. This is kind of sudden, Jack. Everything okay?\"\n\n\"Yeah, I've been thinking about making a change for a while. Now I'm just ready to get going.\"\n\nShoot\u2014I was kind of hoping for one of those misleading signs. I called my neighbor to tell her Susan Sandler would come by today to get a key.\n\nShe had a million questions, which I happily referred to Susan. I had no doubt that the whole neighborhood would know by the afternoon that I was selling my house. Perfect.\n\nI heard Maggie open the front door. She deposited her stuff on a chair, walked into my office and faced me with a frown. \"What's going on? My driver told me that Clovis and Stella are flying in on Walter's plane. You send me a message asking me to come in, after telling me you are spending the weekend with your new girlfriend. What's gone wrong, Jack?\"\n\nWalter insisted on routine protection for Maggie because of his wealth, not because she worked for me, and this morning I was glad he did. Where to begin?\n\nI spoke distinctly in case our offices had been compromised. \"I'm leaving town for a while. Martin wants Stella to do some work for Bridgeport Life. Clovis is coming with her, he says he needs a few days off.\" I put my fingers over her lips and pointed to the door.\n\nAlways quick on the uptake, she sighed, \"I saw that Rose didn't replenish my tea. Mind if we walk to Teaism before we get started?\"\n\nWe left the building and walked to the Teaism across from Lafayette Park.\n\n\"You think the office might be bugged?\" She asked as soon as we placed our orders and sat down at an outside table.\n\n\"I don't know, but I don't want to take any chances. My plans right now are still a work-in-progress, but I need everyone to believe that I've left town, that I won't be representing Billy Hopper.\"\n\n\"I thought we already agreed you wouldn't, that you would help him get counsel, but that would be the extent of our involvement. Tell me what's going on.\"\n\nI told her. Well, I told her almost everything. I didn't go into all the details about the hot tub or Carol's suggestion that she and I escape to Bali.\n\nI began to wriggle as Maggie's silence lengthened. She finally heaved a sigh and responded.\n\n\"You know this is d\u00e9j\u00e0 vu. We've had this conversation before about your apparent death wish. You take on these cases you have no business handling, and you almost get yourself killed. I'm honestly not sure I can take this again.\"\n\n\"Believe me, Maggie, I understand, and I don't know what to say other than I'll explain when Clovis gets here\u2014please hear me out. I know we decided not to represent Billy, and I'm still not sure I'm the right lawyer. But for now, I'm the only one he's got. Maggie, this thing's gotten complicated: it's not just about Billy\u2014or Carol, for that matter. Just hear me out. Okay?\"\n\n\"In other words, for now our law firm represents Billy Hopper?\" She asked.\n\n\"I guess for now the answer is yes. That is, of course, if you agree.\" I gave her my widest smile.\n\n\"Don't you flash that big puppy grin of yours at me. You know I'm not happy. You just might get yourself killed this time and then what happens to me.\"\n\n\"You and Walter travel the world without having to worry about me doing something stupid ever again.\" I could tell she was lightening up.\n\n\"And after hearing you out, if I still think we shouldn't represent Mr. Hopper you'll drop this representation?\"\n\n\"Of course.\"\n\n### **31**\n\nWE NURSED OUR drinks at Teaism waiting on Clovis and Stella to arrive. I told Maggie about calling Susan Sandlin and my impulse to list the house, explaining it was part of my strategy to convince whomever (I was going to have to come up with a name for the bad guy) that I'd been scared off. Maggie asked if Beth knew what had happened at the Eastern shore. I explained that Paul was probably talking to her right now.\n\n\"Your strategy doesn't seem quite fair to Susan,\" she said tartly. \"You know, Beth and I have talked about it a lot. Maybe it is time for you to move.\"\n\n\"Oh, really? You and Beth think I should move? When were you going to tell me?\"\n\n\"At the right time. You know how special Angie was to me, and I know how many memories that home has for both you and Beth. If you ever get serious about another woman, I'd bet she would have problems spending any time there. Moving might just help you move on.\"\n\nI wondered if all the family pictures had bothered Carol when she came over the other night. She hadn't said anything, but then again I'm a guy. I don't pick up on clues very well. Maybe that's why she didn't stay that evening.\n\n\"Maybe I don't want to get over Angie,\" I blurted out.\n\n\"Jack, how can I put this? You will never get over Angie. None of us will, or even want to; she's a part of our lives. But there is a difference between getting over and moving on. Angie will always be present in your heart, but there's room for someone else. I remember her making you promise to do just that.\"\n\nThis conversation was going nowhere, but at least it took both our minds off Billy Hopper. I knew that Beth and Maggie had my best interests at heart, and I can't say I behaved like I was still in mourning. Maybe it was time to sell the house. But Maggie was right: I'd have to make up my mind. I couldn't leave Susan hanging.\n\nClovis texted that they were on the ground. I texted back suggesting he meet us at Teaism, while Stella should go straight to the office to set up her equipment so we could talk without being overheard.\n\nClovis was a big man\u2014I could see him walking toward us from over a block away. We shook hands and he sat down, turning to Maggie.\n\n\"You talked any sense into our boy yet?\"\n\n\"I have failed utterly. Perhaps he'll listen to you.\" She knew exactly when to use her Mayfair accent\n\nI ignored them.\n\n\"Any word from Paul?\" I asked.\n\n\"As you might have expected, Beth is worried about you, wants to come to DC,\" he answered.\n\n\"I'd love to see her, but she has a job and there's no reason for her to be here \u2014her presence would blow my cover. I'll explain after Stella sweeps the office.\"\n\n\"Paul gave her your new cell number. I'll bet that right now Paul, Jeff, and Beth are enjoying a very expensive breakfast on your nickel.\"\n\nI wasn't about to protest. A New Orleans brunch would put anyone, including Beth, in a good mood.\n\nSoon Stella texted that the coast was clear, and we joined her at the office. Stella had gone from purple to orange\u2014orange hair, orange nail polish, and orange jeans. If possible her spike heels were even taller than the last time I'd seen her. At least I didn't see any orange tattoos.\n\n\"New look?\" I asked casually.\n\n\"I knew it would drive you crazy\u2014Texas Longhorn orange, just for you. Clovis isn't thrilled either, but he'll get over it.\" That was Stella, front and center.\n\n\"The set-up in the office is temporary. Your computers have had some uninvited entries in the last few days. I can't be sure yet, but it's similar to the activity we encountered in the Stewart case. But it's safe to talk. Why don't you and Maggie hand me your phones so I can check them while we're talking. Jack, I brought you a new laptop, but I can't transfer anything to it till I make sure your mail or files haven't been hacked. That will take some time.\"\n\nMaggie handed Stella her phone and said, \"I'm sure mine is safe. I've been out of the country, and if Jack is correct, all this just came up recently.\"\n\nNot bothering to respond, Stella plugged Maggie's phone into her computer.\n\nThis seemed like a good time for me to jump in.\n\n\"Okay, why don't I fill you in on the events of the last couple of weeks. Let me start from the beginning, then talk about what I see as the only option I have.\"\n\nI briefly gave them a rundown on the press coverage of the Mayflower incident, my invitation to go to Lucy's and what happened that night, and Marshall's revelations on Saturday. Clovis shook his head in disgust, amazed that I had accepted Lucy's invitation.\n\nI skipped my first weekend at Carol's and told them about Marshall's interview, my visit with Billy, my belief in his innocence, Red's change of heart, and then of course the shooting at the hot tub, absent a few insignificant details.\n\nAfter I finished, I said I knew this was a lot to digest and offered to get everyone coffee from the nearby Starbuck's. Our office coffee wasn't very good.\n\nClovis spoke. \"No way. If you're going to disappear it begins now. I'll get the coffee. You stay here.\"\n\nBefore he could leave, Stella interrupted. \"Good idea\u2014whoever is trying to listen to our conversations isn't happy. They've upped the intensity of their surveillance; they can't get in, but I'll have to make sure they haven't come up with something new. If they keep this up, they're going to really piss me off.\"\n\n\"Really?\" I teased.\n\n\"Really. And by the way, Maggie, your phone is compromised. I don't know yet when it happened, but it looks like we've got to get everyone new equipment. I hope this doesn't go as far as your husband's companies, or I'll be here all month.\"\n\n### **32**\n\nCLOVIS RETURNED WITH coffee and after we had all settled, I began again.\n\n\"Look, I know my half-ass plan is just that, but it's a beginning. Let me give you the basics. Then I need your input.\n\n\"The bugging of the offices and phones may not be related to Billy Hopper at all. We made lots of enemies in both the Cole and Stewart cases. I also have several major antitrust cases pending where the opponents might be trying to gain an advantage by tapping our phones. It's also possible someone doesn't want me to represent the Lobos. But the use of a sniper seems an unlikely antitrust strategy. So far my regular law practice hasn't been deleterious to my health. I have to believe the sniper's warning was an effort to get me to back off representing Billy.\n\n\"The way I see it I have three options. First, I can hide until Monday, offer to help Marshall find Billy a lawyer, and hold a press conference to that effect. Back to business as usual.\"\n\n\"Sounds like a good option to me,\" said Maggie.\n\n\"I thought it would, but you promised to hear me out,\" I reminded her.\n\nShe frowned, and I continued.\n\n\"I can also tell Marshall I'm all in, effectively telling whomever to go jump in the lake. The problem is I don't think they're bluffing. That sniper could have killed me the other night, and if whoever wants to get nasty he could make me pay a terrific price for my defiance. Beth and Carol are obvious targets. Maggie, I hate to say this, but you are, too. If something happened to any of you I couldn't live with myself.\n\n\"The third option is to behave as though I'm scared shitless: go into hiding, and spend the next two weeks trying to figure out what really happened at the Mayflower that night. I would need your help, especially Stella's when it comes to setting up a communication system. We would all have to be very careful not to give away the game. Stella has to help Walter's company clean up their systems, while Clovis acts like he's on a vacation with his girlfriend. Maggie has to run the office without letting on that she is in constant communication with me.\"\n\nClovis said, \"I see several problems right off the bat.\"\n\n\"Let's hear them.\" I meant it.\n\n\"To begin with: Marshall. How are you going to convince him this is a doable plan? He's convinced Billy is innocent. Why wouldn't he simply hire a different counsel?\"\n\n\"I'm pretty sure that when he hears I was almost murdered, he'll try to get me to back off. My job is to convince him otherwise. If he doesn't agree, we go back to Maggie's favorite option.\" She smiled sweetly.\n\n\"Okay, your plan presumes that there's more to that night than the prosecutor knows, that in fact Billy's innocent, and that in just two weeks we can figure out not only who killed that woman but why. Why two weeks, and what makes you think you know more than the prosecutor?\" Clovis asked.\n\n\"I don't think I can pull off this disappearing act for more than two weeks. No matter how careful we are, whoever is bound to smell something fishy before long. I know that if we haven't made any progress in two weeks, we need to get Billy a different lawyer.'\"\n\n\"Okay, what about Billy? He's our best source of information, but no one can interview him except a lawyer. Marshall can't help. How are we going to get information from him? Only a lawyer can talk to him in confidence.\"\n\nI gave him a slow grin and he said, \"No way.\"\n\n\"Can you think of a better option?\"\n\nMaggie interrupted, \"You can't talking about...\"\n\nClovis smiled. \"Yup. The wildcat.\"\n\nStella asked. \"Who are you two talking about?\"\n\nMaggie gave me a really dirty look. \"Micki. He means Micki.\"\n\n\"She'll hardly speak to you\u2014how are you going to get her to come to DC, much less represent Billy? I know you two were close once, but...\" Clovis trailed off, fearing he'd gone too far.\n\n\"I'm pretty sure it will involve begging on my part.\" In fact, I had no idea how I would manage any of this.\n\nMaggie relented a little. \"Okay, if you intend to represent Billy, your plan makes some sense, but let's go back to why you would agree to represent him in the first place. From what I can tell the evidence is pretty compelling, and what he did is frankly quite repulsive. I love Marshall, but at this point his loyalty to this young man is hard to understand.\n\n\"Your one-hour conversation with him, when he couldn't even deny committing the murder, is hardly reason enough to take on the case. I know you believed him, but you've been fooled before, remember?\"\n\nShe was right, of course, but I wasn't ready to give in just yet.\n\n\"Your argument makes perfect sense, and frankly he might have done it; every bit of evidence points that way. But if that were the case, why would anyone care if an antitrust lawyer, not known for his criminal expertise, represents him? Why bug this office and our phones? Why hire a sniper to warn me off?\n\n\"Come to think of it, why would Lucy's Robinson's fianc\u00e9 offer me, out of the blue, a lucrative contract to represent his football team almost immediately after the murder and a day before I met with Marshall. I can't exclude the possibility of a connection between Red and the murder.\"\n\nMaggie interjected, \"If you're thinking that way, you have to ask why the sudden interest in you by Ms. Madison. I believe you told me she is on Red Shaw's payroll?\"\n\nMaggie had cut right to the bone, and it hurt.\n\n\"Can you imagine I haven't asked myself that question? I'm not blind to the fact that she arrived on the scene at Lucy's party. I'm not blind to her relationship with Red Shaw. But she was right there in that water with me\u2014she could easily have been killed. Maybe I'm a fool, but I can tell you that I don't think she's involved.\"\n\nI stared at her, aware of no one except the two of us.\n\n\"I'm sorry, Jack,\" she said, and the room came back into focus, \"That wasn't fair of me. I'm sure there's no connection.\"\n\n\"But there could be. We can't ignore the possibility.\" Clovis looked miserable, and I let him off the hook.\n\n\"It's okay\u2014I know we can't. So I have one more thing for you all to consider\u2014if I go forward, you may all be in danger, not just me. That includes you, Stella. You are going to be thwarting highly skilled hackers who may not take kindly to your expertise. How do you feel about that?\"\n\nClovis just laughed. \"I learned two years ago that working for you was dangerous and to expect the unexpected, but Jack, I'll say this: you're never boring. Don't worry, I'm in.\"\n\n\"I've spent a lot of time and effort trying make sure the Matthew's companies and y'all are free from computer espionage. Now some bastard's trying to crack my code. I want to find out who he is and repay the favor. Besides, if Clovis is in danger he needs me to protect him.\" Stella blew him a kiss.\n\n\"Maggie?\" I asked.\n\n\"I'm not happy, but then again you didn't expect me to be. Of course I'm in. I'm not about to let you go off half-cocked without me. But I'll have to let Walter know.\"\n\n\"Of course. Walter's always a part of any crazy scheme I come up with.\" My team was assembled save one, a critical one\u2014Micki Lawrence.\n\nClovis said, \"Tell me again how you're going to convince Micki to join up.\"\n\n\"I didn't tell you the first time. Micki's going to take some time to figure out. Let's talk about what we need to learn based on what I know so far.\"\n\n### **33**\n\nI BEGAN WITH the question no one, not even the prosecutor, could answer: who was the girl in the bedroom? Was she one of the girls at the NFL Honors banquet? Did she have any connection with Billy or was she someone off the streets? Who else might have had a reason to murder her? And what had happened to the girls who left the banquet with Billy? Who were they and what did they remember? There hadn't been word one about them in the press so far. I would have expected at least one of them to have appeared on a talk show by now.\n\nClovis would take the lead on these issues. Stella would set up a secure line of communications for herself, Clovis, Maggie, myself, and hopefully Micki. She would also try to discover who was trying to listen in on our conversations and hack our computers. Maggie would hold down the fort, acting as our go-between as well as keeping up our subterfuge. I would do my best to disappear.\n\nDisappearing while actually working isn't that easy\u2014we'd all have to be on our toes. I had a plan to get Marshall into Barker's so we could talk in person on Monday. Maggie would talk to Beth once the phones were secure.\n\nI suggested that the three of them should go have a nice lunch while I called Micki. I needed the privacy, and it would help if they were seen in public without me.\n\nMicki picked up on the first ring.\n\n\"Twice in one week, you must be horny.\" Sounded more like the Micki I knew.\n\n\"Micki, I need your help,\" I began.\n\n\"Jack, I already told you I won't help you represent that murderer.\"\n\n\"I don't want you to help me. I want you to represent him all on your lonesome.\"\n\n\"Jack, have you been eating Liz Stewart's ginger snaps?\"\n\n\"No, I'm quite serious.\"\n\n\"Okay, I'll play along. Why in the hell would I represent a man who stabbed a woman multiple times until she bled to death?\"\n\nAt least she hadn't hung up.\n\n\"What if I told you I honestly believe he didn't do it?\" I asked.\n\n\"Every client I have claims he didn't do it\u2014most of them were shooting baskets with their buddies or babysitting their kid sister. Since when did you become a good judge of character?\"\n\n\"What if I told you there's a fee in it. The client has money.\"\n\n\"I'd say my docket is full.\" Now she was having fun.\n\n\"What if I said this case will garner national publicity, increase your reputation.\" I had to admit I was having fun as well.\n\n\"You've already involved me in two of the highest profile cases in this decade. I don't need any more publicity.\"\n\nIt was time to get serious.\n\n\"What if I tell you someone shot at me with a high profile rifle to warn me off this case? What if I tell you I can't guarantee your safety, and I'm going underground for the next two weeks?\"\n\nNo quick comeback this time.\n\n\"If someone tried to kill you it would be all over the news. How come I haven't read anything about this in the papers or seen anything on TV? If you're making this up, it's not funny.\"\n\n\"I'm not lying, Micki, and it isn't funny. A sniper fired a bullet within three inches of my head. Damn near killed me.\"\n\nAnother long pause. \"Where's Clovis?\"\n\n\"He and Stella arrived this morning on Walter's plane. The same plane can pick you up tomorrow morning.\"\n\n\"What about Beth? Is she safe?\"\n\n\"Paul was dispatched to New Orleans last night. He's supervising her protection as we speak\u2014ask Debbie.\"\n\nMicki's office manager, Debbie Petrova, and Paul live together. I could almost hear her thinking.\n\n\"Are you leaving the country?\"\n\n\"No, I'm not even leaving town, but no one other than Maggie, Clovis, and Stella know where I'll be. Everyone else is supposed to think I've left town. I'm even putting my house up for sale.\"\n\n\"You should leave the country, Jack.\"\n\n\"Maggie agrees with you.\"\n\n\"Maggie has good sense; obviously you don't. If I get involved, there will be nothing between us, just partners working on this case, right? No flirting?\"\n\n\"None. Actually, I'm seeing someone.\" It felt odd to say that, especially to Micki, but it was the truth\u2014I hoped.\n\n\"Wow, I want to meet her. What if I bring someone with me?\"\n\n\"I'd rather you didn't. He couldn't know anything except that you are representing Billy at Marshall's request.\"\n\n\"His name is Larry. He's an artisan woodworker and carpenter who's been doing some work on the place. He could care a hoot about my day job.\"\n\nWell, at least she was over Eric.\n\n\"That's your call. But you really can't tell him anything. And he needs to understand he could be in danger.\"\n\n\"What about Marshall? What does he think??\"\n\n\"Well, I haven't actually approached him yet. Didn't want to until I had a plan with you on board. But Marshall suggested you should be my co-counsel just last Thursday, before any of this happened. Apparently I didn't impress him with my knowledge of criminal law during the Cole case.\"\n\nShe laughed. \"I guess not.\"\n\nIt was time to fish or cut bait. \"Micki, I need you. Can I send Walter's plane to pick you up tomorrow morning.\"\n\nI could hear the wheels turning.\n\n\"Oh, what the hell. You had me at hello.\"\n\nSo, the team was assembled, for exactly what, I wasn't certain. I spent the next hour explaining what had happened over the last few days.\n\n### **34**\n\nMAGGIE, STELLA, AND Clovis had enjoyed flatbread sandwiches at Cosi and returned in a great mood. They were all relieved that Micki had joined our gang of thieves. Maggie called Walter's pilot to make arrangements. We decided that for the time being Micki should stay at the Hay-Adams, despite the expense. It would be the natural choice if she was working with Marshall.\n\n\"Stella, why don't you and Clovis have brunch there tomorrow? It's quite a spread. I have a feeling that if someone is spying on me, they've bugged Marshall's room at the Hay-Adams. Hotel security should be cooperative if you tell them you're working for Marshall and a new guest arriving tomorrow.\"\n\nWe spent the rest of the afternoon going over details and logistics. Directing a criminal investigation from Barker's wouldn't be easy, but it was important for our antagonist to think I had fled the coop, so to speak.\n\nMartin returned from Carol's place just before Clovis and Stella left for the Apple store and some other specialty electronics store.\n\nHe'd found only a few traces of the sniper, who according to Martin must have been an excellent shot given the distance the bullet had to travel. Great. The hot tub had been totally repaired, and Carol's guests didn't have a clue what had occurred the previous evening. Paul told him that Carol was in good spirits, but would love to hear from me if possible.\n\nIt was possible, but not smart. Martin also learned that Red Shaw was a last minute guest. Not Lucy, just Red. That was news I didn't want to know. What did it mean?\n\nSoon I was the only one left in the office except for my driver. Maggie and Walter were attending some charity event for the homeless. Stella and Clovis had planned a trip to Cantler's for fresh crabs after going shopping. But for the sniper, I would be snuggled up with Carol at her place on the Eastern Shore watching a first run movie. I admit to enjoying a little pity party.\n\nI finally talked with Beth. Paul had calmed her down, and she, Jeff, and Paul were enjoying the Crawfish Music Festival at Tulane. Paul must have done his job, because she made no mention of coming to DC. I hung up thinking about crawfish.\n\nAfter tomorrow's meeting with Micki, all my communication with my team would be by phone or email. I'm a hands-on lawyer, and pulling strings from afar isn't my idea of fun. I was looking at a tough couple of weeks.\n\nTo some extent I was allowing the sniper to govern the way I worked, but I couldn't bear it if I put Carol, Beth, or Maggie at further risk. Besides, if this plan didn't work all I had to do was walk out the door.\n\nIt was time to leave the office. I had an outline of things to go over with Micki, and had begun to think about what I would say to Marshall. Walter, who also belonged to Barker's, would bring Marshall to meet with me on Monday\n\nBarker's was pretty empty for a Saturday night. I couldn't face the dining room alone, so I sat at the bar. I would need to make good use of their fitness room if I kept this up. I munched on nachos, tried to watch the ball game, listened to two men talk about their fantasy baseball picks, and thought about Carol Madison.\n\n*********\n\nMr. Kim was more than a little surprised that Patterson had heeded the warning shot. He was a doer, not a quitter. But his source had verified that he'd left Ms. Madison's place, gone directly home, packed his bags, and was now missing in action. He'd even talked to a Realtor about putting his home on the market this morning. Maybe Patterson was finally tired of putting his life on the line for his clients.\n\nNonetheless, he wasn't taking chances. His contacts were monitoring the man's credit card accounts in the hopes of determining his whereabouts. Patterson was most vulnerable when he felt someone close to him was at risk. He was putting people in place to monitor Patterson's daughter, Mrs. Matthews, and Ms. Madison in case he needed to move quickly.\n\nCarol Madison may have been why Patterson took off. Perhaps he was closer to her than original reports. If Patterson surfaced, Madison might prove to a very interesting chess piece. The client had made it clear\u2014under no circumstances was Patterson to represent Hopper. The sniper had been directed to remain under cover in DC, prepared to terminate Patterson immediately if the client gave the order.\n\nHe had yet to deal with one annoying problem. As expected, Clovis Jones's had sent his man Paul to New Orleans to babysit Patterson's daughter. No problem in itself, but underworld activity in New Orleans was still controlled by a syndicate modeled after the days of Nitti and Capone. His operatives would need a \"license\" to work in New Orleans, and any hits needed to be pre-approved. This was an issue he needed to address quickly.\n* * *\n\n## **SUNDAY**\n\n* * *\n\n## **April 24, 2016**\n\n### **35**\n\nI NEVER SLEEP well the first night in a strange bed. Around 6:30 I finally quit fighting and headed for my favorite meditation spot\u2014the shower. Barker's showers were roomy and had great water pressure, a luxury most hotels don't appreciate. I donned my lucky golf shirt and slacks, enjoyed a long breakfast over the Sunday _New York Times,_ and headed to the office. The garage was empty, as was most of downtown. Except during the Cherry Blossom Festival, everyone but the most dedicated tourists slept in on Sunday mornings.\n\nMaggie was already in; coffee and her pot of hot water waited in the conference room. Clovis was already on his second cup, and Stella was buried in a computer.\n\n\"I thought I'd be the first one here.\"\n\nClovis said, \"Stella got me up at six to run the Mall. We needed to run off last night's dinner.\"\n\n\"Please don't tell me any more about Cantler's. I had nachos at the bar. What time does Micki arrive?\"\n\n\"I think it will be both Larry and Micki. They should land within the hour,\" he responded.\n\n\"Larry's coming? Good for Micki.\" Stella said at exactly the same time as Maggie asked, \"Who's Larry?\"\n\n\"Larry Bradford\u2014he's a terrific artisan carpenter. Micki found him when she needed some cabinetwork done at her place. He's a little younger, cute as a button, and hardly ever speaks.\"\n\n\"Micki told me he had great hands.\" I interjected.\n\nStella laughed. \"Jack, I think she was referring to his woodworking skills. He's really very talented.\"\n\n\"Sure she was,\" I responded dryly.\n\nMaggie began to squirm a little. \"Do Micki and...Larry... understand the risk of their participation?\"\n\n\"I brought it up, and Micki promised to tell him he could be in real danger. I hope she did, but I'll ask again when they get here,\" I said.\n\nStella wasn't finished. \"Don't underestimate Larry. His family is old Little Rock, and he was educated at St. Albans and Princeton. He surprised everyone when he didn't return to work in the family financial business after college. Instead he spent eight years in New Hampshire and Vermont as an apprentice to master carpenters and furniture makers.\n\n\"He returned to Little Rock after his father died and opened a small woodworking studio. Several of his pieces have been exhibited at the Arts Center and in the decorative arts section of Crystal Bridges, the new museum in Bentonville. He may be a quiet man, but he has brought a measure of calm into Micki's life that she badly needed.\"\n\nWhile we waited for Micki, Stella distributed new phones to Maggie and me. She also gave me a new fully loaded Apple laptop.\n\nShe said, \"I would like to check out the network you'll use at Barker's.\"\n\n\"If the antagonist knows I'm at Barker's, the game's up anyway. Barker is anal about privacy. I bet he has an extremely secure network.\" Listen to me, acting like I knew what I was talking about.\n\n\"Still, after a few days we'll need to figure out how I can check it out.\"\n\nMaggie asked. \"Our phones are safe again, but what about other people's? For example, can I call Walter?\"\n\n\"I'll check Walter's phone tomorrow as part of our supposed reason for being here. There's no reason not to behave normally. Just don't tell anybody anything about Jack. Maybe we should all act as though Jack's off on an extended vacation. You know, answer the phones as usual, but Jack's not available. Paul has given Beth a new phone by now. Sorry, Jack, phone security isn't cheap. My biggest worry is you might get the urge to call your new girlfriend. Should I be concerned?\"\n\n\"No, you shouldn't.\" I frowned, thinking her question was a little cheeky, even for Stella.\n\n\"Judge Fitzgerald will have to be schooled after Jack talks to him. He needs to come straight to me after your meeting so I can explain phone and computer security. Clovis had me check out his wife and the boys' phones and computers while we were still in Little Rock. Not a thing. Don't you think it's strange that so far no one seems to be bothering with the Judge?\"\n\n\"I thought about that this morning. It's as if they don't mind Marshall helping Billy, but they don't want me near him,\" I said.\n\n\"Or all this has nothing to do with Billy Hopper. You've pissed off someone for an entirely different reason,\" Clovis said.\n\nHe had a point.\n\n\"It will be interesting to see if there's any reaction to Micki when she enters her appearance. I have to believe it's all connected to Hopper, but I could be dead wrong.\"\n\n\"Speaking of Micki,\" he continued, \"she just texted that they've landed and she's on her way in.\"\n\n\"Before Micki gets here I want your promise about something,\" I said seriously. \"I thought about this last night and again this morning. You all know that what we are about to embark on entails a fair amount of risk. I want each of you, especially you, Maggie, to tell me when I've crossed the line and you feel uncomfortable.\"\n\n\"I think you crossed that line when you decided to represent Billy Hopper. And it's not the first time.\" Maggie looked glum.\n\n\"You're right, and I'm sorry. But this time it will be different. With both Woody and Doug Stewart, I was out front and center, the target for bullets and speeding cars. This time I'll be sitting in a comfortable chair while each and every one of you are on the front lines. Even Marshall will be at more danger than I am.\"\n\nFor a few seconds the room was silent. I was glad my words had sunk in.\n\nMaggie broke the silence.\n\n\"Jack, I promise to let you know if you push the envelope too far. Now here's something I thought about last night. You have great instincts. You believed in Woody Cole when not one other person in the world did. You fought for Doug Stewart when he didn't have a chance in the world. Now your instincts tell you that if you don't step in, Billy Hopper will find himself in jail for the rest of his life. And whoever murdered that poor woman will get off scot-free. So I'm in without reservation.\n\n\"However, just because I trust your instincts when it comes to crime, women are another matter.\"\n\nI deserved that.\n\n\"So if you go too far this time, if you follow lust rather than logic, you won't need to worry about any sniper.\" She didn't smile. Clovis looked uncomfortable. Stella just chuckled.\n\n### **36**\n\nMICKI WAS A sight for sore eyes, she always is. Her plaid shirt, jeans, and cowboy boots reminded me of the first time we met. She was thinner, and her hair was a little longer and darker, but her arrival made me go flush with wonderful memories.\n\nShe gave everyone hugs, leaving me for last. Not too long ago she would have kissed me flush on the mouth, but not today. She extended her hand.\n\n\"Thanks for sending the plane. Larry now thinks a private jet is the only way to fly.\"\n\nNot much of a way to greet a former lover and current friend, but if she wanted to keep it professional, I'd go along.\n\n\"Where is he? And does he know this could get dangerous?\" I blurted out immediately.\n\nShe didn't flinch. \"I told him, and he said he would come if for no other reason than to protect me. Right now he's somewhere at the Smithsonian, studying a special exhibit of eighteenth century furniture. He wants to learn how to duplicate some of their methods. That man loves wood.\" She laughed easily.\n\nI didn't know why I felt so testy. I needed Micki, and if that meant getting Larry too, well, we'd deal with Larry. The group spent a little time catching up. It had been a while since Maggie and Micki and seen each other, and I admit it hurt when Maggie suggested that Micki and Larry join her for dinner. The food at Barker's was pretty good, but...\n\nMicki caught me looking at my watch. \"Okay, partner, now that I'm here, what's your game plan?\"\n\n\"Stella will give you a run down on using the phones and computers, and Martin and Clovis will coordinate your security. In a nutshell, the plan is for me to go missing for the next two weeks, while you're out front and center representing Billy Hopper.\"\n\n\"Why go missing? Clovis can protect you, he always has.\" Micki asked.\n\n\"I want whoever sent me that warning shot to believe I'm running scared. If I'm out of the picture there's no reason for whoever to think about going after Beth, Maggie or Carol. Or you, for that matter. By the way, and I guess this sounds silly, but since I have no idea who the bad guy is, we've been calling him whoever or whomever, as grammar dictates. Does that work for you?\"\n\nShe merely shrugged her shoulder, so I continued. \"Clovis can't protect me while he's investigating the murder. He's got a tough enough job pretending he's on vacation while he tries to find out who really murdered the young woman.\"\n\n\"Seems to me you're putting off the inevitable. At some point you'll have to come out of hiding. What happens then? Two weeks isn't very long. It's taken the prosecutor over a month just to bring an indictment, and you think you can solve the crime and convince the prosecutor to drop the charges against Hopper in two weeks. You're dreaming.\"\n\nI appreciated her blunt assessment. \"You're absolutely right, and if either you or Larry become targets, I'll come out of hiding immediately. When I meet with Marshall tomorrow I'll tell him exactly that. I will not put you or anyone else at risk more than you already are. We'll all withdraw and turn over the defense to a seasoned criminal defense lawyer.\"\n\n\"Why not do that now?\" Maggie asked again. She hadn't quite given up.\n\n\"My gut instinct is that when Marshall came into the picture, whoever realized I might get involved, might start asking questions. Who was the girl? If Billy didn't do it, why was she killed? Why was Billy set up? I admit to having a reputation for being a pain-in-the-ass.\"\n\n\"Anything more than gut instinct?\" Micki asked.\n\n\"Lucy Robinson invited me to her wedding announcement party, presumably so her husband could talk me into becoming the Lobos' anti-trust lawyer. Among the conditions of the retainer is one that prohibits me from representing any NFL player. Our offices and phones have been bugged, our computers hacked. Then there's the little incident with the sniper who obviously knew I would be at Carol's on Friday night before her other guests arrived.\n\nMaggie asked, \"Why would Red Shaw implicate his best player in murder? I hear he's a ruthless businessman, but do you think he would really have someone killed? And why would he hire a sniper to scare off his brand new anti-trust attorney?\"\n\n\"Maggie, I honestly don't know. To complicate things further, two days ago he changed his mind. Told me he'd been too hasty, hoped I would represent Billy. He even released Billy's money so he could pay his lawyer. Maybe he found out I'm a terrible criminal attorney. I don't want to think he's involved, but I can't rule it out,\" I answered.\n\n\"What about your new girlfriend? She shows up out of the blue at Lucy's party, makes a play for you, and is one of the few people who knew you were going to be alone with her the other night. Is she on your list of suspects?\" Micki asked.\n\n\"Your points are valid. And she also works for Red Shaw. But that bullet could easily have killed her\u2014we were pretty close at the time. If she'd known about the sniper, surely she would have kept her distance.\"\n\nMaggie intervened. \"It's none of our business why she was so close, but maybe she didn't know what was about to happen. You did say that Red Shaw was a last minute guest. Maybe he came to reassure her that the warning shot wasn't meant for her.\"\n\n\"I don't know why he came to the Eastern Shore, and it will be tough to find out since I can't talk to Carol. Tough to figure out from my monastery at Barker's.\"\n\nMicki relaxed and laughed. I asked her what was so funny.\n\n\"It's hard to imagine you in a cloistered monastery with no female companionship. Aren't there any women members?\" She put her hand over her mouth, trying to stop laughing.\n\nI acted offended, but Clovis wasn't having it.\n\n\"You've got to admit, Jack, a case without a woman involved is inconsistent with the other cases we've worked on together.\" That got the whole crew to laughing.\n\nWell, if laughing at my expense improved the atmosphere, it was worth it. Moreover, it was true.\n\n\"Okay, okay. Enough.\"\n\n\"How about some marching orders?\" Clovis asked.\n\n\"Until I talk to Marshall, there aren't any. I need his buy-in for Micki to represent Billy before we can do anything else. Why don't you and Stella use this time to see the sights, enjoy Washington as tourists? Micki, I hope you can find Larry at the Smithsonian. The Hay-Adams is a pretty nice hotel.\n\n\"You know, Jack, when we checked in Larry was pretty intimidated. You sure we need to stay at such an expensive place? It might inhibit our sex, doing it on those expensive sheets.\"\n\nI wished she hadn't said that, but at least she sounded more like the old Micki I knew.\n\nBlushing slightly, Maggie jumped in before I could respond in kind.\n\n\"Clovis, why don't you and Stella join us all for dinner. It seems logical for all of us to go out together\u2014and safer. Plus, if we're followed, Jack's absence will be obvious.\"\n\n\"Good idea. May I ask where you're going?\" At least I could eat vicariously.\n\n\"I'm not quite sure. After a month of Italian food, I know Walter would prefer something different. What about that nice French bistro in Georgetown? I think it's called Bistro Fran\u00e7ois. Not too fancy, but quite good. How does that sound to everyone?\"\n\nI groaned.\n\nWe were about to leave when Micki said, \"You haven't talked about Marshall. How are you going to convince him to be a part of your plan? Once he hears about the shooting, you know he'll insist you bow out. He loves you, Jack. He's not going to let you put your life on the line.\"\n\n\"I'm not sure. While y'all are enjoying steak frites and trout almandine, I'll have plenty of time to figure something out.\"\n* * *\n\n## **MONDAY**\n\n* * *\n\n## **April 25, 2016**\n\n### **37**\n\nMR. KIM SMILED. Micki Lawrence had checked into the Hay-Adams. So Marshall had given up on Patterson. He should have expected Fitzgerald to bring her in, not that Lawrence wasn't good. She was better than good, but she was predictable. Every indication was that Patterson had been scared off. He should know where Patterson was hiding by the end of the day; his tech people were monitoring all the phones. Patterson couldn't go a day without talking to his precious Maggie.\n\nJones and Rice had dinner with the Matthews, Micki, and her latest paramour, but Patterson was nowhere to be seen. It really looked like he'd fled the District, if not the country. It still bothered Kim that Jones was staying at the Mayflower, but Bridgeport Life regularly put their contractors up at that hotel. After all, it was only a Marriott.\n\nNew Orleans was still a problem. They were still insisting on pre-approval for hits. He didn't want risk their wrath if he went against their rules, but at the same time he didn't like telegraphing his intentions. If Patterson was really out of the picture it wouldn't matter.\n\n*********\n\nI ate breakfast in Barker's dining room. Fried eggs, sausage, hash browns and biscuits that melted in your mouth even before you added butter and honey, left me in a good mood. The coffee was dark and strong, and I lingered with the _Post,_ knowing there wasn't much to do until Marshall and Walter arrived for lunch. For now, at least the print press had lost interest in both Billy and me.\n\nI spent a while in the small library Barker kept for guests, fascinated by the books others had chosen to leave. Before long I sank into an old armchair, my thoughts turning to Marshall. He was one of four black students who had integrated Westside High the day I started high school in Little Rock. Sam Pagano convinced us both to try out for football, and we showed up for practice on the same day. It soon became clear that the coach wanting nothing to do with Marshall\u2014a story for another time. We quickly became the gang of four very close friends\u2014Marshall, Sam Pagano, Woody Cole, and me.\n\nMarshall graduated summa cum laude from Stafford State, went to Yale Law, and got his masters in law at NYU. The four high school friends have remained close during college and beyond, although time, distance, and circumstances put a strain on our friendships on occasion.\n\nAt 12:30 precisely, I was informed that Marshall and Walter were waiting for me in the main dining room.\n\nI gave Marshall a hug, and Walter spoke. \"It's been great to spend a little time with Marshall, but I assume I've done my duty, and you would like me to leave.\"\n\n\"On the contrary. If someone were watching and you left immediately, they would guess Marshall and I were meeting. No attorney-client privilege is involved, nothing you can't tell Maggie later.\"\n\nI trusted Walter Matthews, both personally and professionally, more than anyone in the world, except perhaps his wife. I welcomed his perspective and his advice.\n\n\"Let's order lunch and then talk.\"\n\nMarshall quickly ordered a Cobb salad, hardly looking at the menu. He was clearly nervous, not uncomfortable, but nervous.\n\n\"Something bothering you?\"\n\n\"When we arrived the man at the front door said you were staying here. I remember you said Barker's would be the perfect place to hide. Why are you hiding, Jack?\"\n\nSo much for my carefully calibrated explanation.\n\n\"Marshall, last Friday night at a friend's house on the Eastern Shore, a sniper shot a high powered bullet within a few inches of my head. I wasn't hurt, neither was my friend. I think whoever took the shot was trying to warn me off representing Billy Hopper.\"\n\nHis brows shot up and his mouth and eyes twisted into a deep frown.\n\n\"I saw Micki in the lobby. I assume you've sent her home by now.\"\n\n\"No, if you agree, you are going to introduce her to Billy, and she will enter her appearance as Billy's lawyer soon thereafter.\"\n\n\"Why would you be willing to put her at risk, when you are clearly running scared?\" That hurt, but it was exactly the conclusion I hoped others would come to.\n\n\"Because we both believe the warning shot was specific to me. Marshall, I believe Billy Hopper is innocent, and if we don't screw this up, I hope to represent him, too.\"\n\nI had thoroughly confused my logical friend. I signaled for our server and asked her to bring Marshall a cold Sam Adams. He sighed in relief.\n\n\"Sit back and relax, my friend. Let me tell you how I think Micki and I can best help Billy.\"\n\nI went over our plan in as much detail as I could, considering details were sorely lacking. Micki would be the public face of Billy's defense, learning what she could from the prosecutor and Billy. I would orchestrate Clovis and Stella's investigations.\n\nI was glad to have Walter at the table; his presence provided both a buffer and a kind of affirmation. If Walter was in on the plan, I couldn't be entirely nuts. Moreover, I'd taken it for granted that Bridgeport would provide the front for Clovis and Stella, not to mention the protection and investigative help Martin and his men could provide. Fortunately, he had no problem with my assumptions.\n\n\"Whatever you need. The sooner you figure this out, the sooner I'll get my wife back, and the sooner I can quit worrying about her safety and yours.\" No smiles, he was dead serious.\n\nI could tell Marshall was still bothered.\n\n\"Jack, think about it. Someone tried to shoot you. You're actually in hiding, and your family and colleagues may be in danger as well. I can't let you do this. I'm sorry I ever got you involved. It's time for me to find a different lawyer.\"\n\n\"I appreciate your concern, but I'm not sure hiring a different lawyer will end anything. Maybe that shot was meant for my friend Carol, or maybe it had nothing at all to do with Billy Hopper. In that case, my involvement won't change a thing. Two days ago you asked if I could sit by idly, watching as an innocent man was convicted of a crime he didn't do. Well, I can't. I listened to Billy, and I believe him. Not much makes sense so far, but that shot does. If Billy's guilty, why would someone want to warn me off?\n\n\"That sniper may go after me again regardless of who you hire. Let's make a deal. We'll all do our best for the next two weeks. I promise to shut the whole thing down if anything goes wrong. I really will drop out of sight for a while.\"\n\n\"I don't like it, but I know how stubborn you can be, Jack Patterson. I really don't think I have a choice, do I?\"\n\n\"No, you don't.\"\n\nI spent the next half-hour making sure Marshall knew the role he was to play. He was to work with Micki on Billy's defense, but under no circumstances was he to tell a soul where I was or that I was even involved, not even Grace or Billy. I knew both Micki and Stella would watch him like a hawk.\n\nIt would have been nice to linger, but I didn't want to arouse suspicion. I signed the bill and was about to rise, but Marshall had another question.\n\n\"Why are you doing this, Jack? Billy Hopper means nothing to you. Don't tell me this is about injustice. There's plenty of injustice to fight that won't get you shot.\"\n\nI thought about it for a minute. What causes a man to take unreasonable risks? I hoped it wasn't ego. My friendship with Marshall? Maybe. Billy Hopper? I'd spent less than an hour with him. If I my \"gut\" was right, people I loved could be in real danger. Maybe I should play it safe, disappear for real, taking Carol with me.\n\nI had tried not to think about Carol, but the box was opening. Was she real or was she a puppet of Red Shaw, or maybe some other client I didn't even know?\n\nThe brain is an amazing organ. It was less than ten seconds before I responded to Marshall.\n\n\"Well the truth is I don't like being shot at.\"\n\n### **38**\n\nAFTER THEY LEFT, I wandered back into the library. Barker's boasted a nice outdoor garden and patio, but I felt less exposed, safer, in the empty library. I picked up a novel and tried to read, determined not to check my mail for at least an hour. I gave up after forty-five minutes. Stella had emailed to say Marshall was a quick study, had easily figured out the phones and computers. Micki's message said that she and Marshall were about to review both the logistics of meeting with Billy and the paperwork that would formalize her representation of Billy. Micki had been admitted to the DC bar several years ago as part of our plans to work major cases together. So far, our plan hasn't worked out, but now we were ready.\n\nI needed to hear a voice, so I called Clovis.\n\n\"Strap on the pads, buddy, it's time for action.\"\n\n\"Put me in the game, coach.\"\n\nWe both knew the sports banter was corny, but what can I say? It was our shtick. It had gotten us through more than a few tough moments.\n\n\"I want you to focus on three things\u2014the girl, the hotel, and Billy's past. The girl didn't just appear out of thin air. Somebody has to know who she is, has to miss her. And try to find the three girls who were at the banquet. Did they come back to the hotel? Micki will try to get the prosecutor's file, but let's face it: so far we know shit.\"\n\n\"Jack, if the law can't figure out who she was, we're pretty much up a creek. And how can I play tourist while I'm doing all this?\"\n\n\"Use Martin's people. Walter said not to hesitate, and you know they're reliable. That reminds me\u2014I told Carol's Pat that Martin could provide him backup if he needed it. I'd like to put a couple of guys in place now. If Pat won't agree, do it anyway.\"\n\n\"You think she's still in danger now you've been warned off?\" Clovis asked.\n\n\"No, not while I'm in hiding. But if they get wind I haven't backed off, she's a likely target.\"\n\n\"More than Beth?\" he asked.\n\n\"Not more, but close.\"\n\nI knew he was thinking I was closer to this woman than I had let on. He was right.\n\n\"The hotel\u2014I want to know the layout, especially the floor with Billy's room. Does security have any video footage from that night? The prosecutor probably has any physical evidence, but check it out. Also, we know Billy called Marshall, 911, and hotel security that morning. Check his hotel phone records, and also ask Stella if she can find out who Billy called from his cell phone during the preceding few days.\"\n\n\"I've already started down that road. It's tough to do, but you'd be surprised how people like to talk in this town.\"\n\n\"Good,\" I said. \"Billy's past is indeed a tough one. Ask Marshall to give you as much background as he can. Billy told me he was trying to find his birth family. It's a long shot, but they could have some bearing. That's enough for now, but remember we're already on the clock.\"\n\n\"Aren't you forgetting one other thing?\" Clovis asked.\n\n\"Am I? What?\"\n\n\"Carol Madison,\" he replied.\n\n\"What about her? I already told you to talk to Martin about her security.\"\n\n\"That's not what I'm talking about? You said, yourself, you couldn't rule out her involvement.\"\n\nI knew I had to face the possibility.\n\n\"You're right. Check her out, but do me a favor.\"\n\n\"Anything.\"\n\n\"If you uncover anything that's not relevant to this case\u2014old boyfriends, financial problems, anything personal like that\u2013don't tell me. I don't want to know. You have to promise me.\"\n\nClovis understood. \"You have my word.\"\n\n\"She can never know you're doing this.\" I pleaded, knowing that in the end she'd find out.\n\n\"You really like this woman, don't you?\"\n\n\"Yeah, Clovis I do.\"\n\n*********\n\nI carefully returned the timeworn novel to the shelf, couldn't remember I word I'd read. I needed Maggie, but it was too risky to bring her to Barker's. So I punched in her cell number, hoping that Stella had gotten rid of any bugs.\n\n\"Maggie, do you have time to talk? I've got so much...\" She didn't let me finish.\n\n\"Of course I do\u2014you're my boss, remember?\"\n\nI laughed. \"Well sometimes it doesn't... Okay, first thing: I need you to call Red Shaw. Give him the wiring instructions for our trust account. Let it slip that Micki has agreed to represent Billy. Tell him we're collecting the funds due Billy to help pay her fee.\"\n\nI sensed her hesitation, but she agreed, adding, \"Marshall and Micki have gone to the jail, and Stella has gone to the Hay-Adams. Apparently our office, phones, and computers are bug free now, but she says it's only a matter of time before the hackers realize they've been discovered.\"\n\n\"Time is our worst enemy right now. Normally we'd have a year to do what we need to do in two weeks,\" I said.\n\n\"I'm sorry to ask again, but why not turn everything over to another lawyer, one who'll have the time to do it right?\"\n\n\"Because I'd be looking over my shoulder every time I walk down the street, worried about you, Beth, and Carol so much I couldn't do any work. I think whoever is behind this knows a lot about me, and I won't rest easy until I know just as much about him.\"\n\n\"Or her,\" Maggie pointed out.\n\n\"Or her.\" I kept an even tone.\n\n\"What do you want me to do while everyone else is feeding you information?\"\n\n\"You and I are going to focus on Red Shaw. He's the only actual suspect I have right now. He said that Billy Hopper cost him millions. How can a rookie sensation cost an NFL owner that kind of money? He pays Hopper a rookie minimum contract, and Billy brings in thousands of fans and merchandise sales. Seems to me that Billy should have made Red a small fortune. I have to wonder if Red was gambling or betting against his own ballplayer in some kind of big stakes fantasy game.\"\n\n\"Even if he had, why would he set Billy up for murder? Maybe he had a different reason,\" Maggie responded.\n\n\"Well, maybe\u2014I hadn't thought about that. We need to learn as much as we can about Red's past, how he came to be the owner of the Lobos, and the financial operation of the Lobos. Red gave me the name of my contact person with the Lobos, a Regina Halep. Tell her you need all the financial information on the team and any subsidiaries. You know the drill\u2014ask the same questions you ask any new antitrust client: financials, economic analyses, and market studies. Don't ask for anything that will raise a red flag.\n\n\"And call David Dickey. Ask him to find out as much as he can about Red Shaw's companies.\"\n\nDavid was one of Walter's favorite investment advisors. I had enjoyed his good advice many times over the years, both for the Foundation and for my own clients.\n\n\"Won't he be just a little curious?\" Maggie asked.\n\n\"David never talks out of school. Besides, we have the perfect reason to call David. Remember, as of today we work on retainer for the Lobos. When you talk to Regina, ask her where we should send our first bill?\"\n\n\"That's a bit cheeky, don't you think?\"\n\n\"It signals that I am out of the criminal defense business and back to being an antitrust lawyer.\"\n\n\"What if Red or Regina ask where you are?\"\n\n\"Tell them I had to go out of town on family business, but I'm keeping up through texts and email. Stella gave me a secure phone which can't be traced. I'll call them back. The more we act like its business as usual, the better off we are.\"\n\n\"How are you doing at Barker's?\" Maggie asked.\n\n\"The accommodations are fantastic, but I really miss not being right in the middle of the action. It's no fun working through email and phone calls. I know it's only been one day, but it's going to take all I've got to stay put.\"\n\n\"By the way, Susan Sandlin called. She's anxious to move forward with the house sale and wants to meet with you. She says word is getting out that your house is going on the market. Several agents have already called to preview.\"\n\n\"Tell her to send the paperwork to you.\"\n\n\"She says she needs to meet with you in person. Apparently she wants to show you the comps for similar homes in your neighborhood before you and she can agree on a price. Jack, she's bound to wonder what's going on\u2014I'm glad to know she's so ethical.\"\n\n\"Okay\u2014tell her fine, I'm happy to meet her at the house, but I won't be back for at least a week. And no previews of the house before we meet.\"\n\nI didn't want to think about the house or Susan, but knew I would have to at some point. I'd acted quickly, almost on a whim, but I shouldn't let the pressure of the situation control my judgment. I let it go, knowing I could trust her.\n\n\"How's the press?\" I asked.\n\n\"Disappeared, for the most part, thank goodness. As soon as Micki enters her appearance, I'm sure she'll get all their attention. Fortunately, the hotel will serve as a haven as long as they're inside. By the way, Rose won't buy the family business story. She knows the only family you have is Beth,\" Maggie warned.\n\n\"I'll tell her I'm in Memphis. She knows I have cousins in Memphis.\"\n\n\"You're not a very good liar, Jack. You'll tell her how nice the weather is right before she asks about the tornado.\" Maggie was right.\n\n\"I'll think of something.\"\n\n\"I'd feel better if you really were staying at the Peabody in Memphis rather than here in DC. Secrets don't last very long in this town, and you know it. If one person lets it slip you're at Barker's, the whole jig is up.\"\n\n\"I know that. Guess we'll have to trust in a little luck.\"\n* * *\n\n## **TUESDAY**\n\n* * *\n\n## **April 26, 2016**\n\n### **39**\n\nI WOKE UP Tuesday morning with a dull headache, probably the result of one more glass of cabernet than was good for me. I'd spent the rest of Monday night trying to become an expert in fantasy sports. The more I learned about fantasy, the more the integrity of the actual game seemed to be in danger. A phenomenal amount of money was being bet on the individual performances of the athletes who were supposed to be playing a team game. The potential for abuse and corruption was pretty obvious. The impact on sportsmanship, including running up the score or risking injury to pump up statistics, was subtler but just as real. Use of inside information by athletes, owners, and team employees was an obvious area of concern.\n\nI hoped a good breakfast would take care of my hangover\u2014as good a cure as any. I'd just had time to glance at _The Post_ before my phone beeped the arrival of emails. Stella had discovered that Marshall's room was being monitored, as was his usual table in the dining room. Hotel security was most apologetic. They asked no questions and agreed to cooperate fully. I wondered if Stella might gain another client. Micki's room hadn't been bugged, much to her relief. Stella would spend the morning working with Martin on Bridgeport Life's security to further our story line. I hoped she'd have time later in the day to work on the few ideas I'd given her.\n\nClovis had zero luck with the Mayflower's management\u2014they'd been told by the prosecutor not to say anything to anyone. He had been able to get a blueprint of the floor plan for Billy's floor. He hoped he would have better luck with the hotel employees. I suggested he try to find out if anything unusual had occurred at the hotel during the few days before or after the murder.\n\nClovis hoped Micki would soon be able to get the dead girl's autopsy and photographs. No one even vaguely fitting her description had been reported missing in the area. He'd come up with a good cover to check out the Mandarin Hotel: he and Stella were looking for a place for their wedding reception.\n\nHe had to wait on Micki and Marshall to begin the investigation of Billy's background. I didn't ask him about Carol, except to verify that Martin's men were backing up Pat. He had accepted the help, but didn't want to alarm her with the extra security. For my part, I wondered why she felt safer at the Shore than in DC. Our phones were supposed to be secure, so I thought about calling her, but my better judgment kicked in.\n\nMaggie reported that Red Shaw had been most cordial: the money had already been wired. The money from James Stockdell had already cleared the bank. I was impressed\u2014not many people can write a check for half a million dollars. Red was a little surprised to hear Micki had been hired, remarking, \"Jack must have his reasons.\" He reinforced that Maggie could get anything I needed from Regina Halep. She was waiting for \"Gina\" to get into the Lobos office in LA to make that call. She said Red had closed with an offer to contribute to Billy's defense fund.\n\nAfter reading all the reports and responding to each with suggestions, I called Micki.\n\n\"I'm damn glad my room wasn't bugged last night. Larry and I were a little enthusiastic on these fancy sheets.\" Enough of their sex life, she'd made her point.\n\n\"Well good for you. I'm glad you're comfortable, but I'm not interested in the details. Let's stick to business. When do you meet with Marshall and Billy?\" I asked.\n\n\"You're no fun this morning. You sure you don't want to know...\"\n\n\"Micki, stop it. I'm quite sure.\"\n\n\"Okay, okay. I'm meeting with a deputy US attorney at one o'clock and with Billy at two-thirty. I had breakfast with Marshall this morning. He was pretty upset to learn his room had been bugged\u2014the possibility had never occurred to him. Grace called to tell him the press had left which I could tell was a relief. He and Larry have gone to see the American History Museum and the World War II monument. I'm glad to have them out of my hair.\"\n\n\"What can I do to help?\" I asked.\n\n\"I'd love you to be out front with the press. You know how irritated I get with them. In fact, I'd love to have you in charge of this whole damn thing. I still can't believe you convinced me to represent a woman killer. I'm only doing this for you, you know.\" She sounded serious.\n\n\"I know, and I apologize for asking you to go against your principles. But I'll challenge you the same way Marshall challenged me. If you still believe Billy did it after you've met with him, I'll find another way to do this. I respect you too much to ask you to go against your principles.\" I meant it.\n\n\"What happened to 'everybody is entitled to a lawyer'?\" she asked.\n\n\"I believe I already asked you that same question. Don't worry; Billy can afford the very best. We can always get another lawyer,\" I answered.\n\n\"Then why me? You could stay in hiding and still have a damn good defense lawyer taking the lead.\"\n\nI took a moment\u2014I wanted to get this right.\n\n\"Because you're not just another lawyer. Micki, when you and I work together we are the best. All the flirtations and other baggage we bring to each other aside, when we are in the courtroom we are a formidable team. If Billy has a chance in hell, it's because we're working together. Neither of us can do this alone. We need each other, but more importantly Billy needs us. But if you don't believe in him, it won't work.\n\n\"Talk to him. Ask him hard questions. If you don't believe in his innocence, we'll both walk away.\"\n\nShe spoke quietly, \"So you really do believe in him. And I guess in all that other stuff.\"\n\n\"Yes, I do.\"\n\n\"For the record, we were good in bed together, too.\" I could envision her smiling.\n\n\"Better than good.\" I responded.\n\n\"Larry is very good for me. Do you understand?\"\n\nI didn't, so I kept quiet. It was time to end any conversation about our past.\n\n\"You do know that some sociopaths can convince the most hardened prosecutors of their innocence?\"\n\n\"Billy's not a sociopath, and the prosecutor is sure he did it.\" I said.\n\n\"I'll call you as soon as I've seen him this afternoon. You know I wish we could talk together in person\u2014I miss that.\"\n\n\"Me, too.\" It was the truth, but given the conversation maybe it was best we weren't together. Maggie would call our complicated history a distraction.\n\nI spent the rest of the morning on the phone. I called Rose, thanked her for covering for me and managed to dodge every question she asked about where I was. Maggie later told me she suspected I was somewhere with that \"Carol Madison woman,\" and I was embarrassed to tell her. Perfect.\n\nI called Walter to thank him for giving me Martin's help. He wondered how long I could stand being cooped up at Barker's. We agreed to have lunch tomorrow. As a Barker's member he could come and go without drawing attention.\n\nIf time weren't such an issue, I'd feel good about the progress we had made in our first real morning, but the clock was running way too fast for my taste.\n\nThe pressure of time led me to call a man I had been forced to deal with in the Stewart case\u2014Alexander Novak. He was an outlier, a Russian gangster who ran his own organization. I had a grudging respect for the man\u2014without his help Micki would surely be dead.\n\n### **40**\n\nNOVAK WAS PART of the Russian mafia. At one time he controlled gambling and prostitution in the South from Atlanta to Dallas. He ran his business out of Little Rock for many years, but had moved to Dallas last year, I can't think why. Novak claims he's gone legit, but I have my doubts. We crossed paths two years ago in Little Rock, each doing the other a favor. Micki couldn't stand him and would have my hide if she knew I was making this call.\n\n\"Alex\u2014Jack Patterson. I hope you are well.\"\n\n\"Jack!\" he said in surprise. \"A voice from my past. I am fine. To what do I owe this pleasure?\"\n\n\"I need some information.\" No need for niceties with Novak.\n\n\"Information doesn't usually come cheap, my friend.\"\n\n\"I understand. Alex, I need to know how I would go about hiring three or four attractive women for a night in DC. They'd need to be fairly intelligent, presentable in public.\"\n\n\"Jack, the reason for your inquiry is none of my business, but I have to admit I'm surprised.\"\n\n\"I'm not actually trying to hire anyone. I just want to know how I would go about doing so.\" I knew I sounded irritated.\n\n\"Jack, as I have said, I am no longer in the business, but I might know someone you could call. But I need more information, and I must have your word that you are not helping the government set up some type of sting operation. I am well aware of your feelings toward my former business.\"\n\nI had hoped he would just give me a name, but I understood his caution. Walter and Maggie's foundation was devoting a lot of money to organizations that try to rescue young women from sex traffickers, and I was an integral part of that effort.\n\n\"In turn, I need your word that you won't use my name without my permission or tell a soul about this conversation,\" I said. Caution worked both ways.\n\n\"Hmm\u2014intriguing. You have my word.\" Novak may have been a crook, but I had learned that when he gave his word, he meant it.\n\n\"Micki has agreed to represent Billy Hopper.\" Word or no word, I couldn't reveal my own involvement directly. \"He attended a banquet with three attractive women who returned to a hotel with him. Later....\"\n\nAlex interrupted. \"I've read a few news accounts, say no more. You think it is possible that the women in the limousine and the woman in his bed were not friends, but girls for hire?\"\n\n\"I don't know. What I do know is that the identity of the woman found in the bed remains a mystery, even to the prosecutor. The three women at the banquet haven't surfaced either. The prosecutor could have them under wraps, but I don't think so. Billy swears he didn't know the victim, and I believe him. I think she might have been working for someone. Why else wouldn't a friend or family member have claimed the body by now?\"\n\n\"There are many reasons why women disappear and many reasons why no one claims a body, reasons that have nothing to do with prostitution.\" Of course he was right.\n\n\"True, but if three or four of your colleague's best girls suddenly went missing, he wouldn't run to the police.\"\n\n\"No, particularly if he saw a picture of one of those girls in _The Washington Post_. If he were brave, he might try to go after the person who had hired them. More likely, he would have been frightened and simply disappeared,\" Alex said.\n\n\"Why would he have been frightened?\"\n\n\"People in the business don't murder their goods. Assume for a minute that Micki's client didn't do it. I think he did, by the way, but let's assume he didn't. The person who murdered that woman could just as easily murder her protector. Why take that risk? Maybe he took the other three girls with him.\"\n\nAlex's use of the word \"goods\" made my skin crawl. For him it was strictly business.\n\n\"Why do you think Billy did it?\" Alex was a smart guy; I wanted to hear his reasoning.\n\n\"Sex can make a man crazy, even turn him into a cold-blooded, sadistic killer. Powerful men have been ruined, mild-mannered men have become violent\u2014before, during, and afterwards. In my former business we saw this pattern many times. Billy Hopper fits the mold. He'd been drinking all night, he couldn't get it up, and he took it out on the girl. Sadly, it doesn't just happen in brothels; it happens in thousands of homes. I'm sorry, Jack. Micki's client is a poster boy for violence against women in America.\n\n\"It doesn't matter whether she was an old girlfriend or a working girl. He likely snapped when he couldn't get it up or prematurely ejaculated. The stupid girl probably ridiculed him, and he exploded. Micki's best bet is to claim temporary insanity, but I doubt that defense will play well in today's atmosphere. May I ask why you're involved?\"\n\nOf course he had seen through my subterfuge, but I kept to the game plan. \"Micki asked for my help and, naturally, I agreed. She was reluctant to call you directly.\"\n\n\"Ah, of course. That explains your interest. I, too, would like to be of help, if I can. Perhaps I can place a few calls. May I call this number if I find anything useful?\"\n\n\"Yes\u2014we would both be most appreciative. Thank you.\"\n\nNovak certainly didn't fit any mold\u2014he was an intelligent and complicated person. During the Stewart case we developed a level of trust I would never have imagined possible. His reaction today contained equal amounts of bluntness and finesse, insolence and civility. I knew he was right about men taking out their frustrations, sexual or otherwise, against women. I've never understood it, can't imagine such brutality. But it happens day after day, every single day.\n\nI don't know why I thought the girls at the banquet might have been hired. Pro athletes attract women like picnics attract ants, and it was just as likely they'd bought or been given their tickets just like everyone else. Rock stars have groupies, and so do pro athletes. All the professional leagues educate their athletes on the subject. Whether those classes do any good is an open question. Another possibility was that the women came with other men at the table and helped a drunken Billy get back to the hotel. Good Samaritans, so to speak.\n\n*********\n\nMr. Kim was not pleased that Patterson's whereabouts were still unknown. Patterson was not sophisticated enough to know how to go underground beyond detection, but so far he'd been successful. He did know that Patterson had gone to several ATM's in DC before he left town. Considering his appetite for good food and wine, the cash couldn't last long.\n\nHe had to believe that someone with the Matthews' companies, probably Stella Rice, had discovered his entry into Patterson's phone and computers. He was no longer getting any information, not even meaningless chatter. His technicians assured him they would gain entry again within a few days.\n\nJones was difficult to follow, but from all appearances he was in town as a tourist. He had even met with several hotels about a possible wedding reception. Marshall and Micki were meeting with Hopper this afternoon. He hoped to have a full report immediately after.\n\nHis thoughts went back to Patterson. If he didn't surface soon, he would have to be flushed out like a quail.\n\n### **41**\n\nI DON'T KNOW why I felt so isolated. It had only been a couple of days, and I wasn't exactly marooned on a desert island. But I did\u2014I felt all fidgety, just couldn't relax. The worst was waiting for email and phone calls from the team. What were they doing? My mind was absorbed with theories and outcomes; I could hardly think about anything else. I went down to the bar for lunch. When I saw the special was chicken and dumplings, I gave up. I knew the price would be many hours at the gym\u2014assuming I survived.\n\nI finished my lunch and took my laptop to an empty table in a corner. Finally, an email from Clovis.\n\n\"Logan Aerospace purchased a table for the NFL's Honors banquet for $10,000, paid an extra $15,000 to have Hopper sit at their table. Details to follow. No information on names of attendees. Ten-person table. Guests included Hopper's agent and female guest, three attractive women, four guys in suits, too young to be high-level executives. Guys bought autographed Lobos' football for $4500. Lots of alcohol served, agent passed waiter $200 to keep drinks coming. Waiter pretty sure agent's guest was not his wife. Agent occupied a suite at the Mandarin for three days, big food and alcohol tab.\"\n\nI responded with some follow-up questions. I also sent Maggie a message asking her to ask David Dickey to provide a report on Logan Aerospace. We had all agreed that despite Stella's assurances of security, we should keep calls to a minimum, using email as much as possible.\n\nStella's email was next:\n\n\"Bastards already trying to hack into my new system. They won't get in, but they're pissing me off. Hacking is slowing down process of trying to find source, but maybe they will make a mistake.\"\n\nI wouldn't want to piss Stella off.\n\nMaggie responded to my email:\n\n\"David is on it. Says Congress is already looking into Fantasy football, but NFL and NBA lobbyists and lawyers will make sure investigation goes nowhere. His company has already done an analysis. Fantasy sports are a gold mine for owners, millions they don't have to share with players or TV networks. Report will be in next delivery to your location.\n\nInteresting development. Hopper's agent showed up at the office. Says he's here to help in any way he can.\"\n\nI sent this email back to her:\n\n\"Must have gotten wind that Red paid what was due, wants his cut. Ask for a copy of his contract. Tell him Micki is representing Billy and schedule meeting between the two. Make sure Clovis talks to Micki before meeting. Need to know what he remembers about the evening, but need to tread lightly. Agent probably ripping Billy off. Don't let on that we are anything but grateful for his help.\"\n\nThis felt more like practicing law. But I couldn't help but be amused\u2014our emails had begun to resemble telegraphs.\n\nThe bartender brought me another glass of iced tea. She must be new\u2014I hadn't noticed her Saturday or Sunday. I could tell she had something on her mind and waited for her to speak.\n\n\"Mr. Patterson, this might be none of my business, but you might want to stay downstairs for a while. There's a large meeting upstairs with a lot of non-members. One of the guests was asking if any of the staff had seen you lately. We've reported him to Mr. Barker, but don't worry: no one said a word. Just as a precaution, you might want to work from down here. It should be pretty quiet.\"\n\nMy stomach gave a bit of a lurch. The staff is well known for its discretion\u2014their jobs depend on it. But there was always the chance...\n\nI wondered who was hosting the meeting, but knew better than to ask. I thanked her sincerely, adding, \"What happened to Wally? I mean you're doing a great job, but... um, sorry, I don't know your name.\"\n\nShe was quick to respond. \"It's Barb, Barb Patton. Wally's fine, but his uncle had a stroke, and I'm filling in for a couple of weeks. There's not much family left, you know.\" She allowed her hand brush mine as she removed the old glass.\n\nOkay, Jack. Don't read anything into that, I scolded myself. I was here to work, not to flirt with the wait staff.\n\nI tried a little research of my own on Logan Aerospace, a multi-billion dollar military contractor. They built components for fighter aircraft. That triggered a memory, and sure enough Chuck Morrison was in their listing of senior executives, the same Morrison who had met with Tennessee Senator Boudreaux that first weekend at Carol's.\n\nProbably a coincidence, but intriguing nonetheless. Maybe I should call Carol to ask her about Chuck. No way, Jack. Forget about it.\n\nI hoped to hear from Micki soon. If she didn't buy in to Billy, I'd have to rethink the whole effort. I couldn't do this without her. I'd be in way over my head. I felt almost queasy knowing that someone had asked about me, here, at Barker's. Whoever was suspicious, clearly didn't think I'd left town. Maybe he was just being careful. Either way, I felt uneasy.\n\nMaggie had been able to scan David's report on Fantasy sports and email it to me.\n\nOfficially, the NFL has long held the position of opposing sports gambling, but the league has done nothing to stop individual team owners from investing in fantasy football. Fantasy sports operate under an exemption to a 2006 federal law that prohibits games like online poker, but permits fantasy sports play with respect to professional sports leagues. The games are legal in all but five states. A handful of other states are also trying to shut them down, but David speculated their efforts would be unsuccessful. Too many voters were playing fantasy sports. A move to shut it all down could be political suicide.\n\nFans pay entry fees to a website\u2014anywhere from twenty-five cents to thousands of dollars\u2014to assemble a roster of real football players with multimillion dollar prize pools that can pay millions to the winner. One site alone says it pays out over seventy-five million dollars a week and over two billion dollars in a year. No telling how much it takes in: the industry is totally unregulated. No wonder Red says fantasy football is bigger than the sports itself.\n\nPeople called Red Shaw a fool for paying the NFL over two billion dollars for the new LA football franchise. If David's economic analysis was correct, the franchise would be worth at least four billion in ten years. No, Red was not a fool.\n\nIf Red was involved in setting up Billy\u2014and the more I thought about it, the more I found it hard to believe\u2014I had to wonder what role Lucy might have played. Lucy always had an agenda. Her engagement to Red insured big bucks for her campaign coffers. For his part, Red gained a strong ally in the Senate for his businesses and the NFL. I admit my individual prejudice wanted to think that somehow Lucy was involved, but I'd be damned if I could see how. I was lost in my imagination when my cell buzzed. It was Novak.\n\n### **42**\n\nI HADN'T EXPECTED to hear back from him so soon, if at all, so I assumed he had bad news. As usual there were no preliminaries.\n\n\"One day I will learn to trust your instincts,\" he said.\n\n\"What do you mean?\"\n\n\"A former colleague in the DC area is missing three girls and their bodyguard. For obvious reasons he does not wish to be involved in your case, and he is pretty sure that the woman found murdered was not one of his. But he thinks he knows who she was.\"\n\nI tried to keep my voice neutral. \"Does he have a name, a family, someone who can identify her?\"\n\n\"Her papers, birth certificate, and immigration documents will be delivered to your office. She came from Bulgaria and worked independently.\"\n\n\"Wait a minute\u2014does he know who hired her that night? What about her bodyguard and the other girls? Did she have any friends Micki can interview?\" My voice had lots its cool, and Novak laughed.\n\n\"Calm down, Jack. My former colleague wasn't involved in the bodyguard's day-to-day operations, much less those of the dead woman. As I said, the bodyguard has gone missing, as well as the three other girls. My former colleague has called out the dogs to find them.\"\n\nNovak's command of English was excellent, but intriguing. For example, he always referred to a pimp as a bodyguard. Who were the dogs?\n\n\"Can I speak with him?\"\n\n\"No way. Your reputation precedes you, my friend. He thinks your client\u2014sorry, Micki's client\u2014probably met the dead woman at the Mayflower bar and took her upstairs where he murdered her. She worked that bar regularly\u2014independent, classy, and expensive. He thinks the bodyguard took the other girls out of town to prevent them from getting mixed up with the police. They are probably holed up in a motel somewhere, shooting up heroin.\n\n\"He also said that unless you can prove Billy didn't kill the girl, Hopper's life in prison isn't worth a plug nickel. He's dead on arrival.\"\n\n\"Why?\" I asked. \"Prisons are full of ageing murderers.\"\n\n\"Men who murder professional women don't last long in prison. No one in the business can afford to have his girls murdered without reacting in kind. It is the one thing an organization offers\u2014protection. Even though the dead woman was working on her own, the business has to respond to her murder. I could not prevent that from happening even if I wanted to.\"\n\n\"What if Billy didn't kill the girl? What if the bodyguard and the other girls are still in danger?\"\n\n\"I told him you didn't think Billy did it. He thinks you're dreaming. But he agreed to keep an open mind about the possibility that both he and the girls are still in danger.\"\n\n\"If he finds the bodyguard or the other girls, may I speak with them?\"\n\n\"Probably not.\"\n\n\"How can I prove the papers coming to my office are those of the dead girl?\"\n\n\"The birthmark the press keeps talking about is actually a brand she tried unsuccessfully to have removed. The information about the attempt to remove it will be included in the same delivery.\"\n\n\"I take it that this information is not coming from your former colleague.\"\n\n\"You are correct.\"\n\nIt would have been unwise to press him further. For some reason Novak had taken an interest, that was enough. I wasn't quite sure why and wasn't sure I wanted to know.\n\n\"Thank you for your help. How can I repay you?\"\n\n\"Jack, you have good instincts. But be very careful your instincts do not betray you. That young woman may have been a professional, but she did not deserve such a brutal end. Her murderer must be made to pay for his actions. Keep digging, and you may discover some information you will be willing to share with me. Let's just say we are both running a tab, and we will keep in touch.\"\n\nI was dancing with the devil, but if it meant saving Billy's life it might be worth it. I just had to make sure that Micki didn't discover my dancing partner.\n\nI emailed Clovis the information that the deceased was a working girl who frequented the Mayflower bar. He could figure out my source on his own. I also told him the other three might have been for hire as well and were currently missing, along with their bodyguard. Details to follow. He called immediately.\n\n\"I'm not going to ask where you got that information. Don't let Micki find out, that's all I've got to say. Here's the question: If she frequented the Mayflower Bar why has no one come forward to identify her? The bartender had to have known her at a minimum.\"\n\n\"That's what you have to find out.\"\n\n\"Don't worry, I'm on it, but don't get too optimistic.\" Clovis cautioned.\n\n\"Why not? It could blow the case wide open. Somebody hired a woman to set Billy up.\"\n\n\"Or Billy hired her after one too many drinks at the bar.\" Clovis repeated the same assumption Novak had made.\n\n\"Or maybe somebody did hire her to set Billy up for blackmail or for a tabloid story, and things went terribly wrong. She might have agreed to blackmail Billy after a night of sex, but I doubt if she agreed to be murdered. You still have Billy in bed with a murdered woman. It's just as much a crime to murder a hooker as a cheerleader.\" Clovis rightfully admonished me.\n\nOf course, he was right. I had fallen into that trap of presuming a call girl asked for whatever she received. I had learned during the Stewart case how often working girls were victims of terrible abuse. I ought to have my butt kicked.\n\n\"Let's assume all the girls were hired to set Billy up, Clovis continued. Maybe to get him kicked out of football, or to blackmail him or the Lobos, or a million other possibilities. So far nothing explains why or how that girl came to be found dead in Billy's bed. No self-respecting pimp is going to let one of his girls get killed, no matter how much he is paid. I'm afraid the news that she was a working girl at the Mayflower bar only makes it worse for Billy, not better.\"\n\nSo much for any optimism.\n\n\"Nevertheless, let's find out all we can about who she was. I'll have a name pretty soon. And you're right, why has no one come forward to identify her? The Mayflower Bar is a classy place; a lady of the evening had to stand out.\" I said.\n\n\"She probably dressed carefully and wore a wig. Don't be fooled, Jack: classy bars are where girls find the best customers.\"\n\nClovis changed subjects.\n\n\"I'll have a full report to you tonight on the Mandarin visit. Seems that Billy's agent had a high old time over the weekend. I'm running down his girlfriend. She works on the Hill, so she'll be easy to find. Turns out the four corporate types went to the bar after the banquet and continued to drink. I'll have their names tomorrow. The bartender says three women joined them later, and they almost closed the bar down. They could be the same three. Wouldn't that be interesting?\"\n\n\"Yup, most certainly would be.\"\n\nMy mind was racing, and I fed Clovis a list of things to find out, even though I knew he was probably two steps ahead of me, listening just to humor me. I closed my instructions with one last one.\n\n\"Be sure to tell Micki what you discovered.\"\n\n\"Micki isn't back yet, but I will when she arrives. We're having dinner tonight at Johnny's. It's better than meeting every afternoon at the office. It would look too much like I was working for her.\"\n\n\"Good thinking.\" I said, and hung up thinking that Micki should have been back from the jail by now. A chill went up my back.\n\n_Where was Micki?_\n\n### **43**\n\nIT WASN'T THAT late for Micki not to have checked in, but Micki had gone missing once before, and it hadn't ended well. Naturally I was a little nervous. I also was curious to know if I had a partner or not. I resisted the urge to call\u2014no news was probably good news.\n\nWhile I waited on her, I gave myself a little lecture. In the Stewart case, I had learned more than I wanted to know about sex trafficking in America. Walter and Maggie's foundation spends a great deal of money funding non-profits which are dedicated to education, prevention, and helping the victims of this national tragedy. How could I have just assumed these women were trying to frame Billy? They were probably victims of someone else's plot, pawns controlled by some master using heroin and fear to ensure their cooperation. If I needed any further evidence of this, the woman's body in Billy's bed was proof enough.\n\nI also had to curb my enthusiasm about the woman's identity and occupation. If she had been working the Mayflower, the logical conclusion was that she and Billy met in the bar and headed upstairs. Her occupation in fact would probably work against Billy. Everyone would presume he had been sexually frustrated or they had argued about her fee and he lost it. The prosecutor would have a field day with me if I argued she was there to frame Billy.\n\nThe phone buzzed again. I was relieved to recognize Micki's number. She didn't waste any time.\n\n\"I just talked to Clovis, and you tell Novak I still think he's pond scum.\"\n\n\"He told you I talked to Novak?\"\n\n\"No, he told me he didn't know your source, but I'm no fool. Where else would you find what you did about the victim?\" She didn't sound that angry.\n\n\"So go ahead and get the lecture out of the way.\" I was ready to take a verbal beating. Good thing this was a phone call.\n\n\"What are you talking about? I don't care who you talk to as long as you get the information you need. Your source is questionable and an ass-hole, but we can't bother with niceties if we're going to save Billy from a life in prison or worse. Frankly, Jack, I don't think he'll last a week in prison before someone kills him.\"\n\n\"That's what Novak said.\" I reported.\n\n\"I hate to agree with him on anything, but this time he's right.\"\n\n\"I take it we're partners once again?\" I asked.\n\nI could feel her smiling into the phone. \"Of course. You knew once I met the prosecutor, talked to Marshall, and met with Hopper I couldn't walk away.\"\n\n\"Tell me about it.\" I was tickled pink to have her back.\n\n\"First, the prosecutor, Constance Montgomery, is one cool customer. She said all the right things, agreed to turn over her entire file immediately, but you and I both know that won't happen. She'll give me her file, all right, but not all of what she has. She'll be free to leak the remaining info however she likes, piece by piece. Since she's given me her file, she can claim to a Judge that I must be the source of any leaks. Meanwhile, the press prints her leaks day by day, piece by piece, tainting the jury pool before even one juror is called to the box.\"\n\n\"I'll try to find out what I can about her. I have to admit I was impressed the one time I met her; she seemed very confident. Her confidence shook Marshall.\"\n\n\"You were impressed with her legs.\" Micki was back to her old self.\n\nShe did have good legs, I admit. But as Micki once said about my friend Sam Pagano after he was elected prosecutor, \"He's a prosecutor now, and a girl has to have some standards.\" I felt the same way about female prosecutors, with a few exceptions.\n\n\"Marshall gave me everything I think you already know regarding Billy's background and lack of family. Just in case he left something out I'll send everything over after I write it up in the morning. I don't think it will be of much use. Too bad\u2014the violence and abuse Billy endured during his childhood will work against him. What a tough story!\"\n\nI wanted to ask her if Billy had told her what he had learned about his real family, but I didn't want to break her train of thought.\n\n\"Billy was everything you and Marshall represented him to be. If it weren't for his fingerprints all over the knife, the girl beside him in the bed when he woke up, and the doors locked from the inside, I'd say we might have a chance because he comes across as honest and innocent.\"\n\n\"Doors locked on the inside?\"\n\n\"A little nugget from Constance in our 'candid' conversation.\"\n\n\"That's not good.\" I responded. Then it occurred to me that all hotel doors lock when you leave the room. We needed some clarification on this.\n\n\"No, nor is the fact that Billy doesn't remember a thing despite no evidence of drugs in his system.\"\n\n\"Another nugget from Constance.\" I asked.\n\n\"Yes, and there's one more\u2014his semen.\"\n\n\"What semen?\" I asked.\n\n\"Billy's semen. It was found on the sheets and on the girl's legs, but none was found in her vagina. Constance said it was a sign that Billy had prematurely ejaculated. Apparently the autopsy found no evidence she and Billy had intercourse, at least as it is commonly understood.\"\n\n\"None of this works to Billy's advantage.\" I said.\n\n\"Yeah, and now that she's given me these tidbits, I bet the damaging details will be in the media in the next couple of days, if not tonight.\"\n\n\"I won't bet against that.\" Prosecutors hold all the cards in dealing with the media during a high profile case. I wouldn't be surprised if they held seminars on how to manipulate the press.\n\n\"With all the bad news, what convinced you to represent Billy? Nothing you learned today points to his innocence.\" I didn't want to talk her out of representing Billy, but I was curious.\n\n\"True, I didn't hear a thing today that makes me think Hopper isn't a Ted Bundy. The only thing he has going for him is that both you and Marshall firmly believe in his innocence. I can understand Marshall, he's Billy's surrogate father. He has to believe in Billy. It's you I had to figure out.\"\n\n\"And what did you conclude?\" I asked.\n\n\"It's what you taught me before. It's too perfect. Airtight. All the clues point to Hopper; not one thing is out of place. There has to be something in the physical evidence we're missing. We have to find the loose end.\" She had learned, and I smiled.\n\n\"Exactly.\"\n\n\"What's next, partner?\"\n\n\"You go to dinner with Clovis and Stella\u2014get a full report on their day. Make sure Maggie's in the loop as well. I've got lots to read and even more to think about. Let's both get a good night's sleep and be ready to hit the ground running tomorrow morning. Hopefully, I'll have come up with a working game plan by then.\"\n\n\"Wish you could join us,\" she said.\n\n\"Me, too, but Barker's makes a pretty good crab cake. It's not Johnny's, but it'll do.\"\n\n\"If I know you I bet there is a long shower in your future.\" Micki knew a great deal about my shower thoughts.\n\n\"It's a possibility, but it's not the same when I'm by myself,\" I shot back.\n\nShe laughed. \"Goodnight, Jack.\" Larry was a lucky man.\n* * *\n\n## **WEDNESDAY**\n\n* * *\n\n## **April 27, 2016**\n\n### **44**\n\nTHE NEXT MORNING, I actually took advantage of the exercise room at Barker's. I had a lot of energy to work off. I built up a sweat using the rowing machine, elliptical, and stationary bicycle and enjoyed the luxury of the shower attached to the gym. I thought about relaxing in the large hot tub, but I still had my sights on someone else's tub and companionship. A bunch of sweaty guys was not what I had in mind.\n\nI say the luxury of a gym shower and I mean it. My attitude comes from many years of playing sports, especially baseball. Lingering in a high-pressure, hot shower after an exhausting practice\u2014it didn't get much better, and had become the origin of my \"shower thoughts.\"\n\nOver a breakfast omelet, I thought about the upcoming day. Micki was going to enter her appearance as counsel to Billy Hopper. Last night I had emailed her a list of questions I thought the press might ask. I had additional thoughts for Clovis, Maggie, and Stella, and I'd call each of them, taking care not to get them so busy that whoever got suspicious.\n\nWalter was coming to Barker's for lunch, and I looked forward to his company. Barb the bartender was cute, but becoming a bit too friendly. Hopefully, I would receive the packages from Novak this morning. It was a huge relief that Micki didn't mind my reaching out to him. Well, maybe \"didn't mind\" was a bit too strong.\n\nExcept for the loneliness, staying at Barker's wasn't such a bad deal. Maybe I should go ahead and sell my house, live permanently at Barker's like those old clubmen in England. Then again Carol couldn't drop in with pizza and watch a ball game, and where would Beth stay when she came home. I decided to give Susan a call today and ask her to send me some information on what might be available inside the beltway.\n\nI called Maggie first.\n\n\"Miss me?\" I asked.\n\n\"Not really. Without you, the press are no longer interested, a nice change of pace.\"\n\n\"Don't expect that to last. Micki will be grilled this morning. Once they find out she's working out of our offices, they'll be back.\"\n\n\"They don't normally camp out in front of lawyer's offices.\"\n\n\"I hope you're right, but you can't count on it. I'm not as worried about the press as someone catching on that Clovis and Stella are coming by every day. I hope they are being careful.\"\n\n\"Oh, they are. In fact, I have no idea how they are getting in the building. They go in and out without leaving a trace. It's driving Rose crazy.\"\n\n\"Speaking of Rose, the phones are likely to ring off the walls after Micki enters her appearance this morning,\" I warned.\n\n\"I've already warned her and told her to simply transfer them to me. I'm pretty sure she'd quit if I weren't here,\" she laughed.\n\n\"If you weren't there, I'd quit,\" I responded.\n\n\"That's tempting.\"\n\nI ignored her. \"Have we received anything from Gina with the Lobos?\"\n\n\"Yes, we spoke by phone yesterday. She was very pleasant and most cooperative. It will take her a few days to get all the information together. I told her it would be fine to send it in stages. The first package should arrive this afternoon, and I'll get it to Barker's.\"\n\n\"Take care my name isn't on the package. And did you ask her about billing?\" I thought she would balk at paying us before we did any work.\n\n\"Don't worry\u2014no identifying marks! And she beat me to it. She asked for wiring instructions for the first quarter's retainer. The first three months fee hit our account this morning. Quite a refreshing reaction from a new client.\"\n\nSurely she wouldn't have been so cooperative if Red was part of the plot. Nothing added up.\n\nMaggie told me that Micki had just texted that she had entered her appearance with no problems and would hold a brief press conference at 10:00 a.m. Apparently it would be covered live on ESPN. I snickered at the reality of a sports network covering a high profile criminal case. On further consideration, I realized they do it all the time. Sports figures were celebrities, and ESPN covered their sins and misdeeds both on an off the field. I went back to my room to watch, saying a silent prayer that Micki had read the questions I sent over.\n\n\"Ms. Lawrence, isn't a bit unusual for an Arkansas lawyer to be hired to represent a sports figure like Billy Hopper? What is your connection to the accused?\"\n\nI had to admit Micki looked fantastic in a royal blue jacket and slim skirt.\n\n\"Mr. Hopper is very close to Little Rock's Fitzgerald family. Judge Fitzgerald asked me to come to DC and meet with the accused. I met with him yesterday, and as a result, I am now his counsel. I entered my appearance today and met with the lead prosecutor yesterday.\"\n\n\"What happened to Jack Patterson? He met with Billy and led us to believe he would represent the accused. You usually work together. Is he going to be involved?\"\n\nThis was the delicate question I worried about. Micki shouldn't lie to the press. At the same time she needed to convince whomever that I was not working with her.\n\n\"I understand that Jack did meet with the accused last week as an accommodation to Judge Fitzgerald. You are right that we worked on two cases together in Arkansas, and we remain friends. But as you know his practice in DC is limited to antitrust law. He has been kind enough to offer me office space during this case, but he is dealing with a family matter and has a full caseload at the moment.\"\n\nI shouldn't have worried. Perfect. Now hopefully they would let follow up questions drop. I gave a little sigh of relief as the reporters turned to the case at hand.\n\n\"Are you going for temporary insanity?\" came the next question.\n\nMicki flashed a smile and began in her best southern accent.\n\n\"Listen people, y'all don't know me. I practice criminal law every day in Little Rock and have one unbendable rule. I don't talk about any case with the press until the case is over, and usually not even then. If I were representing any one of you, that's the way you'd want it. You can ask me questions about my strategy till the cows come home, but I won't break that rule.\"\n\n\"Billy Hopper was found in his room with a brutally murdered woman in his bed. The door was locked from the inside. How do you defend that?\"\n\nGood question, and I worried that Micki's temper might flare at the leak by the prosecutor's office of the detail of the locked door. I shouldn't have worried.\n\n\"As I said, I don't talk about the details of any case with the press. I save my answers for the courtroom. But I would like to say something about the information you just casually threw out.\"\n\nThe reporter shrugged, signaling 'go ahead.'\n\n\"Here in DC, people leak information 'off the record' and 'on the condition of anonymity' every single day. It's become such common practice that reporters take such information as gospel, never questioning why someone isn't willing to stand behind their own words.\n\n\"You seem to be a professional, so I assume you have independently verified the information you were given. But to others who aren't so diligent, I caution you to do your homework before you go about reporting information from confidential sources. It might save you from looking, shall we say, unprofessional.\"\n\nThe reporter had been called to task, and Micki had at least planted a seed of doubt in the other reporters' minds. They should have left well enough alone, but a guy from the _Post_ immediately called out.\n\n\"Are you saying that the room wasn't locked from the inside and the prosecutor's office was wrong to put forth that detail?\"\n\nMicki paused and stared down the reporter for a minute. The questioner was starting to fidget, when Micki turned on the charm again.\n\n\"You know I've been on this case officially for less than an hour. If the prosecutor leaked the information as you suggest, whether it is right or wrong is a question for her, not me. I have no independent verification of your source, so I'm not inclined to worry much about it.\"\n\nMicki paused and then continued.\n\n\"Here's what I will say. I don't leak details of a case. Once I assemble a team, they won't either\u2014if they do, they'll be fired, that simple. We will present our case in a court of law, not in the press.\" she said with emphasis and then softened.\n\n\"Sorry to disappoint, folks\u2014it's just the way I roll.\" She turned and walked away.\n\nMicki had been impressive without saying much of anything. If I were Constance Montgomery I'd be pissed. Someone in her office had leaked the fact that the door had been locked from the inside, and in order to confirm their story, the reporters had betrayed their source.\n\nI waited to give Micki time to get away and then called.\n\n\"You're a natural. Why were you nervous?\"\n\n\"Thanks, it was your list of twenty questions that made me nervous,\" she replied.\n\n\"Constance Montgomery has to be upset. The reporter fingered her for the leak.\"\n\nShe brought me back to earth. \"I'd feel better if we had a good explanation for how the doors got locked.\"\n\n\"I agree, but as you said, you've only been on the case for an hour. We'll deal with the locks later.\"\n\n\"Yes, and my partner is holed up in a hotel watching TV. I don't need a TV critic, I need facts.\" She was definitely on the case and on mine.\n\n### **45**\n\nMR. KIM WAS getting nervous. His people had yet to discover Patterson's whereabouts. Lawrence's performance with the press had been flawless; maybe he needed to revaluate his opinion of her. Jones and Rice were still acting like starry-eyed lovers when she wasn't working for Matthews, but she had proven a worthy advisory to his hacker. The information flow coming from Patterson's office had never been this low. To top it off his listening devices at the Hay-Adams had been discovered.\n\nHe had finally gotten someone into Barker's, but even that had proved to be useless. No one had seen Patterson. The case against Hopper was still airtight, and the client was happy, but Kim still worried where Patterson might be. Perhaps the time had come to act.\n\n*********\n\nWalter walked into the dining room, and I breathed a sigh of relief. I wished we were meeting at Columbia for a round of golf and the nineteenth hole. Good friends like Walter and Maggie make up for a lot of the sucker punches life brings. Goodness knows I needed the company of a friend.\n\nHe gave my hand a warm shake. \"We need to get you out of here. It's just been three days, and you're already turning pale.\"\n\n\"And a whole lot heavier,\" I laughed. \"The skin color will return as soon as we hit the golf course. I'm not sure about the pounds.\"\n\n\"If you don't return soon, we may need to get a new addition to our foursome,\" he kidded.\n\n\"Don't think I'm not worried. The stir crazies are setting in.\"\n\nWalter sat down and said seriously, \"I've never seen you quite like this. You really are worried this time, aren't you?\"\n\nI shook my head. \"A bullet whizzing within inches of your head will do that. I'm even more worried about Beth and Maggie. My love and concern for them is well known.\"\n\n\"And now, Carol?\" he asked.\n\n\"Yes, and now Carol, but don't tell Maggie.\"\n\n\"She already knows. She can read you like a book,\" he smiled.\n\n\"Let's order.\" On cue Barb sidled up to the table, put her hand on my shoulder and said with a flirt, \"What can I get you, Jack?\"\n\nWalter raised his eyebrow, but said nothing. I wondered why she was working the dining room. We both ordered, ignoring her smiles. She left looking a little crestfallen.\n\n\"What do you know about Red Shaw?\" I asked Walter.\n\nI knew Maggie had told him the Lobos were a new client. Maggie knew she could share whatever she learned at the office with her husband. It was a violation of the attorney-client privilege, but I was realistic about conversations between husbands and wives, and besides I'd trust Walter to go to the grave with anything Maggie told him.\n\n\"I've never had any personal dealings with him, except when he was putting together his syndicate to purchase the Lobos. Everything I've heard is that he's a straight shooter, makes money for his investors, and is as honest as the day is long. He's a little rough around the edges, but that's to be expected. As I remember, he grew up somewhere in the middle of rural Texas.\"\n\n\"So you almost invested in the Lobos?\"\n\n\"Came very close,\" he said.\n\n\"What caused you to back out? According to David Dickey, it's a gold mine.\" I really was interested.\n\n\"It wasn't anything to do with Red or the deal. It's player safety, the brain injuries. A report was released last year about football players and what they call CTE, chronic traumatic encephalopathy. The study said that ninety-six percent of now deceased players in the study tested positive for CTE. The NFL is doing what it can to reduce concussions and develop better equipment, and the ball players are at least aware of the risk and are paid well. But for some players the price to pay for fleeting glory is still tragic.\"\n\n\"If it isn't the NFL, what bothers you?\"\n\n\"It's high school and college ball, the farm system for pro football. This study determined that the incidence of CTE for college athletes isn't much less than those who play in the pros. These are kids who don't make a penny. They get a questionable education in exchange for a shot at the big time\u2014the NFL. Fewer than two percent of the ball players are ever drafted, many of them never actually play a down. At some point the colleges and high schools are going to get nervous about their liability for destroying kids' brains to fatten their endowments, and start shutting down programs. I'm surprised it hasn't already happened.\" Walter was always a straight shooter.\n\n\"Well\u2013 but don't you think some of them play because they enjoy the game? Baseball was my real game, but I played football for a while in high school. Nobody made me play\u2014it was fun. Girls could never understand getting hit and falling down over and over, but, I don't know, it was just fun.\"\n\n\"And don't forget sports is the only way some of these kids can ever go to any college.\" I don't know why I felt the need to defend the game. I hoped it wasn't the result of my new position with the Lobos.\n\n\"All true, Jack. And I think most folks would agree with you. I enjoy watching the game as much as anyone, especially the pageantry of the college game. But the fact remains that if you had played college ball, odds are that you would have sustained an injury that you'd still be dealing with today. I don't see how schools will be able to afford the liability now that the risk of permanent injury is so well documented.\n\n\"Don't get me wrong. It would be fun to be an owner of an NFL franchise, as well as a good investment. I talked to Red about the concerns I have, and privately he has similar concerns. I believed him when he said he is doing everything he can to reform tackling techniques, improve equipment, and reduce helmet-to-helmet collisions. But in the end I turned him down. All the efforts in the world can't change the game itself.\"\n\n\"So what's the answer?\"\n\n\"I think we'll see changes sooner rather than later. As insurance companies become more concerned, liability insurance premiums will begin go through the roof. High school sports will be the first to be affected. At some point neither public nor private high schools will be able to afford the insurance premiums for football programs. It won't happen overnight\u2014there's too much money at both the college and pro level for the game to go quietly into the night.\n\n\"In my business\u2014life insurance\u2014we're beginning to have underwriting discussions about premiums associated with former ball players. We already ask if the potential insured is a former smoker or has a family history of heart disease. I suspect it won't be too long before we start asking about whether he played football and for how long. When that happens the NFL is going to cry foul, but it will be forced to do more especially when the public-at-large understands that former ball players have a significantly reduced life span.\n\n\"I hadn't really thought about the insurance ramifications. Do you know anything about Red's other businesses? Government contracting, for example?\"\n\n\"I checked him out pretty thoroughly. He makes most of money cleaning up other people's messes\u2014airplanes that don't fly, boats that don't float, and tanks that fall apart. There are plenty of all three. I have a report I can give you if it would be helpful, but I'll tell you it doesn't contain a lot of negatives.\n\n\"He's made his share of enemies. Most government contractors make their fortunes through change orders and by taking advantage of delays in decision-making. If the government can contract with Red to fix a problem rather than being stuck with the original contractor, then that contractor loses a lot of money.\"\n\n\"Anybody in particular.\" I asked.\n\n\"I remember one pretty well\u2013Logan Aerospace. Red has been called in to clean up a lot of their mistakes.\"\n\n### **46**\n\nLOGAN AEROSPACE\u2014THE SPONSORS of the table at the NFL Honors banquet who paid extra for Billy Hopper to sit with their four young executives. I don't believe in coincidences. Walter said he would send me the report that afternoon. I was tempted to call Red about Logan, but he was still a suspect, and I sure didn't want to blow my cover.\n\nBoth our moods and conversation lightened when our food arrived. He treated me to some good stories about their trip to Italy. I had hoped we'd have time to talk about Carol, but he grew pensive over coffee, idly playing with the sugar spoon. Finally he said,\n\n\"You've been in danger before, Jack, but I worry that at some point your luck is going to run out. Micki is a good enough lawyer to represent Hopper. If you think you're in real danger, I think this time you should consider walking away. This isn't about Maggie, it's about you. It's time you learned there are times to walk away.\"\n\nWe both rose and shook hands, no smiles this time. He had made a good point, and I had no good response. Maybe he was right.\n\nThe dining room was almost empty, so I sat alone for a few minutes before calling Maggie to remind her to get a report on Logan Aerospace from Dickey. She replied somewhat tartly that she had already asked, but couldn't make it appear like magic. Stella was still at Walter's office cleaning up their computers; Clovis had dropped by for only a few minutes for a cup of coffee. She had no idea where he was going. Micki was back at the jail with Billy. She added that she had just sent several packages to Barker's, and not to worry because Martin's men were being careful with deliveries.\n\nAlmost as soon as I got off the phone three packages of documents were brought to me by one of the bellmen. I carried them to my room\u2014time for some serious work. The first package I opened was the one from Novak. It consisted of one small vanilla folder that had seen better days and a second folder that seemed more current. The tab on the outside of the first contained a single name, \"Nadia.\" Inside the folder I found a Bulgarian passport and other immigration documents for one fifteen-year-old girl named Nadia Nikolov. One of the documents written in a language I assumed was Bulgarian contained her fingerprints. The only photograph of her was the one in her passport. Nadia had entered the country in 2001, just before September 11th.\n\nThe second file was also labeled \"Nadia,\" and it contained a treasure trove of information. He found a copy of her Virginia driver's license issued in 2015 that revealed both a picture of her face and a residence address on Chain Bridge Road in McLean, Virginia. The name on the driver's license was Carla Diaz. The file also included several professionally taken photographs of Carla. There was no doubt that the woman found in Billy's bed was Carla\/Nadia Diaz. The file also contained other photographs of Carla that appeared to have been taken without her knowledge\u2014photographs of her exiting a condominium, at a bar talking to a man, of her getting into a limousine.\n\nThe pictures seemed to be in sequence, rather like someone was keeping tabs on her, nothing pornographic. Her confirmed age came as a surprise\u2014according to the license she was almost thirty years old rather than the early twenties reported by the press. Something was amiss here\u2014either her license or the coroner's determination was inaccurate. She certainly wore nice clothes, and the file had a car registration for a 2012 Mercedes. Clovis and Stella had their work cut out.\n\nMicki informed me through email that any information we obtained about the deceased was considered our work product; we weren't required to give it to the prosecutor. I felt a stab of conscience\u2014surely Nadia had a family somewhere who would be worried about her. Then again, our duty lay with Billy.\n\nI texted Micki to ask when we would get the autopsy report. I also texted Novak a very brief thank you. I didn't want to know how or from whom he had obtained the files. I was more concerned about what he would expect in return.\n\nThe second file also held copies of Nadia's medical records regarding her attempt to have the brand removed. I didn't recognize the name of the surgeon. I made a mental note to check him out with my friend Jim French, a local plastic surgeon. I wondered why neither the surgeon nor any of his staff hadn't already notified the authorities. Surely murder takes precedence over HIPPA.\n\nI tried to call Clovis to tell him about the latest developments, but he didn't pick up. So I dove into the first batch of information on the Lobos. For a while, I felt like an antitrust lawyer. I reviewed the team's financial projections, profit and loss statements, as well as their organizational chart. An NFL Team is comprised of a lot more than just the coaches and players on the field; both income and expenses came from multiple sources. I was about to open the collective bargaining agreement between the player's union and the owners, when I remembered that I still hadn't heard from Clovis.\n\nI punched in his number, but again got voicemail. I called Maggie, who hadn't heard from him either. I felt a twinge of unease. Clovis and I work well together\u2014I respect his judgment and intuition, and he always has my back. More than that, we're friends. I knew my unease was premature and tried to put it out of my mind.\n\nI returned to the collective bargaining agreement, but couldn't concentrate; my thoughts turned to Nadia. Clearly she had broken away from her original handlers, who had branded her and taken her immigration papers.\n\nShe seemed to have freed herself from bondage, yet she had stayed in the business. Very few women were able to earn a living without the protection of a pimp.\n\nMy phone finally vibrated\u2014Clovis, thank goodness.\n\n\"Where've you been? I was beginning to think you'd been kidnapped or something.\"\n\nNo answer. \"Sorry, Clovis, I was only kidding.\"\n\n\"I know you were\u2014I just can't believe you said it.\"\n\n\"No\u2014sorry, I really was concerned.\" This conversation was taking a strange turn.\n\n\"You sitting down?\" He asked.\n\nSomething wasn't right. \"What's happened? Tell me.\"\n\n\"Someone tried to snatch Carol Madison.\"\n\n### **47**\n\nI ASKED THE only question that mattered.\n\n\"Is she safe? Is she okay?\"\n\n\"She is safe, and she will be okay. She tried to fight her attackers, and they roughed her up. She's pretty bruised, gonna have a shiner for sure. A local doctor is checking her out, but I'm pretty sure she'll be fine.\n\nI took a deep breath, willing myself to remain calm. \"Tell me what happened.\"\n\n\"Whoever must have staked out her place at the Eastern Shore for a couple of days. Pat had gone into town for groceries when they stormed the complex. Carol was outside by the pool.\"\n\n\"How many?\"\n\n\"Two guys and the driver, all wearing camouflage stocking masks. There was probably a spotter in the woods, as well. Carol heard the sound of a strange car coming up the driveway. She tried to call for help, but they were on her too quickly. She fought hard, but there wasn't much she could do. They had wrestled her halfway to the car when Martin's men arrived and broke things up. They got the two attackers, but the driver sped off at the first sign of danger, probably the spotter too. In the confusion, Carol managed to get back into her house. Martin's guys found her hiding in the wine closet, cold and beat up, but alive.\"\n\n\"Anyone else hurt?\" I couldn't talk about Carol just yet.\n\n\"Well, Pat got back from town in the middle of the fracas and went after one of the bad guys. Gave him at least a broken nose before Martin's men rescued him.\"\n\n\"Good for him. And it sounds like Martin's men did a good job.\"\n\n\"They did. Martin called me as soon as he learned what had happened, and we drove up together to help. I guess the local authorities don't get too many attempted kidnappings in their back yard. I was afraid the Feds would already be on the scene, but Carol had already brushed them off.\"\n\n\"I don't understand. What...\"\n\n\"Apparently she knows the local sheriff. She asked him to change the charges to assault and battery in order to avoid the Feds.\"\n\nI sat drumming my fingers against the top of the table. The more I thought about it, keeping the Feds out was the right thing to do. But Carol\u2014how could I help from here?\n\nClovis let me stew for a few minutes before continuing. \"Calm down, Jack. I know you. You're trying to figure out how to get your ass up here. After meeting Carol, I can understand why. She is one cool customer and really easy on the eyes. But she gave me a message for you, so hear me out before you go off half-cocked.\"\n\n\"Carol told the sheriff she was leaving the country 'for a vacation,' and didn't want to get bogged down in some long and complex investigation. The sheriff got the picture and told her she ought to hurry.\n\n\"The bad guys won't talk and have demanded access to their lawyer. They clearly already had one on board. The sheriff is looking for the driver, but I bet he's long gone. We're not going to get anything out of these guys.\" I had to agree. I told him to let me know who the lawyer was.\n\n\"Carol says she'll leave as soon as she gets medically cleared and can get packed. She says you'll think you know where she is going. Is that right?\"\n\n\"Bali. She was telling me where to find her.\"\n\n\"She also said you shouldn't even think about coming until your work is completed. Apparently, during the scuffle by the pool, one of the men referred to her as 'bait.' She thinks, and so do I, that they were going to kidnap her so you would come out of hiding. She said that only Pat will know exactly where she is and how to reach her, and that you aren't welcome until this business is finished.\"\n\nI wasn't happy with that, and was becoming more inclined to go after her before she left town. Clovis continued before I could react.\n\n\"Listen to me, friend. Carol seems to know you pretty well. Listen to what she said. 'Please tell Jack to stay in hiding. Someone is convinced that Jack is going to upset his or her plans. I don't know who or why, but that someone is not going to stop until Jack is out of the picture. I know people, I work with people who are ruthless in business dealings, and I believe this someone will stop at nothing. No one, not me, not Jack, not anyone he cares about is safe until Jack finishes this business one way or the other.'\"\n\n\"Is that it?\" I asked.\n\n\"No.\"\n\n\"Well, go on,\" I said, frustrated.\n\n\"Okay, but I'm not sure what it means. She said she'd found a place better than Bali, someplace with a very private pool. That make sense to you?\"\n\nClovis could probably hear me smile.\n\n\"Jack, you found a gem in that one. Don't let them scare you away, but we need to be smart about this.\"\n\n\"First thing, let's get Beth out of New Orleans for the next week or so. It won't be easy, but I sure don't want her to be next.\"\n\n\"Already in the works. The Matthews plane is on its way to pick her up. Paul will come with her. Maggie has asked them to stay at her house. It will be both easier and safer than having her at your place. And I can sure use Paul here in DC.\"\n\n\"I wish I could figure out a way to get you into Barker's. I've tracked down some info on both the dead woman and Logan Aerospace. I thought about asking Walter to bring you to lunch, but it's just too risky.\" My mind was churning.\n\nClovis said. \"Not to worry\u2013I'll knock on your door around 11 o'clock tomorrow morning. I promise no one will see me go in or out. I'd come out right now, but I need to help Martin clean up here and get Carol back to DC so she can leave town. Can you get the kitchen to bring us some sandwiches?\"\n\n\"Yeah, I think I can arrange that. Won't be as good as Ben's barbecue, but it'll do. The food here is actually pretty good. Thanks, Clovis.\"\n\n*********\n\nMr. Kim threw his cell phone across the room, totally frustrated. How in the hell had his men been arrested, the kidnapping foiled, and Patterson still nowhere to be found? He'd sent a lawyer to the Eastern Shore to make sure the men made bail and disappeared. The Feds hadn't been called in yet, but he worried it was only a matter of time. The driver and spotter were on their way to Central America, but the two who had been captured wouldn't be so fortunate. Failure couldn't be tolerated.\n\nMaybe he should just accept that Patterson was out of the picture and move on. But where could he be? As far as he could tell the man hadn't used a single credit card in the last three days. Nobody can go anywhere without using a credit card. He couldn't have just disappeared. The sniper was bound to know Patterson's whereabouts, but he didn't want to risk the gunman's cover by attempting to make contact.\n\nPatterson had got the best of him twice before. Why take chances? He placed a phone call to New Orleans. Syndicate or no syndicate, if Patterson had an Achilles heel it was his daughter. Her funeral would bring Patterson out into the open.\n* * *\n\n## **THURSDAY**\n\n* * *\n\n## **April 28, 2016**\n\n### **48**\n\nAFTER A NIGHT of bizarre dreams and little sleep, I decided to reward myself with a breakfast of oatmeal-banana pancakes with a side of bacon. No paper this morning, just thoughts. Of course, I wished I could see Beth, but there was no way she could come to Barker's. Clovis had made the right decision to have her stay at Maggie's. She could also help Maggie and Micki. Maggie's car had deeply tinted windows, and her driver always let her off in the parking garage, so I wasn't too worried Beth would be seen. The loss of freedom would be hard on her, but surely it wouldn't last longer than a week.\n\nThe little library was deserted, so I sunk into an old chair and called Micki. She was already at the office, and Maggie and Beth were on the way in. I cut right to the chase.\n\n\"I know who the dead woman is. Her name is Nadia Nikolov, about thirty years old\u2014she worked independently.\"\n\nI didn't want to call her a hooker, or a prostitute, or worse. Most of the women who sold their bodies were victims, refugees from another life.\n\n\"It appears she was branded when she entered the country, but recently tried to have it removed. I'll give Clovis the medical record today. He'll check out her home, see the doctor, talk to neighbors, all the usual stuff.\"\n\n\"Jack, let me handle this. You're trying to orchestrate everything and whoever is going to figure it out. Give Clovis the files you got from Novak and we'll run with it. You've got enough on your plate and I know you must be worried sick about Carol Madison\u2014I'm sorry.\"\n\nI appreciated her sympathy and told her so, but I didn't like turning anything over, not that I didn't trust Micki or Clovis. Delegation never came easy for me.\n\n\"Okay, but there's more\u2014I have a new suspect. The company that bought the table where Billy sat at the NFL Honors banquet is Red's competitor, Logan Aerospace. Maggie has asked David Dickey to look into the company and its financials. One of their executives is Chuck Morrison, a guy I met that first weekend at Carol's. He was lobbying Senator Boudreaux from Tennessee pretty hard. Something about fighters and drones.\"\n\n\"Hard to believe a government contractor would care about Billy Hopper or the future of the Lobos, but it's an interesting development. You sure you aren't just seeing suspects around every corner? Lots of corporations give money to attend banquets like the NFL Honors.\"\n\nI had to agree. \"You're probably right. Still, why buy a table at the dinner, pay extra to have Billy at your table, and then send low level management with a company credit card? Doesn't make sense. Besides when I talked to Billy he said one of the guys at the table said his boss lost a lot of money because Billy busted one of his fantasy pools.\"\n\n\"Let me look into that one, too. It makes sense for Billy's lawyer to check out everyone who was at the banquet that night. It shouldn't raise any red flags with whomever. But, corporate executives don't set up athletes for murder because they lost money on fantasy sports. That theory is more than a little far-fetched.\"\n\n\"I know it is, but it's all I've got right now. Look, just be careful.\" I was suddenly worried.\n\n\"Don't I always have to be careful when we're partners? It's the price of working with your fantastic ass.\" Micki and Larry must have had a good night.\n\n\"I thought flirting was off-limits?\"\n\n\"That rule applies only to you. My flirting is the price of my coming on board.\"\n\n\"And I'm not supposed to reciprocate?\" I asked.\n\n\"Correct. And let's not forget about Carol.\"\n\nTime to get back to work.\n\n\"What did you learn from Billy about his family's background?\"\n\n\"He tried to hire a private investigator. He'd received a couple of anonymous notes from Bibb, Tennessee while he was playing ball saying the family was real proud of him.\"\n\n\"Does he still have a copy of those notes?\" This could be a real breakthrough.\n\n\"No. That's the confusing part. He gave them to his agent who hired the investigator. The agent gave this guy the notes and five thousand dollars, didn't think to make copies. The man promptly disappeared, and neither Billy nor the agent can find him.\"\n\n\"Billy's agent seems to be very careless with his client's money.\"\n\n\"I've got a meeting with him this afternoon. I've asked to see his contract and a complete accounting. The name of the PI, and the whereabouts of the notes are on the top of my list.\"\n\n\"Maybe we should find another investigator.\" I suggested.\n\n\"Jack, it's Bibb, Tennessee. About all that's left in Bibb are a post office, a gas station, a feed store, and the bar where Billy's father was arrested. It's in the mountains of east Tennessee. Billy said the investigator was from Knoxville.\n\n\"By the way, I've sent Marshall home for a few days. Billy is gaining confidence in me, and Marshall really is a fish out of water at the office. Clovis still has people watching his house. Should we move out of the Hay-Adams? It's so expensive. I don't know why Marshall is so wed to the place.\"\n\n\"Marshall promised he would tell me 'in due time.' He must have a logical explanation. I thought it was probably time for him to go home. You were ahead of me, good job. I know the Hay-Adams is expensive, but I think you should stay. People will assume you're just gouging your client like most every other lawyer. Besides, your room is currently bug free, and the hotel has promised Stella to keep it that way. I need her elsewhere.\"\n\nMicki wanted to meet with Billy again before meeting with the agent, so she gave the phone to Beth who had just walked in with fresh coffee.\n\n\"Hey, baby. Sorry to interfere with your life again.\"\n\n\"Dad, it's not a problem. Paul, Clovis, and Maggie explained everything last night. When do I get to meet your new girlfriend?\"\n\nWell, no beating around the bush. I paused before I answered.\n\n\"Truth be told, I do want you to meet her, but she's left the country for a while. I hope she can return soon.\"\n\n\"Wow\u2014she must be something. Sounds like you are really into this woman. Actually, I'm sort of excited about being here\u2014I've already asked Micki how I can help.\"\n\n\"Beth, Clovis brought you here because we thought you were in danger. Please listen to what they have to say, and don't take any risks.\"\n\n\"Dad, it's okay. They've already explained everything, but I do have one question.\"\n\n\"Okay, shoot.\"\n\n\"Billy Hopper? What he did was terrible. How can you try to get him off? Especially with what happened all those years ago?\"\n\nSome lawyers have no problem representing clients who have been accused of heinous acts. Yes, everyone deserves counsel, but there are some cases I just couldn't take on. Billy Hopper had almost fallen into that category.\n\n\"Beth, three people you love very much and respect, Marshall, Micki and I, don't believe he did it. I don't think any of us would be involved if we believed he was guilty of such a brutal crime. We're not just trying to get him off, we're trying to gather enough evidence to prove someone else murdered that woman.\"\n\n\"Isn't that a job for the police?\"\n\n\"Yes, but in this case all the evidence points to Billy. Those in authority tend to take the simple way out. We believe someone went to a lot of trouble to make it look like Billy murdered the woman.\"\n\n\"So, you honestly don't think Billy Hopper murdered that poor woman?\n\n\"No Beth, I don't. I don't know yet who did it or why, but I believe Billy is innocent.\"\n\n\"That's all I needed to hear. Now\u2014put me to work.\"\n\n\"Just do whatever Micki or Maggie asks. I have some ideas, but Micki's running the show. And use your common sense: don't go out on the town or even to Starbucks. Please.\"\n\n\"Can you and I at least have coffee or lunch or something?\"\n\nBeth and I had always been close, but after Angie's death we'd became even closer. It was hard to be in the same town and not get to be with her.\n\n\"No, Beth, we can't, at least not now. But I promise I won't let you go back to New Orleans without us spending time together. I miss you.\"\n\n\"I miss you too, Dad.\" I could hear her voice crack a little.\n\nBeth passed the phone to Maggie.\n\n\"Micki has gone to the jail. Anything else you need before Clovis arrives at Barker's?\" she asked.\n\n\"Yes. If I'm right, we are going to need to borrow Walter's jet on Saturday. Can you check to see if it's available?\"\n\n\"Sure. Are you going after your girlfriend?\" I wasn't sure if she was teasing.\n\n\"No. I'm not going anywhere at all. If I'm right, Micki and Paul are going away for the weekend.\"\n\n\"Do they know yet, and may I tell the pilot where they're going?\"\n\n\"No, and Knoxville, Tennessee. They're going to spend a nice weekend in the mountains of Tennessee.\"\n\n### **49**\n\nI RETURNED TO my room to wait for Clovis, hoping he could get in. The pieces of the puzzle were starting to turn over in the box, but I had a long way to go before they were all visible. The work of putting them together to form the correct image usually required some skill, more than a little luck, and a lot of perseverance. I felt confident we were right about Billy, but I couldn't help but feel the occasional niggle of doubt.\n\nThe quiet rap on the door about made me jump out of my skin, but I quickly opened the door to let Clovis in. I can't tell you how good it was to see him. We took the first few minutes just catching up. Carol had come home, packed her bags, rented a Net Jet, and left the country, whereabouts known only to Pat. A lawyer had arrived at the Eastern Shore and arranged bail for the two assailants. Clovis said dryly that they might be out of jail, but he bet they weren't out of the woods. The lawyer was with the multi-national law firm of Bird and Starling. I didn't know him, but I could easily check him out.\n\nI decided to take the risk, and we walked down to the bar for lunch. Clovis had barbeque ribs and a pulled pork sandwich with slaw. For me the daily special was too tempting to resist\u2014an enormous, hot corned beef and pastrami on rye. A cold beer was the perfect accompaniment. Barb wasn't as warm and friendly as normal, probably hurt I because I'd chosen to eat in my room last night. Her attention to Clovis was another matter. I'd never seen him in a suit before. His custom tailored suit fit his All-American linebacker physique to a tee. He could be an announcer on ESPN. Barb couldn't keep her eyes off him.\n\n\"Nice suit.\" I kidded him.\n\n\"I didn't know if there was a dress code and decided to be safe rather than sorry.\"\n\n\"You look good.\" He really did.\n\n\"Stella likes me better in jeans. She is more than a little jealous if you haven't noticed.\"\n\n\"If Barb's reaction is any indication, she is right to be worried.\"\n\nClovis shrugged my kidding off, but seemed unsettled by Barb's presence. Until Stella came around, he'd always been nervous around any woman who showed him the slightest interest. He pulled out some drawings from the documents he brought. They were the floor plans of the hotel floor where Billy's room was located. It showed a door between the adjoining room and Billy's, but if the press was correct, the door had been locked from Billy's side.\n\nClovis had been able to get the guest list for each of the rooms on the floor for the night of the murder and one week before and after, but nothing seemed out of the ordinary to him. He said every day more and more of the staff were opening up to him. It was a phenomenon I was relying on. Regulars at a restaurant, bar, or even a hotel become part of the family, and often a confidence slips out. So far Clovis hadn't discovered anything to contradict the story in the papers of what had happened that night. He'd had no luck obtaining any surveillance tapes.\n\nI gave Clovis the files Novak had sent. He and Micki had decided to send Paul to Nadia's residence. Stella would search the public records, and at some point Clovis would visit the doctor. He told me Micki had been pretty adamant that she should take the lead, and I didn't disagree. We did have a lively discussion about Nadia. He was amazed that a regular at the Mayflower bar wouldn't have been recognized when her face appeared all over _The Post_ as the victim. Maybe Novak's source had gotten it wrong.\n\n\"You know, Jack, we were lucky before, but Novak isn't the most reliable of sources.\"\n\n\"I agree, but if the fingerprints match and the dead woman is Nadia, it is one hell of a break.\"\n\n\"That it would be, and that's why Paul needs to check out her apartment before someone else stumbles on her ID. Micki is supposed to get the autopsy results this afternoon,\" he answered.\n\nWe had fun imagining Micki's meeting with the sports agent\u2014was he in for a surprise. I told him what little I'd learned about Logan and what we needed to learn from the four men who'd been at the banquet, along with the girl who had been the agent's date.\n\nI was a jealous wreck to hear that Clovis and Stella had gone to last night's ball game where Bryce Harper had hit a grand slam in the ninth to win the game. I wasn't so excited about their plan to have Beth work with Paul. On the other hand, Beth had proven her worth during the Cole case and would be in the way if she didn't have something to do. This way Beth wouldn't go anywhere without Paul being by her side.\n\nI'd first met Paul during the Cole case. With his slight frame and owlish glasses, Paul didn't fit one's image of an investigator or bodyguard, but looks can be deceiving. He'd been a champion welterweight wrestler in college and is an expert in martial arts. Clovis had told me in the Cole case, \"If I had a child, I'd rather have Paul protecting her than anyone else I know.\" His opinion had proven to be accurate.\n\nOver a second beer, I told Clovis how I thought the puzzle pieces might come together. I was convinced the key to the case was hidden somewhere in the mountains of Tennessee.\n\n\"And I think you're crazy,\" was his deadpan response.\n\nWe both laughed, but I stuck to my guns, and so did he. This type of give and take sharpened my thinking. I missed the input and perspective Micki and Maggie also provided.\n\nClovis concluded our long debate with a reality check.\n\n\"Jack, you're off worrying why Billy's family abandoned him and trying to figure out why a defense contractor wanted to sponsor a table at a football banquet. We have absolutely nothing that links Billy's past to the murder of a prostitute. Furthermore, the few clues you've uncovered about the deceased do nothing to negate the fact that she was found with Billy in his locked bedroom, her blood and his semen everywhere, his fingerprints on the murder weapon. To top it off, he isn't sure he didn't do it.\n\n\"Any criminal lawyer worth his salt would be trying to develop a temporary insanity defense to negotiate a sentence of less than life without parole, and your mind is wandering in the Tennessee Mountains. Maybe you should chase after Carol Madison and let Micki do what she does best?\" Strong words from someone I employed and trusted.\n\nWell, I appreciate your confidence. Nothing you've said explains why someone wants me off this case. Why did a sniper fire a bullet inches from my head? Why did two men tried to kidnap Carol. No one seems to care a fig that Micki is representing Billy, not bothered in the least. I have to believe that somehow I learned something that concerns someone enough to make sure I'm not part of Billy's defense. Think about that.\"\n\n\"Jack, if I didn't have confidence in you, I wouldn't be here. But if someone wanted you off the case that badly, why didn't the sniper shoot you outright?\"\n\n\"I've thought about that, believe you me. I think it's because if he'd taken me out in the hot tub, every authority from the locals to the Feds would feel the need to know why someone wanted to murder Billy Hopper's lawyer. It might force them to rethink what happened in the hotel room that night. They want to see Billy go to prison, and they want this investigation over. I haven't figured it out yet, but I'm getting closer.\n\n\"I need your honest assessment on another matter first. Don't tell me what you think I want to hear, okay.\"\n\n\"Never have, at least not yet,\" he smiled.\n\n\"I know you haven't. That's why I can ask.\" I paused because I worried how to phrase the question and what Clovis might say.\n\n\"On occasion I've shown very bad judgment when it comes to the women I've found attractive. I cannot rule out Red and Lucy as potential suspects, but I'd like to think Carol has nothing to do with any of this. Yet she did come on to me at Red's, Red and Logan are both clients of hers, and she did know I was going to be alone with her at the Eastern Shore. Am I once again being played for a fool? Give it to me straight, tell me whether I'm being stupid again.\"\n\nI'd laid my self-doubts out on the table, face up. He hesitated.\n\n\"My first reaction would be to tell you to never rule out anything. You can't ignore your concerns. But I've met her. Martin told me how hard she fought her kidnappers, and I've seen her injuries\u2014she could easily have been killed. She wasn't worried about herself\u2014she was worried about you, how you would react, what you would do. She was right to leave. We may both be wrong, we've both been wrong before. But I think if she's involved, she's being manipulated.\n\n\"You asked why someone wants you out of the picture. I don't think it's Carol, but consider this\u2014is it possible that while you were with her you heard or observed something you shouldn't have? It sounds to me like you were pretty focused on her, but could you have overheard something damaging to someone else?\n\n\"You told me the weekend was about information, and that you promised Carol that you wouldn't breathe a word about anything you overheard or observed. No one else knew about your understanding, did they? Did any of the other guests seem nervous or worried?\" he asked.\n\n\"The senator from Tennessee was worried I might say something about him sleeping with his young staffer, but I assured him I had a poor memory.\"\n\nClovis responded with disdain. \"I'm not talking about who was sleeping with whom. Think about it. Anything else?\"\n\nI thought about it as I finished off my beer, and then it hit me like a lead balloon.\n\n\"Clovis, that's why I've got to get out of this place. This discussion is exactly what I need. Thank you for reassuring me about Carol, for forcing me to focus on that weekend. I've got one more question.\"\n\n\"Shoot,\" he answered.\n\n\"The young woman who was with Billy's agent that night\u2014was her name Claudia?\"\n\n\"Claudia Ellis, yes. How on earth did you know?\"\n\n\"Claudia spent that weekend with Senator Boudreaux. She's the staffer he was with that weekend.\"\n\n\"Coincidence?\" he asked.\n\n\"I don't think so.\"\n\n\"Do I need to ask what you want Micki to do with this information?\" Clovis asked with a smile.\n\nMy immediate reaction was Micki should interview her as quickly as possible, but then I thought the better of it.\n\n\"Hold off for now. If Micki barges in asking her about the Senator, it won't take much to realize I'm involved and our cover is in tatters. Tell Micki what I just told you, but tell her to save Claudia for last. Have Micki interview the guys first, appearing to be more interested in the other three girls. Let Claudia be more of a casual throw away. Meanwhile, let's find out as much as we can about Miss Claudia Ellis. I bet you can find a couple of her office cohorts who don't appreciate her getting promoted.\"\n\nI was tempted to call Micki with suggestions, but I'd probably get an ear full. Clovis simply needed to give her the information and subtly pass on my suggestion. Micki would probably handle the interviews better anyway.\n\nClovis brought me back to reality one more time.\n\n\"We may find there is something funny going on, or Miss Claudia may just enjoy sucking up to her boss. I know how you feel about coincidences, but we're still no closer to coming up with a defense for Billy. Locked doors, bloody knife, his semen and her blood. What do they have to do with a philandering member of Congress? We could probably dig up dirt on a hundred Congressmen, but it won't help Billy.\"\n\n\"You're right, but my gut says there's a connection. We have to work this puzzle one piece at a time. The prosecution has had over a month to develop its case. We've discovered who the victim is in less than a week, and we're learning more about the other characters. We have to be patient and follow the clues wherever they take us.\"\n\n\"Okay, boss\u2014anything else?\" he asked.\n\n\"No, you've got enough on your plate. I'm still fascinated that Nadia was a regular at the Mayflower bar, yet no one has come forward to identify her. Answer that my question, my friend, and we'll have made real progress.\"\n\n\"Paul will have been to her apartment this afternoon, so I should have an answer for you tomorrow, how about that?\" he smiled.\n\nHe rose to leave and said, \"What are you going to be doing? I know sitting in this place all day is driving you crazy.\"\n\nHe was right, but I still didn't see a better alternative.\n\n\"I think it's time I hit the books. I need to study up on Senator Boudreaux, Logan Aerospace, and Red Shaw. I've also decided I need to know a lot more about our client, Billy Hopper.\"\n\n\"Billy? What don't you know about him? He's been all over the newspapers for over a month.\"\n\n\"You know, when I take on a new antitrust client, I research the company, its financials, and its corporate philosophy. I haven't done that with Billy. I've relied on his press and what little Marshall has told me. I need to do my own research.\"\n\n\"Billy Hopper?\" Clovis asked.\n\n\"Billy Hopper.\"\n\n### **50**\n\nWHILE CLOVIS WAS learning more about Nadia, Paul was checking out her apartment, and Micki was meeting with Billy's agent, I retreated to my room and pored over documents that Maggie had obtained about the Lobos, Red's other companies, and a report on Logan Aerospace from David Dickey. Billy would be my homework for the night.\n\nMy cell phone buzzed, and I picked it up.\n\n\"Novak here.\"\n\nI was equally abrupt. For some reason all our conversations began this way.\n\n\"Thank you for the information. The girl found dead at the Mayflower is most certainly Nadia. I will be able to compare fingerprints as soon as we get the autopsy. I'm no expert, but the photographs you sent were almost identical to those in the press.\"\n\nI expected an immediate response, but he said nothing.\n\n\"Alex?\" I asked.\n\n\"I was afraid that would the case. Tell me\u2014do you still believe your client didn't do this?\"\n\nI responded without hesitation.\n\n\"More than ever. Who is this girl, Alex? Why are you so interested?\"\n\n\"Information for information? I answer your questions and you tell me who did this?\"\n\n\"I don't know who committed the murder yet, but I'm convinced it wasn't Billy. Anything you tell me may help me find out who killed her, or maybe who ordered her killed. The actual killer may be long gone. I can't provide you what I don't have. But I won't hold back on you, as long as you don't hold back on me. Who's the girl?\"\n\n\"She was my niece,\" he said heavily. \"She was recruited to this country by a piece of shit who is no longer relevant. Her parents finally contacted me after they hadn't heard from her in several years. I tracked her down, paid for her release, and sent her to a clinic to get cleaned up.\"\n\n\"But she was still in the business. Did she work for you?\" I asked.\n\nNovak exploded. \"Absolutely not. I would never use a relative. Her father is my baby brother. I tried to reason with her, but her, shall we say 'work life,' had changed her, turned her to stone. She was appreciative, but told me she was going independent. She adamantly refused to get out of the business. The only thing I could do was make sure no one hurt her. She was working in DC under my protection, but that was it.\"\n\n\"Thus the surveillance photographs,\" I asked.\n\n\"Yes. I can't tell you how many times I tried to get her to quit, but she laughed in my face, calling me a hypocrite. I believe she developed a very high paying clientele. She lived very well.\"\n\n\"Do you know the identity of any of her clients?\"\n\n\"No. She was very private. She was willing to go to their apartments, meet them for drinks, and arrange hotel rooms, that sort of thing. But as far as I know she never allowed a client to come into her home.\"\n\n\"You said she frequented the Mayflower.\"\n\n\"Information from my sources. I have no personal knowledge of where she worked.\"\n\n\"Anything else you can tell me?\" I asked.\n\n\"Yes, and this is why I called, why I must know who is responsible. She called me the day before she was murdered to say she was about to retire. She asked where she could go that no one could follow her. It was the first time I'd spoken with her in months. I promised her I would get back to her, asked if she needed money in the interim. She laughed, saying money wasn't the issue. She had only one more night's work, then she would be ready to retire.\"\n\n\"One more night's work \u2013 did you ask what that meant?\"\n\n\"No, I assumed she was meeting with a high roller. After you called I tried to get in touch with her but got no response. Fearing the worst, I called some associates in DC and put two and two together, she was talking about a rendezvous with Billy. Do you realize how much the tabloids would pay for such a story? I'm telling you that Nadia was a cold-hearted woman\u2014she would have sold her soul for that kind of money.\"\n\n\"Alex, the problem with that theory is that it assumes she knew Billy beforehand. Billy swears he'd never seen her before and had no idea who she was. If she were somehow counting on seducing Billy when he came into the bar, surely someone would have seen her that night. How could she even know Billy would come to the bar after the banquet? According to the papers he was drunk and left with three girls on his arm. Hardly an ideal opportunity for a first meeting.\"\n\n\"You're reasoning rings true, and what you describe is not consistent with her cocky attitude. The way she talked, she was meeting a regular.\" He sounded frustrated.\n\n\"Maybe someone arranged for her to be in Billy's room, perhaps a bodyguard?\"\n\n\"Not possible. She worked alone\u2014no pimps, no bodyguards. I am certain of that.\"\n\n\"Then how in the hell did she end up in Billy's room?\" I tried to keep an even tone.\n\n\"I'm sorry to say I have no idea, unless your client's lying. Men do lie about such things, you know.\"\n\nHe was right, of course. Billy would find it difficult to admit to either me or Marshall that he knew Nadia. If he had arranged to meet her in his room after the banquet, we might as well close up shop.\n\n\"Alex, I don't know how she ended up in his room, but I hope you won't do anything rash. I don't believe Billy committed this crime, and you have to give me time to establish who did.\" I was suddenly worried that Novak might seek some kind of retribution before I had a chance to prove Billy didn't do it.\n\n\"I can be a patient man; you have proven to be very successful so far. But if you discover who murdered my niece, you must tell me. Do I have your word?\"\n\nNo easy answers. I decided to hedge.\n\n\"I will let you know what I discover, you have my word. My job is to establish that Billy didn't do this, not necessarily to discover who did.\"\n\nI continued before he could object. \"Did Nadia have any friends she might have confided in, someone who knew her clients, a girlfriend possibly?\n\n\"Not that I know of. She was very much the loner. Not once in any report was there mention of a girlfriend. She told me all along that she intended to make enough money to live comfortably on an island somewhere. She wanted to go somewhere that would let her forget her years in this country. She came close, only a day away. One more reason to regret that she was murdered. Jack, I must go, but let us both remember to what we have agreed.\"\n\nIt wouldn't do any good to remind him that he was also a man who had destroyed young girls dreams. Nadia had been right when she called him a hypocrite. Anyway, the line went dead.\n\nI sat pondering our conversation, wondering how far I could trust the man. With a start, I realized he might be thinking the same thing about me. A strange bedfellow to be sure\u2014I remembered thinking the same thing about Red. I wondered how many... I shook off my musings as a beep alerted me to an email\u2014Paul.\n\nSomeone had removed everything that might connect Nadia to her residence\u2014clothes, photos, files, shoes, and make-up, anything vaguely personal. The place was nicely furnished, but every closet was empty, the refrigerator and bookshelves were empty, no photographs or pictures on the walls. The apartment had been wiped clean of fingerprints, as had her car, which was parked in the complex. The property manager said Carla kept to herself, paid her rent on time, didn't participate in any building meetings or social events, and never complained. From his perspective she was a perfect resident. The few neighbors who agreed to talk gave the same picture of a quiet and very private person.\n\nStella was trying to run down the ownership records for the unit, as well as any bank accounts she might have had. I called Novak back to tell him what Paul had found, or rather what he hadn't found.\n\n\"Who would do such a thing and why?\" he asked.\n\n\"Well, it wasn't Billy\u2014he's in jail. It's as if someone doesn't want Nadia to ever have even existed.\"\n\nI was glad to have been able to share easy information with him and hoped he would keep to his side of the bargain.\n\nI phoned Micki to tell her about Paul's discovery, but she didn't pick up. She must still be with Billy's agent. I had the same frustrating result when I called Clovis.\n\nI fidgeted with the pens on the desk, frustrated that I couldn't reach my colleagues. Micki finally returned my call, and I filled her in on my conversation with Novak and Paul's discovery.\n\nShe brought me back down to earth.\n\n\"You may trust Alexander Novak, but I don't. I don't believe a word he says, certainly no judge or jury would. As far as her house being empty, did it occur to you she might be moving? According to your questionable source she was retiring, going away to an island. What do you do when you move? You empty the closets and give everything away.\"\n\nI decided not to argue with her.\n\n\"You're probably right. How'd it go with Billy's agent?\"\n\nShe laughed, \"I just got out of the shower.\"\n\n\"That bad, huh,\" I smiled.\n\n\"I can't wait to ask Billy how he ended up with this jerk. The first thing he wanted to make clear was that he was entitled to twenty percent of any monies Billy receives from the Lobos. I reminded him that he had been widely quoted as having said he had already dropped Billy as a client, but it didn't faze him. He said, and I quote, 'So what? He still owes me my cut, that's the way it works.' What a sleaze.\"\n\n\"Let's hope one day you and I get to defend that lawsuit.\" I would enjoy that kind of case right now.\n\n\"He brought an accounting, but initially refused to let me see it saying it was between Billy and him. He sang a different tune after I showed him a Power of Attorney from Billy giving Marshall control over his assets and Marshall's notarized letter directing him to turn over all Billy's records to me. He backed off real quick, said he was just being careful, and wanted to cooperate anyway he could,\" she snickered.\n\n\"Sure he does.\"\n\n\"I've hired an accountant to do an audit of the account and told the agent his failure to cooperate would be reported to the NFL Player's Association. He was gone before I could say shoo.\"\n\n\"What about the banquet?\" I asked.\n\n\"He swears it was Billy's idea that he come and that he'd assumed Billy was staying at the Mandarin when he booked his room. That story doesn't wash because Marshall says it was the agent's office that booked Billy in at the Mayflower. The agent also claims that his date for the evening was an old family friend, sort of a favor. I didn't buy it for a minute\u2014his eyes were all over the room. He claims he'd never met Claudia before that night. That might be true, but from what Clovis got from the staff at the Mandarin, the two of them hit it off for more than one night.\"\n\n\"That's not surprising. She's very attractive, Beth would call her hot, and has already demonstrated bad judgment in her choice of men,\" I said.\n\n\"Attractive like a snake, I suspect.\" Micki came back. \"If I believed in fantasies, I'd bet your Claudia was hired to distract Billy's agent so he didn't even think about his client that evening.\"\n\n\"You could be spot on with that one. Anyway, Ms. Claudia is becoming more and more interesting.\"\n\n\"Don't even go there, Jack Patterson. I'll handle the interview when the time is right. You'd end up in her bed, and try to convince us she has some fine qualities. By the way, where do you come up with these women?\"\n\nI declined to answer. Micki was scheduled to meet with the team late in the afternoon and would send me a report before she and Larry went to dinner. I felt fairly useless\u2014didn't much like Micki taking the lead, but it was a necessary evil.\n\nI was bored with reading so I went downstairs to the gym and worked out hard; maybe a good sweat would get me thinking straight. As I worked out, I was bothered more and more by questions for which I had no answers and less and less by the bit players. For example, what was Nadia doing at the Mayflower that night if she wasn't meeting Billy? And how did she get in the room. Where were the three girls and their pimp? What really happened in Billy's room?\n\nI showered and headed to the bar. I chose a table so I could read without the distraction of Barb's constant chatter. I noticed a hurt look on her face, but honestly didn't care. I tried to make it up to her by being friendly when she took my order.\n\nI followed pro football and knew a little bit about Billy's career from ESPN highlights, a few articles about him after the murder, and of course a little bit of his background from Marshall, but while I sipped on my martini I began to read.\n\nHonors graduate of the University of the South, Rhodes scholar and star of the Los Angeles Lobos dominated every article until I came across a tidbit that had nothing to do with football or education.\n\n\"Damn,\" I thought and called Clovis.\n\n### **51**\n\nIN THE COURSE of an interview, Billy was asked what he ate before each game. Who knows why they asked or who would care, but he answered that he was pescatarian, a vegetarian who eats fish. I also found an article in a California style magazine about his diet, including a few of his favorite recipes.\n\nAfter learning what a pescatarian was, Clovis asked, \"So?\"\n\nI smiled before I answered. \"Why does someone who only eats vegetables and fish need a steak knife?\"\n\nThere was a pause on the other line.\n\nClovis finally responded. \"I'm on it.\"\n\nThere could be a million explanations for the presence of a steak knife in Billy's room, and I was sure the prosecution had already developed a chain of custody for the murder weapon, but somehow this small discovery made me feel good. Everyone else was working hard at solving the jigsaw, and I had finally contributed a puzzle piece.\n\nTo celebrate I ordered a juicy rib eye and a twice-baked potato, justifying my indulgence by the hour I'd just spent in the gym. I emailed the article about Billy to Maggie and continued to read about my client. For a sports junkie, it was a fascinating read.\n\nBilly had almost been cut the first day of practice because of his slow time in the forty-yard dash, but the Lobos quarterback pointed out that Billy hadn't dropped a pass the entire practice. What made Billy unique wasn't speed, but his elusiveness and his hands of glue. Each day of the first practice week the coach was prepared to cut Billy when he dropped his first pass or busted an assignment, but neither ever happened. Pretty soon the Lobos coaching staff knew they had a find, but worried he couldn't stand up to the physical blows an NFL receiver endures. Once again, Billy surprised everybody, using that same elusiveness to avoid receiving direct hits.\n\nHis good looks, his slight build, and quiet manner made him an immediate fan favorite. Equally as important, he impressed the opposing coaches, sportswriters, and even the referees by not engaging in trash talk with opponents. When Billy scored a touchdown he didn't dance; he sought a referee and handed him the football.\n\nI was tickled when I read that the coach for the Patriots got in a heated argument with the refs, demanding that Billy should be penalized and ejected after a fifty-seven yard touchdown catch. He said Billy was guilty of wearing stick-em on his hands, even went so far as to accuse the Lobos of deflating the football to make it easier to catch. He claimed nobody could have held on to that pass without cheating. Of course Billy's hands were found to be perfectly clean and the ball fully inflated. Life is full of ironies.\n\nI pulled up a highlight video of Billy's first season put together by ESPN. Because the Lobos didn't play the Redskins during the regular season, I hadn't followed him that much. Billy was as elusive a receiver as everyone said. He really did seem to glide by the defender, but what impressed me was his ability to catch and hold on to the ball. No matter how vicious the hit on him, he never dropped the ball. Billy wasn't a vicious blocker, but he always managed to be in the perfect position to prevent his man from getting to the ball carrier.\n\nBilly sounded and looked almost too good to be true after an hour's reading and viewing videos, which gave me pause. I mean, nobody's really too good to be true.\n\nI also found no articles detailing any crazy antics on the town or showing him with some blonde draped all over him. In a city like LA the absence of such stories was puzzling and a little bit disturbing. Once she knew that the victim was a high-priced hooker, a good prosecutor would use Billy's lack of a girlfriend against him.\n\nMost NFL teams go to great lengths to prevent their ball players from fraternizing with the inevitable celebrity hounds who seek out famous people and often get them in trouble. Maybe Maggie could ask Red's people how they dealt with this issue.\n\nI was sipping on a glass of wine when Mr. Barker asked if he could join me.\n\n\"We've had several inquiries concerning your presence, Mr. Patterson.\" He stated, flatly.\n\nI looked Mr. Barker directly, matching his flat tone. \"I appreciate Barker's discretion more than I can express.\"\n\n\"Thank you. Of course, I will do everything in my power to ensure no one at Barker's reveals your presence.\" He smiled a discreet smile and I nodded. \"Nevertheless, I feel I must warn you that our employees are human, and at some point your presence will be revealed by omission as much as commission.\"\n\nHe was right. If someone tries hard enough, I thought, they will find out I'm here.\n\n\"You would tell us if you were hiding from any government authority?\" He was serious, and I replied in kind.\n\n\"I would, and I am not. Quite the opposite. Nonetheless, I hope you will appreciate that I can't tell you why I have chosen to stay at Barker's for a few days. And by the way, Barker's is an exceedingly pleasant place to stay.\"\n\n\"Thank you, Mr. Patterson. I appreciate your good opinion. I trust that your presence will not put Barker's, the members, or my staff at any risk.\"\n\nWe both enjoyed our polite wordplay, but I got the point.He excused himself soon thereafter.\n\nI was mulling over his intent when the phone buzzed again\u2014Novak. He didn't parse words.\n\n\"Is your daughter safe?\" he asked.\n\nA question a father never wants to hear.\n\n\"I believe so. She is no longer in New Orleans, if that's why you're asking.\"\n\n\"I am, and I'm much relieved. Let me tell you what I know without revealing my source.\"\n\n\"I'm all ears.\"\n\nNovak told me that to a large extent a syndicate controls organized crime in New Orleans. No one is supposed to engage in underworld business without paying homage to the syndicate and receiving approval. Almost all the gangs pay a modest annual fee to the syndicate for the right to do business.\n\n\"A former associate called me this morning. It seems that the syndicate is upset over an attempt to arrange a hit in New Orleans without prior approval. The target was your daughter,\" he said soberly.\n\nI felt like I'd been sucker-punched.\n\n\"How do you know this?\"\n\n\"I'm sorry, Jack, but I can't tell you that. I also can't tell you who ordered the hit because I don't know. My contact assured me the syndicate would handle the affront. I called only to make sure your daughter is safe.\"\n\n\"What about the hit man? Where is he now?\" I asked, worried he might be on the way to DC.\n\n\"He was smart enough not to cross the syndicate. He's the one who told them about his orders, and for his loyalty, he's still alive in New Orleans. The man who placed the order will not be so fortunate.\"\n\n\"Can you tell me anything else?\" I asked.\n\n\"No. I can't begin to tell you how relieved I am. But, Jack, if someone had the cojones to offend the New Orleans syndicate, he will try surely try again. Be sure she is well protected. You have made one serious enemy. Do you know who could have been so bold?\"\n\n\"No, but I have a feeling it may be the same person who ordered the murder of your niece.\" I was pissed.\n\n\"Tell me who he is, and he will cease to be a problem for either of us.\"\n\nGod knows, part of me was ready to hop right in that bed. But I knew it wouldn't help Billy, and might put us all in even more danger. Besides\u2014I didn't know. I simply thanked Novak and asked him to keep in touch. I heard his phone click dead and punched in Clovis's number immediately.\n\nHe heard the anger and frustration in my voice and said, \"Jack, we'll keep your daughter safe. Maggie, too\u2014I promise. Because she's front and center, Micki's a little tougher, but we're doing our best.\"\n\nI'd tried to keep those I loved safe by pretending to be out of the game. That strategy hadn't worked very well so far. It was time to fish or cut bait, either publicly drop Billy or come out swinging.\n\nIf I dropped the case, Micki would be left hanging, not to mention Billy. And who new if any of us would be truly safe? And there was Marshall to consider, both his safety and his good opinion. I decided to fish.\n\n\"Clovis, I'm running out of clean clothes. Can you pick me up tomorrow morning?\"\n* * *\n\n## **FRIDAY**\n\n* * *\n\n## **April 29, 2016**\n\n### **52**\n\nNEXT MORNING I relaxed under the almost too hot shower and wondered if all mammals were so susceptible to this pleasure. I also wondered if the same hot water that loosens and soothes my muscles also stimulates my brain cells, because this morning I was thinking at breakneck speed.\n\nI needed to decide where to unpack my bags. If I moved back into my house, Beth would want to join me, clearly not a good idea. I could join Micki at the Hay-Adams, or I could remain at Barker's. I reminded myself that the issue was security\u2014I should let the experts figure it out.\n\nClovis was waiting outside after breakfast. It felt really good to be outdoors, kind of like how you feel when you leave a hospital\u2014relieved and sort of disjointed.\n\nWe made the trip into town relatively quickly although nothing is quick in DC any more. Clovis pulled into the garage without incident.\n\n\"Oh, my God. What are you doing here?\" Maggie cried when I walked casually into our offices.\n\nI was glad no one else was in yet. It gave me time to tell her about the averted danger to Beth and why I had decided to give up my cover. I also asked her to call Rose and suggest she take a long weekend. I needed a tighter ship than Rose could provide.\n\n\"Beth will be here any minute now. She's driving in with Paul. She'll be ecstatic. Talking to you on the phone is one thing, but seeing you will be different. She's been worried about you being all alone at Barker's.\"\n\n\"How about you?\" I teased.\n\n\"Oh, I figured you'd find some cute waitress to make a fool of you.\"\n\nMaggie was quick with the comebacks and closer to the truth than I cared to admit.\n\nShe continued when I didn't respond. \"You know Beth is now going to be worried sick about Jeff.\"\n\n\"Already taken care of\u2014one of Martin's men has been dispatched to New Orleans for the next week.\"\n\nI didn't tell her that I had also called Novak, or that Jeff had been put under the personal protection of the New Orleans syndicate. It was going to cost me, but we had no time to worry about Jeff's safety right now.\n\nI poured a cup of coffee just as Beth came in. She broke into a grin and gave me an enormous hug. I have no idea how the coffee managed to stay in the cup.\n\n\"What's up, Dad?\" she asked, pulling back as if to assess me. \"Why did you come to the office?\" She would have continued with twenty questions if I hadn't held up my hand.\n\n\"Let's wait for Clovis, Stella, Martin, and Micki. I don't want to repeat myself. Where's Paul?\" I asked.\n\n\"He's parking the car. Wherever he was last night he's moving very slowly this morning. We all met with Micki late yesterday afternoon, to talk about where we should go from here. We were going to continue this morning. Have the plans changed?\"\n\n\"That depends on Micki,\" I answered.\n\n\"What depends on Micki?\" I heard.\n\nSpeak of the devil: she and Clovis came through the door together.\n\nMicki crossed the room and, to my surprise, planted a kiss flush on my mouth. \"It's about time you got your cute ass out of that hotel and back to work. We're struggling here to figure out how we're going save Billy from a life in solitary.\"\n\nWell, as the Duke sang in Rigoletto, \"La donna e mobile.\"\n\n\"You're Billy's lawyer, I'm just consulting,\" I smiled.\n\n\"Bull. I didn't come here to be the lead lawyer. I understand criminal procedure and can take the lead in interviewing witnesses, but I have no idea how to get Billy off. If you don't have a clue either, we better start working up an insanity defense.\"\n\n\"Which hasn't got a chance in hell.\"\n\n\"Right, so come on Jack, work that magic.\"\n\nBoy, did I like working with Micki. Clovis was grinning.\n\n\"Let's wait until Martin and Stella get here. Do you know if she's going to Walter's today?\" I asked.\n\nMicki answered. \"We had decided to all meet here this morning even if it did blow her cover. I admit that yesterday afternoon we were pretty lost despite all your emails.\"\n\nIt wasn't long before Stella, Martin and Paul joined us in the conference room. Maggie had ordered in some breakfast pastries and big pot of coffee. Paul looked like death warmed over. I wondered what he'd been up to last night. I waited until everyone got coffee and settled down.\n\n\"There's been a change of plans. I have no idea where I'm going to stay, but it's time to come out of hiding. Clovis, I'll leave that up to you and Martin.\"\n\n\"What happened?\" Micki asked.\n\nI explained about the hit ordered on Beth, and went over my reasoning to stay in the game.\n\nAs Maggie had predicted, Beth blurted, \"What about Jeff? I need to get back to New Orleans.\"\n\nClovis answered. \"Beth, I know you're worried, but we've already got protection in place for Jeff. Don't worry, he'll be fine, and you're safer here. But I'm sure Jeff would love to hear from you.\"\n\nBeth bolted from the room.\n\nWhen Maggie suggested that I stay at her house, Martin objected.\n\n\"Let's keep Jack at Barker's for the time being. Once whoever realizes he hasn't backed away from the case, all his attention will be focused on Jack. If he's with any of you at night, your exposure increases. We have a good protection plan in place for you and Mr. Matthews at home and for Jack at Barker's. Let's not change anything if we don't need to.\"\n\nI hadn't looked at it that way, but it made sense.\n\nBeth sauntered back into the room, looking cool as a cucumber. Whatever, she wasn't worried about Jeff anymore.\n\nMicki nodded at Martin. \"All right, we've got everybody snug in their beds at night, especially me. Where do we go from here, partner?\"\n\n\"Well, for me, no more hiding out. It's time to quit pretending. Clovis, as of now you and Stella are not longer tourists. Let's go over what we've been up to in the last couple of days, what we've learned. Micki, you first.\"\n\nMicki related her conversations with Billy. He still didn't remember anything, including leaving the banquet. He told Micki what he'd told me: that he couldn't have been drunk because he seldom drank more than a single glass of wine or a beer. He did remember the girl to his right changing her empty glass for his full one throughout the evening, which might explain why someone thought he was drinking a lot. He had never met anyone at the table before that night except his agent. He'd also assumed the girls were with the men; they were very friendly.\n\nMicki said it was possible that he had been slipped some form of drug by one of the girls. She was supposed to get the prosecutor's files today; maybe they had done a drug screen on Billy. She was usually only allowed an hour a day with him, so today she wanted to ask him about his family and other friends.\n\n\"Anything else you need me to do?\"\n\n\"Probably, but let's hear from everyone before we go to next steps.\"\n\nStella said she'd had no luck unearthing the source of the eavesdropping, but she was still working on it. Our offices and personal computers had been attacked multiple times unsuccessfully. She remained confident they couldn't break in. Her work at Walter's was almost finished, so she was ready to go full time on anything I needed.\n\nBeth and Maggie had been maintaining the offices and fielding press calls. Beth had gone with Paul a couple of times to interview Nadia's neighbors. They had learned very little. Nadia seemed to have been a loner, kept totally to herself.\n\nI looked to Paul, whose eyes were still red and puffy. \"Paul, you look like something the cat drug in. You okay?\"\n\n\"I'm fine. I went bar hopping last night, hoping to find someone who knew the elusive Carla\/Nadia Diaz. As far as I can tell, the only place she actually frequented was the Mayflower. I met a lot of working girls last night, but not one recognized her or the other three girls.\" He didn't look fine.\n\n\"Please don't tell Debbie\u2014okay?\"\n\n\"Not a word.\" I repressed a smile. \"You said she did frequent the Mayflower?\"\n\n\"Frequent isn't the right word. I finally met a bartender who decided to talk after a hefty gratuity. He recognized her, but hadn't seen her recently. She used to meet someone he described as an older gentleman for drinks on Thursday nights. They met at the same booth around eight o'clock at night, talked for a while and left together. He figured they were going to dinner, but didn't really know.\"\n\nClovis asked. \"Who paid? Can we get receipts?\"\n\n\"Funny thing. He said she always paid, and paid in cash. He assumed they were actually related, because no self-respecting hooker pays for her drinks. That's why he thought they were meeting for drinks before dinner.\"\n\n\"Anything else?\"\n\n\"She always wore a blonde wig; she drank a Cosmopolitan, and he drank very good bourbon on the rocks.\"\n\n\"Do you think he would recognize the man if he saw a photograph?\"\n\n\"For enough cash, yes; otherwise, no.\" Paul answered.\n\nI said, \"Great work, Paul. Take a nap and some Alka-Seltzer\u2014you may need to go out again tonight. Clovis, your turn.\"\n\n\"You know most of what I've found so far. Today's the day to run down the room service orders for Billy's room as well as the identity of the other guests on the floor. Management won't like me poking around, but I'll manage.\" He looked pretty confident, so I didn't ask how.\n\nNow it was my turn to tell them what I'd learned about Red Shaw's companies and his competitor, Logan Aerospace. This included telling them a little about my weekend at Carol's and meeting Chuck Morrison.\n\nMaggie teased, \"Anything else about the weekend you want to tell us?\"\n\nI didn't take the bait.\n\n\"Now that we all know what everyone's been up to, it's time to develop a game plan to get Billy out of this mess. Any ideas?\"\n\nSilence, no one said a word. Finally, Micki drawled, \"Shoot, Jack you're supposed to be the coach.\"\n\n### **53**\n\nOKAY, SO I didn't have a game plan, as such, but I did have a few ideas about getting into the game.\n\n\"All right. We have lots to do in a short period of time, and we need to be organized and efficient.\"\n\n\"What's the rush?\" Micki asked.\n\n\"The rush is that the longer we take to gather information and evidence, the more time whoever is responsible for Nadia's death has to cover his or her tracks. We're already playing catch-up.\"\n\n\"Well, then, where do we start?\" Micki asked.\n\n\"Stella.\" I looked at her. She had gone from burnt orange hair to a purple and black mixture, and purple nails.\n\n\"I know. Find out who's hacking our computers.\" She smiled.\n\n\"That, too, but I have an idea I want you and Beth to work on. I want you to create a diversion on social media.\"\n\nNow Beth looked interested. \"What do you mean, a diversion?\"\n\n\"Whoever tried to kidnap Carol and thought about killing you in order to lure me out into the open. I want to borrow his tactic. I want to draw him out, maybe cause him to screw up. Three young women and their pimp are missing, possibly already dead. Why can't we post their pictures on Twitter, asking if anyone's seen them?\"\n\n\"Twitter, Dad? You?\" Beth asked doubtfully.\n\n\"I'll have you know I have an account and have actually twit\u2014tweeted on occasion. But you're the expert. So think of ways we can shake up the real murderer. I've got some other ideas, but I have no idea how to get the word out. Maybe the three of us can talk about it after lunch.\"\n\n\"Do you want to call attention to the three girls like that?\" Maggie asked.\n\n\"Look, I bet whoever is looking for those girls as well, and not to thank them for a job well done. He won't like seeing their faces show up on social media. Neither will they.\"\n\nI switched horses. \"Okay, Beth your turn.\"\n\n\"Didn't you just give me a job?\"\n\n\"Yes, I did. But I remember that it was your research that broke the Cole case open. According to their financial statements, Logan Aerospace has recently received some very lucrative contracts to build fighter aircraft components. I want to find out about the legislation that enabled those contracts. I'll help you get started. I just hope Lucy Robinson didn't sponsor the legislation.\"\n\n\"Why do I always get the boring stuff?\" she glowered.\n\nHer pout betrayed her age, and I ignored it. \"Clovis, I've prepared a list of things we need from the Mayflower.\"\n\nMaggie gave him copies of the list I'd made last night.\n\nClovis asked. \"Okay if I get Stella's help with this?\"\n\n\"Sure, whatever it takes.\"\n\nMicki frowned. \"Jack, if we obtain information illegally, we won't be able to use it in court.\"\n\n\"I know, but right now we need information more than we need to worry about getting it into evidence. We'll cross that bridge when we come to it.\"\n\n\"Micki, I think it's time for you to interview the Logan guys at the banquet. But I want you to make them think you aren't going to limit your inquiry to the four who were at the table. Let's make a few higher-ups sweat as well.\"\n\n\"What about Claudia?\" Micki asked.\n\n\"I don't know. I have the feeling that Claudia's up to her ears in all this, but I don't know how. She could be simply a girl on the make\u2014I understand she was recently promoted. But I don't want her to become a target, and I don't want to alert her Senator. What do y'all think?\" I looked around the room.\n\nClovis spoke first. \"Well, from my point of view, an interview would put both her and Micki in danger. But I bet she won't talk at all.\"\n\nI could tell Maggie was upset; her leg was bouncing up and down. I nodded to her.\n\n\"Jack, I understand your purpose, but you're supposed to be a lawyer, not a detective. Why can't you just take your suspicions to the property authorities and be done with this? This young woman could be a totally different Claudia. If you believe whoever is behind all this would actually attempt to kill anyone who gets in his way, then you have to turn over your suspicions and any evidence you have to the proper authorities.\"\n\nAs a Brit, she firmly believed in following established procedure. It was hard for her to imagine going out on a limb when the safety of friends was involved.\n\n\"Maggie, I understand how you feel, but that strategy won't help Billy Hopper one bit. The government will say thank you very much, and throw Billy in jail for a very long time. They have what appears to be an ironclad case against him, and they aren't going to back off without ironclad proof on our part. Carol has left the country. She specifically asked us to remain silent about the recent trouble at her house. We only have the word of the Russian mafia that a hit was ordered on Beth. To save an innocent man we have to take some risks.\" I said.\n\n\"Are you prepared to live with the consequences of those risks?\" Her voice was tight as she tried to control her rising anger. I let out a deep breath.\n\n\"I am. I am because I believe Billy didn't murder Nadia. Whoever did also tried to kidnap Carol and ordered a hit on my daughter. That someone will get away with murder and probably murder again if we don't discover who he or she is. Yeah\u2014I want to catch the bastard.\"\n\nMaggie had no response\u2014she knew she'd reacted too quickly.\n\nAfter a few long seconds, Clovis broke the silence. \"I think wherever Micki goes for these interviews, we need Martin, Paul, or myself with her.\"\n\n\"I don't. In fact, I won't have it.\" Micki's response was no surprise. \"You guys cramp my style.\"\n\n\"Sorry, Micki, but this time you get overruled. You were kidnapped once before, and I was helpless without you. Almost got myself killed, if you remember. Clovis, Martin, please make sure Micki has adequate protection.\"\n\n\"I thought we were partners. Don't I have a say?\"\n\nI caught Maggie's eye, and she intervened.\n\n\"Please, Micki, give in on this one. Jack is right. He made a complete fool of himself while you were in the hospital in Little Rock. Don't do it for him, do it for the rest of us.\" Maggie gave her a warm smile.\n\nMicki's anger melted, so I decided to take advantage of the moment.\n\n\"Micki, I know this comes out of the blue, but this weekend I want you to go to Tennessee with Paul. Try to find someone who knows about Billy's mother\u2014who she was, where she came from, whatever you can.\"\n\n\"What! Now I know you're crazy. First, I'm not going anywhere without Larry, and, second, what in the hell does it matter who his mother was?\"\n\n\"Take Larry if you must, but you're not going anywhere without Paul. If Marshall is right about Bibb, Tennessee, it could be dangerous walking up to people's doors asking about Billy Hopper. I don't know what you're going to find, but my every instinct tells me the critical piece of the puzzle lies in Tennessee.\"\n\n\"I'm going, too.\" Beth spoke up\n\n\"No, you're not!\" I had reacted as a father and immediately pulled back. \"I'm sorry, Beth. Why do you want to go, and why should I let you?\"\n\n\"Hear me out, Dad. It'll look weird if Micki, Larry, and Paul drive into Bibb and start asking questions. If it looks like we are two couples traveling together, seeing the sites in the Tennessee Mountains, we'll be less threatening. Besides, I'm pretty good at getting people to talk.\"\n\n\"She has a point.\" Maggie said quietly.\n\nMartin added, \"It might be good to have her out of town for a couple of days.\"\n\nMicki said. \"I can't wait for you to meet Larry. You're going to love him.\"\n\nI'd been overruled. At least Micki had now agreed to go.\n\nMaggie spoke, \"You've been handing out assignments, what about me?\"\n\n\"All these sleuths are going bring us back the pieces of the puzzle. It's going to be up to you and me to fit them together. Then we have to figure out how to get the U.S. Attorney to drop the charges.\"\n\nMicki laughed. \"I wondered when you'd bring that up. You think if we present an alternative to Billy being the murderer, she's going to just roll over? Not a chance.\"\n\n\"I hear you. But you bring me the puzzle pieces. Maggie and I will figure out a way to get her attention.\"\n\n\"How are we going to do that?\" Maggie asked.\n\nI looked at the woman who had helped me prepare every antitrust case I had ever tried, my right arm and my best friend, and told her the truth.\n\n\"I have no idea.\"\n\n### **54**\n\nMAGGIE AND I went to lunch alone at one of my favorites in the DuPont Circle area, La Tomate. Our thought was that anyone who cared would think I'd just come back to town. If all eight of us were seen together, what was left of our ruse would dissolve. It wouldn't take long for whoever to realize I was back, but no sense pushing it.\n\nLunch also gave us time to talk about her concerns. In the past Maggie had accused me of having a death wish, taking on cases outside of my area of expertise that had nearly gotten me killed. Now I'd involved Beth. She had every reason to worry, but I didn't see a way to extradite myself. Maybe I should have gone with Carol to Bali or wherever she was. I wished I knew where she had gone, but I had to respect her decision. I hoped she knew what she was doing.\n\nWe lingered over a glass of wine. I knew Maggie was upset because she seldom drank at lunch. If she'd ordered a single malt I'd have known she was really mad.\n\n\"Do you really think you know who murdered Nadia and how?\" she asked.\n\n\"I don't remember saying that. I thought I said I had no idea.\" I was surprised by her question.\n\n\"I know how you think, remember?\"\n\nThat she did. In our first trial together she was handing me documents while I cross-examined a witness\u2014before I had a chance to ask for them.\n\n\"Okay, what am I thinking?\" I asked.\n\n\"The way you were handing out assignments. You only act that way when you think you see how things are going to unfold. I'd bet you know exactly what Micki is going to learn from the four junior executives and how to push their buttons. I suspect you know what they are going to find in Tennessee, too.\"\n\n\"That I don't. In fact, I think they'll come up empty in Tennessee. What happened back when Billy was a little boy is likely to have been covered up a long time ago, but it's worth a shot.\"\n\n\"What do you see that the rest of us don't? I know you see a connection between Logan Aerospace and Billy. What is it?\"\n\n\"I do see a connection, but it's murky at best. I have a suspicion, but so far I've been wrong every time. First about Red, and I hope my suspicions about Carol were wrong too. What I do know is that if I tell any of you what I think the connection might be, everyone will try to shape the proof to prove my suspicion right. That's where prosecutors always make mistakes. They think they know who committed the crime and why, and they go out searching for clues to prove their theory right, ignoring clues that would prove their theory wrong. For them, a conviction is more important than a man's guilt or innocence. I don't want that to happen with us; it's too dangerous.\n\n\"Let's just gather the information and go where it leads us. Meanwhile, you and I have to figure out how we're going to get the right person to listen to what we discover.\"\n\n\"Isn't the prosecutor, Constance Montgomery, the logical person?\"\n\n\"Almost certainly, but let's keep our options open.\"\n\nBy the time we got back to the office Micki had left to meet with Billy, and Clovis had gone to the Mayflower. Beth and Stella were meeting in the conference room, so I joined them.\n\n\"How's it going?\" I asked.\n\nStella answered. \"I've set up a Facebook account and a Twitter account for \"Free Billy Hopper\" that can't be traced back to this office or our computers. What we lack is content. Let Beth explain to you how they both work. Maybe you can give us some content to plug in. I have photographs of the girls, the table at the banquet, some of Billy in his Lobos uniform, that sort of thing.\"\n\nBeth explained she would also create a \"Free Billy Hopper\" website where people could comment anonymously. The site was likely to get a lot of kooks and nuts, but Stella had set up some kind of filtering mechanism. I had a seldom-used Facebook account, and my understanding of Twitter was pretty basic. I knew we needed \"Friends\" and \"Followers,\" but that was about it. I wasn't sure how one got people to visit websites and social media accounts. Beth assured me the sports networks and blogs would find us before morning\u2014we'd see plenty of activity.\n\nI spent some time with them talking about content, first focusing on the girls and how they could exonerate Billy if they would come forward or be identified. I also gave them a few ideas about the tone of the accounts.\n\n\"Can it look like these pages were set up by something like \"Friends of Billy\" or \"Women Who Want to Free Billy?\" Make the \"Friends\" sound like women who have a crush on him. You'll know how to phrase it.\"\n\n\"Perfect, Dad. I know what you want now. I can make it sound a little silly, but be sure the site is well done. The bad guys will figure it out pretty quickly. Who knows? We might get some real information.\"\n\n\"Exactly. Let me ask you this. Is it okay to publish disinformation, such as one of the girls has been found? I mean can Facebook or Twitter shut the site down?\"\n\n\"No way,\" said Stella. \"Most of the information on the Internet is a bunch of junk. We can't use it to harass someone or put up porn or use foul language, but I'll keep you out of trouble.\"\n\nI gave my computer experts a thumbs up and left them to their fun with social media and \"Free Billy.\" I was still nervous about Beth going to Tennessee, but I was really glad she was here. She promised to have the research project finished before they left tomorrow afternoon.\n\nClovis returned with a stack of papers.\n\n\"What's this?\" I asked.\n\n\"These are all the room service orders from the night in question. And to satisfy your curiosity I went back a week. It's going to take forever to organize the orders by room,\" he said.\n\n\"Give those to me.\" Maggie reached for the stack. \"I'll organize them for you. I can do it in half the time, and Jack would only make a bigger mess.\"\n\n\"The good news is there were no room service deliveries to Billy's room. Not that night at least,\" he smiled.\n\n\"Good news, indeed. I'm sure Constance Montgomery can find a way around it, but it's a good find. Thanks.\"\n\n\"It'll take a little longer to get the other information you asked for, but I have a friend in the records department.\"\n\n\"What else do you need?\" Maggie asked.\n\n\"I asked him to get a list of the guests occupying that floor on that particular night. I want to compare that with the room clean up list from the following day. Maybe someone was in a room that should have been empty.\" I said.\n\n\"I can get those lists, but your other request will be a little tougher.\"\n\nMaggie was clearly curious, so I explained.\n\n\"Let's assume that Nadia didn't go to dinner with her gentlemen friend after meeting him in the bar. Instead, she went upstairs to a room. I want to check the records for the last year to see if the hotel had a regular Thursday customer.\"\n\nClovis said. \"Problem is, Nadia paid cash for their drinks. She probably did that so no one could trace the fellow to the Mayflower. I bet he didn't rent the room in his name either.\"\n\n\"You're probably right, but I doubt that Nadia was paying cash every Thursday for a room either. There are too many different people at the Mayflower's reception desk, too many people checking in. Someone had a standing reservation, probably for the same room. All Nadia had to do was get a keycard from a cooperative bellman or waiter. It was unusual enough for Nadia to use her own money for drinks. Not many people in her business advance the cost of a room at the Mayflower.\"\n\n\"You think she was working with someone. I thought Novak said she worked alone.\" Clovis pointed out.\n\n\"He did, and I believe him. But this arrangement, if it existed, was too sophisticated for her to have set up on her own. Let's see what you can find out before we jump to conclusions.\"\n\n\"Stella can probably get what you want a lot faster than I can, but then again it might not be admissible in a court of law,\" Clovis warned.\n\n\"The quicker the better. I have a feeling we're running out of time.\n\n### **55**\n\nMICKI AND I retreated to my office to go over her notes. She'd had a good session with Billy. He told her what we already knew about hiring a private investigator through his agent and getting the anonymous note from Bibb, Tennessee. He gave her a few more details about the town, including his father's favorite bar and the country store\/gas station. He was pleased that Micki was going to his old hometown for the weekend. \"I don't know exactly what you're looking for, but whatever happens, it would be good to know if I have any real family.\"\n\nShe told him I was joining her on the case, but didn't go into any details, and he didn't ask any questions. He seemed confused by her questions about any former girlfriends. Of course he dated at Sewanee. He rattled off a few names Micki could call. He confessed to a serious relationship with a fellow student at Oxford. They kept in touch, and he had planned to visit her during the off-season. No, he didn't date much in Los Angeles. The team counseled rookies to be wary of groupies and girls who hung out at hotels during road trips.\n\nThe publicity director had encouraged him to let her set him up with some women in the movie business, to let himself be photographed with them going out to dinner or walking holding hands, but he had politely declined, saying he wasn't interested in a \"tabloid relationship.\" He'd had a few dates with a doctor at LA's Children's Hospital. They had enjoyed each other's company, but were both too busy during the season to get serious.\n\nWell, at least the prosecutor couldn't accuse Billy of having some propensity for professionals such as Nadia.\n\n\"I tried to contact the first of the young men working for Logan but was passed on to a lawyer who said that all four of his clients were cooperating with the prosecutor's office and respectfully declined to be interviewed.\"\n\n\"I was afraid of that.\"\n\n\"Yeah, me, too. I expect we're going to run up against a lot of stonewalls. The waiters at the banquet and the employees at the Mayflower will probably respond similarly. But surely they can't all have lawyers! Have any ideas?\" she asked.\n\n\"Yes, believe it or not I think I do. But first let me brief you about what we're doing on social media and what Clovis has discovered. I want your sign-off.\"\n\n\"You are actually asking my opinion? Where did this Jack Patterson come from?\" she kidded.\n\n\"First time, we had never worked together. Now we have.\"\n\nMicki blushed, recognizing the compliment.\n\nShe loved our newly minted social media strategy. She had some ideas of her own for the web site, and I encouraged her to give them to Beth and Stella.\n\nShe was less excited about Stella hacking into the Mayflower's computers to get the information we needed about reservations. It was probably illegal and definitely wouldn't be admissible. I reminded her that Stella was so good no one would ever know. We weren't using the information for any illegal purpose; we simply needed to know who had rented rooms at the hotel. Moreover, we owed it to both Nadia and Billy.\n\nMicki was still skeptical, but told me as long as I was aware of the consequences, she wouldn't stop me.\n\n\"Okay. Now tell me how we're going to get around the fact that the prosecution is stonewalling all the witnesses? All we've been able to gather in the way of exculpatory evidence is probably inadmissible. I know you well enough by now. You've got a plan bubbling up in that brain of yours.\n\n\"And please tell me you aren't planning to ask for a preliminary hearing like you did in the Cole case. There isn't a chance in hell Constance Montgomery is going to let you get away with that.\"\n\nA preliminary hearing is sort of a \"trial before the trial.\" The judge listens to evidence from both the prosecution and the defense and determines whether there is probable cause to bind the defendant over for a trial. The defendant is almost always bound over, but on occasion the defense uses a preliminary hearing to learn about the prosecution's case. We had asked for a preliminary hearing in Woody's case. It was an unusual tactic, but then it was a most unusual case.\n\n\"No, a preliminary hearing in this case would be a publicity nightmare, and we wouldn't learn anymore than we already know. But think about it\u2014we could ask for one even though in the end we intend to waive our right to it.\"\n\n\"What would that accomplish?\"\n\n\"Well, for one it might shake Constance up a little bit. She's bound to know what we did before.\"\n\n\"You've met her. I don't think there's much that shakes her up.\"\n\n\"True, but what else does scheduling a preliminary get us?\" I asked.\n\n\"Is this a test? You tell me.\"\n\n\"The right to subpoena witnesses\u2014employees of Logan Aerospace, bellmen, perhaps others. I'm not trying to shake up Constance, but I've got a feeling that once subpoenas start to fly, the real villain might finally screw up.\"\n\nMicki leaned over, put her hands on my shoulders and gave me a real kiss.\n\nI pulled away abruptly and said, \"Look, Micki...\"\n\n\"Oh, don't get all bent out of shape. I know it's about Carol now. But it's fun to see you squirm, and I do love the way your evil mind works.\"\n\n\"Excuse me\u2014I don't mean to interrupt.\" Maggie stood in the doorway, giving us both a disapproving look. I supposed she had seen everything.\n\n\"Not at all, not at all. What's up?\"\n\n\"Micki, a courier has just delivered a very large package addressed to you.\"\n\n\"That will be the prosecutor's file,\" Micki said.\n\nI asked Maggie to make a copy so I could take one back to Barker's tonight. She backed out without a word.\n\nMicki was disappointed by the implied delay, but relented when I said, \"I know you're dying to dive in, but let's stick to our schedule. Help Stella and Beth with the social media before you tackle that mess.\"\n\nMicki left to find Stella and Beth, and I joined Maggie at the copier.\n\n\"Everything okay?\" I asked.\n\n\"No, it is not. Right now Micki Lawrence is spoken for. You need to turn off your charms. Larry is a nice young man, and what happened to Carol Madison?\"\n\n\"But she kissed me.\" I said incredulously and turned on my heel, a little miffed myself.\n\nI returned to my office to find Micki and Clovis waiting. \"Okay, lets talk about tonight and tomorrow. Clovis, ask Stella to see if she can find out if someone had the same room reserved every Thursday. I think a desk clerk could arrange a vacant room for one night, but not every Thursday. Management would have caught on. Micki, when you see Billy tomorrow morning find out how he ended up at the Mayflower. Did the NFL put him there, did his agent, or did he book the room himself? We have conflicting reports.\n\n\"I've studied the layout of the hotel floor. I think Billy was given that room for a specific reason. Clovis\u2014here's one more thing to check out if you can. Billy's room faces DeSales St. Anyone in an office across the street on the seventh floor or higher would be able to see straight into Billy's room if the curtains were open. Of course, they'd need binoculars or something more sophisticated, but how hard would that be? See if you can find out who occupies the top four floors of the office building opposite the Mayflower.\"\n\nClovis raised his brows, and Micki said, \"Well, that comes out of left field. Do you think someone was watching Billy's room that night?\"\n\n\"Anything's possible. Actually I'm more interested in knowing if anyone was watching the room next door to Billy's.\"\n\nShe frowned, but let it go.\n\n\"Is Paul ready for another night time mission?\" I asked.\n\n\"He is. He crashed right after we met this morning, but says he feels better after some sleep.\" I had forgotten Paul had gone with her to the jail.\n\n\"I'd like him to go back to the Mayflower Bar tonight. Make nice with the bartender who told him about Nadia. Maybe one of the regulars remembers something he doesn't. If we find out who she was meeting on a regular basis, we're going to need someone to verify his identity.\"\n\n\"Anything else?\" Clovis asked.\n\nMicki spoke up. \"I thought I'd try to contact Claudia. It's about time we know if she is going to cooperate or not.\"\n\n\"Let's hold off on Claudia for a little longer. She just might be our ace-in-the-hole. I don't want anyone to know we're interested in her.\"\n\nBeth poked her head into my office. \"Y'all come into the conference room. Stella is fabulous.\" Maggie had joined them.\n\n\"Free Billy\" already had over ten thousand followers on Twitter and several hundred friends on Facebook. The website was getting constant hits, and ESPN and CNN were both reporting that the website had been created by \"fans of Billy Hopper.\"\n\n\"Perfect,\" I said.\n\nBeth and Stella took us through the various features of the site including the comment section, which had already gotten some pretty nasty notes. Not everyone was a Billy Hopper or Lobos fan. Stella said she working on a way to get to the real messages without having to manually sift through all the junk. She really was amazing.\n\n\"Micki, you can decide when, but I think its time to tell Constance Montgomery I've signed on as your co-counsel and that we want a preliminary hearing.\"\n\n\"I'm going to meet with Billy in the morning. I thought I'd drop by her office before we head to Knoxville. I bet she's working this weekend. I want to see her reaction in person.\"\n\nMaggie ventured, \"Jack, wouldn't you like to come home with Beth and me tonight? Have a nice dinner? Talk about something besides this case?\" Beth looked at me anxiously.\n\n\"Sounds great, and I'd love to, but I can't put the Knoxville trip at risk. Today I was able to sneak out of Barker's and into the office. Yes, Maggie and I had lunch, but not with any of the rest of the team. I can get back to Barker's and lay low until tomorrow. By the way, Micki, you don't need to tell Constance where I'm staying\u2014the press will find out soon enough. Once our secret is out, whoever's attention will turn to me while you head to Tennessee. Hopefully, Maggie and I can provide enough diversion over the weekend so y'all can discover the secret to Billy's past.\"\n\nBeth sighed. \"I understand, but I miss you. And I need to get back to my job before long.\"\n\n\"By the time you come back from Tennessee we'll have all the clues we need to begin phase two, presenting our version of the case to the right person.\"\n\n\"You sure about that?\" Micki asked doubtfully.\n\n\"Absolutely.\"\n\n### **56**\n\nWE BROKE UP soon afterwards. I went back to Barker's with the prosecutor's file. Clovis and Stella were going to stay at the office to try to access the Mayflower's computers, and Micki was headed back to the Hay-Adams to find Larry. They were going to get a good dinner and take in the nightlife of Adams-Morgan. Maggie, Beth, and Walter were going to Arlington to sit outside, enjoy the fresh air, and eat Maryland blue crab at the Quarterdeck. I thought they were torturing me on purpose.\n\nI sat at a table in the bar at Barker's. Barb brought me a glass of wine, and I began to peruse the prosecutor's file. As expected the facts weren't good. The four men at the banquet all gave statements that Billy ordered a lot of drinks at the banquet, appeared to be snockered, and needed the girls' help to get into a town car to go back to the hotel.\n\nThere was no mention of the fact the girls had rejoined the men at the Mandarin bar. I made note to find out about the car service and the driver. The doorman at the Mayflower said Billy could hardly stand when they arrived. Billy practically fell into the elevator, and the girls helped him into his room, or so the doorman assumed. All three returned shortly and left in the same town car.\n\nThe surveillance cameras in the hall on Billy's floor weren't working, but they did have video footage of Billy getting out of the town car and being helped to the elevator. One thing we knew now for certain was that Nadia was not one of the girls at the banquet. Novak was correct on that point.\n\nA lot of the file concerned Nadia, which reminded me to find out what Clovis had found out about her plastic surgeon. It included an autopsy photograph of her \"birthmark,\" but I couldn't tell from the picture if it covered a brand. Now we had fingerprints from the autopsy, so we could verify that it was indeed Nadia who still lay in a sliding box in the morgue. It was clear from the file that the prosecution didn't have a clue who the dead girl was, nor had they made much effort in finding out.\n\nAccording to the autopsy the cause of death was hemorrhagic shock caused by loss of blood from multiple stab wounds to the pubic area by the room service knife. The pictures were hard to look at and I went through them fairly quickly, but I did notice some bruising at the wrists and saw that her jaw was fractured and severely bruised. The medical examiner assumed there had been a struggle between the woman and Billy before he stabbed her. A pillow was found on the floor that contained her saliva. The medical examiner concluded that Billy must have held the pillow over her face either before or during the stabbings. There were no drugs in her system and no undigested food. I wasn't quite sure what that meant. It was interesting was she had been found completely naked. A black cocktail dress and heels were found on a chair near the window, along with a black bra and panties. All the clothes were folded neatly. No phone or purse was found, and for some strange reason all of the labels on her clothes had been removed.\n\nI wondered what had happened to her purse. I started to make a list for Clovis and Stella. A working girl such as Nadia had to have a phone, and how in the hell did she get to the hotel with no purse or money. Something wasn't right. The rest of the inventory catalogued from the room was clearly Billy's, including his cell phone. I made a note to have Micki get access to the phone\u2014I wanted to know whom he had called the few days before the tragedy. No sense being surprised in court. I also texted Micki since she would meet with Constance tomorrow. We hadn't thought about checking phone records, at least I hadn't.\n\nI already knew about Billy's call to Marshall, 911, and hotel security. The file had transcripts of the call to 911. It was short and sweet\u2014no surprises. The police verified he was wearing sweats when they arrived and that he had told them he woke up with no clothes on. Nadia's blood was all over the inside of Billy's clothes. All the reports indicated Billy was both distraught and respectful, but refused to say more until he could talk to Marshall.\n\nThe bad news was what had been leaked already to the press. The sheets were soaked in blood, and Billy's semen was on the sheets as well. There were no signs of intercourse, no indication of penetration, no semen found in her body. Billy's fingerprints were all over the murder weapon\u2014a room service steak knife. Where had the knife come from?\n\nThe worst of the news was that the door had an automatic locking system. Once the door was closed, it was locked, and only a keycard could unlock it. A door led to the adjoining room next door, but that door was locked from Billy's side when the police arrived. I searched the inventory: they hadn't found a keycard either in the room or on Billy's person. Hmmm!\n\nI emailed Micki with questions, hoping she had noticed the same anomalies in the report that I had. After dinner I would go over the file again, as would Micki. The report contained lots of photographs of the room itself, and I wondered if it was still cordoned off or was back in use. Surely the hotel would be sensitive\u2014the publicity was bad enough as it was.\n\nI sat quietly for a while, just thinking. I texted Micki with a new question to ask Billy. Finally, I ordered dinner and packed up the file. Feeling restless, I moved to the bar\u2014at least Barb's soft voice, her cute smile, and the Cav's game could entertain me. I felt the buzz in my pocket and drug out the phone\u2014it was Novak.\n\n\"I have bad news, my friend. One girl and her protector have been found dead in a storm drain outside of Cleveland, Ohio. Their throats were cut.\"\n\nWho in the hell were we dealing with?\n\n\"Any sign of the other two?\" I asked.\n\n\"My colleague has sent several men to Cleveland to try and find them. I will send you a picture of the girl who was murdered. I suspect your man Clovis can get the police file as well.\"\n\n\"Any idea what happened?\" I asked.\n\n\"What usually happens\u2014the two of them couldn't just lie low. They probably got bored in a cheap hotel and headed to the nearest bar. They were spotted, word was passed, and now they're dead. Such a waste.\"\n\n\"Your business is not for the faint-hearted,\" I commented.\n\n\"Not my business, my former business, as I keep reminding you.\"\n\n\"Yes, you do, yes you do.\" I replied. I hoped so, I really did. Perhaps he had finally found a way to go legit, but the past has a way of catching up.\n\n\"I believe you now\u2014Billy Hopper did not kill Nadia. But I still want to know who did. Do you have any further information?\"\n\n\"Not yet, but I'm getting closer, and I haven't forgotten my promise. Be patient.\"\n\n\"Patience is my middle name,\" he lied. I wished I could give him more.\n\nNeither of us had the need for small talk or social niceties, so the conversation ended abruptly, and I was soon lost in thought. Now three people were dead, and to what end? This young woman had gone to a banquet, partied with a bunch of low-level execs, and helped a supposedly drunk Billy into his hotel room. Now she was dead, as was her protector, who was also the only link we had to the man who had hired her.\n\nBarb asked quietly. \"You okay\u2014that phone call must have been a tough one.\"\n\nI wondered how much she'd heard. The hand still holding my phone was clearly shaking. Barb reached out both hands to still it. Her hands were small and remarkably soft.\n\nShe squeezed my hands just a little and then let go. \"Why don't I join you for a nightcap in a little while?\"\n\nI watched her as she walked away to take another order. She was very attractive, and I was very lonely. Maybe... but now Maggie's warnings filled the screen, and I came to my senses.\n\nIt wasn't long before she returned.\n\nAll men fixate on the idea of women coming on in a rush\u2014they dream of it. But this time I wasn't interested. I didn't see Barb, I saw Carol.\n\n\"Barb, you're a very attractive woman, and thank you, but tonight I have work to do.\" I picked up the file and left before she could respond.\n* * *\n\n## **SATURDAY**\n\n* * *\n\n## **April 30, 2016**\n\n### **57**\n\nLAST NIGHT, I'D opened the door to my room gingerly and was relieved to find everything in order. I poured myself a glass of wine and began a list of questions for the team to dive into the next morning. I didn't look forward to telling them about the dead girl, but they deserved to know.\n\nThis morning I enjoyed a breakfast of fried eggs over-easy, bacon, and cheese grits, another Southern delicacy I bet they weren't familiar with at the exclusive clubs in London.\n\nMartin's person, Rick, picked me up and once again we were able to get to my office without detection, at least as far as I could tell. Micki and Beth were waiting in the conference room and Clovis, Stella, and Paul were on their way. We poured coffee from the service Maggie had set up on the credenza and sat down, ready to get started.\n\n\"I hate to start the morning this way, but I heard last night that one of the three girls and her bodyguard were murdered outside Cleveland last night.\"\n\nMaggie gasped\u2014neither Beth nor Micki reacted at all.\n\n\"I know this is unsettling. It emphasizes the danger I've put you all in, and also highlights the need to speed up our investigation.\"\n\nI saw three grim faces, but no one said a word. It felt almost like a moment of respect for the dead. Micki finally broke the silence.\n\n\"I have the list of questions you sent me for Billy. I'll email you his answers before I leave for Knoxville, if I don't see you in person. Anything else crop up this morning, besides a cute waitress?\"\n\n\"A few more questions.\" I ignored the jab and was handing her the list when the others walked in. I waited for them to get settled, then began with Paul.\n\n\"Paul, did you make any headway with our bartender or the regulars?\" He looked a little better than he had yesterday.\n\n\"Several of the regulars remember Nadia, and one guy claimed he offered to buy her a drink. She politely declined, but none of them think they could recognize the man who joined her. The room is dark, and he always sat with his back to the bar. The bartender is becoming my new best friend, especially with my generous tips, but it will take cash and a photograph to get a definitive make.\n\n\"I spent a little extra time last night in a couple of Eastern European bars where the other three other girls might have worked, but no luck.\"\n\n\"That's okay, get some rest. I'm going to need you on full alert with Beth and Micki in Tennessee. I don't think anybody knows y'all are going, but no sense getting lax.\"\n\n\"Don't worry.\" Paul said firmly.\n\nI looked to Stella next.\n\n\"I have several things to report. First, all the occupied rooms in the hotel that were rented by paying customers on the night in question. The cleanup crew didn't clean a room that wasn't supposed to be occupied for the week before or the week afterwards.\" My heart sank.\n\n\"Here's a list of who occupied every room for the night in question. There are several charged to corporate accounts so we have no names, only credit card numbers.\"\n\nBeth asked, \"What do you mean?\"\n\nClovis answered. \"Stella and I are a good example. Bridgeport Life rented our room at the Mayflower, using a corporate American Express card. The only record in the computer is to what credit card the room is charged. Bridgeport called the front desk before we checked in to give them our names, but our names weren't in the billing system.\"\n\n\"Were any of the rooms on Billy's floor rented through such an account?\"\n\nStella looked to her computer screen.\n\n\"Just one, room 703.\" She said.\n\nClovis and I smiled. \"Maggie, did anyone order room service on Billy's floor?\n\nMaggie looked over her records. \"Six. Two ordered that evening, and four ordered breakfast the next morning.\"\n\n\"Did either of the two order steak that night? I asked.\n\n\"Both,\" she sounded disappointed. I was too.\n\n\"Which rooms?\" I asked, expecting to be disappointed.\n\nMaggie smiled. \"708 and 703.\"\n\n\"Hot damn.\" I asked Stella if she could find out precisely what was ordered for Room 703 that night.\n\nShe said she'd have it for me this afternoon and added, \"I do have some good news.\"\n\n\"No one rented a room solely on Thursday nights for the last month or so. But I decided to dig a little deeper, and found that one room was rented every Thursday from August through the middle of February using the same account.\"\n\n\"Any idea whose account it was?\" Micki asked.\n\n\"Not a clue. It's only a number, and not even I can hack American Express's records.\"\n\n\"Well, that doesn't help much!\" Micki said with irritation. \"And why are you smiling like the Cheshire cat?\" She looked at me impatiently.\n\nBeth jumped in immediately. \"C'mon, Dad, what do you know? That grin always means you know something the rest of us don't.\"\n\n\"Stella, is the credit card number for the house account that rented a room every Thursday the same as the one that rented room 703 for the night in question?\"\n\nShe stared at her screen for a moment. \"Well, I'll be damned.\"\n\nShe looked up at me with a grin, \"It sure is, it sure is.\"\n\nThere were a few high-fives before Micki brought us back to reality.\n\n\"None of what we've discovered is admissible in evidence. Besides, we still don't know who rented the room. And you know the management of the Mayflower isn't going to give out that information without a fight.\"\n\n\"You're right. But at least we're getting information. Stella, can you find out if room service was delivered to those Thursday rooms? I'd also like to know what was ordered, if you can. One more thing: find out if the maids noticed anything missing from room 703 the night in question.\"\n\nMicki had sobered us all up, but Stella wasn't through.\n\n\"Jack, starting at midnight tonight I want everyone to stay off the company computers and emails for tonight and Sunday night.\"\n\nBeth's voice rose in alarm. \"No emails? Not even accessing my email using my phone?\"\n\n\"Not even using your phones. Absolutely no emails for two days. We all can survive without email for two days, especially over the weekend.\"\n\nBeth was persistent, \"Why?\"\n\n\"You and Jeff can text all you want, but no email. I have a plan.\"\n\n\"Listen, whoever is trying to hack into our system is upping his traffic and the sophistication of his attempts. I want to let him in just for a little while.\" Stella was clearly tickled with her plan.\n\n\"To what end?\" Maggie asked.\n\n\"Jack wants me to find out who is trying to hack us. Well, I want him to think he has succeeded. He might just get over confident, and I just might have an opportunity to get inside their network. Whether my ruse works or not, I'll have our system protected by Monday morning. Beth, can you survive?\"\n\nBeth looked a little sheepish. \"Well, yes. But what about our 'Save Billy' website?\"\n\n\"You're going to be in Tennessee most of the time, so I'll monitor it. It's really just emails that concern me.\" Stella responded.\n\n\"What about our phones?\" Maggie asked.\"\n\n\"Don't worry, they're safe\u2014just don't use them for email.\" She said.\n\n\"Good luck,\" I said. \"Clovis, any luck with the plastic surgeon?\"\n\n\"I have an appointment this afternoon to remove an old football scar,\" he grinned. \"Then I'll get to work on your latest list\u2014it's about enough work to choke a horse. Tell me you've run out of ideas.\"\n\nI had piled a lot on his plate, but I knew he could handle the load. Micki asked. \"And how exactly will you spend your time while we're exploring the mountains of Tennessee? Got a hot date at Barker's?\" She was really on a roll this morning. I let it pass, again, but her attitude was beginning to rankle.\n\n\"Think about it. You're going to tell the prosecutor I'm back on the case, that we want a preliminary hearing, and that you're leaving town for the weekend. This afternoon, as soon as Clovis verifies that the girl in Cleveland is really dead, Stella and Beth are going to post on the website that a critical witness to the Billy Hopper cover-up has been murdered. The plastic surgeon who botched the removal of Nadia's tattoo will receive a visit from Clovis.\n\n\"While the four of you are enjoying a long weekend in the mountains, I'm going to dealing with the consequences of our stirring the pot.\"\n\nMicki said sarcastically, \"Oh, sure, a romantic weekend in Bibb, Tennessee with Beth and Paul.\"\n\nWhat was her problem? Beth stared at Micki.\n\n### **58**\n\nAS EVERYONE QUIETLY gathered his or her various belongings, Beth pulled me aside. \"Dad, what's going on with Micki? I've never heard her be so mean.\"\n\n\"Sweetheart, I have no idea. But don't let it get to you, she'll get over whatever it is, she always has.\" She sighed and walked out with Maggie.\n\nI asked Stella to stay for a few minutes. I warned her to be careful, and then asked her if she could find out whose credit card had been used to pay for the table at the NFL banquet, to purchase the autographed football, and to pay for the guys' drinks and rooms at the Mandarin. I also asked if she could find out what credit card number was used by Billy's agent.\n\n\"You think Logan Aerospace may be behind the renting of the room at the Mayflower.\" She stated.\n\n\"I doubt they'd be so careless as to use the same credit card, but it doesn't hurt to check.\"\n\n\"What about the agent? I bet he used Billy's card.\"\n\n\"I do too, but it's worth finding out. I'm bothered that he's reappeared and wants to be helpful. I know he hasn't had an attack of conscience, and I don't think it's about his commissions.\n\n\"One last thing, any luck finding a bank account for Nadia\/Carla?\"\n\n\"Not yet. But I'm still searching,\" she replied.\n\n\"There wasn't a penny on her person or in her home, no purse, no phone, no nothing. Yet she was planning to go away for the rest of her life. I wonder where she kept her money.\"\n\n\"From what I know, most women in her profession deal only in cash.\" Stella said.\n\n\"I know, but she must have had a bank account somewhere. The kind of money she was talking about would need a container bigger than a cigar box. I wonder if...\" I mused. She caught on quickly.\n\n\"Novak?\"\n\n\"Yes, Novak.\"\n\nStella and Beth retreated to an empty office to sort through all the comments \"Free Billy\" had received on the website, Facebook, and Twitter. They also drafted a post to go up later that revealed the girl's murder and offered a $10,000 reward for information that led to the arrest of the murderer. I'd already asked Clovis to clear the reward with the Cleveland police.\n\nI found Maggie back in her office.\n\n\"What's with Micki? I've never heard her be quite so caustic,\" she asked.\n\n\"I don't know, and I don't want to talk about it. Are you ready to stir the pot some more?\" I asked.\n\n\"Sure, but are you sure you know what you're doing?\"\n\n\"I hope so. In fact, for the first time I'm optimistic. Now the hard part\u2014how do we get the right person to listen?\"\n\n\"Do you really think they're going to learn anything in Tennessee?\n\n\"It's a Hail Mary play, but you run the play the situation calls for.\"\n\nI was tickled with my football analogy, but Maggie was not. \"Should I be able to understand what you just said?\"\n\n\"It's a long shot\u2014better?\" She'd never quite gotten into American football, much less the lingo.\n\n\"Maggie, can you prepare these subpoenas for Clovis to serve on Tuesday morning for the preliminary hearing?\"\n\nShe scanned the list, raising her brows when she came to one name.\n\n\"Have you run this list by Micki?\"\n\n\"Not yet, but I will.\" Frankly, I don't want to say much of anything to her before she gets back from Tennessee. Maybe by then she'll have gotten over whatever's bothering her. Can you work tomorrow?\"\n\n\"Of course. What do you have in mind, or are you still flying by the seat of your pants?\"\n\n\"Check with Stella. See if we can use the computers. We need to write a summary memorandum for our presentation. Hopefully Stella, Clovis, and the rest of the team will be able to provide the exhibits.\"\n\n\"So we're going to write a summary before you know what the proof is?\" She looked incredulous.\n\n\"Of course.\" I smiled and left her to preparing the subpoenas.\n\nI went back to my office, closed the door behind me, and phoned Novak.\n\n\"Have you discovered the identity of Nadia's killer yet?\" he answered.\n\n\"Not yet, and, in fact, I need your help,\" I replied.\n\n\"What do you need now?\" I could hear the irritation in his voice.\n\n\"You may recall that we found Nadia's home totally empty, not a scrap of paper or even a coat hanger in the entire place. If she was as successful as you have said, she had to have either a place where she stored her cash or a bank account. Can you help me access that account?\"\n\n\"Why should I do that?\" Now his tone was downright chilly.\n\n\"Because she may have had a customer who didn't pay her in cash, but either sent her a regular check or wired money into her account. I'd like to find out who that customer was.\"\n\n\"I understand. What you ask for is difficult. There are certain banks that, let's say, are favored by people in my former business. They look the other way when cash is deposited or withdrawn, but wouldn't want anyone to reveal their identity. Moreover, if Nadia had such an account I wouldn't want her money to be seized by your government.\"\n\nHe had a point. As money received as part of the commission of a crime, the Feds could indeed seize it. \"I don't care what happens to her money after I prove Billy's innocence. I simply need to be able to prove that someone sent her regular checks or wires. After this case is over, if you or the bank decide to distribute it to your brother or her family, that's none of my business. But I need some form of irrefutable proof that these deposits were made.\"\n\n\"Is the source of the money the murderer?\" he asked.\n\nI didn't want Novak to go off half-cocked and kill the only person who might be able to exonerate Billy, so I told a half-truth.\n\n\"I don't think so, but proof that such a person exists will go a long way to helping me discover the identity of her assassin.\"\n\nThe line went silent for a minute before Novak spoke.\n\n\"Again, Jack, what you ask is difficult, but I will see what I can do.\" Novak didn't sound encouraging.\n\n\"Thanks. I have a second request, one that I should have asked earlier.\"\n\n\"You ask a lot.\" Now his voice was downright cold.\n\n\"I'm sorry\u2014this is an easy one, I hope. Nadia's cell phone wasn't in the hotel room or in her home. You have said you talked to her on occasion. Can you give me her phone number?\"\n\n\"That I can do.\" He paused for a second before giving me a number.\n\nI wrote it down, then read it back to him.\n\n\"That is correct.\"\n\n\"Thanks, Novak. Remember: verifiable proof of the deposits.\"\n\n\"What if there were no regular deposits?\" He asked.\n\n\"Please let me know regardless. In that case, I think her money should be returned to her family. It is small consolation for the pain they must feel.\"\n\nAgain, a silence before he replied.\n\n\"I will call you as soon as I have answers. Jack Patterson, sometimes you surprise me.\"\n\nI walked to the conference room and handed the phone number to Stella.\n\n\"This is Nadia's phone number. Think we can get her phone records?\"\n\n\"Shouldn't be a problem,\" she answered.\n\nI reached in a pocket and handed her a napkin. \"What about this number?\n\n\"No problem.\"\n\n### **59**\n\nMAGGIE AND I met Walter at Joe's Stone Crab for lunch\u2014great food, but hard on the bank account. I decided on Joe's because of its visibility. I wanted to be sure anyone who cared knew I had returned to town and was back at work. Lunch with Maggie and Walter at Joe's should do the trick.\n\nWe agreed to share oysters Rockefeller and the crab cakes, followed by chopped salads. After days of bar food, I felt the need to be at least a little healthy. When the waiter left, Walter opened with, \"I hear I've lost my golf partner and wife for the entire weekend again?\"\n\n\"I promise to make it up to you by letting you beat me next weekend.\" I knew how to get Walter's goat.\n\nBefore he could reply, I continued.\n\n\"I have another favor to ask. Your pilot is taking my crew to Knoxville tonight and picking them up Monday night. Do you mind if he picks up Marshall in Little Rock on Monday morning as well?\"\n\n\"Not a problem. But it'll cost you a couple of tickets when the Lobos play the Redskins.\"\n\n\"You'll have an invitation to Red's box,\" I said, wondering if I could pull it off.\n\nMaggie asked, \"Why are you bringing Marshall back to town? You surely won't have a preliminary hearing for weeks.\"\n\n\"You're right, but I'm not sure we really want a preliminary hearing. I owe it to Marshall to keep him informed. He can comfort Billy and be available for a couple of days if my plan works.\"\n\n\"Care to share your plan?\" Maggie asked tartly.\n\n\"Of course\u2014tomorrow, when it's just you and me.\"\n\nWalter interjected. \"I can head back to the office if you two need some alone time.\" Great\u2014I'd managed to irritate them both and embarrass myself to boot. There wasn't anything I wouldn't share with Walter.\n\n\"No, Walter, no\u2014please don't think it's about you. At this point, my so-called plan is still in vague outline form. I haven't heard from Micki about her meeting with Billy and Constance, Stella and Clovis have a lot of puzzle pieces to unearth, and our \"Save Billy\" website is just starting to have the desired results. I have to stir the pot a little more this afternoon. What we discover in Tennessee or maybe what we don't discover, will determine how we move forward. Then I'll actually have a plan to share.\"\n\n\"I have a plan as well, one I'm willing to share right now,\" Walter said.\n\n\"What's that?\" I asked.\n\n\"Tomorrow night I'm grilling steaks and pouring martinis. You've been hunkered down too long; you need to get some fresh air. You're coming to our place for dinner with Clovis and Stella. No excuses and no work talk. While your crew is exploring the Tennessee Mountains, you are going to take the night off.\" His tone was stern, but he smiled, and I was reminded why I loved this man so much.\n\nI thanked him, and we spent the rest of lunch going over some foundation business I'd neglected this past week. The discussion served as a welcome reminder that my real life awaited my return to normality.\n\nWalter left for a meeting in Arlington, so Maggie and I decided to walk back to the office, much to frustration of Martin's men. When we got back, I returned Micki's call first thing.\n\n\"You're no longer a very popular guy with Constance Montgomery,\" she began.\n\n\"What\u2014she's not happy I'm back?\" I laughed.\n\n\"Oh, no, she's delighted you've returned, said she always expected you to show up. It's your request for the preliminary hearing that caused her to blow a gasket.\" Micki sounded giddy.\n\n\"My request? I thought we were partners?\"\n\n\"We are, and I knew you wouldn't mind my blaming you.\" She let that sink in. \"She said she was fully aware of your bent for shenanigans in the courtroom, and if you think you can get away with playing your games here in DC, you are dead wrong.\"\n\nI admit to being pleased. \"I thought we might ruffle her feathers.\"\n\n\"She also sent you another warning. I'm paraphrasing, of course, but this is the gist. 'Tell Jack Patterson I'm already aware of his reputation for going around local prosecutors to Main Justice. Tell him it won't work. My U.S. Attorney has made sure this is our case, and Main Justice is taking a hands off approach. He'll be wasting his time if he tries to get the attention of his pal Peggy Fortson.\"\n\nPeggy and I had joined the Justice department at the same time. I left for private practice after a few years, but she stayed the course and was now the Deputy Assistant Attorney General for the Criminal Division. We have remained good friends and work together on occasion.\n\nI almost laughed at loud. \"Anything else from Ms. Montgomery.\"\n\n\"Oh yeah, she suspects we're responsible for the 'Save Billy' website. She said she's going to get the judge to shut it down.\"\n\n\"Can she do that?\"\n\n\"Hell if I know,\" she laughed.\n\n\"She's really going to be upset when we post a reward for the girl who was killed in Cleveland.\" I returned the laugh, but it was time to get serious.\n\n\"You coming in to the office?\"\n\n\"No, the pilot wants to get ahead of the weather. We're meeting at the airport in an hour. I'm on my way to get Larry.\"\n\n\"Is he all right with this? There could be trouble.\"\n\n\"He's excited. He's already found a couple of hardwood mills in the area. Don't worry about Larry. He's tougher than you might think.\"\n\n\"I do. I worry about all of you.\" I was sincere.\n\n\"I appreciate it, Jack, and we all know the risk. I've emailed you the answers to the questions you wanted me to pose to Billy. He's doing okay, but I don't know how long that's going to last.\"\n\n\"I figured. Walter's pilot will pick up Marshall in Memphis Monday morning before he meets you in Knoxville. Maybe seeing Marshall will lift his spirits. Good luck, Micki\u2014bring back a few answers.\" With that I clicked off, wishing I were going with them.\n\nI found Clovis working in the conference room. He had obtained approval from the Cleveland authorities for the reward and for posting it on the \"Free Billy\" website. He warned that it probably wouldn't be long before someone with the DC police came around asking how we had learned about the Cleveland murders.\n\nI shrugged off the possibility and told Stella to go live with the post and the reward. Constance Montgomery would just have to get over it.\n\nClovis was on his way to see the plastic surgeon. I retreated to my office to stir up more trouble. Maggie wouldn't be happy with my next call.\n\nI punched in Cheryl Cole's private cell number. She had been calling the office daily asking for a scoop. I was about to give her one.\n\n\"Jack.\" she said without preliminaries. \"You still owe me. When are you going to give me the real scoop on Billy Hopper?\" No warm hello this time.\n\n\"We off the record?\" I asked.\n\n\"Jack, we're friends.\" She simpered, giving my name a full two syllables. I don't have much patience for these reporter's games. I usually refused to play, but I needed her help.\n\n\"Yes, we are friends, but I still want to hear from your own lips that we're off the record.\"\n\n\"Jack, don't you trust me? Why don't you tell me what you've got? If it's good I promise not to reveal my source.\" Did she think I was an idiot?\n\nNo more games. \"Cheryl, better reporters than you will kill for this story. Let me hear the words, or I'm calling one of them. Who's that good looking guy at ESPN?\"\n\nShe humphed a bit but gave in, though with little grace. \"Bastard! Okay, we're off the record.\"\n\n\"Last night I learned that a young woman and her pimp were murdered in Cleveland. Their throats were cut. You can find out more details from the Cleveland police or on the 'Free Billy' website.\"\n\n\"People are murdered in Cleveland every day. What does any of this have to do with Billy Hopper?\" she asked.\n\n\"The same young woman was sitting next to Billy at the NFL Honors banquet. Her name that night was Ginger. The other two girls at the table have gone missing, who knows where.\"\n\n\"So, what does that all mean?\" she asked.\n\n\"Do I have to spell it out for you, Cheryl? Isn't that why you're paid the big bucks?\"\n\n\"Now, Jack\u2014why be mean? Is that it?\"\n\n\"For now, yes.\"\n\n\"That website\u2014who's behind it?\"\n\n\"I can't tell you.\"\n\n\"Can't or won't?\" she asked.\n\n\"Does it matter?\"\n\n\"I guess not. Will you come on my show tonight?\"\n\n\"You know I won't.\" I laughed.\n\n\"I expect to hear more, you know.\"\n\n\"That you will.\" I hung up.\n\nI walked passed Maggie's desk.\n\n\"Maggie, can you please record Cheryl's show tonight?\"\n\n\"Please tell me you haven't been talking to that woman again.\"\n\nMaggie thought Cheryl was lower than a snake. She was mostly right, but Cheryl could also be useful. I grinned and left to find Stella.\n\n\"Stella, I think you should expect attacks on the website.\"\n\n\"Already incoming. Someone is trying to shut the site down. I can't tell if it's the federal government or the Chinese, but, whoever, they're good.\"\n\n\"Can they succeed?\"\n\n\"I said they were good, but not good enough,\" she smiled.\n\n\"Anything interesting in the way of comments?\"\n\n\"Not much. Lots of people are after the reward\u2014most of them are cranks, but who knows? Billy has a lot of fans out in California, and the website is gaining traffic as well as the Twitter account.\"\n\n\"Most defendants don't have money enough to hire a decent lawyer, much less use the Internet to help combat all the advantages prosecutors have. There are still two levels of justice in America one for the rich, and one for the rest of the country. Who knows? The Internet has had a huge impact on politics, maybe it will for criminal justice as well. Wouldn't that be something?\"\n\n\"That it would,\" she said.\n\nI spent the rest of the afternoon thinking about Micki's conversation with Billy. His agent had made all his DC reservations. He was surprised to have a corner suite at the Mayflower since the banquet was at the Mandarin. All the other ballplayers were at the Mandarin, but his agent had arranged for a car to take him to the banquet, so he didn't think much about it.\n\nWhen he checked in the clerk didn't ask for a credit card, just his driver's license. His plane had been late, so he barely had time to clean up and change into a suit before the car arrived. No, he hadn't used the phone in the room at any time, not even for room service or housekeeping. The room was fine, nothing was missing that he recalled. He didn't go down to the bar before leaving for the banquet, and he had never been inside the Mayflower before, much less stayed there.\n\nEither Billy was a consummate liar or something was seriously amiss.\n\nI made a note and took it in to Stella. \"Can you check this out?\"\n\nShe looked at it and commented. \"No one is that stupid.\"\n\nClovis still wasn't back from the plastic surgeon's, so I decided to return to Barker's. Maggie and Walter were attending a function at the Kennedy Center, so she hoped we could close the office a little early. I wished them both a good night. Stella was set to camp out in our offices over the weekend, hoping to catch our hacker. I felt okay, knowing Clovis would assure her safety.\n\nIt was a beautiful afternoon, and I wished I could enjoy the long walk through the city, but I carried a banker's box of files, so a cab was in order. After dropping the box off in my room and cleaning up, I walked down to the bar for a drink. The atmosphere felt all wrong; I really didn't want to be here. I thought about taking my wine upstairs, but Barb put a plate of French fries down next to my wine glass, and I gave in.\n\nIt was Saturday night and Barker's was busier than usual. I sipped on a very nice sauvignon blanc from New Zealand and listened to Barb who seemed to be in a particularly good mood. My thoughts wandered to Constance Montgomery\u2014how on earth could I convince her someone else had murdered Nadia? Once a prosecutor is convinced of an individual's guilt, it's difficult, likely impossible, to convince them otherwise. With a few exceptions, prosecutors are much like baseball managers: they care about their won\/lost record, not much else.\n\nI had no hard evidence to present, and they had Billy's fingerprints all over the murder weapon. Nadia was in his bed, naked and dead, and the doors were locked from the inside.\n\nThe insistent buzzing of my phone interrupted my thoughts: Clovis wanted to tell me about his visit to the plastic surgeon. The \"surgeon\" was nothing more than a doctor who provided health care to unsavory characters and the girls under their protection. Clovis would bring Nadia's file to the office. He had photographs of the brand before the surgery. She had paid cash and not made a follow-up appointment. Clovis said the doctor and his office were equally depressing. He was returning to his hotel for a long shower.\n\n\"I hate to believe people have to resort to a quack like that. How on earth did he get a license?\" he fumed.\n\nHe also reminded me that the entrance to the Mayflower on DeSales Street isn't manned by a bellman or covered by any surveillance cameras. Nadia or anyone else could enter the hotel from that entrance without being either noticed or photographed.\n\nThis information solved one puzzle\u2014how had Nadia been able to get into the bar without being picked up on surveillance cameras. Once the DeSales street entrance had opened directly into the bar, but the bar had been relocated a couple of years ago. Even now it would be easy to avoid the cameras in the lobby. I wondered...\n\n\"Penny for your thoughts.\" Barb smiled.\n\n\"I'm sorry. I've got a lot on my mind tonight. Why don't you let me have the rest of the bottle and a glass? I'm going to shut it down for the night.'\n\nShe smiled again. \"Would you like room service to bring it upstairs?\" She reached back for a bottle.\n\n\"Thanks, but no.\" I took the bottle, idly wondering how much it would cost, and walked up the staircase.\n\nI had an urge to do something I seldom do\u2014take a bath. Maybe it was wounds from a long time ago, but a warm bath, a glass of wine, and being alone with my thoughts sounded just about perfect.\n\nI had just settled in when I heard a knock on the door.\n\n\"Room service.\" Her voice was unmistakable.\n\nI knew where the evening would end if I answered that door, and the prospect simply had no appeal. Was I a fool? Well, maybe, but the hot water felt pretty damn good. I decided to remain in the tub with my dreams rather than face reality at my door.\n* * *\n\n## **SUNDAY**\n\n* * *\n\n## **May 1, 2016**\n\n### **60**\n\nMR. KIM HAD just received a first-class ass chewing from the client. Patterson was back on the case, if he had ever been off. Some damn website called \"Free Billy\" claimed that Hopper had been set up and that the girl murdered in Cleveland could have exonerated him. Kim was sure that Patterson was behind the website, but so far his people had not been able to shut it down.\n\nFox News had run a piece posing the possibility that Hopper was innocent, referencing the murders in Cleveland. That bitch Cheryl Cole broke the story; Kim knew Patterson had used her before.\n\nLawrence had requested a preliminary hearing, refusing a negotiated guilty plea. Jones and his people were nosing around all over town. He'd found the dirty doctor Nadia had used. He should have eliminated that danger before now. Worse, the other two girls hadn't been found.\n\nHe had known Patterson would present a problem. Lawrence played things by the book, but Patterson was creative and unpredictable. The only bright light in this gloomy picture was that his tech people were finally having some success penetrating Patterson's computers. It was about time.\n\nHe should have given the order to kill Patterson when the sniper had the shot, but the client was worried that an investigation would blow the whole deal. Now the client wouldn't be given the option.\n\n*********\n\nThe night seemed to last forever. I dreamed that I was scheduled to pitch in Yankee stadium, but my uniform had disappeared, nowhere to be found. Not such a terrible dream initially, but it returned no matter how many times I tried to shake it off. Maybe I should have opened the door to Barb after all.\n\nSunday breakfast at Barker's was always a feast, anything you could possibly imagine at an American breakfast. I ordered blueberry pancakes with two fried eggs, and corned beef hash on the side. Possibly a little indulgent, but it made me a happy man. I lingered over coffee, contemplating the day before me. Maggie and I were to meet at nine thirty; Clovis and Stella would join us at eleven. We'd have sandwiches delivered to the conference room and work until about five. Dinner with Maggie and Walter would be a welcome relief.\n\nI arrived at the office to find the conference room in a total state of disorder, Diet Coke cans and crumpled packages from Cheetos and Snickers tossed about carelessly. Stella sat in front of two computers, looking more than a little bleary-eyed. She didn't look up when I came in. After a few minutes of silence, I ventured to ask how she was doing.\n\n\"Hey, we're good. The government quit trying to shut down the website around five o'clock yesterday. The other hacker doesn't ever seem to stop, and I've given him a gleam of hope. He made his way to what looks like a crack in our security, right on schedule, but he'll find absolutely nothing. I'll try to infiltrate their system when I think they're the most vulnerable. I'm still trying to track down who paid for the rooms at the Mayflower.\"\n\n\"Sounds good. Can Maggie prepare a memo on her computer?\"\n\n\"Sure, no problem. Stay off email, but writing a document is perfectly okay.\n\n\"By the way, I managed to get a copy of the call log for Nadia's cell phone. I put a list of the numbers for the last three weeks on your desk along with a log from the other number you gave me. Several of Nadia's numbers appear more than once, both incoming and outgoing. Maybe Beth could trace those numbers.\"\n\n\"Any serious response to the website's offer of a reward?\" I asked.\n\n\"The traffic went through the moon the night of Cheryl's show. Still mostly a lot of sports related junk, but it takes only one. I just hope I recognize it.\"\n\nI thought to myself how important it was for one of the girls to try and reach out for protection. So I asked Stella if she could post an encrypted email address or phone number someone could use to reach her. I also asked her to include language promising absolute confidentiality for anyone who responded.\n\nClovis came in with some kind of specialty coffee drink for Stella and black coffee for the two of us. Maggie would put on a kettle for her tea when she arrived. While we waited on Maggie, I went over Nadia's medical file or what little there was of it. Before and after photographs of the brand were helpful, but that was about it. At least we had additional documentation that Nadia and Carla were the same woman, that she had once been branded with a crescent moon and two initials\u2014td. After the surgery the brand looked exactly like the picture in the medical examiner's report; he had referred to it as a birthmark.\n\nMaggie breezed in and as soon as she had her tea in hand we went to work preparing the first draft of an outline report of what I believed had happened. Maggie still took shorthand, a talent, which has almost entirely disappeared. Clovis acted as devil's advocate, questioning my assumptions. We spent about two hours going back and forth before I ran out of steam or fresh arguments.\n\n\"So, what do you think?\"\n\nNo answers. Maggie was expanding her notes, and Clovis sat drumming his fingers on the desk.\n\n\"Jack, there's more holes in your premise than a doughnut shop. How on earth are you going to sell it to a prosecutor?\" Clovis spoke up first.\n\n\"Well, you're right and I'm not sure. But I think it has promise, and besides, it's all we've got. So let's make a list of those holes and how we can plug 'em. You first, Clovis.\"\n\n\"The most obvious thing you're missing is motive. We'll never get to the complete story without a motive, one we can prove. To me, that's where your theory story lacks substance. Sure, someone else could have killed Nadia, but why?\"\n\nWhy did he always have to be right? Such a downer\u2013\n\nMaggie said, \"I agree with Clovis, of course, and I can't get past the same question\u2014How are you going to convince the prosecutor to give up what appears to be an ironclad case against Billy to follow your suspicions?\"\n\n\"Well, since we meet with that lady soon, we need to come up with a plan for her and try to fill as many holes as we can. Maybe our team in Tennessee will provide the motive. We'll have to wait and see. And who knows what else may turn up?\"\n\nMaggie reminded me. \"You've already said you believe they won't find anything.\"\n\n\"I did, but discovering nothing is also a discovery. Hey, how about a little optimism and enthusiasm around here. We're out to exonerate Billy, not to talk ourselves out of the game.\" Their negativity had finally gotten to me.\n\nThe awkward silence was relieved when Maggie opened the door to the Loeb's delivery man. She handed us each a still-warm corned beef sandwich with a side of pasta salad, and we soon relaxed, remembering why we were here.\n\nWe were clearing up when Stella burst in with her news.\n\n\"I found out who rented room 703 at the Mayflower. It's a company called L&A Marketing Advisors. Their mailing address is a P.O. Box in Alexandria, Va. I'm trying to pin down the ownership, officers, etc. The table at the banquet was purchased with a check from Logan Aerospace, and the purchase of the autographed football was paid for with by an American Express owned by Logan Aerospace.\"\n\nClovis commented. \"It was too much of a stretch to think Logan paid for the room as well as the banquet expenses.\"\n\nWe were all disappointed until I saw that Stella was grinning.\n\n\"Okay, Stella out with it. What else did you discover?\" All heads turned to the smiling Stella.\n\n\"The four corporate executives bought their drinks, meals, and rooms at the Mandarin with an American Express card belonging to Logan Aerospace.\"\n\n\"Anything else.\"\n\n\"Billy's agent's room was not paid for by Logan.\" Stella said.\n\nI said. \"Of course not. He probably used Billy's card.\"\n\nStella shook her head. \"Nope. Logan didn't pay for his room because he never checked in. He stayed the weekend with Claudia, the Senator's aide. Her room, room service, and a large bar bill were all paid for by L&A Marketing Advisors.\"\n\n\"Wow. Good work Stella. One hole filled, but of course we have another mystery\u2014who is L&A? Is it possible that the L and A stand for Logan Aerospace?\"\n\n\"I don't know yet, but I'm working on it,\" answered Stella. \"But since Micki isn't here, I want to remind you that my methods haven't been exactly kosher. I'm not sure how useful the information will be in a court of law.\"\n\nI nodded in agreement, knowing that if we didn't avoid a court of law, Billy was going to need a different lawyer.\n\n\"That's okay, keep digging. How we use it is my problem.\"\n\nShe cleared her throat, looking uneasy.\n\n\"I hate to do this, but I need a break. The hacker is roaming through a bunch of meaningless files, and I won't be ready to launch my counter attack until tomorrow. I need a little rest before we go to Maggie's tonight.\"\n\nClovis looked concerned. She'd lasted longer than I could have\u2014she must be exhausted. I nodded to Maggie, who made clucking noises and told her to enjoy a nice, long nap. We agreed to swing by the Mayflower around five P.M. to pick her up. As she left, Maggie turned to Clovis.\n\n\"She'll be okay. She's been going non-stop since you got here. You'll notice a world of difference in her this evening.\"\n\nClovis was clearly bothered, but the three of us went back to work. At some point I heard a rap on the glass and looked up to see Martin signaling Clovis. They retreated to an empty office, probably to talk security. My cell phone rang about the same time, and I looked down to see Novak's number. I shoved my chair back and excused myself.\n\n\"A package will be delivered to your office Tuesday morning. You were right\u2014she did have a bank account, a substantial one. Tell me this: is one of the depositors our murderer?'\n\n\"Again, I don't know. Please don't act on an assumption. Let me do my job.\"\n\n\"I will, but only because I know you to be a man of your word. I sense you are getting closer.\"\n\n\"Alex, I truly believe I am. Can you give me the names of the depositors?\"\n\n\"I cannot. I have not seen these records myself. My source has agreed to deliver the records, but will only concede that the amount in the account is substantial and that there has been more than one depositor.\"\n\n\"More than one?\" I asked.\n\n\"More than one.\"\n\n### **61**\n\nMAGGIE AND I spent the better part of the afternoon adding to and preparing my list of subpoenas. Clovis had hired a process server to serve them Tuesday afternoon, and I spent some time thinking how to serve the one that would prove tricky. I'd hoped to hear from Micki by now, but Maggie reminded me that we'd agreed to keep communication to a minimum.\n\nShe asked the right question.\n\n\"Why Tuesday? The preliminary hearing won't be for weeks.\"\n\n\"I'm worried that Micki's trip to Bibb won't remain a secret for long. When word gets out, I suspect a lot of documents will find their way to the shredder, and a few key witnesses will decide the time is right for an overseas vacation. As soon as I've heard from Micki, I'll call Peggy Fortson. After that we're gonna have to move fast.\"\n\n\"Didn't Constance Montgomery already warn Micki not to try to go over her head?\" Maggie asked.\n\n\"Yes, she did. And I'd bet a dollar to a doughnut hole that Peggy turns me down flat.\"\n\n\"You know, Jack Patterson, you can be very frustrating at times. Why would you ask for a meeting you know you're not going to get?\"\n\n\"Because I want my request to be on record when the attorney general calls her into his office and demands answers.\"\n\n\"You sound pretty cocksure, Counselor.\"\n\n\"I may be wrong. I certainly have been before, but I think I know how this town works. Peggy will get the call from the attorney general. Our job is to be ready with proof, not holes.\"\n\nShe raised her brows in doubt, and we went back to work. The holes in our thesis were only too obvious: no clear motive, no proof.\n\nWe finally gave up around five o'clock and joined Clovis in the waiting Suburban. He stepped out at the entrance to the Mayflower, looking around for Stella. \"I don't see her anywhere. Give me a minute to find her\u2014maybe she's still in the room.\"\n\nMaggie plucked at his sleeve, looking a little sheepish.\n\n\"Clovis, I think she's standing next to the bellman.\"\n\nI looked up, and finally recognized a very different Stella. Her hair was pulled back, held in place by a large tortoise clip. It was now an attractive dark brown, not a trace of purple. Her make-up was subdued, and her nails shone with stylish slate-gray polish. She wore a deep green dress, a pashmina draping her shoulders. I was oddly happy to see she hadn't abandoned her heels\u2014they were at least four inches high.\n\nA speechless Clovis held the door as she coolly seated herself in the back seat with Maggie and me.\n\nHe slipped in behind the wheel, but could only stare at the image in the rear view mirror.\n\n\"I told you she'd be a different person,\" Maggie giggled.\n\nClovis tried to respond. \"What, how,... you look fantastic.\"\n\nI rescued my friend. \"Clovis is right. You look stunning, but I have to ask\u2014what's the occasion.\"\n\n\"Y'all forget\u2014before I started an extreme sports gym and my own computer company I worked for IBM\u2014'Dress for Success' and all that. Walter Matthews is your close friend, and you've been to his home for drinks and dinner many times. But to me he's the owner of Bridgeport Life and my best client. I'm not the type of girl who gets invited to people's homes very often. I was pretty intimidated, and Maggie understood how I felt. She found a hairdresser who came to the hotel, and a friend of hers brought by some clothes she thought might work.\"\n\nI'd never dreamed she might be nervous. She was so full of self-confidence on the job, it never occurred to me... Now I felt a bit underdressed.\n\nMaggie quickly covered the awkward silence. \"I'll change when we get home. It won't take more than a minute. You're going to love Walter. He's going to be a little surprised himself. The last time he saw you was at the Foundation retreat. I think you were into pink that week.\"\n\nWe pulled into Maggie's driveway and she excused herself, dragging me with her. Clovis walked around the car and offered Stella his arm as they walked to the door. He looked like the football captain escorting the homecoming queen to the fifty-yard line.\n\nWalter was waiting outside on his deck. The weather was ideal, and a table for five was already set. He had a knack for mixing martinis and was busy with the shaker. He poured one and approached Stella who had hung back just a bit.\n\n\"Stella, I'm so glad you and Clovis could come tonight. Some folks say I mix a pretty fair martini\u2014I hope you'll join me.\" She accepted graciously, and he reached back for his own glass.\n\n\"Clovis, you and Jack can fend for yourselves for a few minutes. I want to show Stella around the house. Stella, I still can't understand why you haven't come to work for me full-time. How can I make that happen?\" He took her arm and they walked back into the house.\n\nI handed Clovis a martini, and we leaned on the rail of the deck, enjoying both the view of the pool and a moment of silence.\n\n\"Clovis, you're in for a treat. Walter is truly talented at the art of grilling. He won't tell me the secret of his marinade, but his steaks are pure perfection.\"\n\n\"I've already been treated enough for one evening. Can you believe I actually didn't recognize her? Just when I think I have things figured out, Stella surprises me.\"\n\nI laughed. \"Better get used to it.\"\n\n\"Better get used to what?\" Maggie asked as she brought in a tray of hors d'oeuvres.\n\n\"I was just reminding Clovis that women are full of surprises.\"\n\n\"If anybody should have learned that lesson by now, Jack Patterson, it should be you.\"\n\nThe rest of the evening was a perfect respite from the days of work that had preceded Walter's invitation. The suburban dropped me off at Barker's front entrance, and I avoided the bar area. I was asleep before my head hit the pillow, although I dreamed that Barb knocked at the door bringing \"room service.\"\n* * *\n\n## **MONDAY**\n\n* * *\n\n## **May 2, 2016**\n\n### **62**\n\nTHE STEEL OF the barrel felt good to Tina as she carefully assembled the weapon on the rooftop of a DC apartment building across from Barker's. The rifle was the one thing that never failed her, the one thing she could trust. DC was a sniper's paradise\u2014no skyscrapers to impede lines of sight. Here on the Hill, few buildings exceeded five stories. She had chosen an almost perfect place to wait, between the edge of building and an old brick smokestack. She expected her target to exit the building within the next half hour. She made the necessary adjustments to her scope and settled in to wait. Not a breath of wind this second day in May\u2014piece of cake.\n\nDid she have any regrets about her current contract? If she did, she put them out of her mind, replacing them with thoughts of the beach in Rio where she'd be relaxing this time tomorrow. She would take the shot as soon as the target was in the doorway. She tensed as the front door opened, but it was only the doorman, so her muscles relaxed. The door began to swing open again, and she could see him just inside. He was a step away from death.\n\n\"Better ease off the trigger, young lady. Right now. Put the gun down.\" A deep voice spoke as she felt the business end of a gun press against her neck. The target was nowhere to be seen, so she obeyed, dropping the weapon to the rooftop. She heard a boot kick it away.\n\n\"Thank you. Now hands behind your back, very slowly.\"\n\nThe cuffs were locked around her wrists, and he spoke again. \"Don't move an inch, don't even think about it.\" She felt his hands slide over her body and couldn't help a little shiver.\n\n\"Okay, you can sit down now, but be real careful.\" She slowly turned and dropped to her knees.\n\nHer eyes swept the roof quickly\u2014three men, two with guns extended and one speaking to her. She'd not heard a footstep. How could the setup have gone so wrong?\n\nShe heard him speak quietly into his Motorola. \"It's okay, we've got the sniper. We'll stay up here until the police arrive. Yeah, me, too.\"\n\nHe gestured at her with his gun. \"Get off your knees. Sit down with your legs crossed.\" Again she did as she was told. The man remained on his feet, but to her relief holstered his weapon. Maybe she could still get out of this mess.\n\n\"So who ordered the hit?\" He could have been asking about the weather.\n\nShe knew if she kept quiet she might live to tell the story. Her contractor would make her bail, and she'd be out of the country in a matter of days. But how had it gone wrong? How had they known where or when? She hadn't even told her contractor where the target was staying.\n\n\"Who are you? How'd you get the drop on me? How'd you know today was the day?\"\n\nClovis responded with an easy smile. \"The name is Jones. I work for Jack Patterson. We met the other day at Barker's, remember? When you give me your contractor, I'll tell you how you got careless.\"\n\nOf course. They hadn't actually met, but she remembered him now. Her contractor had mentioned a Clovis Jones\u2014she should have listened more carefully. Now she could do nothing about his smug grin.\n\nTime seemed to stand still. She heard the sirens as if from another world. Within moments a DC swat team surrounded them. She watched as Jones conferred with a police captain.\n\n\"She saw them nod in agreement, and he returned to help her to her feet.\n\n\"We're going to take the elevator downstairs, just you, me and a few of DC's finest. Last chance to give me the name.\"\n\nHe was laughing at her. She felt the old anger rise, couldn't help it. She spit directly into his face. His grip on her arm tightened, but instead of punching her, he simply pulled a kerchief out of his pocket and mopped his face.\n\n\"Aw, gee, Tina\u2014what was that about? I thought you were a professional.\"\n\n\"You have no idea who I am.\"\n\nSurrounded by DC police, Clovis took her arm firmly.\n\n\"Sure I do. You're Tina Lalas, Olympic champion in the Pentathlon, turned expert sniper and hired assassin. Number two on Interpol's most wanted list, nicknamed the Greek Midge.\"\n\nWith just a hint of a smile, she walked into the elevator. When the doors opened the silence of the elevator was shattered as a team from the FBI confronted them. Two guys in suits announced they were taking custody of Tina. Clovis didn't much care what happened to Tina, so he crossed the street to meet Martin and Jack who were watching the proceedings with interest.\n\n*********\n\n\"Clovis, Martin told me what almost happened. I know that woman. She works at Barker's. I mean she's the bartender, Barb Patton. She told me she had come over from Greece with her parents when she was a kid. She even tried to talk me into drinks, well, after hours. Now you tell me she's a sniper? Maggie will never let me hear the end of this. Was she the one who took the shot on the Eastern Shore?\" I knew I was babbling. Truth to tell, I was more than a little unnerved.\n\n\"Most certainly.\" Martin responded as we watched from the lobby. \"Think about it, Jack. Not too many people choose this line of work, and those who do are professional\u2014how else could they look in the mirror every morning? Their work is impersonal, almost totally detached from any emotion. Yet most of them have their own trademark, sort of like a calling card: the weapon, or maybe the time of the day, the list goes on and on\u2014some stamp of their personal existence. I worked my sources within the FBI and Interpol as soon as we returned that Saturday. Tina was near the top of known assassins who could have made that shot, and Interpol was pretty sure she had entered the country recently. I have no idea how she landed a job at Barker's. The big break came Thursday when Clovis recognized her in the bar.\"\n\nI stared at Clovis. \"You could have warned me: we could have gotten real friendly.\"\n\nClovis interrupted. \"Loosen up, Jack. Did you really think we'd let you stay at Barker's all by yourself? You tend to get into mischief when you're left alone too long. You've had protection inside this building since the moment you checked in.\"\n\nI wanted to be pissed, but thanks to these two, I was alive. Besides, he was right.\n\n\"So you know she tried for a hook-up a couple of nights ago?\" I asked.\n\n\"Jack, I'm proud of the restraint you showed\u2014a little surprised, but still proud.\" Clovis snickered. I knew I deserved whatever they were willing to dish out.\n\n\"I wonder what would have happened if I'd opened the door to her 'room service.'\"\n\n\"You would have enjoyed the night together, that's all. Her nickname is the 'Greek Midge.' She usually has sex with her targets at some point before she kills them.\"\n\nDidn't sound like much fun to me.\n\n\"Okay, I'll bite\u2014what's a midge?\"\n\n\"A female midge sucks the blood from the male during copulation, causing his genitals to break off before he dies.\"\n\n\"Well, that's a bummer\u2014sorry I asked.\" I couldn't help squirming a little. The prospect was particularly off-putting.\n\n\"Don't worry, she's not quite that bad. Her usual pattern is to sleep with her victim a few days before he meets an untimely death. She's much too careful to have slept with you and then killed you inside Barker's. She got sloppy this time. One has to wonder why.\" Clovis said.\n\n\"What do you mean sloppy?\"\n\nMartin answered. \"She got too comfortable at Barker's, never realized we had men there. Once Clovis recognized her it was easy to follow her as she checked out locations for the hit.\n\n\"She seemed to settle on the apartment building Sunday morning, so we guessed the order had been given. We had the entire afternoon and evening to set up shop behind the condenser on the roof. Sure, she should have looked, but she'd gotten cocky.\"\n\n\"How'd you get the police to cooperate?\"\n\nMartin answered. \"I work with them every day; we have a pretty good relationship. The police are well aware of Tina. Remember, DC is a city full of prime targets. They were tickled pink to help put her out of commission without the failure of an assassination. But the locals will have a hard time keeping her in their custody. She's a huge prize in the International Police community. You watch. The FBI will try to take credit for her apprehension, and the FBI almost always gets its way.\"\n\n\"So why didn't you warn me?\"\n\nGrinning, Martin responded. \"Didn't want to spook either you or Tina. You actually were lonesome, no acting necessary, and she thought she was safe. If she'd gotten suspicious, she would have realized we were onto her, and probably would have disappeared or, worse, taken the shot early.\"\n\nIt all made sense, but I still felt like a twelve year-old who doesn't think he needs a babysitter.\n\nI looked across the street. The police had cuffed Barb and were holding her next to their patrol car. The officer in charge was arguing with the FBI.\n\n\"Well, I'm glad you were there and sure glad to be alive, so thank you.\" I gave his arm a friendly punch and grinned. \"Mind if I have a little fun?\"\n\nClovis laughed. \"The police have already agreed to get your statement later, so do whatever you feel like.\"\n\nI sauntered across the street and extended my hand to Agent Travis Barry.\n\n\"Agent Barry,\" I smiled. \"Jack Patterson. We met a week or so ago when you interviewed Marshall Fitzgerald. Small world isn't it?\"\n\nBarry looked away, barely acknowledging my presence. I ignored the snub and turned to the DC policeman who appeared to be in charge. He took my outstretched hand immediately, looking pleased as punch.\n\n\"Officer, I understand you and your men have apprehended a dangerous international criminal, saving my life in the process. Thank you. I'll make sure Captain Lanier knows how much I appreciate your efforts and your competence. Would you mind if I had a few words with your detainee?\"\n\nNow Barry turned to me and barked, \"No, Patterson, you cannot have a few words with that woman. Who do you think...\"\n\nI raised a dismissive hand. \"Okay, okay\u2014I can see that you and this officer have more important things to manage right now. But before I leave, I have one question: Do you think Tina was involved in what happened last month at the Mayflower?\"\n\nBarry stuttered. \"Wha...What do you mean, 'what happened at the Mayflower?'\"\n\n\"You know\u2014Billy Hopper, the unidentified dead woman in his bedroom. Do you think Tina was responsible for her death?\" The DC police were all ears.\n\nHe reddened and said coldly, \"Absolutely not.\"\n\nI was tempted to push him further, but I'd made my point. Thanking him politely, I walked back across the street where Clovis and Martin were waiting.\n\n\"Jack, Agent Barry doesn't seem to like you very much.\" Martin deadpanned.\n\n\"No, Martin, he does not. Tell you what\u2014I could use a Bloody Mary.\"\n\n### **63**\n\nWE ORDERED DRINKS downstairs at at Barker's and settled into a nearby table. I asked if DC had enough clout to hold Tina for trial in District Court. Martin said she would probably be extradited to Europe. Her crime in DC was attempted murder at best; her crimes in Europe were far more numerous and substantial. Moreover, Justice could use her extradition as a significant bargaining chip with Interpol.\n\n\"Let's complicate their lives a little bit more. I'll ask Maggie to prepare a subpoena for Tina. Let's serve it with the others.\" That got a laugh all around.\n\nFortified by a strong dose of vodka and tomato juice, we decided to get a late breakfast. I'd slept through breakfast this morning, and being a sniper's target had made me hungry. We agreed on Southside 815, a bar in Alexandria that serves chicken fried steak and white gravy equal to any I'd in Arkansas. I hadn't been in years. I called Maggie from the car, figuring it was better to deal with her wrath over the phone than in person. She cut me short before I could begin.\n\n\"It's all right, Jack. Clovis already called; we can talk about it later. Stay away. Stella is throwing things in the conference room, but I think she's making progress. I'm trying to make sense out of your ramblings of yesterday morning and put together what we'll need tomorrow.\"\n\n\"Anything from Micki or Beth?\" I asked.\n\n\"Not a word. The pilot just landed at Hodges Air Center in Little Rock to pick up Marshall. They'll be in Knoxville sometime this afternoon. Oh, and please tell Martin the press has figured out that you were the target of an international assassin. You might have to sneak in through the garage again. Enjoy your brunch. We have lots to do this afternoon.\"\n\n\"Maybe a spontaneous press conference would loosen things up a little,\" I mused.\n\n\"Jack, I understand your thinking, but you need evidence, you need proof. Give it time.\" I knew she was right, but time was slipping away.\n\nThere was already a crowd at 815, but we found three seats at the bar. I ordered chicken fried steak, gravy, two eggs over easy, and hash browns, more than enough calories for the entire day. In my defense, I almost hadn't lived to enjoy the day. While we ate, Clovis and Martin explained how they had worked with Barker's from day one to ensure my safety. Apparently, Julius Barker had been as anxious to avoid any untoward publicity as he was for my safety. The recent revelation of Barb's identity has shaken him to the core.\n\nHe'd been left hanging when Wally had to leave suddenly and was glad to find a quick replacement. In fact, a member who was part of the defense community had recommended her. As of today, the man was no longer a member.\n\nI also learned that Clovis was almost obsessed with the Olympics, particularly the Pentathlon, and had followed Tina's progress over the years. Apparently, a demanding and abusive coach had controlled her entire life. After she took the Silver for Greece, she tried to break away, but the coach went nuts and abused her physically. Rumor had it she snapped and dropped out of sight, turning up later in Europe, hardly recognizable, as the \"Greek Midge.\"\n\n\"What happened to the coach?\" I asked.\n\n\"No one knows. One day he just disappeared.\" Clovis said bluntly. \"Rumors of what might have happened to him are both the subject of Greek legend and the origin of her nickname.\"\n\n\"That's bad.\" I tried for a laugh, but couldn't help but think of Barb the bartender. She just didn't fit the image.\n\nWe tossed around ideas of how to use the morning's events, but in the end decided to do nothing. For one thing, whoever had hired Barb\/Tina was bound to know she'd been arrested. I was pretty sure he wasn't sitting on his hands waiting for the next shoe to drop. We didn't need to let our guard down.\n\nWe didn't get back to the office until almost one. Both Stella and Maggie were hard at work. I let Clovis and Martin tell the story while I retreated to my office to return a call from Red Shaw. He had texted more than once: \"Call ASAP.\"\n\nI had no idea what to expect. I hadn't written him off my suspect list just yet, so I was more than a little uncomfortable.\n\nRed continued to surprise me.\n\n\"Do you think that woman on the rooftop was the one who shot at you and Carol?\"\n\n\"You know about that?\"\n\n\"There isn't much I don't know. I make it my business. Carol called me, and I came to her place right after you left.\"\n\nI knew he'd been added to the guest list that weekend, but I hadn't known that Carol had confided in him. I wasn't quite sure how I felt about that. Red must have sensed my discomfort.\n\n\"Listen Jack, Carol and I have been friends for a long time. I set her up in business and have been her biggest client and supporter for years. But my relationship is paternal and professional, nothing more. She confides in me as a daughter would to her father, so yes when you hightailed it out of there, she called me. She had to talk to someone.\"\n\nI had to take him at his word. \"How is she?\"\n\n\"She's ready for you to join her, wherever the hell she is.\"\n\n\"You don't know?\" I was astonished.\n\n\"Nope, only Pat knows. She says its better this way, and she's probably right, but we've talked. That's why I'm asking about the sniper. Now that she's been arrested, do you think its safe for her to come back?\"\n\nThe thought of Carol return was very appealing. But she left for a reason, and Barb's arrest hadn't changed that reason. She wasn't the only gun for hire.\n\n\"I'd to love to say she'd be safe, but I can't. She needs to stay put for a little while longer.\" The words seemed to stick in my mouth.\n\n\"Exactly what I thought you'd say. Tell me how can I help?\"\n\nHe was still on my list of suspects, but I needed information. \"What can you tell me about Logan Aerospace and Chuck Morrison?\"\n\nI could almost hear him thinking.\n\n\"Logan is run by an executive committee of faceless, ruthless former army brass and CIA higher-ups. Morrison is basically a face man, nice guy but a glad-hander. They are my main competitors and did everything in their power to keep me from buying the Lobos. If they're involved, you're out of your league.\n\n_Out of my league? What the hell..._ I took a deep breath.\n\n\"Why do you ask?\" he continued. \"Did Carol tell you about the phone call she got from Logan that first weekend you were together?\n\n\"So that's who called. She tried, but I was miffed, wasn't buying.\"\n\n\"So she said. Apparently they were unhappy with your unexpected appearance. I told her to drop them as a client; she didn't need to be treated like trash.\"\n\nSo it was Logan who had ruined my first weekend with Carol. Things were starting to make sense.\n\n\"Know anything about a group called L&A Marketing Advisors in Alexandria, Virginia? I don't have an address, just a P.O. Box.\" I decided to trust Red, at least for now\u2014I needed information.\n\n\"Who are they and why do they matter?\"\n\n\"I was hoping you might know.\"\n\n\"Never heard of them, but I bet I can find out.\"\n\n\"Thank you. Please tell Carol to be patient.\" I added.\n\n\"Carol would tell you to forget all this, leave town, and join her on her beach. You didn't ask for my opinion, but I'm going to give it to you anyway. She's a keeper, Jack. Don't blow it.\"\n\n\"I know that. But I really do believe Billy Hopper's innocent\u2014I can't just leave, and you know that.\"\n\nHe said nothing, so I continued.\n\n\"Red, I have to ask: do you play Fantasy Football yourself? When you said you lost millions on Billy was it through fantasy sports? I mean, he was Rookie of the Year.\"\n\nI heard a sigh before he replied. \"I knew something was eating at you. When I said I lost millions I was referring to the big money the team spent trying to offset the impression that pro football breeds men who abuse women. Gina can give you an itemized list of the money we spent on donations and commercials.\"\n\n\"She doesn't need to do that, and I'm sorry I had to ask.\"\n\n\"Don't ever hesitate to ask. But while we're on the subject of fantasy football let me tell you that you're right on target. The potential money for owners and athletes is enormous, the potential for abuse clear. A sure-handed receiver or any other hot-shot of the moment drops an easy pass\u2014you've gotta wonder why. The allure for fans is obvious: every wannabe or used to be athlete thinks he can win at fantasy football. The reality is few can resist the chance for easy money, but fewer still ever break even.\n\n\"I've been privately lobbying the owners to come up with some basic controls. Of course, we'll need to get the Union's consent, but I hope before the start of next season we'll have a hard and fast rule that no ballplayer or employee of a team can own a fantasy account. We need to go further but it's a beginning. Hell, Jack, since you asked I might make you my front man on this issue. You used to play ball. My biggest worry is that some government busybody or aspiring politician, who never played the game, will use fantasy sports as a reason to tell me how to operate my business. Get Billy out of jail; then you and I can talk about it.\"\n\nI told him I looked forward to it.\n\nI hung up feeling much better about Red. I sure hoped I wasn't misreading him, but I was running out of time and had to trust someone.\n\nIn this case, the attempt to set up Billy was too sophisticated to be the work of someone who'd simply lost a pile of money betting on the wrong guy. But I could see how fantasy football could put real players of the game in significant danger from irate gamblers and fantasy game players\u2014owners would have to up the security they already provided. The issues and temptations were even more complicated than I'd realized.\n\nI left my office and found the others clustered around Maggie's desk.\n\n\"What's up?\"\n\nStella began, \"First, the bad news. Someone broke into the office last night. They didn't take anything as far as we can tell and weren't able to access the computers, but they were looking for something.\"\n\n\"Trash?\" I asked.\n\n\"I shredded everything last night before we left. The only copy of your memo is still on the computer, no hard copies have been printed yet. Same with the subpoenas.\" Maggie said.\n\n\"Check the printers and copier. They may have planted one of those devices that reads whatever is printed,\" I suggested.\n\n\"That's next on the list,\" Stella confirmed.\n\n\"What about the information from Novak about Nadia?\" I asked.\n\nMaggie responded immediately. \"It's all in the safe, which hasn't been tampered with as far as we can tell.\"\n\n\"Well, hopefully we learned a lesson. We need to be more careful,\" I said.\n\nMartin spoke up. \"I hate to mention this, but Stella has been working here all alone for several nights Our hacker is bound to be getting frustrated\u2014he may have come for you.\"\n\nClovis began to rumble, but I cut him off.\n\n\"Clovis, you're too close. Thanks Martin, and be sure Stella is never here alone. Any of us, for that matter.\"\n\nI turned to Stella. \"Any good news?\"\n\n\"I'm close to tracing our hacker. Another few hours should do it.\" She didn't look the least bit concerned.\n\n\"Great. Okay, Stella, back to work. I want the rest of us to work on improving our plan, figure out what we need, and how to get it.\"\n\n\"First, I'm going to check the printers and the copier,\" Stella replied.\n\nThe gaps were obvious. We were still waiting for Novak to let me know who was paying Nadia. I told them I hoped to have solid information about L&A by tomorrow. We could only hope that one of the two remaining girls from the banquet appeared, and we still had heard nothing from Tennessee. Lots of minor missing pieces were missing as well, but I felt those four were critical to bringing the overall picture into focus.\n\nStella came back grinning from ear to ear, waving a tiny piece of electronic equipment above her head.\n\n\"A device that sends our adversary a copy of every document printed on the copier or any printer in the office. Our intruder was here to plant this baby\u2014I have to tell you I feel much better.\"\n\nWe all took a collective sigh of relief. The tiny devise gave me an idea.\n\n\"Don't disable it quite yet. Maggie, please prepare two subpoenas, one for Red Shaw and one for Lucy Robinson. Print them out so our adversary thinks they are targets of our investigation. Then you can do whatever you want with the devices.\"\n\nEveryone but Maggie looked puzzled, but there was method to my madness. If our adversary turned out to be Red after all, I'd get an angry call from him fairly soon. If not, our true adversary might think we were barking up the wrong tree and relax until the real subpoenas went out.\n\n\"I'll reinstall the device,\" Stella said, \"but I'd like to leave it active for the rest of today and tonight. I can use it to help me determine who our hacker is. I'll set up a direct connection from Maggie's computer to one printer so no one can read any of the real stuff.\"\n\n\"Okay, but we'll need the copier by tomorrow afternoon.\" I said.\n\n\"Isn't that wishful thinking?\" Maggie asked.\n\n\"It better not be.\" I tried to sound confident.\n\nStella smiled. \"With this device and the other work I've been doing, we'll know the identity of our hacker long before tomorrow morning. You can take that to the bank.\"\n\nI wished I felt as confident.\n\nMartin had left the room to take a call a few minutes earlier. He returned smiling.\n\nMaggie asked, \"Who was on the phone?\"\n\n\"Micki. They won't get in until late tonight, so she wants to go straight to the Hay-Adams. She promises to meet you here by eight o'clock tomorrow morning.\"\n\n\"Is that it?\" I asked.\n\nHe grinned. \"No. Are you ready for this? She said to tell you she'd never doubt your instincts again.\n\n\"Of course she will\u2014just give her a couple of days.\" But I couldn't help feeling a little twitch of anticipation.\n\nMaggie asked, \"Anything else?\"\n\n\"As a matter of fact, yes. She told me they're bringing two extra passengers.\"\n\n\"For Pete's sake, man\u2014who?\" I tried not to lose my patience.\n\n\"Marshall's wife, Grace, and someone named Anna Crockett.\" He was still grinning.\n* * *\n\n## **TUESDAY**\n\n* * *\n\n## **May 3, 2016**\n\n### **64**\n\nWITH \"ANNA CROCKETT\" dancing in all our brains, it was tough to concentrate. Maggie and I spent the time tending to the minute details of preparing a memorandum I hoped to use, trying to bolster my theory any way I could. Stella was hard at work going through all the responses the website had received. Most of them were junk, but I still hoped that it might get us closer to the two missing women. Clovis and Martin worked on the logistics of protecting the crew of people who would be staying at the Hay-Adams, now including one Anna Crockett.\n\nWe reconvened around five-thirty. I told everyone to take the night off, but my suggestion fell on deaf ears. Martin was determined to be part of the team that went to the airport. Stella planned to work all night, and Clovis wasn't about to let her out of his sight. I admit to feeling a bit concerned that another assassin was already scouting out Barker's. Yes, we were running out of time.\n\nThe bar at Barker's on a Sunday night was practically empty except for me and my babysitters at a corner table. Barb had been replaced with Bill, who had the personality of a lamppost. After a plate of Buffalo wings and a couple of beers, I trudged off to bed, hoping sleep would bring peace rather than nightmares.\n\n**********\n\nI was at the office by seven the next morning. A warm shower had cleared my head, and I didn't want to miss anything. Someone had shoved a very thin manila envelope under the office door\u2014Red Shaw's stamp was in the left hand corner. I tore into it while the coffee was brewing.\n\nI couldn't believe what I was reading and called him immediately.\n\n\"Did you read what you sent over?\" I asked.\n\n\"Of course,\" he answered.\n\n\"Are you sure? Who is your source?\"\n\n\"The information is accurate. What you do with it is up to you, but it is accurate. You know perfectly well why I can't tell you how I obtained it.\"\n\nHe was right. I thanked him and he said, \"Be careful, Jack\u2014seems to me you've uncovered a hornet's nest.\"\n\n\"That I have, Red, that I have.\"\n\nI made a mental note to ask Maggie to prepare a subpoena for all the records belonging to L&A as well as their bank account at Parra Bank in Alexandria.\n\nStella and Clovis had never left. They looked a bit ragged.\n\n\"Y'all get any sleep?\" I asked.\n\n\"Really, quite a bit. That big sofa in the conference room is actually quite comfy.\" Stella answered with smirk. \"And I managed to pinpoint our hackers. They're here in the District. Clovis is going to visit them this morning.\"\n\n\"Hold off on that. First, it might be dangerous, and, second, I want to serve them with a subpoena when he does. Know anything about them.\"\n\n\"Just that they are very good at what they do. My bet is they're Chinese, but I could be dead wrong. Clovis and I have a bet. My money is on the office is some kind of International headquarters or an Eastern trading company. Clovis thinks they'll be Eastern European.\"\n\n\"Either way, Clovis, don't go alone, and be extremely careful,\" I said.\n\nClovis noticed the envelope from Red when he brought me a fresh cup of coffee.\n\n\"What's that?\" he asked.\n\n\"The information on L&A we needed. Take a look,\" I said.\n\nClovis turned the pages in silence and looked up. \"Is this for real?\"\n\n\"My reaction precisely. My source is solid. It's for real.\"\n\nClovis whistled.\n\nIt wasn't long before Maggie, Beth, Paul, and Micki joined us. They had brought coffee, pastries, and a lot of excitement. We congregated in the conference room. After we all got comfortable I tried to start.\n\n\"Where and who is Anna Crockett?\" I asked.\n\n\"Don't you even dare, Jack Patterson,\" Micki interrupted. \"We have a story to tell, and we spent the plane ride home deciding how we are going to tell it. Sit down and no interruptions.\"\n\n\"It's your show, Ms. Lawrence.\"\n\nQuickly Micki took us through the boring details of the flight to Knoxville, pulled pork and ribs at Cleveland's Barbeque, and the morning drive to Bibb. I was quickly bored by tales of stopping at several sawmills for Larry on the drive down, but I knew better than to interrupt.\n\nOnce in Bibb, Micki went to the local library to scan the newspapers from around the time of Billy's birth. Beth and Paul headed to the bar where Billy's dad had been arrested after murdering his mother, and Larry crossed the street to check out the only gas station\/country store that was still in business. They all agreed to tell anyone who asked that they were doing research for a book on Billy Hopper's life.\n\nMicki spoke. \"The library was about what you'd think in a small town. One librarian at the front who was friendly and real curious about why I was there. Back copies of the local newspaper were stacked on shelves by year\u2014no microfilm, nothing on computer. The older ones were pretty fragile, and it took forever, but I found the articles about Billy's father's arrest, his conviction, and his death in prison. The library's copy machine was at least ten years old and had been broken for months, so I used my iPhone to get pictures. You can at least see the headlines. If you need actual copies, someone will have to go back with a real copier\/scanner.\n\n\"Ms. Hicks wouldn't leave my side and started to fidget when she saw I was looking at papers from around the time of Billy's birth. I found plenty of births, deaths, marriages, and divorces recorded in the public announcements, but no reference to a Zeke, Donna, or a William\/Billy Hopper.\n\n\"Since that was a dead end, I went back to the papers eight to ten months before Billy was born. One article caught my eye.\" Micki's eyes sparkled.\n\n\"Jack, I bet you can guess. I suspect that's why you sent us there in the first place.\"\n\nShe had me.\n\nMaggie spoke up. \"Come on, you two. We don't have time for games.\"\n\n\"About nine months before Billy Hopper was born, the Bibb Gazette ran almost giddy accounts about second term Senator Jason Boudreaux's long weekend at the Happy Valley Mountain Lodge near Bibb, Tennessee. The pictures show him shaking hands with constituents, fishing the mountain streams and enjoying the local high school basketball game. One of the best photos is of him with one very attractive fifteen year-old student\u2014Donna Crockett.\"\n\nClovis blurted out, \"Donna was Billy Hopper's mother's first name.\"\n\nMicki smiled. \"They are one in the same, but you're getting ahead of the story. Let's us finish.\"\n\nIt was hard to be patient, but Micki was having fun.\n\n\"I was trying to get a few more pictures when a weather-beaten guy in a Sheriff's uniform barged into the library and snatched the newspapers from my hand. The librarian must have called him. He shoved the papers back on the shelf and got all huffy. 'The people of Bibb don't cotton to nosy reporters stickin' their noses in where they don't belong.'\n\n\"I assured him I wasn't a reporter, just doing research for a book about Billy Hopper. He didn't care. He said, 'It's a shame that boy lost his daddy, but folks around here don't like busybodies nosing into their private matters. You better git' on out before people get nervous.\"\n\n\"Sounds like an implied threat to me.\" Maggie noted.\n\n\"Nothing implied about it. I later found out found out that the deputy, one Zach Hopper, is Zeke Hopper's second cousin. I worried he might try to confiscate our belongings so I left in a hurry and went searching for Larry.\"\n\nBeth jumped right in. \"While Micki was at the library, Paul and I found the bar where Zeke was arrested. We ordered a beer and struck up a conversation with the bartender. The bar was exactly what you'd expect\u2014dark, musty, smelled of old French fries, and had a juke box in the back.\n\n\"We told the bartender about the book, and it turned out he was there the day Zeke was arrested.\n\n\"He told us that Zeke always was bad news\u2014nasty, drinking all the time, never could hold down a job. Then one day he shows up with this quiet little girl who was pregnant. He only brought her into the bar a couple of times. She never spoke a word, sipped on a Coke in the corner while Zeke played pool. Pretty soon, Zeke showed up without her. Big difference was all of a sudden Zeke had money. Not a lot, but enough to buy beer, order food and if he lost at pool he paid his debt instead of fighting over it. When people asked about the money, he laughed and said he'd done a rich uncle a favor.'\n\n\"We had another round, but the bartender didn't have much else to say, so we left pretty quickly.\" Beth said.\n\n\"Aren't you going to tell your father about the guys hitting on you in the bar? Paul said they gave you a pretty rough time.\" I was surprised by Micki's tone.\n\n\"No, Micki, I'm not. I went with you as part of a team. I had a job, and I tried to do it. I'm glad Paul was there, but quit treating me like a child. I've paid my dues.\"\n\nShe was clearly ready for a showdown\u2014this I didn't need.\n\n\"Okay, enough\u2014you two simmer down. When do I get to meet Anna Crockett?\"\n\n\"After you hear about Larry,\" said Micki.\n\n\"Larry?\" asked Stella.\n\n\"Larry. While we were all busy with research and talking, Larry found the country store where Billy was found as a child, sat down in a rocking chair outside, and started whittling.\"\n\n\"Whittling?\" Clovis asked.\n\n\"Exactly. He pulled out his pocketknife and a piece of wood and started whittling as if he'd lived in Bibb all his life. Wasn't long before he was joined by a couple of other guys rocking and whittling, and he learned all about the store owner finding Billy that morning, and those 'no good, no count Hoppers.'\"\n\nMicki smiled like the Cheshire cat.\n\n\"Here's the best part\u2014they told Larry that Donna's mother is still alive and where he could find her. They warned him that the Hoppers still keep close tabs on her. Our presence in town was bound to spook them. They said she had a phone, but it was a four-party line, and the Hopper's were likely to be listening in if we tried to call.\"\n\nBeth picked up the story. \"We decided to spend the night at the Happy Valley Mountain Lodge. It's actually a very nice place\u2014clean, beautiful mountain views, and a good breakfast. Plus it's just far enough away from Bibb that the Hoppers would assume we'd left town. We found Anna's house\u2014it was just up the hill from the lodge. I could see a sheriff's car parked out front. Over dinner we came up with a plan. Larry would call her asking if he could give her an estimate on the work needed to repair her sagging front porch.\n\n\"She agreed and we showed up the next morning. She had some tools and spare lumber in her barn so Larry worked on her porch in case anyone drove by. She was overwhelmed at first, but Micki was wonderful about taking time and drawing her into her confidence.\n\n\"When Donna learned she was pregnant, she contacted the real father. Two days later, Zeke Hopper was at their door telling them not to tell a soul about the real father. He would marry Donna and raise the child as his own, but Anna and Donna had to keep quiet, otherwise they would be killed. After Zeke killed Donna, Anna was 'visited' by several other Hoppers. They told her to keep quiet and to stay away from Billy, otherwise the boy would end up like his mother. They still drop by on occasion to remind her of their warning.\"\n\n\"What a terrible story. It's hard to believe that could have really happened.\" Maggie said.\n\n\"You haven't been to Bibb, Tennessee.\" Micki replied grimly.\n\n\"Any chance she has any proof about who the real father is?\" I asked.\n\n\"The real father sent her a hundred dollar bill every month for over the last twenty years.\" Beth responded.\n\n\"One hundred dollars? Every month? Did she keep a record?\" I asked.\n\n\"Better than that. She kept the envelopes with the money in them. She never spent a dime of his money. Her husband died when Donna was little, and they lived on his pension from the railroad. The envelopes and cash are in a box we brought with us from Bibb.\" Micki was tickled. \"Hopefully the father's fingerprints are on the bills and envelopes.\"\n\n\"And you've left her at the Hay-Adams?\" Maggie asked.\n\n\"Don't worry\u2014Grace came back with Marshall, and she's with them. They spent the whole plane ride home talking to her about Billy. It was Beth's idea to call Marshall while we were still in Bibb. Anna had never left the county before, but after listening to Marshall she agreed to come with us to DC. She said she couldn't believe Billy had killed anyone, and it wouldn't hurt to see the nation's capital before she died.\"\n\nI smiled at Beth.\n\n\"Good work\u2014She might be just what Billy needs. Anything else?\"\n\n\"We have copies of the hotel register at the Lodge showing the real father spent four nights there with a 'guest.' We also have several pictures of that very frightened guest with the father. The man had no shame.\"\n\nMicki handed a picture to Maggie and looked at me.\n\n\"You already knew who Billy's Hopper father was.\"\n\n\"I didn't know, but I thought it was a possibility. It's the only way any of this makes sense. Maggie...\"\n\n\"Yes, I recognize him. Jason Boudreaux, distinguished senator from Tennessee.\" She tossed the photograph on the desk in disgust.\n\n### **65**\n\nMY HUNCH HAD paid off, and now a lot of what we had discovered about Logan Aerospace and L&A made sense. My bet was that the bartender at the Mayflower would recognize a photo of the Senator as the older man who used to meet Nadia. We had so much more to figure out\u2014Billy's semen on the sheets, the locked doors, who had been paying Nadia\u2014but the story was coming together. Now it was time to make the bad guys nervous.\n\nMaggie left to finalize and organize all the paperwork. Paul and Clovis would try to surprise the hackers with a subpoena. They'd probably pull up shop, but they'd know we were onto them. Beth and Stella were updating \"Free Billy.\" We still hoped we could locate the two girls. I thought about calling Novak, but decided against it. He would call when he was ready. No sense inviting questions I didn't want to answer.\n\nI sat at my desk playing with a pencil. After a few minutes of thought I called out to Beth, asked her if she could spare me a minute.\n\nShe came in and asked, \"What's up, Dad?\"\n\nI decided to be direct. \"What was that with you and Micki? Everything okay?\"\n\nShe took her time. \"So I know about you and Micki being friendly during the case with Woody\u2014who didn't know? It was a little unnerving at the time\u2014I mean, really? It's just hard for a daughter to\u2014but I'm over it, long over it. I want you to find someone to care about. But sometimes Micki treats me like I'm like a child, like she's my mother. I'm sorry, sometimes it just goes all over me. She is not my mother!\"\n\n\"Oh, Beth, I'm sorry. You know that I care for Micki very much, but not in the same way now\u2014she doesn't either. I can understand how...\"\n\n\"It's okay, Dad. Don't worry; we'll work it out. I should get back to Stella\u2014we're so close to finding....\" With that, she practically fled the office. I wondered if sons were so mercurial.\n\nI needed to refocus. It was time to call the one person who could bring matters to a head. I hated to involve her, but I couldn't think of a better strategy. I was way to far out on the limb to chicken out now.\n\nMicki listened as I ran the gamut of aides and assistants. Finally I got to Peggy Fortson.\n\n\"Jack, why am I not surprised you're calling. Interpol's most wanted assassin targets you, the FBI saves your life, and now I bet you're calling to ask me to go easy on her because she's cute.\"\n\nThe FBI. Already? I took a deep breath\u2014I had more important things to worry about than who got credit for Barb's capture.\n\n\"Well, she is cute, but that's not why I'm calling.\"\n\n\"Seriously, Jack, are you okay? We'll probably send her to France in a few days, but I promise we'll find out who was behind all this. I take this one personally. And what's this I hear about you representing Billy Hopper? Tell me you've come to your senses.\"\n\n\"It's good to hear you're concerned, I appreciate it. In fact, that's why I'm calling. I believe Tina's attempt on my life is directly connected with the Billy Hopper case. I'd like to meet with the Attorney General to explain why they've got the wrong man.\"\n\nI heard a deep sigh as she considered her response.\n\n\"Jack, that's not going to happen, not a chance in hell. The Hopper case is correctly in the hands of the U.S attorney and his deputy, Connie Montgomery. You know we maintain a hands-off policy regarding local crime. This one may be high profile, but it's local nonetheless. Tina has no connection to the Hopper case. She wasn't even in the country when Hopper murdered that poor woman. Sorry, Jack. If you think the government's got the wrong man, take it up with Connie. The AG is not going to give you the time of day.\"\n\nPeggy was a good friend. I knew it was fruitless to argue. Career lawyers at Justice understand the chain of command as well as any Marine.\n\n\"Okay, I understand. Let's have lunch soon.\" Interesting how the offer of lunch or a drink becomes code for \"never mind, love to see you, but don't count on it.\"\n\n\"You're not even going to try to argue, Jack? Tina must have gotten inside your head. I expected at least a little fight.\"\n\nI probably shouldn't have said anything further but I was irritated that she had slammed the door in my face.\n\n\"No, Peggy, I'm not going to fight, even a little. But remember this call; remember I asked for a meeting.\" I clicked off before she could respond.\n\nIt was time to rally the troops. \"Game's on, folks! Let's get the subpoenas out.\"\n\nI turned to Micki. \"Be ready for a call from Constance. She's going to want to meet, and you have to refuse. She's liable to push you pretty hard. For us to have any shot at a meeting with the AG, they have to believe we're about to go public in a very vocal manner. Shoot, I might even call the press.\"\n\n\"You don't think Constance will listen on her own?\"\n\n\"This case involves much more than Billy Hopper.\" I handed her the file that Red had slid under the office door.\n\nShe looked through it and asked, \"What does this mean?\"\n\n\"I'm not sure yet. We have a couple more clues to nail down, but it means the government will do its best to make sure Billy Hopper is found guilty and sent away for life. Constance couldn't drop the case if she wanted to.\"\n\nShe smiled. \"I love working with you, you know that.\"\n\nI refrained from saying something I'd regret. \"I love working with you, too. Thank you for coming here when I really needed you. You had a hundred reasons to say no, but you came.\"\n\nWe sat quietly for a few minutes, neither sure how to react or what to say next. The air was thick with memories from the past. Fortunately, Beth burst into the office, breaking the rising tension.\n\n\"We may have a real inquiry on the website. A 'Mary' is asking questions about the reward, how we can guarantee her safety, and can she meet someone?\"\n\nI asked. \"You don't think it's a prank?\"\n\n\"No, I've been very careful. I think she may be for real.\" Beth said excitedly.\n\nMicki spoke up. \"Let us handle this, Jack. If she is one of the girls, she'll be afraid of you. I'm used to dealing with victims like her.\"\n\n\"She's all yours, but be careful. Make sure you have plenty of security. Martin has plenty of female employees, so don't do anything without protection. This woman could be the break we need.\"\n\n\"Or very important to the prosecution,\" Micki said, forever the realist. \"If she is one of the two girls at the banquet, she can verify that Billy was drunk and violent, putting a lie to your theories.\"\n\n\"Well, that might happen, but it would mean she's alive and maybe the other girl as well. And, by the way, Billy sure didn't kill the third girl and their pimp.\"\n\nMicki gave me a frown and left with Beth to try to reach Mary online. Maggie handed me an envelope that had come by courier. It was bound to be Nadia's bank account information, but I didn't open it.\n\nMaggie asked. \"What's wrong?\"\n\n\"Let's go for a walk.\" I said.\n\nI knew one or two of Martin's men would be following us, but I needed some fresh air.\n\nOnce we were outside, I headed for Lafayette Park. We found a bench, and sat down.\n\nMaggie reached for my hand and held it. \"What is it? You were on a high this morning, now you look like you just lost your best friend. What's wrong?\"\n\n\"You and I both live a very good life. We want for little. Beth is happy and doing well, and our foundation is doing very good work. But every now and then we find out that the world isn't that simple, and I learn things about people and our government I'd rather not know.\n\n\"Billy Hopper was cocktail party talk, far removed from my world. Then it turns out Marshall is his surrogate father, he may be wrongfully accused, and people are trying to kill me, my family, and my friends to keep me from finding out the truth. Part of me wants to cry uncle, give this case to someone else, and go back to the old days when my biggest concern was beating your husband at golf.\"\n\nMaggie squeezed my hand. \"Life's never simple, it just sometimes seems that way. Jack, I don't know why these cases seem to find you. If it weren't Billy Hopper it would be something else. Maybe they're the obligation you trade for enjoying 'a very good life.' You're an idealist at heart, Jack. Disillusion comes hard for you, but sometimes you can't avoid it.\n\n\"I'm going to give you the same advice you gave me when I started working with you. Get the job done and enjoy what you do. Everything else will take care of itself. It's my understanding that Walter and I won't get to meet this Carol Madison until you get this job done, so let's get on with it. Besides, you can't very well just walk out on Billy now, and you know it.\"\n\nI gave her a kiss on the cheek, and we walked back to the office enjoying the warmth of the spring sun. Micki texted that she and Beth were on their way to Arlington, and that, yes, Martin's people were with them. I sat down at my desk and opened the envelope from Novak. Nadia had saved quite a bit of money, and her deposits were numerous. She made frequent, regular cash deposits. L&A had made occasional but substantial deposits. Logan Aerospace was a regular, monthly depositor, as were at least ten other individuals\n\nI asked Stella to see if she could find out more about the backgrounds of the other depositors. I would have Maggie prepare subpoenas for them too. The only good thing about the list of names, all men, was that none of them were my clients. Red Shaw wasn't on the list either, relieving a troubling possibility. How could these guys have been so stupid as to write checks or give their credit cards to Nadia, and think it wouldn't eventually come home to roost?\n\nClovis and Paul returned from serving the hackers. Paul announced that the sign on their office door read 'P.S. Eastern Trading, LLC, L. Kim Proprietor,' and Clovis silently handed five twenties to Stella. The space consisted of a small reception area, an office with a view of the White House, and not much else. Clovis felt sure Mr. Kim recognized him, but his only reaction to the subpoena was a hint of a smile and a request that they leave.\n\n*********\n\nMr. Kim's employer was not pleased to learn that Tina had been arrested trying to assassinate Jack Patterson. Shanghai would make sure she was released once she arrived in Paris. Kim had no doubt that Jones was responsible for her apprehension. The fools with the FBI who were taking credit didn't even know she was in the country.\n\nThe client had terminated the contract and registered a complaint with Shanghai. The syndicate in New Orleans had taken insult at the proposed hit on Patterson's daughter and was demanding a financial apology. Who were they kidding? It was time for Kim to leave the country; he had made preparations for such a situation long ago.\n\nHe'd finally met Jones this morning\u2014a worth adversary. He knew the subpoena to be what it was\u2014a message from Patterson that he had been discovered and that it was time for him to leave.\n\nKim took consolation from one thing. Patterson would fail utterly in his attempt to exonerate Hopper. He had learned enough from the client to understand that it was imperative for Hopper to be found responsible for Nadia's death. Nothing Patterson could do would prevent that result.\n\n### **66**\n\nI MANAGED TO find time to meet Walter for a late lunch at The Daily Grill. I eyed the meat loaf, but when Walter ordered a Cobb salad, I settled on the grilled trout. I needed a lunch with my golfing buddy where we could talk about anything except this case. We lingered over coffee. I knew that no news from Micki and Beth was good news. This afternoon would be a waiting game.\n\nWe returned to the office to find Maggie holding down the fort. I read through the report Stella had left me on the background of Nadia's clients. I recognized several names\u2014it just didn't do to think about. I spent the next hour on the phone with Marshall. He told me all about meeting Anna Crockett and how Grace and Anna had bonded. He couldn't wait to tell Billy about his grandmother.\n\nMarshall understood why we needed to keep Anna's presence a secret, at least until the subpoena for the Senator had been served. Grace and Anna had gone shopping for a new outfit to wear when she met Billy. She'd told Grace she didn't have much use for new clothes back in Bibb. I explained to Marshall that if the press found out that Anna was Billy's grandmother, they would eat her alive. We sure didn't want to let the cat out of the bag about Billy's paternity. I felt strongly this was an issue for Billy to decide how to deal with.\n\nMicki and Beth returned, fairly bursting with their news.\n\nMicki began, \"They're real and they're both safe. We're calling them Mary and Ruth, no real names. Martin's people are protecting them in a secure location. I have to hand it to your daughter\u2014she was great. She immediately realized these women were scared to death and took great pains to put them at ease. Beth, I owe you an apology. I've been a bitch, I don't even know why. I hope you will accept it.\"\n\nI rushed in before Beth could reply, hoping to avoid a scene. \"So both women are okay?'\n\n\"They're okay, but fragile and need medical attention.\" Micki answered. \"I'll get into their story in a bit, but we've taken on a huge responsibility. Someone wants these two girls dead.\"\n\nI said. \"Don't think I don't understand. I'll do everything in my power to keep them safe, nothing less.\"\n\n\"From anyone?\"\n\n\"From anyone.\" I wondered why she asked.\n\n\"Good, 'cause you won't like this next part. They don't trust men right now, any man. I think they'll cooperate with Beth and me, but men are verboten at this point. That means you, Jack. You're going to have to trust me to get their complete story and present it to the authorities.\"\n\nBeth looked uncomfortable. \"Dad, this isn't about you. It's just that right now they have no reason to think that good guys actually exist. I can't begin to tell you how frightened these women are. I feel pretty sure we can get their story, but in the end, I hope we can get them the help they need to feel good about themselves again.\"\n\n\"Thanks, Beth. I understand and hope we can, too. Micki, promise me this: if you learn anything that implicates Billy, you need to tell me. Don't let me say he's innocent if they don't corroborate our theory.\"\n\nMicki smiled. \"Oh, I think we'll have an affidavit by tomorrow morning. Beth is right\u2014we couldn't push them at all this afternoon. We needed to build up trust and get them into a doctor's care. If it makes you feel better, both women have said that Billy was drugged at the banquet. He wasn't drunk. That's about all I know now.\"\n\nI smiled. I had complete faith that Micki knew exactly how to get statements that would hold up under scrutiny. I did worry a bit about another two people who needed protection. Martin's people were already spread thin. I made a mental note to talk to Clovis.\n\nI didn't expect to hear from Peggy for a few days, but I knew I was making a new enemy with every subpoena. The most difficult one to serve would be on the Senator. He was immune from service while in the U.S. Capitol, so I had swapped favors with Cheryl Cole again. She and the Senator were having lunch at Sam & Harry's this afternoon. He couldn't resist her charms or a free lunch. He would be served with the subpoena in the restaurant, and Cheryl would be right there to ask him why. I kind of felt sorry for the old man, but then again he had raped Billy's mom when she was fifteen, abandoned Billy, and sent her off to an early death at the hands of Zeke Hopper. He didn't deserve much sympathy.\n\nThe first call came to Micki. We all gathered in her office to hear the story.\n\n\"That was Constance Montgomery. She knows we want to meet with the Attorney General, and although that isn't possible, she's available for an 'open and frank' discussion about the case. I blamed you, Jack. I said I would be happy to do so, but you were adamant about having the AG present. She continued to insist that would never happen.\n\n\"Then she said she'd heard we were issuing subpoenas and what could I tell her about them. I told her we were simply preparing for the preliminary hearing, and that after they were all served, I would provide her with a list. She was clearly unhappy with that response, gave me a little lecture about ethics and procedure.\"\n\nI laughed and Micki responded. \"Well\u2014but she didn't budge on a meeting with the AG. You may be counting too much on the Senator trying to get the subpoena quashed.\"\n\n\"Maybe, but it's the subpoena to L&A that will turn the tide, you watch.\" I said, and then realized I had forgotten about one possibility.\n\n\"Stella, can we use the copy machine?\" I asked.\n\n\"Sure\u2014it's no longer a problem.\"\n\n\"Good. Okay, guys all hands on deck. We need to make several copies of every document we've got on this case. Especially the file on Nadia, L&A, and Nadia's bank account and phone records.\"\n\nNo questions, no argument: everyone pitched in and within an hour the job was done. Martin's people delivered the originals to a safe deposit box, copies to another secure location, and returned with sandwiches from Cosi.\n\nWe were sitting around the table eating when my premonition came true. I heard a noise in the hall and walked out to see a man in a grey suit trying to open the locked door. When I opened it and smiled, he identified himself as special agent Boerner with the FBI and demanded that we relinquish our computers and all our files. Two rather burly men accompanied him.\n\n\"May I see your warrant?\" I asked.\n\n\"Don't need one, this is a matter of national security. Please step away from the door, Mr. Patterson.\"\n\n\"It may indeed be a matter of national security, agent, but unless you have a warrant you're not welcome, and you may not have my computers or files.\" I stood firm, feeling better that Clovis and Martin were both standing behind me.\n\n\"I'm here on the orders of the deputy director of the FBI himself. You would be wise to cooperate. If you refuse, I can take you into custody.\"\n\n\"For what? You don't have a warrant, and you don't have probable cause for an arrest. You go back to Deputy Director Calhoun. Tell him if he wants my files he can join me when I meet with the Attorney General.\"\n\n\"We can be back in a matter of hours with a warrant.\" Apparently my offer wasn't acceptable.\n\n\"That you can, and I will honor a valid search warrant. But you and the deputy director will have to explain to the Attorney General why you don't want him to see my files.\"\n\n\"I take it you are refusing entry to your offices?\" His bluster was fading fast.\n\n\"I am.\"\n\n\"Have it your way, but you can be sure we'll be back.\" He turned to the others. \"Come on, let's get out of here.\"\n\nI had no doubt Agent Boerner would be back. I had no control over the FBI, and I expected them to do whatever was necessary to end my game. My job was to make sure that didn't happen.\n\n\"Beth and Micki, you need to see Mary and Ruth this afternoon. I know you think it's too soon, but we have no choice. We have to be prepared to present our case as early as tomorrow morning.\"\n\n\"Tomorrow morning?\" Micki exclaimed.\n\n\"It's the worst possible case, but by now Logan, L&A, and the Senator are pressuring whoever they can to have those subpoenas quashed. They'll probably try to get a judge to impose some kind of Order that will completely tie our hands, and with a friendly judge they're likely to be successful.\n\nThe rest of us will spend today and tonight getting ready for whatever comes next. You and Beth are in charge of presenting whatever the girls know. Don't forget that whoever might have already hired another sniper. Time works against us, not for us.\"\n\nI gave Stella some language to put up on the website which was bound to cause a stir. I also asked her to be vigilant for the FBI or the NSA trying to hack into our computers or listen in to our cell phones. I know I must have sounded paranoid, but then again when you stir up a hornet's nest you'd better be ready for an angry reaction.\n\nEveryone nodded soberly and went their separate ways. Maggie and I were left to finish the presentation we hoped to be able to give.\n\nThe call came just after six o'clock.\n\n\"You son-of-a-bitch, you have your meeting.\" Peggy Fortson wasn't usually so direct.\n\n\"Peggy, such language.\" I opted for a nonchalant tone.\n\n\"What do you expect? You subpoena a U.S. Senator in front of the press. You subpoena and ask for mountains of records from one of the major defense contractors in the country. To top it off you subpoena Tina Lalas, interfering with our negotiations with Interpol. You know damn well Tina had nothing to do with the Hopper matter; she wasn't even in the country. You've gone too far, Jack. You'll get your meeting, but don't expect it to be friendly or for the Attorney General to be cooperative. If I were you I'd bring some comfortable clothes. You just might find yourself locked up after tomorrow's meeting.\" Peggy was hot. I expect she'd had a rough day.\n\n\"May I ask who'll be there?\"\n\n\"Why not? You might as well know\u2014The Attorney General, myself, plus a couple of members of his immediate staff. Constance Montgomery and the U.S. Attorney for the District, and Deputy Director of the FBI Felix Calhoun along with a couple of agents. I believe you know one of them, Travis Barry. Neither the Senator or Logan will be represented, despite their requests.\"\n\n\"Who are you bringing?\" A fair question.\n\n\"Maggie, Micki Lawrence, and myself. Oh, and Marshall Fitzgerald.\"\n\n\"I'm not sure Judge Fitzgerald is appropriate. We both know he is a friend of the Attorney General, plus he is a critical witness.\" She had a point, but I had one as well.\n\n\"Marshall is the closest thing Billy has to a family member right now. He respects the Attorney General too much to expect special treatment in any way. Check with the AG and Constance\u2014I'm sure they won't mind.\" It was worth a shot. \"What time?\"\n\n\"Ten o'clock,\" she responded.\n\n\"We'll be there, with all the documents. No need for that warrant now.\"\n\nPeggy paused, sounding confused. \"What warrant?\"\n\nSo the FBI hadn't told the AG or Peggy about this afternoon's attempted raid. Interesting.\n\n\"Sorry, I've got two cases going and just got confused.\" Lame, lame, lame, but I couldn't think of anything else on the spur of the moment. Fortunately, she let it go.\n\n\"Don't expect a welcome mat, Jack. You've stepped on too many toes this time.\"\n\n\"Don't worry. My skin is pretty thick.\"\n\nI called Marshall and Micki to tell them about the conversation. We agreed to meet at eight in the morning at the Hay-Adams to go over any last minute issues. Micki was clearly nervous about her prospects with Ruth and Mary on such short notice. Marshall wanted to know if Anna could come, and I reminded him that might tip our hand. He saw my point immediately and said he'd suggest an outing to the Smithsonian.\n\nMaggie and I worked late into the night, and I felt as prepared as I could be considering I had no idea what to expect or what Micki's interview with Ruth and Mary might uncover.\n\nWe turned off the lights, and I took a cab back to Barker's. Hopefully I wouldn't be sleeping in DC's jail tomorrow night. I'd spent a night in jail once before, hadn't been much fun.\n* * *\n\n## **WEDNESDAY**\n\n* * *\n\n## **May 4, 2016**\n\n### **67**\n\nWE ALL ARRIVED at the Hay-Adams promptly at eight. No jokes this morning; we were all business, all clearly nervous. Micki looked terrific in khaki pants, a cream silk blouse and a black linen blazer. Marshall's character was obvious, even without his judge's robes. Micki murmured that Beth had returned to be with Ruth and Mary. It must have been a difficult evening.\n\nMicki cleared her throat. \"I'm ready to present what happened to these two young women. We don't have time now to go through their story, but trust me, Billy Hopper did not murder Nadia.\"\n\nExactly what I needed to hear. I knew that a seasoned prosecutor would have a field day cross-examining two working girls, but we weren't in court today. Our audience was one.\n\nAll three of us knew our roles, so there wasn't much else to say. Our audience was the Attorney General. We were asking him to interfere with the prosecution of a crime, to meddle in a local case against the will of the US Attorney, and to disregard the demands and influence of a Senator and a well-known defense contractor. The AG would be a tough sell, but I was more worried by Constance Montgomery. She was no slouch, and he would be guided by her position.\n\nWe cleared security at main Justice quite easily. The Attorney General's office is on the fifth floor of a magnificent WPA building. A huge table that seats at least thirty people comfortably dominates his conference room. At the far end is a wood-burning fireplace. When Robert Kennedy was Attorney General he used the conference room as his office. He was a family man to the core, and the large oriental carpet still reveals reminders of the exuberance of his children and his dogs. The current Attorney General prefers a smaller office and uses the room for meetings.\n\nHis executive assistant invited us to sit at the table. We were left to twiddle our thumbs for several minutes before an army of people filed into the room. The AG took his place at the head of the table. On his left were Peggy, Constance, the U.S. Attorney, and Deputy Director Calhoun. Staff, lots of staff, sat in chairs that lined the walls. I recognized agent Barry. There were no offers of coffee, no casual conversation. You could have cut the air with a knife. I squeezed Micki's hand quickly, a silent reassurance.\n\nFinally, the Attorney General fluffed up some papers and looked at Micki.\n\n\"You must be Ms. Lawrence. I'm sorry to have met you under these circumstances.\" She remained silent, not betraying even a hint of reaction. He turned to me.\n\n\"Mr. Patterson, you asked for this meeting, and I will give you ample opportunity to speak. However, I'd prefer to dispatch this issue quickly, so let me tell you what I think.\"\n\nI nodded.\n\n\"I'm aware that when a lawyer is faced with an impossible case to defend he is tempted to use various tactics to distract and obfuscate. My lawyers face these tactics all the time, and we are perfectly capable of dealing with them. We go into court and seek gag orders, have frivolous subpoenas quashed, prevent irrelevant testimony from being presented, and on rare occasions seek sanctions against the worst abusers of the system. We do this all the time.\n\n\"But you take the cake. You have issued subpoenas to a respected U.S. Senator, one of this country's primary defense contractors, and a notorious assassin, thereby interfering with ongoing extradition negotiations. I'd like to know why I shouldn't bring the entire force of the Department of Justice down on your ass. What in the hell do you have to say for yourself?\"\n\nIf he was trying to make me mad, he'd succeeded. I wanted nothing more than to gather my papers and my partners and walk out in a huff. I looked at Maggie, who knew me well. She smiled and mouthed the word \"no.\"\n\nI relaxed a little and tried to address the big dog in an even tone.\n\n\"Thank you. Let me first address the subpoena to Tina Lalas. You surely know that someone hired her to kill me and that she doesn't work of her own volition or for free. I don't know for sure who hired her, but I believe she was hired to kill me because I have discovered not only who did kill the woman at the Mayflower, but why. You may threaten me with sanctions and the weight of the justice department, but any lawyer worth his salt isn't going to let a key witness leave the country without doing everything possible to find out who ordered that hit.\" I needed to slow down.\n\n\"Now. Ms. Fortson rightfully told me Tina wasn't in the country when the young woman was murdered in Billy Hopper's hotel room. But that doesn't mean that Tina's employer didn't hire someone else to kill the woman at the Mayflower. And I think I have a right to ask Tina who ordered the hit on me.\"\n\n\"She's taking the fifth. She's not going to talk to you, Jack.\" Peggy interrupted.\n\n\"You're probably right, but I'm entitled to discover that, am I not?\" I asked.\n\n\"To what end?\" Constance spoke. \"She didn't murder the woman, Billy Hopper did.\"\n\nI looked at the Attorney General and said, \"May I explain to Ms. Montgomery why she's wrong.\"\n\n\"Go ahead, it's your hole you're digging.\"\n\n\"Constance, I'm not sure I can convince you that you're wrong. You've put a lot of effort into this case. You're invested in what seems to be obvious. But let me try. First, the murder weapon was a room service steak knife, yet Billy never ordered room service. He checked in, changed clothes for the banquet, and left only to return late that night.\"\n\n\"He could have gotten the knife from anywhere. An empty tray in the hall, for instance,\" she responded.\n\n\"True, but that indicates some kind of premeditation, not the crime of passion you have portrayed to the media and the Court. What was it your office told the press?\u2014'He was drunk, couldn't perform, and took it out on the girl.'\"\n\n\"Not necessarily. He could have been frustrated\u2014left his room to get a knife, and then stabbed her to death. Or a knife could have been left over from a previous guest.\" We seemed to be the only people in this room.\n\n\"True, but why didn't she scream or try to escape. Her clothes were neatly folded in the corner. Does that indicate a struggle to you?\"\n\n\"He smothered her with a pillow. That's what the medical examiner concluded. He smothered her, left the room, got a knife, and returned to the room to stab her to death. Sorry, Jack.\"\n\n\"Where'd the pillow come from?\" I asked.\n\n\"What do you mean? It's a hotel pillow.\"\n\n\"Check the housekeeping record and the inventory of the room after the murder. There's an extra pillow in Billy's room. Do you think he left the room to find a spare pillow like the knife?\"\n\n\"Bullshit. An extra pillow was probably left in the room from the night before. Let me ask you what kind of animal murders a woman and then goes to sleep in her blood. Your client, that's who.\" Constance was getting worked up, and I wasn't making any progress. The attorney general stepped in.\n\n\"Stop. This kind of crap isn't getting us anywhere. Save it for the courtroom.\"\n\nI glanced at Micki, and she took over smoothly.\n\n\"You're right, except for one thing. Billy Hopper couldn't have murdered anyone that night. We have two witnesses who have sworn under oath to that effect.\"\n\nI saw just a trace of concern cross Constance's brow. \"What witnesses? Who?\"\n\n\"For purposes of this discussion I will call them Mary and Ruth. They attended the NFL banquet with Billy Hopper, sat at his table and, along with another girl named Ginger helped Billy get back to the hotel and into his room.\"\n\nAgent Barry rose, couldn't help himself. \"Those two women have been missing for weeks. Where are they? If you're hiding them somewhere you need to turn them over to us immediately.\"\n\nMicki ignored him, continuing to address the AG.\n\n\"After they heard about the incident at the Mayflower, the three girls who were involved left town with their bodyguard. The bodies of Ginger and her bodyguard were found over a week ago in a storm drain in Cleveland, Ohio. Their throats had been cut. That event was posted on a website called \"Free Billy,\" and the story was carried on Fox News. The other girls fled Cleveland and contacted us looking for a safe haven. They are currently under our protection, and that's where they will remain for the time being.\"\n\nCalhoun mouthed a warning, but Barry couldn't keep his mouth shut.\n\n\"Those girls may be in danger. You need to turn them over to the FBI.\"\n\nMicki turned to him and said coldly, \"Not a chance. If you were so concerned about their safety, Agent Barry, how come as of this morning the Cleveland Police Chief says not a single member of the FBI has made contact with his office. A crucial witness to a murder investigation goes missing, turns up dead in Cleveland, and the FBI doesn't even make a phone call? These women are definitely in danger. You really think I'm going to turn them over to you?\"\n\nMicki had made her point; it was time to move on. She turned back to the Attorney General.\n\n\"Both Mary and Ruth will say that all three girls were hired for the evening to sit with Billy and the four men from Logan Aerospace at the NFL Honors banquet. They had been instructed by their bodyguard, or pimp, if you prefer, to make sure Billy was the one who ordered the drinks, even though he nursed a single beer for the entire evening. Toward the end of the banquet the now dead girl slipped a knockout drug into Billy's beer. When he could no longer stand, they helped him get back to the Mayflower and into his room.\"\n\nConstance spoke up. \"A convenient story, but totally inconsistent with what the four men say happened that evening.\" She shouldn't sound so smug.\n\n\"Please let me finish. Both girls will say they helped Billy to his room and into his bed. By then he was now completely out of it. It was easy to remove his clothes and leave him alone and totally naked, just as they had been instructed. On the way out they handed the keycard to Billy's room to a man who was waiting outside the door with a camera in hand. They assumed he was going to take pictures of Billy for blackmail purposes.\"\n\nConstance looked at the attorney general. \"I don't believe this cock and bull story for a minute. First, we have no idea who these girls are. Until they have been interviewed their story doesn't pass any credibility test. Second, what about this mystery cameraman? Is there any proof of his existence\u2014any pictures, any evidence there was another man in the room? Finally, if you believe their story, what prevented Billy from waking up, meeting the deceased later on, and then murdering her? How does Ms. Lawrence explain the semen all over the bed? I don't buy these two girls' stories no matter how credible they seem to Ms. Lawrence. They're probably still on the make, looking for their fifteen minutes of fame.\"\n\nI could tell Micki was pissed, and was relieved that she kept her poise. She glanced at the AG, who merely nodded.\n\n\"I'm not sure exactly which 'credibility test' the prosecutor has mind\u2014is there a standardized form? If so, I don't think it will present much of a problem for either Ruth or Mary. As to the presence of the cameraman, she is correct\u2014you will find no evidence of his presence in the room because the room was wiped clean of prints. The only prints in the entire room are Billy's, and then only in places where he likely went when he woke up. No prints from housekeeping, no prints from the deceased, even though her clothes were stacked neatly in a corner of the room. Not a single print from anyone else, including the three girls who helped him into the room.\n\n\"As to the semen, both Mary and Ruth say they were instructed to masturbate Billy once he was completely unconscious. In case you're curious, I have checked with three physicians and, yes, that can easily be done. Mary and Ruth will describe how it was done in minute detail if you wish.\"\n\nBarry jumped up gleefully. \"See, they're nothing but whores. Ha! Some credible witnesses.\"\n\nConstance and everyone else turned to stare, this time in distaste, giving Micki a chance to continue.\n\n\"I prefer to call them victims, Agent Barry, but, yes, they are professional women. Since you interviewed each of the four employees of Logan Aerospace, you probably know that true to their instructions the three girls returned to the Mandarin, rejoined the four men at the bar, and after several more drinks went upstairs with the men for a night of sex. Or maybe they didn't tell you that part of their story. These four men may have a few credibility issues of their own, as I believe they all have wives and young children.\"\n\nI could tell the Attorney General had heard enough about sex; Micki sensed it as well. She finished quickly.\n\n\"We have unearthed many more holes in the prosecutor's case. For example, the extra pillow in the room matches exactly a pillow missing from the room next door. The guest staying in the room next door ordered steak from room service. The staff will testify that the previous guest left no steak knife in Billy's room. Finally, Ms. Montgomery has suggested that Billy could have woken up, met the deceased elsewhere, perhaps the bar, and later murdered her. I'd like to point out that the medical examiner's time of death is pegged at only thirty minutes after he arrived at his room. Where was she in the brief period of time between when Mary and Ruth left Billy all alone unconscious and when she was dead? Billy certainly couldn't have leapt up from his drunken or drugged state and gone down to the bar to get her.\"\n\nConstance wasn't going to give up easily.\n\n\"Mr. Attorney General, Mr. Patterson and Ms. Lawrence certainly have pointed out some holes in our case that are worth examining, and I assure you that I will be diligent in determining the credibility of their newly-found witnesses as soon as they are made available. But these are matters for our office. There is no need for you to step in at this point. We are here because Mr. Patterson has gone off the deep end, issuing subpoenas that compel testimony and documents from persons who have no relevance to the Hopper case.\"\n\nMicki and I had anticipated her response. It was exactly the one that would appeal to the Attorney General\u2014promise to evaluate the new evidence, but shut down all the rest. Looking satisfied, he turned to Peggy. It was time for door number three. I cleared my throat and plunged.\n\n\"Ms. Montgomery, let me ask you one more question. How did the FBI get involved in this case? It seems to me that this murder investigation would normally be handled by the DC police.\"\n\n### **68**\n\nI NOTICED DEPUTY Director Calhoun begin to squirm and Peggy's eyebrows rise. Sensing Constance's hesitation, the AG looked at her for an answer.\n\n\"Well, I guess that's not a state secret. Director Calhoun called me that first morning and offered assistance. He said this would be a high profile case and that he'd be happy to detail a couple of special agents to help. I accepted, and agents Barry and Pitcock quickly arrived on the scene,\" she said matter-of-factly.\n\n\"And have they have taken the lead in interviewing witnesses such as the four men who work for Logan Aerospace, and supervised the assembly of all the physical evidence?\"\n\nShe assented, and I paused again.\n\n\"Okay. And did they also interview everyone who knew the deceased, her family, her friends, and her work associates.\"\n\nI'd finally gotten under her skin.\n\n\"What is this? You know good and well we don't know the identity of the deceased. We have advertised on the air and in the newspapers, but we haven't turned up a clue as to who she is. But I won't rest until I do, I promise you that.\" She looked to the AG, throwing up her hands in disgust.\n\nI didn't give him a chance to intervene.\n\n\"So, neither Agents Barry, Pitcock, nor Director Calhoun told you they know the identity of the deceased? They've had you spinning your wheels, tossing and turning at night, running ads in the paper, and they never said a word? Constance, not only did they know who she was, they knew her personally.\" I sure as hell hoped I hadn't gone too far.\n\nConstance's face went white. She turned to Barry\u2014the truth was written all over his face. He bit his lip and looked at the floor. No one said a word as the AG turned to Calhoun.\n\n\"Can this be true, Felix? Has the FBI known the woman's identity and withheld it from the U.S. Attorney?\"\n\nFelix gulped. \"I don't think this matter is appropriate for this audience. There is an explanation, but it involves national security and an ongoing investigation.\"\n\nI wasn't about to let him off the hook.\n\n\"Her name is Nadia Nikolov.\" Maggie handed Constance a copy of the file we had received from Novak.\n\nI spoke directly to her. \"I think you will find her immigration fingerprints match those of the deceased.\" Constance took the file and began to look through it.\n\nI turned to the Attorney General, but Calhoun interrupted.\n\n\"I must insist that this is not a forum for a discussion about Ms. Nikolov. We are talking about a sting operation approved by your predecessor that is still ongoing and has national security implications.\"\n\nThe AG looked at Peggy, who spoke.\n\n\"Director Calhoun, you called this office and demanded we put a stop to, and I quote, 'that wild man Jack Patterson.' We've just been told the FBI withheld vital information from the prosecutor in a murder investigation. Now you wish to shut down the very meeting you asked to attend.\n\n\"Mr. Calhoun, your request to end this meeting gives credence to Mr. Patterson's allegations. Has the FBI in fact known the dead woman's identity all along? Did some of your agents, including agent Barry, know her personally?\"\n\nCalhoun knew when to keep quiet. He simply nodded.\n\nPeggy turned to me again. \"Mr. Patterson, I take it that if we simply sit back and listen, we will hear why that flurry of subpoenas went out yesterday.\"\n\nFinally. I turned to Constance Montgomery.\n\n\"Let me first say that my team has no desire to interfere with or upset an ongoing investigation of the FBI, except to the extent we can convince all of you that Billy Hopper had nothing to do with the death of Nadia. Billy never met her, never ran into her, and has no idea who she is. Constance, you had no way of knowing any of this because the FBI had no intention of ever letting you find out who she was or helping you discover who in fact did murder her.\"\n\nThe color had returned to Constance's face; she was ready to listen.\n\n\"If you had discovered her identity, you would have known that Nadia's story is the same as many young girls who come to America pursuing a dream, only to get caught up in our nation's sex trade. At fifteen, she was branded and sold on a street corner. The mark on her shoulder that your medical examiner referred to as a birthmark was actually a brand she tried to have removed.\" Maggie passed the medical records over.\n\n\"But Nadia was different from most of these girls\u2014she was a fighter. With the help of friends, she managed to break free of the men who controlled her. But by that time she had become permanently scarred, her heart had turned cold. Who can blame her? She decided to stay in the business, but she would handle her own business: no protectors and no pimp. She was very attractive, as the photographs indicate. She kept to herself and over time developed quite a clientele. Many of them may come as a surprise to you. They certainly did to me.\n\n\"One client was Senator Jason Boudreaux, who I'm sure the AG has heard from since we subpoenaed him yesterday.\"\n\n\"The Senator certainly did call. You should be very careful. Are you saying he was involved in the murder of that young woman?\" The Attorney General looked truly distraught.\n\n\"No, I don't think he was, although he may have caused her death indirectly. I know he was surely the catalyst for a series of events that led to her death, but, no, I don't think he killed her,\" I responded.\n\n\"Then what is your point, Jack?\" Peggy asked.\n\n\"Let me tell you what we do know. Over twenty years ago, the Senator returned to Tennessee to bond with his constituents, met a wide-eyed fifteen year-old girl near Bibb, Tennessee, and got her pregnant.\"\n\nStupidly, Barry interrupted. \"You don't know that. You're speculating.\"\n\nPeggy brushed him off. \"Agent Barry, please no more interruptions.\"\n\n\"He's right. I haven't asked for DNA tests yet, but I know the senator believed he was the father because he sent the young girl's mother a hundred dollar bill once a month for over twenty years. And he probably paid a cousin a whole lot more money to marry the girl and keep her quiet.\"\n\nConstance looked up from her notes. \"I assume you have some proof.\"\n\nI smiled. \"I subpoenaed the Senator, so I hope to be able to ask him directly, but, yes, we have some rather graphic pictures. Moreover, the mother kept the money in the individual envelopes\u2014there are piles of them, neatly tied with string by year. She never spent a single dollar. I bet the envelopes will reveal the Senator's fingerprints.\"\n\nThe AG turned to Peggy and said under his breath, \"I'd like to meet that woman.\"\n\nI responded. \"You certainly can. She's in town to meet her only grandson who is currently being detained in the DC jail.\"\n\nPeggy blurted out. \"Are you saying Billy Hopper is the illegitimate son of Senator Boudreaux?\"\n\n\"As I said, I don't have the DNA yet, but I know that at least the Senator thinks that is the case as does the grandmother. Isn't that true, Director Calhoun?\"\n\n\"I am not about to confirm or deny a word of what you say.\" His refusal gave lie to his words.\n\nThe Attorney General was fed up.\n\n\"I don't know what to do here. I'm tempted to shut this meeting down until I can figure out what in the hell the FBI has been doing.\"\n\nI couldn't let that happen. Nadia's death would be swept under the rug, witnesses would disappear, and Billy would either be convicted or deemed a murderer for the rest of his life. I knew how long internal government investigations take\u2014forever.\n\n\"I don't believe the FBI murdered Nadia or set Billy up, so let me speculate a little before we discuss where you should go from here.\"\n\nThe Attorney General turned to Peggy, and she nodded her head.\n\n\"Go ahead.\"\n\n\"The senator holds a very powerful position on the appropriations committee. He is also well known on the Hill for having a voracious sexual appetite. Certainly a lobbyist has occasionally provided an influential member of Congress with a woman for the night in return for a favor. I'm speculating here, but nevertheless at some point the Senator and Nadia made connection.\n\n\"What I do know, as fact, is that Logan Aerospace made regular weekly payments into Nadia's bank account during the same time she met the Senator at the Mayflower hotel once a week. The money came in like clockwork. Last year, deposits from a new source showed up. This 'client' made fewer deposits, but the dollar amounts were significant. That client is a front for the FBI\u2014L&A Marketing Advisors. Nadia had decided to work both sides of the street. L&A also provided Nadia a credit card to pay for the room at the Mayflower.\"\n\nI turned to Calhoun\u2014this time he had nothing to say.\n\n\"My speculation is that the FBI is conducting an ongoing investigation into members of the appropriations committee and payments made to them by defense contractors. Nadia was feeding them information.\"\n\nCalhoun crossed his arms defensively.\n\nPeggy asked. \"Why kill Nadia and why frame Billy for the murder? I assume that's where you are going with this.\"\n\n\"Logical question. A couple of events occurred that brought matters to a head. First, Billy hired a private investigator to find out about his mother and her family. It was only a matter of time before he would discover the truth. I think either the Senator got wind of this and told his friends at Logan, or Logan found out directly. As much as they had invested in the Senator, Logan was bound to have known about the rape and Billy. It was another hammer they held over the Senator. If the rape became public knowledge, Logan would lose their golden goose.\n\n\"Second, the Senator found a new playmate\u2014Claudia. She is a young, cute staff member and became a very willing sexual partner. Nadia lost her gravy train. Logan had cut her off several months ago, and it was only a matter of time before the FBI dropped her as well. From her phone records, it looks like she called her contact at Logan to arrange a meeting. She told a former acquaintance she had one big gig left before she could retire. My guess is she threatened to spill the goods unless they paid for her silence. Thus the meeting and why she was at the Mayflower that night in the room next to Billy's\u2014Room 703.\n\n\"I think Logan quickly realized they could solve both their problems with one solution\u2014murder Nadia and frame Billy for the murder.\n\nBarry interrupted. \"You really believe a major defense contractor would murder someone?\" I wondered if he would have a job tomorrow morning.\n\nI used his question to continue. \"No, I don't. I think they hired the same group that tried to murder me by hiring Tina Lalas, PS Trading out of Shanghai. I have proof they were monitoring our phones and computers. I suspect Director Calhoun knows all about Mr. Kim and PS Trading, don't you, sir.\"\n\nCalhoun looked at the Attorney General. \"I must insist, General, we really are getting into sensitive information with national security implications.\"\n\nI didn't want to get distracted.\n\n\"PS and Logan come up with a plan. Logan arranges for a table at the NFL Honors banquet and pays extra to have Hopper sit at the table. Logan is really quite tickled with the idea of framing Hopper. The owner of the Lobos is Red Shaw, one of Logan's biggest competitors. His newest star will now cost Shaw millions, both in hard cash and public relations. They hire three girls to sit with Hopper, drug him, and bring him back to the Mayflower. The girls strip Hopper and leave, handing a cameraman the room key. The girls return to the Mandarin and do what they were hired to do: entertain the boys so they will later say anything to avoid exposure.\n\n\"Meanwhile Nadia goes to the room next to Billy's at the Mayflower, thinking she is meeting with Logan to arrange for the final payoff. She's knocked cold, smothered with a pillow and carried to Billy's room where she's stabbed. Our killers made three big mistakes. First, they left the pillow in Billy's room\u2014housekeeping noted a pillow missing from room 703. Second, they didn't realize the inconsistency of the steak knife. Finally, they took the room keycard with them rather than leave it in the room.\"\n\nConstance said. \"No card key in the inventory. I missed that.\"\n\n\"True. The locked doors mean nothing. The killers had the card key\u2014they could come and go as they pleased. The cameras on the floor had been disabled. Billy couldn't have left the room to get a knife or a pillow. He couldn't have gotten back into his room. The girls gave the only keycard to the cameraman. We checked with the front desk: they only issued one keycard to Billy. Moreover, he was heavily drugged the entire time.\"\n\n\"I'm sorry, Constance, but your lead investigators were so busy making sure Nadia's identity remained a secret and trying to cover up the FBI's involvement that I'm not sure you can trust any information you've received from them. For example, did they tell you that the room next to Billy's was paid for with L&A's credit card? I'd bet good money they also cleaned out her house and commandeered her handbag and phone before it could be inventoried that first morning. The FBI had to get her phone before anyone else; it would show phone calls to Agent Barry.\" I stared at Barry, who for once remained silent. He was caught and he knew it\u2014so did the rest of us.\n\nCalhoun, however, wasn't ready to throw in the towel. \"That's enough. I'm tired of your insinuations. My agents were doing their job; they most certainly did nothing wrong,\" he spouted.\n\nI'd had enough, too.\n\n\"Deputy Calhoun, as if withholding Nadia's identity from the prosecutor, interfering with a murder investigation, stealing evidence from the Mayflower, Nadia's home, and even removing the labels from her clothing weren't enough, how about telling the prosecutor that another crucial witness works for you\u2014one Claudia Ellis, who happens to be the Senator's current love interest.\"\n\nHe looked stunned, not by my accusation; he was stunned I knew. Claudia should have never handed me the napkin with her cell phone number on it.\n\n\"Yes, Claudia, the young staffer who is the Senator's current paramour. The same woman who was at the table at the banquet and saw Ginger slip Billy a knockout drug. The same woman who slept with Billy's agent that night to find out what he knew about Billy's father. She is on the FBI's payroll as well as the Senate's. She called Mr. Calhoun, not the Senator, when she received her subpoena. She also called Mr. Calhoun the night of the murder. Deputy Calhoun, perhaps you'd liked to tell the Attorney General about those conversations?\"\n\nPeggy turned and got in Calhoun's face.\n\n\"Please tell me Jack isn't telling the truth. Tell me the FBI doesn't employ women to sleep with senators. Tell me that a witness who can exonerate Billy Hopper isn't withholding exculpatory evidence on your orders.\"\n\nCalhoun's tone was derisive. \"Ms. Fortson, you are na\u00efve. The FBI does what it has to do. Our national security is involved. That's all that matters. You have no idea what we have uncovered.\"\n\nNational security. That old sacred cow that justifies anything these days\u2014violations of privacy, lies to Congress, and now employment of paramours. I hadn't really known the full extent of Claudia's involvement with the FBI. I'd exaggerated a little, and Calhoun had taken the bait. All in the name of national security, right?\n\nThe Attorney General appeared to be in a bit of a fog, so I looked to Peggy. I almost felt bad about dumping this mess in her lap.\n\n\"If I may...\" Peggy began. He nodded in relief.\n\n\"Connie, we've heard a lot today. I'm not going to tell you how to run your case, but I think we've heard enough to give the case a new and fresh look at a minimum. I would suggest that Mr. Hopper be released into the custody of Ms. Lawrence and Mr. Patterson. I would also suggest that the D.C. Police take over the investigation of the murder of Ms. Nikolov as well as the attempted murder of Mr. Patterson. If you agree, the FBI will have no involvement in either case for the present time. I will make sure of that. Given the probable existence of an ongoing investigation by the FBI that seems to have relevance to your investigation, all coordination will come through my office. Does that make sense?\" Peggy was being very diplomatic, suggesting not ordering.\n\nPeggy continued. \"Mr. Patterson, you have assembled quite a bit of evidence. I hope you can work with this office and Ms. Montgomery's office without compromising the defense of your client. I hope you will withdraw your subpoena of the Senator for the time being. He's not going anywhere.\"\n\nI didn't respond.\n\nConstance finally spoke up. Her jaw was set.\n\n\"I'm prepared to go further, Deputy Fortson, if there are no objections. I am going to dismiss the indictment of Mr. Hopper without prejudice. We can always file charges if we find new evidence. He will be released from jail as early as this afternoon, and I will issue a press release saying that we have come across newly discovered evidence that appears to exonerate him completely. To be honest, the FBI has tainted this investigation to such a degree I'm not sure I could obtain a conviction of anyone, much less the real perpetrator, but I'm going to try.\n\n\"I hope Mr. Hopper's defense team will cooperate with my investigation and share with me what you can in the way of evidence. To that end, you have in your custody two women who at this point are our only connection to Logan Aerospace and the murderer. I need to speak to them sooner rather than later. If what you say is true, they belong in protective custody.\"\n\nI looked at Micki, who I knew would refuse. Constance turned to address her directly.\n\n\"Ms. Lawrence, I know you have no reason to trust me at this point. The FBI has compromised my office. If I were you I'd be very protective of those two women, but I hope you will check my record: I've been fighting the sex trade my entire career. I know what those two women must be going through right now. I'll let you call the shots. Why don't just the two of us meet this afternoon? I won't let the FBI come close to those two women. If you're satisfied, the DC police have special housing for women who need protective custody. The living quarters are quite nice, and they are bound to need medical care.\"\n\nMicki was a tough nut to crack. \"Two o'clock at your offices. I'll probably bring Jack's daughter with me.\"\n\nAt that point, Peggy announced the meeting was over.\n\nCalhoun and Barry left quickly. Marshall walked directly up to the Attorney General, and before long they left together. Maggie, Constance, and Micki started talking about documents, so I approached my friend Peggy Fortson.\n\nShe smiled. \"You know one of these days I'm going to learn not to take your calls. The FBI and a major contractor providing call girls to a Senator and no telling what else. What a mess you've handed me.\"\n\nShe was quick to interpret my silence. \"What aren't you telling me?\"\n\n\"When Constance gets our documents she'll see that Logan was not Nadia's only client. She will also receive more information on L&A. You need to receive your own copies. As a friend told me once, \"I've not handed you a mess; I've handed you a hornet's nest.\"\n\n### **69**\n\nWE HAD WON, at least for now. Many questions remained unanswered, but Billy would be a free man. It's almost as hard to get someone released from jail as it is from the hospital. We finally walked out into the fading sunshine around five o'clock. Thank God, the press hadn't been tipped off. Billy Hopper was soon enjoying a quiet dinner with Marshall, Grace, and his newly discovered grandmother, Anna. The Hay-Adams had been happy to provide a private room for their meal, as well as a room for the night. Billy said he never wanted to set foot in the Mayflower again. Who could blame him?\n\nMicki and Beth spent the whole afternoon with Constance working on a plan to turn over custody of Mary and Ruth to the DC police. Martin was called in, and by the early evening things had been resolved. Beth would coordinate the transition. She had become close to the two women, and I could think of no one better. She wouldn't return to New Orleans until Sunday, so she and I would finally have some time together.\n\nBeth and Micki had a long talk about what was eating at Micki. Beth later told me, \"Everything's cool,\" but refused to give me any details. I later asked Maggie if she knew what was going on. She smiled and said the two of them needed to clear the air about me. When I pressed her she shrugged me off saying, \"You wouldn't understand.\"\n\nI heard almost immediately from Red. He was tickled pink to have his wide receiver back and claimed that it was Lucy who had come up with the plan to hire me. She knew that once involved and intrigued, I couldn't walk away from Billy. I didn't know I was that predictable. She even told him that she had always doubted Billy's guilt. Same old Lucy\u2014she always had perfect hindsight.\n\nRed insisted that my representation of Billy had always been secondary to him\u2014he really did want me to represent the team's interests. In fact, he gave me an added responsibility, for which he was happy to pay extra\u2014make sure the NFL reinstated Billy, and quickly. The job wouldn't be as easy as one might think. The NFL would want to do its own investigation, and Constance would not be inclined to be cooperative while she was trying to find the real perpetrator. Red also warned that other NFL owners would privately encourage the commissioner to slow walk a decision. They'd be much happier if Billy weren't running amok in their backfields.\n\nI still had reservations about working for an NFL team given my concern about the increased violence and injuries, let alone fantasy sports. Typical Red\u2014when I told him about my reservations, he said he had the same concerns, and we would work on them together. We were certainly strange bedfellows. He went on to tell me how Billy was a key element in his desire to change the face of football from violence to one of purely skill and speed. Getting Billy reinstated was key.\n\nOf course, the press, especially the sports press, was caught totally off-guard. We agreed that it would look better if Micki took the lead in dealing with the press. Her presence before the cameras as Billy's lawyer might soften the hearts of those who were still convinced that Billy was capable of violence against women. Micki was great at the initial press conference and during a series of TV interviews scheduled by the Lobos. I could tell she was enjoying herself. She was so good Red tried to hire her, but she demurred. She and Larry were ready to get back to Little Rock.\n\nI read in the _Post_ a few days later that Felix Calhoun had resigned from the FBI to work in the private sector. The Attorney General and the FBI director announced that the FBI would undertake a management restructuring process. I didn't read anything about agent Barry, but I suspected he had been reassigned to Alaska\u2014maybe he could see Russia from his new outpost. Senator Boudreaux surprised a lot of folks by announcing he'd decided not to seek reelection this fall. Who is in line to take his seat on the appropriations committee? You guessed it\u2014Senator Lucy Robinson.\n\nClovis reported that PS Trading had closed their offices. The attorney for Logan calls me at least once a day asking when I'm going to withdraw my subpoena. He gets very frustrated with my repeated response: \"I have to check with Constance Montgomery.\"\n\nI dreaded the call from Novak, but he seemed to understand that no one knew for sure yet who had actually killed Nadia. He said it was unfortunate that I was no longer involved, but he thought he might have an idea or two that could help. I gave him Constance's number; my job had ended when Billy was exonerated. He told me \"off the record\" that Nadia's money had found its way to her parents. I think that made him a little more willing to mourn rather than seek revenge.\n\nHe told me the Louisiana syndicate was searching for the man who ordered the hit on Beth. He apparently had failed to show the syndicate \"proper respect.\" He told me to not to worry about Beth or Jeff while they were in New Orleans. I wasn't sure how I felt about my daughter being under the protective umbrella of the mob, but I thanked him anyway.\n\nI had intended my association with Novak to end after the Stewart case, but I was glad it hadn't. While a lot of people congratulated me on being such a good lawyer, I knew I'd been very lucky, so had Billy. If the dead woman had been anyone else but Novak's niece this case would have never been solved, and Billy likely would have been convicted despite all the holes in the prosecution's case.\n\nThat reality made me think about all the people who die every year and are never identified and their families never notified. I decided to have the Foundation do some research into this to determine the magnitude of the problem and how it could be addressed. In this day and time of information no one should live or die in total obscurity.\n\nWe all went out for dinner at Cantler's before half the team returned to Little Rock. Jeff came up for the occasion, and I thought he might try to corner me to ask for Beth's hand in marriage, but it didn't happen. Apparently their time schedule is between them, or so Beth told me. Next year Jeff is headed to Barnes Hospital in St. Louis to further his residency. No surprise, Beth is moving to St. Louis as well. She'd been thinking for some time about getting her Masters in social work at Washington University. Her work with Mary and Ruth had convinced her that the decision was the right one.\n\nI finally met Larry. I kind of liked him. He clearly adored Micki, talked very little unless someone asked him about wood or cabinetry. She seemed to be back in good spirits, but I made it a point to ask Maggie again about what had been eating her.\n\n\"Jack, for a smart guy, you can sometimes be clueless,\" she said bluntly. \"You and Micki had quite the romance years ago. She thinks her feelings toward you contributed to the breakup with Eric. She doesn't want to lose Larry, too. You're obviously head-over-heels about Carol Madison which complicates things further\u2014no wonder she's been irritable these last couple of weeks. Frankly, I'm surprised she agreed to come at all.\"\n\nI decided to leave it alone. Micki was happy and that's what mattered.\n\nMaggie told me that Walter's company had made Stella one hell of an offer to run the Matthews companies' IT operation. The offer allowed her to live in Little Rock, and continue to run her gym, but it would involve a lot more travel to DC and to the data center in Charlotte, North Carolina. I could tell they were both torn because they were quieter than usual. I pulled Clovis aside and asked if he wanted to talk. He asked if I could come to Arkansas and go fishing next month. We would talk then. He didn't need to twist my arm.\n\nIt took over a week to deal with all the details of closing up the case. I did learn one thing of interest. When Marshall joined a New York firm as a young lawyer, his first case involved a ticklish personal matter for the family that had owned the Hay-Adams for many years. He brought the matter to a successful conclusion without the matter getting into the press, and even convinced his firm not to charge them a red cent. The ownership of the hotel has changed, be he is still allowed to stay there for almost nothing whenever he wants. He, of course, has never abused their generosity and still keeps in touch with the family when he's in town.\n\nBilly and his grandmother are almost inseparable. He has arranged for all her belongings to be shipped out to his home in LA. He doesn't want her to ever return to Bibb, nor does he care to meet his biological father. Who could blame him? He hired a new agent, a former ball player who has an excellent reputation with both management and the NFL Player's union. Red told me he hopes to lock Billy into a long-term deal if I would just do \"my job\" and get the NFL \"off their ass.\" Working for Red was going to be a challenge.\n\nMaggie and Walter were on their way to a wedding in Cannon Beach, Oregon. They'd decided to leave a little early to enjoy the many wineries and incredible scenery between Portland and the coast. They invited me to join them, but I declined. Instead, I called Pat and asked for Carol's phone number. He told me, \"not to bother.\" My heart sunk before he laughed.\n\n\"Carol has been calling every day asking if you've called. Don't bother calling her, she's already arranged for Red's plane to be on stand-by to fly you to where she is. Be at the Lobos' hanger this afternoon at four o'clock.\"\n\n\"Should I be ready for sun or snow? I asked.\n\n\"She said to bring your bathing suit.\"\n\n## **A CKNOWLEDGMENTS**\n\nI PLAYED FOOTBALL in High School and for the Arkansas Razorbacks. My teammates remain some of my best and closest friends to this day. There is something about the sport that bonds you with your teammates and when one hears of a teammate in trouble you come to his aid without reservation or judgment. I know about this firsthand. My thanks to every single teammate for your unwavering support and encouragement.\n\nTerry, Walter, and Caroline read the early drafts, giving me valuable insight. Once again, my wife Suzy spent endless hours reading and editing every draft. My children and their spouses gave me input and encouragement. My Charlotte, DC, and Arkansas friends continue to be my biggest supporters and cheerleaders.\n\nMy son, Walter offered advice and tremendous insight into the world of fantasy football. My sister Terry keeps me straight when it comes to medical issues. My friends Sonya and David gave me tremendous advice with the issues surrounding the representation of a high-profile client and pre-trial issues.\n\nBeaufort Books has once again my deepest thanks and appreciation. Publisher Eric Kampmann believed in me from day one. Megan Trank, Michael Short, and Felicia Minerva have given me invaluable help in editing, cover design, and publicity. No author has a better or more patient team.\n\nEvery day I remain eternally grateful to George and his family.\n","meta":{"redpajama_set_name":"RedPajamaBook"}}
+{"text":"\n\n# LEONARDO DA VINCI\n\n# Translations, Text and Introduction by  \nCHARLES D. O'MALLEY, Stanford University, and  \nJ. B. DE C. M. SAUNDERS, University of California\n\nDOVER PUBLICATIONS, INC., NEW YORK\nThis Dover edition, first published in 1983, is an unabridged republication of Leonardo da Vinci on the Human Body: The Anatomical, Physiological, and Embryological Drawings of Leonardo da Vinci, originally published by Henry Schuman, New York, 1952.\n\nManufactured in the United States of America\n\nDover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501\n\nLibrary of Congress Cataloging in Publication Data\n\nLeonardo da Vinci, 1452-1519.\n\nLeonardo on the human body.\n\nReprint. Originally published: Leonardo da Vinci on the human body. New York: H. Schuman, 1952.\n\n1. Anatomy, Human\u2014Early works to 1800. I. Title.\n\nQM21.L53 1983 611 82-18285\n\nISBN 0-486-24483-0\n**THE AUTHORS WISH TO EXPRESS THEIR PROFOUND GRATITUDE FOR THE MOST GRACIOUS PERMISSION OF HER MAJESTY, QUEEN ELIZABETH II FOR THE USE OF THE REPRODUCTION OF THE LEONARDO DA VINCI DRAWINGS AT WINDSOR CASTLE. WE WISH ALSO TO EXPRESS OUR GRATITUDE TO SIR OLIVER FRANKS, BRITISH AMBASSADOR TO THE UNITED STATES AND MR. J. MITCHESON, H. B. M., BRITISH CONSUL GENERAL AT SAN FRANCISCO FOR THE KINDNESS THEY HAVE SHOWN IN THIS MATTER**.\n\n# acknowledgments\n\nIn the assembling and editing of this work we found the extraordinary Elmer Belt Library of Vinciana of Los Angeles most helpful and cooperative. Profound thanks are also due to The Burndy Library of Norwalk, Conn., which provided the source works from which these anatomical drawings were reproduced.\n\nCHARLES D. O'MALLEY  \nJ. B. de C. M. SAUNDERS\n\n# CONTENTS\n\nintroduction\n\nanatomical illustration before Leonardo\n\nlife of Leonardo da Vinci\n\nLeonardo's anatomical achievements\n\nplans for the anatomical treatise\n\nillustrations\n\nOSTEOLOGICAL SYSTEM\n\nplate number\n\n 1 the skeleton\n\n 2 the vertebral column\n\n 3 the skull: anterior view\n\n4-5 the skull: lateral view\n\n 6 the skull: interior view\n\n 7 the skull: interior view and sagittal suture\n\n8-9 the upper extremity\n\n 10 representation of the hand\n\n11-13 the lower extremity\n\nMYOLOGICAL SYSTEM\n\n14-32 myology of trunk\n\n33-39 myology of head and neck\n\n40-50 myology of shoulder region\n\n51-57 myology of upper extremity\n\n58-80 myology of lower extremity\n\nCOMPARATIVE ANATOMY\n\n81-85 comparative anatomy\n\n CARDIOVASCULAR SYSTEM\n\n86-88 heart: superficial view\n\n 89-106 ventricles of the heart\n\n107-115 aortic pulmonary valves\n\n116-141 cardiovascular system\n\n NERVOUS SYSTEM\n\n142-149 central nervous system and cranial nerves\n\n 150 peripheral nerves: intercostal\n\n151-158 peripheral nerves: upper extremity\n\n159-168 peripheral nerves: lower extremity\n\n RESPIRATORY SYSTEM\n\n169-179 respiratory system\n\n ALIMENTARY SYSTEM\n\n180-189 alimentary system\n\n GENITO-URINARY SYSTEM\n\n190-207 genito-urinary system\n\n EMBRYOLOGY\n\n208-215 embryology\n\n continued text\n\n# introduction\n\n# anatomical illustration before Leonardo\n\nIf it may be said that the fourteenth century ushered in a new period of civilization, for convenience called the Renaissance, then it may be remarked that anatomy in that new age was long to remain mediaeval, at least insofar as it was reflected in medical illustration. Prior to this new era the teaching of anatomy had been based largely upon the dissection of animals, but in the thirteenth century even this limited procedure of direct observation was largely superseded by the Arabic influence which led to efforts to teach anatomy wholly from textbooks. Although the Arabic influence was to be cast off eventually, yet anatomy was still to suffer from strictures arisen from a misunderstanding of the position of the church. In 1300 Pope Boniface VIII had issued a bull, De sepulturis, which proclaimed excommunication for any who should follow the practice of boiling the bones of persons, in particular crusaders, in order to make their storage and transport easier for burial at home. This bull was frequently and incorrectly interpreted, even by anatomists, as a prohibition against dissection. Partly perhaps as an outgrowth of this situation and partly as the result of too literal religious views there was also considerable popular opposition to dissection of the human body for fear of the consequences upon resurrection.\n\nDespite such obstacles there was a limited knowledge of anatomy, partly traditional, partly the outgrowth of surgical experience and very likely from time to time the reflection of surreptitious dissection. The first open mention of dissection was of one performed in Italy in 1286. However, it was nothing more than a post-mortem examination of a victim of a pestilence then raging and was for the purpose of attempting to find the cause of death. There is a more formal account of an examination performed in 1302 in Bologna to ascertain the cause of a death which had occurred under suspicious circumstances. The account does not suggest the procedure as unusual and presumably post-mortem examinations as legal devices had previously been performed. Yet such examinations would yield little anatomical information since normally the procedure required little more than the opening of the thorax and an examination of the contents.\n\nWith the appearance in 1316 of the Anothomia of Mundinus (c.1270-1326) we enter upon what might be called the non-mediaeval rather than the modern period of anatomy. Moreover, it should be emphasized that in this period anatomy was considered to include both a knowledge of the structure and of the function of the human body. Mundinus' book is the first devoted entirely to this subject, and although the Arabic tradition is still strong, yet it is obvious that Mundinus incorporated the results of dissection and, indeed, performed the dissections himself. From the time of Mundinus the medical school at Bologna was to become the centre of such anatomical knowledge as there was. There dissection was officially recognized by university statute in 1405, to be followed in 1429 by a similar recognition at Padua. However, permission did not necessarily imply opportunity, and cadavers were only very infrequently at the disposal of the schools. Furthermore, the successors of Mundinus for the next century and a half did little more than echo and confirm what he had already propounded, and this is not to be wondered at in view of what passed for dissection.\n\nThis limited interest in anatomy is supported by text and illustration, although the situation is more precisely defined in the former since it was not until the sixteenth century, and even then far from unanimously, that physicians came to look upon correct anatomical drawings as having any pedagogical value. Indeed, many physicians up to this time decried the employment of anything which might tend to distract the reader from the text. Under such conditions, it is not astonishing to find that illustration displayed no development. Such as there was remained traditional, often having no immediate relationship to the text and frequently merely a kind of symbolic decoration. Thus to judge the anatomical knowledge at any given time from such illustrative material would be wholly misleading.\n\nThe major tradition insofar as anatomical illustration is concerned was one which is said to go as far back as the time of Aristotle who in his De generatione animalium, I:7, speaks of the teaching of anatomy through \"paradigms, schemata and diagrams\". Thereafter the Alexandrian anatomists such as Herophilus and Erasistratus are said to have continued the employment of such sorts of illustrative materials in their teaching.\n\nWhile it is impossible to say precisely what these illustrative materials were, nevertheless there is fairly general support for the belief that what Karl Sudhoff called the \"Five Picture Series\" represents a portion of them. These five views, representative of the bones, muscles, nerves, veins and arteries, and displayed in crude human figures, invariably in a semi-squatting position, have been found not only in Europe and Asia, but also in the western hemisphere. The similarity of pose\u2014with full anterior view of body and face, the latter completely rigid\u2014suggests a longstanding tradition which Sudhoff considers as indicating characteristics of early Egyptian and Greek sculpture and therefore supporting a Hellenic and Alexandrian origin.\n\nThrough successive centuries the tradition appears to have remained constant with the exception that occasionally a sixth figure was added, either a view of the pregnant woman or depiction of the generative organs, either male or female. However, the anatomical content of the series passed on to successive centuries without change despite the fact that anatomical texts indicate gradually increasing knowledge. It is not astonishing therefore that as anatomical knowledge increased, notably at the end of the fifteenth century, this series of five or six crude figures is less and less associated with the physician and becomes a device to assist the unlearned barber-surgeon in his activities, especially that of bloodletting. Nevertheless the pedagogical aspect of the tradition associated with the figures continued in regular medical circles. Thus the Tabulae anatomicae of Vesalius (1538) are the result of this influence although the new pose of the figures, the superior draughtsmanship and far more nearly correct anatomy represent a novelty.\n\nIf therefore the traditional anatomical drawings became less and less a true representation of the state of anatomical knowledge with the passing centuries, there is another sort of anatomical drawing which does more truly represent the situation. This is the miniature which is to be found on manuscripts from about the fourteenth century, depicting dissection scenes. While it is true that the extent of knowledge is not indicated in these miniatures, yet the dissection scenes are revealing. Human dissection, it is apparent, was once again being practiced, and in the course of time such dissections would inevitably lead to an increase of anatomical knowledge. It is true that the dissection was still an occasional affair and indicated as such by its ceremonious nature. It is also true that the actual dissection was delegated to assistants, and the physician-teacher lectured from a book with little profit to himself or to his students. Yet inevitably and gradually, knowledge would be acquired. From our advantage of hindsight it may be said that the appearance of the dissection miniature meant the eventual banishment of the traditional anatomical series from academic medical circles.\n\nWhile it can be said with considerable correctness that from the fourteenth century on the physician looked with more and more scorn upon anatomical illustration\u2014possibly in some degree because of its useless character so long as it remained traditional\u2014about this time the professional artist was becoming interested in the study of anatomy as an auxiliary to a more naturalistic portrayal of the human body. In recent years (1916, 1919) a study of this was made by E. C. Streeter, and while certain of his conclusions are tenable, unfortunately too great enthusiasm for his thesis and certain incorrect interpretations have distorted the picture. These errors were then compounded and strengthened by the affirmation and support of F. H. Garrison (1919, 1926). However, a thorough study of the anatomico-artistic career of Leonardo da Vinci suggests certain revisions in what might be called the Streeter-Garrison thesis.\n\nAccording to Streeter, Florentine painters were accustomed to purchase their pigments in the apothecary shops, and as a result tended to become acquainted with physicians who were also patrons of such establishments. The result of such contact produced a certain fellow-feeling which led the artists to apply for admission into the guild of physicians and apothecaries (1303). This condition was to remain for \"more than two and a half centuries\" and consequently led to a considerable exchange of interest and information. Thus Masaccio was to join the guild as an apothecary (1421) but decided to continue his membership as a painter (1423). In addition to such changes of interest there developed a number of close friendships between physicians and painters such as that of Giotto with Dino del Garbo and Luca della Robbia with Benivieni. The presumption here is that along with the artist's desire for greater naturalism in painting he was further fostered in this direction through his association with physicians. Here it might be interposed that such association, like a double-edged sword ought to cut both ways, yet we have no evidence that the physician was influenced to an appreciation of the role which art might play in medicine.\n\nHowever this may be, it appears that from the time of Giotto onwards the movement was toward greater anatomical realism, and it was Giotto's assistant, Stefano, who was called \"the ape of nature\" because of the skill he acquired in the depiction of the superficial veins in the human body. Indeed, the story is that barber-surgeons studied his pictures before opening a vein. This story, needless to say, has a certain apocryphal ring to it, since in view of the prevalence of bloodletting the barber-surgeons would have had through experience even more knowledge of the position of the superficial veins than Stefano, while the appearance of the veins on the surface of the body would make it unnecessary, if study were required, to resort to paintings. Finally, it is rather difficult to imagine the barber-surgeons of that era, in view of their general character, taking such pains over anything so common as a matter of venesection.\n\nThrough the close contact of artist with painter it is related that in their pursuit of naturalism the artists perceived the advantage to them of anatomical study through dissection, which had been authorized at the Florentine university in 1387, and began to attend and then to assist their guild colleagues, the physicians, at such dissections. Thereafter these artists began to dissect for themselves, the first who undertook such scientific study of anatomy being apparently Donatello (1386-1466), who has left us a bronze tablet \"The anatomy of the miser's heart\" in commemoration of his interest. The weakness in this otherwise fascinating thesis is the fact that dissection as it was performed provided very little anatomical knowledge, certainly no more than was already available in Mundinus, while such studies, particularly that displayed by Donatello, would be of little or no value to the artist who naturally would be interested in the more superficial structures and certainly for his purpose not in the contents of the thorax.\n\nFurther consideration of the artist as anatomist rests upon the anatomical correctness with which he has painted the human body and the various accounts given by Vasari, an authority who, be it noted, is frequently unreliable. Of Antonio Pollaiuolo (1432-1498) Vasari has written: \"He understood the nude in a more modern way than the masters before him; he removed the skin from many corpses to see the anatomy underneath\". A recent judgment of Pollaiuolo's \"Battle of the Ten Nudes\", in which perhaps his anatomical knowledge is best portrayed, declares him the great anatomical student among artists before Leonardo. Without criticism of the latter judgment, it should be noted that Vasari's statement suggests both truth and error. It is quite within reason that the artist \"removed the skin... to see the anatomy underneath\", that is, his interest was myological, while the dissection as performed in the medical school would have no particular value for him. To call an artist whose interest is only in such structures as would be reflected in the surface features of the body a student of anatomy is to distort the meaning of the term, especially in the Renaissance sense of anatomy and physiology. Finally, Vasari's reference to the \"many corpses\" which Pollaiuolo flayed suggests a legendary growth, in view of the great difficulties that confronted the medical schools in obtaining cadavers, and the relatively few specimens that Leonardo obtained a century later.\n\nIn the case of del Verrocchio (1435-1488) it is said that as a student under Pollaiuolo and Donatello he displayed a like scientific interest. Moreover, as the teacher of Leonardo it has been assumed that he initiated his great student into anatomical studies; hence he himself must be a student of anatomy. While del Verrocchio did not paint many nudes, yet, as it has been stated, in his drawings there is no question of his anatomical studies, as for example, his representations of the surface muscles in bodies from which the skin has been removed. Again Vasari has been cited, regarding del Verrocchio's restoration of the limbs of an ancient torso of the flayed Marsyas:\n\n[Lorenzo de'Medici] gave it to Andrea to restore and finish, and that artist made the legs, sides and arms that were lacking.... This antique torso of a flayed Marsyas was made with such skill and judgment that some slender white veins in the red stone came out, through skilful carving, in the proper places, appearing like small sinews, such as are seen in natural figures when flayed, and this rendered the work most life-like.\n\nHere once again it must be noted that del Verrocchio has displayed not much more knowledge than might have been gained from a flayed cadaver and from close observation of a very lean, but living subject. And in view of the fact that Leonardo recommends precisely this latter sort of study for knowledge of superficial structures, it is entirely possible that much of the anatomy of artists of the time was gained in this fashion.\n\nNo doubt the artists attended the public dissections at the medical schools, as indeed did also a great many of the townsfolk both lay and ecclesiastical. It is in regard to such dissections that Vesalius has remarked in his China Root Letter (1546): \"As for those painters and sculptors who flocked around me at my dissections, I never allowed myself to get worked up about them to the point of feeling that I was less favored than these men, for all their superior airs\". But to use this remark as indicating a high degree of anatomical knowledge among artists is to misunderstand the case. It is true that Vesalius has been the victim even in the twentieth century of certain hasty and ignorant conclusions as to his true position in the history of anatomy, but to men of his own day who were competent to judge, such as Cardan, Columbus and Fallopius, there was no question as to his primacy. If it is true that \"a little knowledge maketh a fool\", then such would be Vesalius' opinion of at least some of the artist spectators, well-acquainted with certain of the superficial structures, and probably therefore authoritative in their attitude about such things, wholly ignorant of everything else and finally and most important, completely unsystematic in whatever anatomical knowledge they possessed. Even Leonardo, who eventually passed from the superficial structures to a study of the deeper parts, never overcame this defect.\n\nWhat then is the precise position of the artist in relationship to the development of anatomical knowledge. A tempered judgment suggests first that he was interested in anatomy only insofar as it would assist him in a more naturalistic portrayal of the human body. For this purpose he studied living subjects, preferably lean ones in whom muscle contours, tendons and certain superficial blood vessels could be identified. Then possibly certain artists went a step further by flaying cadavers, when obtainable, for this even better mode of studying the surface muscles. Yet cadavers for such purpose were seldom obtainable, and more frequently such study was piecemeal. Thus Luca Signorelli (1442-1524) is said to have visited burial grounds in search of parts of bodies. The purpose of all such studies was not anatomy per se, and the result was that the artist never achieved a systematic knowledge of the subject and made no contribution to the advance of anatomy. The one exception to much of this was Leonardo, who, always primarily the artist, yet came to recognize anatomy as more than merely a subject auxiliary to art. It was this attitude which led him to pursue it beyond the point of need for his major interest as an artist. Nevertheless Leonardo was never an anatomist since he, too, unsystematically followed only those aspects which interested him. However, he represents the closest approach of art to anatomy.\n\nMeanwhile it has become fashionable to suggest that artists were the true anatomists and had better knowledge of the subject from approximately the period of Giotto to Leonardo. This belief arises from a study of their paintings and certain statements made by Vasari together with a liberal dash of enthusiasm. It also bases itself upon the traditional medical illustration such as the \"Five Picture Series\" mentioned above. Rather conveniently it overlooks the fact that the traditional illustrations were retained by medical writers purely as traditional and that frequently there was no relationship with the text, and, moreover, that among very many of the medical writers any illustration was frowned upon. Among artists the important thing was detail; among anatomists it was system. The artist from observation could draw superficial muscles correctly; the anatomist might be well acquainted with them and far more capable of relating them to the rest of the human structure, but he was incapable of good draughtsmanship. The drawing can be observed readily, the textual description is in difficult Latin. Leonardo at times unwittingly emphasizes the distinction when he fails in his efforts to draw from memory some structure which he can draw superbly from direct observation. If we follow the anatomist from the superficial to the deeper structures it is possible to point out many errors, but here it is impossible to make any comparison with the artists since with the exception of Leonardo who, be it remembered, thought of anatomy as a separate discipline, none of them pursued the study this far. Indeed, Leonardo represents the greatest heights reached by the artist-anatomist. Thereafter and gradually the anatomist asserts superiority in this combination of disciplines. Gradually the pedagogical value of correct illustration was recognized although only after a struggle with such conservative forces as Jacobus Sylvius who even as late as the mid-sixteenth century frowned upon the contamination of text by illustration. He was, however, fighting a losing battle. With the publication of Vesalius' Tabulae anatomicae in 1538 and the Fabrica in 1543, the employment of anatomically correct and naturalistic illustrations produced under the direction of the anatomist and carefully related to the text became an important adjunct to the further advance of anatomical studies. Thus the final integration was achieved of these two arts which had first become acquainted in the apothecary's shop in fourteenth century Florence.\n\n# life of Leonardo da Vinci\n\nThe little Tuscan hill-town of Vinci, lying between Florence and Empoli, saw the birth of Leonardo, her most famous son, on 15 April 1452. The child was the son of a young notary, Ser Piero and a young girl named Caterina of the nearby village of Anchiano, and so of illegitimate birth. Nonetheless he appears to have been heartily accepted into his father's family, and on Sunday, the day after his birth, young Leonardo was baptized in the church of Santa Croce in the presence of the family and some ten witnesses.\n\nSer Piero, already a successful businessman, married a woman of his own station in the year of Leonardo's birth, and thereafter in the course of his life contracted three other marriages which eventually produced a number of offspring, although the first of these was not to appear until Leonardo was twenty-four years old. Leonardo grew up in what appears to have been a normal family circle in which his stepmother treated him as her own son. We know little of his early youth except for the fact that from infancy he seems to have lived outdoors, and he himself was later to write of the incident in which a kite swooped down upon his cradle, brushing its tail against his mouth. Vasari records the great physical strength of Leonardo, while other contemporaries note his fine physique and generally handsome appearance. Meanwhile Leonardo's mother, shortly after the birth of her son, married a man of rather lower social position, one Accattabriga di Piero del Vacco. Some forty years later in Milan Leonardo employed a housekeeper named Caterina who died, presumably in his service, and whose funeral expenses he paid. A story, not completely improbable, makes this woman his mother.\n\nSer Piero, the father, of shrewd, hardheaded and logical disposition, appears to have passed on some of these traits to his son, although the intuitive and poetic qualities of the later great artist were an inheritance from elsewhere, possibly from his mother. At any rate, father and son were apparently attached to one another, although it may have been by respect rather than by love. Certainly the introspective, artistic nature of the son may at times have been repulsed by the calculating, commercial characteristics of the father, not to mention the father's much stronger attraction to women, his numerous marriages and eventual progeny with all their resultant problems. Leonardo's view is expressed in his reply to his brother Francesco's announcement of the birth of a son: \"You are pleased at having created an enemy intent on his liberty, which he will not have before your death\". Sigmund Freud, who wrote a brief study of Leonardo in which he attempts to prove a latent homosexuality, appears to have overlooked this remark of which he might have made much.\n\nLeonardo remained in Vinci until somewhere between his thirteenth and seventeenth year. His education there was of the simplest sort. He learned some elementary arithmetic and is reported to have displayed an early bent toward mathematics and engineering. He was never educated in the classical languages although around the age of forty he acquired some facility in Latin through his own efforts.\n\nWhile still in Vinci Leonardo had become intensely interested in drawing, and unlike the usual town-bred artist he had the opportunity to observe nature closely. Indeed, the whole foundation of his lifelong interest in the various phenomena of nature seems to have been laid at this time. The fact that he had few youthful companions appears to have been no cause for complaint, and later he was to write: \"If you are alone you belong entirely to yourself\", a phrase which might almost be termed the Leonardine creed of independence.\n\nA document of the year 1469 informs us that Ser Piero was by then official notary to the Signoria of Florence. He had already acquired a large private clientele and was sufficiently well-to-do so that he possessed an apartment in the Palazzo del Podest\u00e0, rented a house in the Via delle Prestanze (now the Via de'Gondi) and maintained a villa in his native place. It is thus difficult to say precisely when Leonardo may be said to have taken residence in Florence since no doubt frequent visits were paid to Vinci. At some time not definitely ascertainable between 1464-70 the father displayed some of his son's drawings to the famous sculptor and artist del Verrocchio with the result that young Leonardo was accepted as a pupil by that Florentine master, and in 1472 he was enrolled in the Compagnia di San Luca, the guild of Florentine artists.\n\nPresumably del Verrocchio thought highly of his gifted pupil since he retained him as a collaborator for five years after Leonardo's admittance to the painter's guild, and in 1476 he is mentioned as living with del Verrocchio. Probably no better choice of teacher could have been made than this artist whose interests were wide enough to comprise all forms of the arts, music, mathematics and engineering, subjects in which Leonardo would in time surpass his teacher, but also subjects in which he must first gain an elementary discipline. However, it must be noted that the many interests of del Verrocchio possibly influenced his student to a similar multitude of interests without the necessary mental discipline to follow most of them through to ultimate completion. Del Verrocchio's eventual recognition of the superior ability of his student appears to have led not to jealousy and enmity but rather to collaboration and a further fostering of the great gifts of the student. Leonardo was apparently also aware of this situation as his later remark may indicate: \"He is a poor disciple who does not excel his master\".\n\nIt was during this period (1476) that Leonardo, together with several other young men of Florence, was indicted on a charge of sodomy. Two appearances in court did not lead to acquittal but rather to an inconclusive dismissal of the case on the ground that it was not proved, and there appears to be some basis for the truth of the original indictment according to some authorities.\n\nIt may have been in del Verrocchio's studio, or under the guidance of his master, that Leonardo received his introduction to anatomical studies, and possibly, although in view of his earliest individual efforts at anatomical illustration not likely, that he may have assisted at dissections. However, such anatomical studies were primarily for the purpose of better depiction of the human body and presumably went no further than a study of the superficial structures. Thus his acquaintance with anatomy at this time would be that of the artist, and it must be remembered that his contemporary fame was gained primarily as an artist. Leonardo was to differ from his contemporaries not because he was the uomo universale but because of the distances to which he pursued his many interests and thereby the contributions which he was sometimes able to make. While it is doubtful that Leonardo ever thought of himself as an anatomist, and certainly he never acquired a discipline in that study, yet it is noteworthy that he pushed his investigations far beyond the point of artistic usefulness; and it is possibly correct that Leonardo thought of these studies as a separate discipline rather than auxiliary to art.\n\nThe question naturally arises as to where artists obtained bodies and where they carried out their dissections of them. In the case of Leonardo, either with his master or alone, it must be noted that the medical school had been moved from Florence to Pisa shortly after Leonardo took up residence in the former city. Thus attendance at demonstrations by the medical faculty was out of the question except for a short period of time. It is true that a contemporary but anonymous biographer remarks that he \"made many anatomies, which he performed in the Hospital of Santa Maria Nuova in Florence\". This remark, however, refers to a later residence in Florence. Certainly we possess no anatomical drawings from this early period, while the earliest we do possess, c.1487, do not indicate any considerable experience of dissection. However, Leonardo's remark (182) \"those hanged of whom I have seen an anatomy\" might well refer to the anatomizing of Bandino Baroncelli, hanged after the failure of the Pazzi revolt in 1477. In short, Leonardo's participation in dissections at this time seems to have been that of a spectator at most.\n\nIn later years Leonardo was to write: \"The Medici created and destroyed me\". While the latter part of this statement may refer to the difficulties that Leonardo experienced later in Rome during the pontificate of Leo X, the prior portion very likely refers to whatever encouragement and assistance may have been given to him by Lorenzo de'Medici in Florence. The contemporary biographer known only as the Anonimo Gaddiano wrote that Leonardo attracted the attention of Lorenzo who arranged for him to work in the garden of the Medici in the Piazza di San Marco, and it may have been through the influence of Lorenzo that he was chosen to paint the altarpiece of the chapel of the Signoria in 1478. In the same year Leonardo also met for the first time his future patron Lodovico Sforza, who had come to Florence to offer his sympathies as a result of the assassination of Lorenzo's brother Giuliano. In December 1479 Leonardo made a drawing of the body of one of the assassins, Bandino Baroncelli, hanging from a window of the Palazzo della Signoria.\n\n## first Milanese period\n\nIt appears possible that Lorenzo also played some part in Leonardo's transference to Milan. A contemporary account informs us that Lorenzo dispatched Leonardo to Milan with a silver lute as a gift for Lodovico Sforza. However, there also exists a long letter written by Leonardo to that Milanese tyrant in which he recounts his abilities as a military engineer, mathematician, architect and sculptor as recommendation for employment. Possibly there is some truth in both accounts. Leonardo may have felt that Florence was too full of established artists, and there he might remain the disciple without the opportunity to develop his own independent views. Hence he may have been attracted to Milan artistically hungry and as yet unsatisfied, while Lorenzo de'Medici, ever ready to assist young and capable artists, and widely known as a connoisseur, could give very effective aid by his recommendations. At any rate, Leonardo transferred his activities to Milan, although the date of this removal has been variously placed from the end of 1481 to 1483.\n\nTo understand either the attraction or the invitation of Milan for Leonardo it is necessary to give brief consideration to the political situation in that Lombard duchy. With the assassination of the Duke Galeazzo Maria, the succession fell to his son Gian Galeazzo, a child of seven, and therefore under the nominal regency of his mother Bona of Savoy, Commines' dame de petit sens. Actually the control rested with a former ducal secretary, Cecco Simonetta. The division of Italy into numerous small states, and at the time disturbed by papal and Neapolitan ambitions, led to the upsetting of the political balance which since 1454 had maintained a relative condition of peace through political equilibrium. It was under these conditions that Lodovico Sforza, fourth son of the former Duke Francesco and uncle of Gian Galeazzo, succeeded in overthrowing the regency and establishing himself as the power in Milan, first in the guise of protector of the young duke, but from 1481 openly as the actual if not legal ruler. This position, thanks to the physical and mental weakness of Gian Galeazzo, he continued to retain though the duke survived until 1494.\n\nFrom this situation arose several results which go to explain Leonardo's sojourn in Milan, at least in part. The political alignments resulting in some degree from Lodovico's coup d'etat saw agreement reached between Naples, Milan and Florence to which the lesser state of Ferrara adhered. Aggressively opposed to this were Venice and the Papacy, with the result that war broke out in 1482 over the control of Ferrara as well as certain lesser territories, and although the Papacy withdrew in the following year, peace with Venice did not occur until 1484. Thereafter feudal risings in Naples, fostered by the Papacy, led to uneasiness over possible French intervention on the basis of the old Angevin claim to that territory. The solution of this problem in 1486 merely ushered in a period of coolness between Milan and Florence over the eventual possession of the important fortress of Sarzana on the Ligurian coast which Florence finally obtained in the following year, while the control established over Genoa by Milan in 1490 removed the buffer between the latter state and Florence and did nothing to ease the tension. Finally, brooding over all was the constant and ever growing danger of French intervention to assert the claim to Naples and a lesser claim to Milan, which was brought into stronger relief as a result of Lodovico's forceful but illegal control of the duchy.\n\nUnder these conditions it is obvious that anyone who could proffer military assistance would be welcome to the Milanese government, and it is therefore likely that Leonardo as a military engineer would be welcome. In the second place, the fact that Lodovico had usurped the dukedom was nothing novel. Rather it was the common-place representation of the Italian tyrant, a manifestation of Machiavelli's later Prince. However, the successful tyrant must be endowed with the quality of virt\u00f9, demonstrated among other ways by concern for the general welfare of his state and a certain brilliance at his court or immediate milieu. These qualities Lodovico possessed not only by design but by personal inclination as well, and the resultant ducal patronage was able to give ample scope to the many talents of Leonardo. It is possibly a fact of some significance that in his letter to Lodovico, in which Leonardo recounts his available talents, he places first and in greatest detail his abilities as a military and then a civil engineer, and it is only in the closing paragraphs that he refers to himself as an artist. Even here the emphasis is upon his capability to execute the equestrian statue which it was known that Lodovico desired to commemorate the name of his illustrious forebear and ancestral tyrant, Francesco Sforza.\n\nIn this letter to the Sforza, Leonardo had described himself, among other things, as an architect, and in due course he was called upon for the exercise of this talent in conjunction with the erection of the cathedral in Pavia, about 1490. Despite the fact that Leonardo had been dispatched to Pavia to give advice on the construction of the building, he became, characteristically it may be said, so absorbed in the laws of geometry and mechanics which governed the construction that his visit produced no tangible results, and eventually the work progressed only under the supervision of a lesser but more practical architect. Similarly, about the same time he was consulted on the construction of the dome or tiburio for the Milan cathedral with like intangible results. Still further time and effort appears to have been consumed in decoration of the interior of the Castello di Porta Giovia. Originally a citadel destroyed in the revolution of 1447, it had been rebuilt by the Sforzi as a ducal residence, and was elaborately furbished by Lodovico Sforza after his marriage to Beatrice d'Este in 1491. Between about 1492-98, Leonardo appears to have been employed both on the problem of fortification and of interior decoration. Moreover, as a military engineer a certain amount of time had to be spent in visiting border fortifications. In 1496 when Lodovico with a large retinue travelled through the Valtellina to Mals in order to pay a visit to the Emperor Maximilian and the empress, Lodovico's niece, it is probable that Leonardo was one of the party, while certain of his drawings of Alpine scenes are identifiable as representing points in the area. Still further time-consuming ducal employment required Leonardo's services as costume and scene designer for various ducal revels and celebrations.\n\nPresumably, however, the most exhausting efforts were those directed toward the completion of the equestrian statue of Francesco Sforza. The idea of such a statue appears to have originated with Galeazzo Maria, but hitherto all attempts to execute the work had failed. Now Lodovico was determined that something extraordinary should be produced, but despite the confidence of his assertion in his letter to the ruler of Milan it seemed doubtful that even Leonardo would be able to cope with the task which he had set for himself. The earliest sketches for the proposed bronze horse are attributed to the period c.1486-90, and represent a prancing horse, a design which was technically beyond Leonardo's ability to execute, and apparently led him for a time to abandon the task. Thereafter from 1490-93, there are a number of further sketches, and in the autumn of this last year a full-scale model was completed and placed under a triumphal arch in the Piazza of the Castello on the occasion of the marriage of Bianca Maria Sforza to the Emperor Maximilian. However, the model was never to be cast in the permanence of bronze. The appearance of the French in Italy strained Milanese resources to the utmost. \"I will not speak of the horse\", wrote Leonardo to the duke, \"for I know the times\". Furthermore, such bronze as had been collected for the casting was sent by Lodovico to his brother-in-law Ercole d'Este who had need of it for the manufacture of cannon. As late as 1501 the model was in existence, although it must have suffered considerably from the elements, and after that time it is reputed to have been destroyed by soldiers of the French army of Louis XII.\n\nSo much for Leonardo's time-consuming labors on behalf of the state. In addition, private enterprises in the field of art ate further into his time and energies, most notably the painting of the \"Last Supper\" in the refectory of Santa Maria delle Grazie, begun in the latter part of 1496.\n\nWhen one comes to consider Leonardo's activities in anatomy during this first Milanese period, it is clear that he could not have had any very considerable amount of time to devote consistently to them, while a considerable number of such anatomical studies as he made must have been devoted to the dissection of the horse in preparation for the ill-fated statue. Moreover, while the bulk of the drawings on the anatomy of the horse are, as one might expect, of the surface anatomy, and drawn by Leonardo in the guise of the artist, there are nevertheless some detailed ones illustrating the muscles of the horse's thigh compared to the corresponding muscles of man, suggesting that he was carrying on his studies of the anatomy of the horse and of man simultaneously. Yet the amount of work which he accomplished in human anatomy, if we may at all judge by the surviving drawings, was relatively small. This, perhaps, is what ought to be expected. It must be remembered that Leonardo had arrived in Milan as a product of Florentine culture, a culture much influenced by the doctrines of Plato. As a result the Florentine was concerned for beauty as much as for truth, and in the case of the latter goal he was more prone to seek the absolute truths of mathematical and physical law than the more relative position of the biological sciences. It is perhaps no accident that the anatomical works of this period such as those of Benedetti and Ketham appeared in the north. It may be said that Milan, far more congenial to the thought of Aristotle, was to be of great influence upon the new attitude which Leonardo developed toward anatomy. Only gradually did he cease to be the artist concerned with anatomy solely as an auxiliary to the naturalistic portrayal in art and become a seeker of biological truth for itself. Illustration of this is to be found in a comparison of his earlier and later plates, as for example, the Platonic interpretation of the vena cava (116) as opposed to the later Aristotelian view expressed in 119.\n\nThere is, moreover, the question of the conditions under which Leonardo carried on his anatomical studies in Milan and how much dissection material was available to him. To neither of these matters can a precise answer be given. Possibly, as it has been suggested, he was afforded opportunities in the Ospedale Maggiore, the erection of which had begun in 1456, as well as the Collegio dei Nobili Fisici, the chief medical school of the city, although we have no evidence of this, and the evidence to the contrary, as represented in his anatomical drawings, is strong.\n\nThe earliest anatomical drawings by Leonardo are attributed to c.1487 (33-35, 72, 151-3). On the basis of these drawings certain facts become manifest. It is apparent that his knowledge of anatomy was merely such as he had acquired by reading traditional writers such as Avicenna and Mundinus, by some animal dissection and by surface inspection of the living human. Such seems the only answer to errors which are rectified later when we know that he had human materials under observation, and to obvious and erroneous efforts to synthesize traditional information and animal structures with those of the human.\n\nThe heterogeneous nature of the earliest plates suggests that at the beginning of his anatomical studies Leonardo had no system of procedure in mind. However, he did have some thoughts, if not answers, on the matter by 1489 as is witnessed by the statement \"the book entitled On the Human Figure\" (5) of which, however, the phraseology suggests more the attitude of the artist than of the anatomist, while a note (154) suggests that Leonardo is still thinking of anatomy as ancillary to draughtsmanship, and the final admonition on 161 suggests once again not so much anatomical study as the correct artistic portrayal of the anatomical specimen. Yet there is some greater consistency after 1489 since we have five plates of that year (3-7) dealing with different aspects of the skull as well as some suggestion of systematization in his descriptive notes. Plate 71 again suggests method in the delineation of the muscles of the leg observed from different aspects, in this case for the sake of surgeons as well as for artists. The notes also suggest subjects to be pursued later, presumably as topics for the projected book. It should, however, be recognized that they represent matters about which Leonardo was inquisitive rather than informed, and plates 125-6 indicate a similar uninformed interest in certain aspects of physiology and muscular action. Perhaps the most important thing introduced during this period is the technique of cross-sectional representation (142-3, 159-60). Insofar as anatomy demonstrated through illustration is concerned, Leonardo had already conceived his plan of representing the subject from four aspects as though the viewer were able to walk completely around it and observe it from every aspect (182). This admirable method was to be used by him throughout his career in anatomy.\n\nWhile it seems very unlikely that Leonardo had participated in any dissections in Florence, it likewise appears improbable that up to this time he had had any such opportunities in Milan. Thus far the only human material available to him appears to have been a head, probably that of a decapitated criminal (34). Two drawings of 1489 (125-6) suggest observation of the living subject, and of the drawings attributed to the following year, 154 suggests a schematic or diagrammatic projection of a reading of Galen, as does 155, while 64-5 appear to be the result of observation of the living subject. The drawings that may be attributed to the next several years, 144, 161, suggest a combination of reading in the traditional writers and dissection of the horse or cow with the results applied to man. In other works of this first Milan period (71, 116, 142-3, 159-60, 164) the conclusion which must be drawn in no way differs, that the drawings are based upon reading, some animal dissection and observation of the living subject. This is particularly apparent in 142. There are, however, two exceptional instances worthy of note. The accuracy of the drawing of the thigh and leg in 159 makes it seem likely that Leonardo did in some fashion acquire this particular human specimen, while the use of cross-section in 143 is interesting because of the novelty of the technique.\n\nOn the basis of the existent drawings it may be said that as yet Leonardo is a tyro in the study of anatomy. He is still under the influence of his reading of Galen, Avicenna and Mundinus. There is, moreover, no indication of a systematic approach to the subject. This does not mean that Leonardo's interest was confined solely to these subjects of which he has left record since in plate 5, dated 1489, is the phrase \"the book On the human figure\", while 125-6 suggest a number of contemplated anatomical subjects. Yet it must also be remembered that since Leonardo was as yet barely initiated into the art of anatomy, he was certainly in no position to develop a system or method of presentation, and one must not be misled by the questions he asks\u2014indicative at the same time of ignorance and interest\u2014into believing that they represent a genuine plan of procedure. The truth of the matter appears to be that, if for no other reason, he was prevented from expansion of his inquiries and his knowledge by lack of dissection material. So far as we know he had access to a single human head and possibly a thigh and leg. There is no evidence or even suggestion that he had access to the Ospedale Maggiore or the Collegio dei Nobili Fisici in Milan. On the basis of the now existent drawings it appears unlikely that Leonardo had access to a cadaver during his first Milanese period. In view of his penchant for the bizarre we should certainly expect, if possible, a drawing of the human skeleton.\n\nTogether with the lack of dissection material as a hindrance to anatomical investigation it must be recalled that Leonardo was very active in other directions and the various architectural, engineering and mathematical problems related to state activities must have consumed enormous amounts of his time. Such were the interests of the assemblage of savants gathered by Lodovico Sforza, and no doubt these general interests and problems constantly deflected Leonardo from such other interests as he may have had. Of this group of aulic savants the most significant for Leonardo was Luca Pacioli, the mathematician. Pacioli had been invited in 1496 to lecture in Milan, and during his four years' residence lived on close terms with Leonardo. In 1497 Pacioli completed his treatise De divina proportione, although not published until 1509, for which the illustrations were drawn by Leonardo. While most of the illustrations dealt with proportion in geometric solids, one figure represents the proportions of the human body, a suggestion that Leonardo may already have become interested in the canon of the proportions of the body.\n\nToward the close of 1499 Leonardo's first residence in Milan was to come to an end as a result of the political situation. In 1492 Lodovico Sforza, none too sure of his hold upon the ducal throne and at odds with the ruling house of Naples which comprised the rival claimant to Milan, as well as with Florence, had aligned himself with Charles VIII of France. As a result of the agreement Charles was invited to invade Italy through its Milanese bastion, assert the old Angevin claim upon Naples and thereby remove the major threat to Lodovico's throne. Only after the French had entered and traversed the length of the peninsula did the duke realize his blunder and thereafter joined with Venice, the Papacy, Spain and the Empire in the Holy League (31 March 1495) to drive out the invader. However, the evil had been precipitated and Italy opened up to the northerners. But since Italian leagues were as unstable as they were numerous it is not astonishing to find France next entering into an understanding with its recent foes and Louis XII again leading the French into Milan in October 1499, this time to assert an old claim upon the ducal throne, gain the betrayal and imprisonment of Lodovico (1500), who was to die a captive in France.\n\nLodovico's fall was the greatest misfortune which could have overwhelmed Leonardo. Under the duke his stipend had been ample and down to 1497 fairly regular, while the relations between the two men had on the whole been harmonious. After 1497, when difficulties beset the Sforzi, Leonardo's salary was left unpaid and while relations were occasionally strained, yet one of Lodovico's last acts before his flight from Milan was to present Leonardo with a vineyard outside the Porta Vercellina. Now the latter was reduced to the necessity, just as he was entering upon old age, of seeking another patron\u2014who was to be tardy in appearance\u2014or beginning his career again, a career which had been more fruitful hitherto in masterpieces and the admiration they had won than in tangible rewards, and expose himself to the danger which had hung over his whole life, that of the dispersal and scattering of his great gifts. Thus it was that as a consequence of the disorders in Milan and the loss of his patron that Leonardo in company with Luca Pacioli left that city in December 1499.\n\nBy way of Mantua Leonardo paid a visit to Venice which lasted at least until March 1500, and where he may possibly have been a spectator at the anatomy course then being conducted by Alessandro Benedetti, then at the height of his fame. However, this remains merely surmise since it may be that systematic anatomy had no charms for Leonardo. While he may at this time have been familiar with Benedetti's treatise on anatomy, nevertheless he mentions it only in a note-book which carries the date of September 1508.\n\n## Florentine period\n\nFrom Venice Leonardo paid a brief visit to Friuli to give the Venetians advice on their fortifications against the Turkish threat and thereafter he returned to Florence. That he had managed to amass some money during his years in Milan is indicated by the fact that he placed 600 florins on deposit in Florence, from which at various times up to 1506 he withdrew 450. Anatomical studies were now neglected, whence it is possible to assume that he had had nothing to do with Benedetti and his circle in Venice. Certainly there seems to have been no enthusiasm or impetus for further anatomical research carried away with him from Venice. Rather he was to return to his artistic pursuits, and in the month of April 1501 he was working upon his \"Saint Anne\" with considerable eagerness, but as he did with so many of his pictures he soon thereafter put it aside half finished. All through this period, scientific enquiry alternated with artistic labor, though the latter is not, perhaps, pursued with the same intensity as the former. In 1501 Fra Pietro da Nuvolaria wrote to the Marchesa Isabella that Leonardo grows very impatient of his painting and is devoting himself exclusively to geometry, no doubt under the influence of his friend Luca Pacioli. And in the following September he was travelling about in the character of military engineer to Cesare Borgia.\n\nAs part of the cost of liquidation of the Holy League, preparatory to his invasion of Milan, Louis XII had granted the Duchy of Valentinois, or Valentino, to Cesare Borgia, son of Pope Alexander VI, with a promise to assist Cesare in carving out a substantial state in central Italy. So it was that at the end of 1499 Alexander on the pretence that the signori of the Romagna and the Marches had not paid their tribute to the papal government, divested them of their fiefs and so prepared the way for his son's conquest of those territories. Cesare first seized Imola and Forli. Thereafter with funds which his father had obtained through the creation of twelve cardinals, Cesare was able to hire fresh troops with which he seized Pesaro, Rimini and Faenza and so completed the conquest of the Romagna. Continuing his conquests by taking Siena and Piombino, by the summer of 1502 he was in possession of the Duchy of Urbino and Camerino, and was threatening Bologna. In conjunction with these conquests Cesare obtained the services of Leonardo to whom he sent a patent (18 August 1502) in which he is described as architect and engineer-in-chief, and intended to assist his inspections of the towns and fortresses which had been so boldly seized from their former owners. In his new capacity Leonardo prepared numerous topographical maps of cities and areas of central Italy, some of which he has left us in his note-books, and appears to have gained the appreciation and esteem of the Borgia conqueror.\n\nApparently Leonardo was eventually shocked into realization of the sort of man it was to whom he had given his services when Vitellozzo Vitelli, a captain of Cesare's army and a friend of Leonardo, was strangled by order of the tyrant. At the beginning of March 1503 Leonardo returned to Florence, caused his name to be re-inscribed in the roll of the guild of Florentine painters, and thereafter proceeded to the Florentine camp before Pisa to advise on the siege of that city (23 July 1503). During this period political changes occurred. On 10 September 1502, Piero Soderini had been elected Gonfaloniere for the Florentine republic for life. In the following year Alexander VI died and thereafter occurred the downfall of his son, the erstwhile conqueror Cesare. The result was the deliverance of Florence from redoubtable enemies, and a period of calm ensued except for the long protracted siege of Pisa which had been in course since 1496 and did not finally end until the capitulation of that city in 1509. Precisely what part Leonardo played or how valuable his advice was is impossible to say.\n\nWith his return to Florence Leonardo again took up his anatomical studies, and it appears that for the first time he was to have access to a reasonably large amount of dissection material, obtained, so it appears, at the Hospital of Santa Maria Nuova. It was there that he met the centenarian and thereafter obtained his body, or at least parts of it, for dissection (128). Thereafter, as the dates of his drawings indicate, he had further dissection specimens available to him, although whether he ever during this Florentine period became the possessor of an entire cadaver we are not certain. It may therefore be said that at the beginning of this period he was still the veriest amateur in the anatomical discipline, and that in view of this his remarkable observations emphasize his genius. However, it is curious that even with the dissection of the body of the centenarian and despite the excellence of many of the observations which he made, yet, and possibly because hitherto such dissection material had not been available to Leonardo, his independence is still restrained by the dead hand of tradition. Thus despite his remarkable observations upon arteriosclerosis, indicative of close observation of the arterial system, Galenical authority or perhaps Leonardo's use of animal materials and his attempt to fit them to man compels him to note a five-lobed liver (129).\n\nWe are unaware whether or not he worked more or less consistently at anatomy during these Florentine years, although it appears unlikely in view of his other undertakings and his characteristic inability to remain absorbed for a long period in a single study. Moreover, he still exhibited an odd mixture of knowledge beyond his time and traditional ignorance. Thus in the group of drawings attributed to c.1504-06 in plate 131 he represents an imaginary vein on the thesis that each artery has a corresponding vein. Plates 129, 135, 139 indicate that he was still seeking to apply animal anatomy to the human. But these may be compared with 128, with its remarkable description of arteriosclerosis. Another characteristic of the period and one which indicates that Leonardo was yet primarily the artist rather than the anatomist is his inability to draw an anatomical structure from memory as in plate 21. What is immediately before him he can reproduce with precision, but despite his assertions from time to time, he has at least thus far developed no real discipline or method in, and certainly no sure grasp of, anatomy.\n\nHow many more human specimens Leonardo was able to dissect we do not know, although in one instance he speaks of the body of a child of two years which he dissected (128). Elsewhere (188) he refers to the splenic vessels and the liver in the young, although without any drawings. Whether this is a reference to the child or to some other human subject is not known; and a similarly equivocal statement, this time respecting the colon, and again without illustration is to be found on 183. Nevertheless, it appears most likely that these two bodies were the extent of his available human material between the opening of this second period and 1506. Certainly drawings of this time still reflect the use of animal subjects (119, 171), and as late as the period dated 1504-09, there are still composite drawings of human and animal materials, while on 127 the remark to \"represent the arm of Francesco the miniaturist, which shows many veins\" indicates that he was still making observations upon living subjects. Thus while his further remarks on the same page, drawing a comparison between the veins of old and young may well include observation upon the body of the centenarian, they do not necessarily suggest the dissection of any younger subject except possibly the previously mentioned child. They are, in short, remarks such as could have been made about young living subjects.\n\nIt is perhaps noteworthy that in plate 118, dated c.1504-06, the drawings are based on findings in animals, but a statement \"Of the human species\" may suggest dissatisfaction and a determination to seek out human materials if possible. Indeed, it may be that the dissection of the centenarian was the result. Nevertheless, human bodies were difficult to come by, and plate 146, dated c.1504-09, although it contains the remark that Leonardo had dissected more than ten human bodies, yet another remark on the same page, \"Try to get a skull\", suggests a paucity of material and the likelihood that the \"ten human bodies\" were probably far from complete ones. Leonardo's final remarks on the same plate illustrate one difficulty to a correct estimate of his activities. At times he has a tendency to speak in rather grandiose fashion and to confuse his future hopes with his past achievements. Thus mention of the \"hundred and 20 books composed\" appears to be his ultimate goal, and in like fashion his dissection of numerous bodies for the sake of studying particular structures has a false ring to it. Finally, his suggestion of quartered and flayed corpses in his living quarters can most probably be more correctly reduced to bits and portions of human material more consonant with the heterogeneous nature of his anatomical drawings. It appears unlikely that Leonardo, in view of his bizarre humor, and if given the opportunity, would have refrained from articulating a skeleton; moreover, a skeleton would naturally have been desirable in view of his scheme for cord and wire representations of muscles. However, the only drawing of this nature is one of a partial skeleton and that of a much later time.\n\nWhile in later years human material was presumably available on occasion, yet there was not constant supply, and not even then does Leonardo appear to have realized the futility of attempting to fit animal or traditional forms to the human structure. Thus in the period 1504-09, three drawings (37, 136, 166) represent respectively a drawing based on the traditional anatomical literature, a human dissection and a composite of human and animal dissection.\n\nYet while Leonardo purely as an anatomist can be strongly criticized, we must have the greatest admiration for the techniques which he introduced during this Florentine period and which reflect his interests in engineering and mechanics. His plan for the representation of the body and its parts from four aspects, which originated in the first Milanese period, is continued (171, 212), as well as his cross-sectional technique. Furthermore, he now displays a greater interest in problems of muscle leverage (55) and consequently has resort to the employment of diagrams and mathematical formulae. Somewhat related is his use of cord diagrams (58) and wire diagrams (73) to represent muscles, although we are unaware whether or not Leonardo ever constructed such a figure.\n\nOf singular significance is his method of injecting wax into the ventricles of the brain in order to learn their shape (147), a procedure which Leonardo appears to have been the first to employ, although from the results apparent in his drawings he seems deserving of praise more for the ingenuity of his method than for the achievement of successful results from it.\n\nIt is also during this Florentine period that Leonardo begins to waver in his allegiance to Aristotle. Thus in two pages of his note-book, both dealing with the dissection of the centenarian (1504-06), he supports the Aristotelian position that the heart rather than the liver is the blood-making organ and the source of the vessels (119) and then discards this view for the opposite Galenical position (149). Gradually thereafter he becomes more and more a Galenist, and it will not be until the very end of his career, c.1513, that he will begin to take a position of independence from all previous authority and base his conclusions solely upon observation.\n\nSince it was for the first time in this Florentine period that Leonardo had access to a human cadaver, therefore it was also for the first time that he was in a position to understand the problems and difficulties of anatomical presentation. Thus we find him (135) suggesting a method of relating the major structures of the body as a whole by means of anterior, lateral and posterior projections. While in the general demonstration, it was his intention first to illustrate the superficial features before going on to the figures of anatomical dissection. His plan is unsystematic and impractical in arrangement so far as purely anatomical studies are concerned, but it is significant that it would undoubtedly have been of some merit for the artist. It is still as the artist that we find Leonardo constantly concerned with the maintenance of outlines, as, for example, in the case of individual parts for which he would have outline drawings within which the various structures would be placed in proper proportional size and location (127), while in the case of the removal of a superficial muscle, a dotted line would continue to retain the original superficial outline. Indeed, since in this period the artist still retains supremacy over the anatomist, it is not amazing to find that his memoranda are much concerned with the proper distribution of the muscular structure of the body as in plate 181.\n\nLeonardo was somewhat more successful in his treatment of the head and its contents. This may or may not have been because of the readier availability of material. However, it must be noted that although his method of describing the cranial nerves is a distinct advancement for his time (148), nevertheless in this instance he was probably employing animal material.\n\nAn indication of the incomplete state of his anatomical knowledge is apparent from the fact that he appears already to have concluded that at least some of his plates were now complete and ready for ultimate reproduction in the projected book. Here once again is an indication of the artist satisfied with the pictorial representation while the anatomist should have been quite unsatisfied with the text. Such completed plates appear to be those that have captions written at the head (128, 150). The majority, however, as yet lack such caption titles, and their incomplete state is possibly further indicated by the fact that they bear memoranda written by Leonardo as reminders for the development of the individual plate or, indeed, reminders of any ideas whatsoever that may have occurred to him. Thus on plate 21 he notes a plan for the presentation of the muscles of respiration at the foot of a page devoted to this subject. Plate 15 contains memoranda for details of muscles such as measurement, reason for use, how they work and what moves them, and 157 contains a long list of demonstrations to be made in the future, that is, what Leonardo considers desirable, although not necessarily indicative of what he was capable of achieving. It is necessary in his case to avoid confusing lack of realism with vision. Perhaps, most striking of all such memoranda is that at the lower end of the nerve on plate 167 where he writes \"more underneath\", thus clearly suggesting that this is only a rough draught to be extended later.\n\nThis second period of Leonardo's anatomical studies is a transitional one. He is, it is true, still much influenced by tradition and from time to time follows it exclusively. In addition, he undertakes a good deal of animal anatomy which he seeks to project upon the human structure. Finally, he has also begun the dissection of human material, although not as yet in any considerable amount, and the clear lines of distinction between animal and human anatomy are not thus far very distinct to him. Together with this transition he has gradually given up the authority of Aristotle for that of Galen. Thus although he remains bound to authority, nevertheless he is moving closer to the camp of the physicians, and we may therefore expect a growing respect for anatomy as an independent discipline, that is, a lessening of the view that it is ancillary to art. On occasion the genius of the man bursts the bonds of tradition as when for example he observes and describes the arteriosclerotic condition of the centenarian. In general, however, if we close our eyes to the Leonardine draughtsmanship and concern ourselves only with the text, the result is disappointing. It is akin to the usual anatomical text of that day, indeed, in some respects such as lack of system and spotty knowledge of medical texts, such as Galen, it suffers by comparison.\n\nIt was also during this period that he was commissioned to enrich the Great Council Chamber of the Palazzo Vecchio with an interpretation of the battle of Anghiari, fought between the Florentines and Milanese in the year 1440. However, as with so many of his tasks, Leonardo was not to complete this commission, and in 1505 he spent a short period of time in Fiesole where he undertook the study of bird flight, an interest which he had previously initiated in Milan. It appears that it was also at this time that he constructed his flying machine, for which, of course, the study of the flight of birds was preparatory. Before the end of the year Leonardo had returned to Florence and completed his portrait of \"Mona Lisa\", originally commissioned in 1502, and thereafter in the following year, possibly May, he returned to Milan, summoned thither by Charles d'Amboise, the vice-regent of Louis XII for that duchy.\n\nThe last several years of Leonardo's stay in Florence had been difficult. The importunities of the city government for the completion of the Anghiari commission were irksome enough, but still more intolerable was a lawsuit with his family in which he became involved from the time of his father's death in 1504. On the grounds of his illegitimacy, Leonardo's brothers refused him a share in the paternal legacy, and the whole unfortunate matter dragged on until a final division was achieved in 1506. Thereafter, although Leonardo had already gone to Milan an attempt was made by the same litigants to deprive him of another legacy left him by his uncle Francesco in 1507. This suit dragged on until 1511 when Leonardo was finally forced to gain the intercession of Charles d'Amboise, the Cardinal Ippolito d'Este, one of his former protectors in Milan, and even Louis XII.\n\n## second Milanese period\n\nIt seems likely that not only the possibility of patronage in Milan but such unpleasant family squabbles as well played their part in Leonardo's determination to leave Florence, and on 30 May 1506 he obtained permission from the Florentine government to absent himself on condition that he return at the end of three months; default of this condition was to be punished by a money fine. Actually Leonardo was to return to Florence from time to time but only on personal business in conjunction with the family lawsuits. Thus he returned during the autumn of 1507, the spring of 1509, as well as in 1511, 1513, and finally in 1514. Meanwhile he had so ingratiated himself with the regency in Milan, and even with Louis XII when he was present there, that official requests for Leonardo's continued services in Milan eventually extended his leave of absence indefinitely; not, however, without extreme irritation from the Florentine government which could not, however, afford to incur the displeasure of its powerful northern neighbor.\n\nWhile it is difficult to ascertain precisely what Leonardo's occupations were on behalf of the state and precisely what he accomplished, he appears to have played some part in the development of the canal system under construction in the Lombard plain. Of more immediate interest, however, is his considerable activity in anatomy, which for the first time now represents a study to a greater extent based upon his findings in human materials. In general it can be said that all the plates of Fogli A are based upon such materials. The marked superiority of the anatomy of the drawings is readily apparent and as readily explained. The subjects dealt with in this series are almost wholly osteology and myology. They are clear-cut subjects, and given the human models, Leonardo could observe and draw them correctly. There are some exceptions such as the poorly drawn tibia on plate 13, which is most likely the result of an effort by Leonardo to draw from memory. This and other similar examples once again emphasize the danger of allowing the excellence of the draughtsman to hide the deficiencies of the anatomist.\n\nThe plates of Fogli A suggest that Leonardo now had much more dissection material, but there is still the puzzle of why he did not draw a skeleton, the nearest thing to it being on plate 1, merely the upper portion. A closer inspection of Fogli A indicates that there is by no means a complete representation of osteology and myology, suggesting that perhaps while dissection specimens were more numerous, nevertheless complete cadavers were still very scarce. It may have been some such situation that led Leonardo from time to time to give up some of his grandiose ideas for his book on anatomy which would have required virtually unlimited supplies of material. Thus the final note on plate 49 suggests a move toward economy in the representation of the aspects of a specimen.\n\nAt the close of this period, c.1513 Leonardo began an intensive study of the heart and its action, and the great majority of his drawings and notes on the cardiovascular system relate to this final period. However, these later observations are drawn almost exclusively from the dissection of the heart of the ox.\n\nIt was during this second sojourn in Milan that Leonardo became acquainted with the professional anatomist Marcantonio della Torre, and the friendship which developed may have had some influence in the production of Leonardo's more mature period of anatomizing, although there is very little factual evidence to support this theory.\n\nMarcantonio della Torre was born in Verona in 1478-81, the son of Girolamo della Torre, for a time professor of medicine at Padua. Continuing his father's profession, young Marcantonio at the age of twenty was appointed public instructor in medicine and later professor of the theory of medicine at Padua. Thereafter with the spread of his fame he was attracted to Pavia as director of the department of anatomy during the control of Milan by Lodovico Sforza. It was either at Pavia or possibly during a visit to Milan that Marcantonio met Leonardo sometime in 1510 or 1511. However, any friendship which may have developed was short-lived since Marcantonio died of the plague in 1511.\n\nThe young physician was apparently a man of considerable attainments. His precocity in medicine is indicated by the academic posts he had acquired while in his twenties, and as well he was an ardent student of the classics. His early death led to numerous humanistic obituaries including one by Girolamo Fracastoro, the celebrated author of the De contagione (1546). Of his medical work little is known. One of his contemporaries asserts that he illustrated his anatomy course by public dissections and published writings, while a pupil states that he was the author of a work on anatomy. Presumably such accounts are apocryphal or, at least, none of his lectures or published works appears to have survived. It should also be noted that Marcantonio as a classicist and particularly as a Hellenist, was a supporter of the revived Galen as read in the recovered Greek texts, and it is said that he sought to substitute Galen for the Anathomia of Mundinus which was then the prescribed text in the Italian schools.\n\nThe story of the planned collaboration of Leonardo and Marcantonio della Torre rests primarily upon the account of Vasari, although it should be noted that Vasari never saw either of the persons involved in the matter and thus had his information at second hand. Moreover, Vasari's account relying upon gossip and second-hand information is frequently found to be in error. On the basis of Vasari's story, nineteenth century writers generally assumed that della Torre was to write the anatomy while Leonardo would as an artist supply the illustrations, but a fuller knowledge of Leonardo's work and such information as has been gathered concerning the life of della Torre tend to alter this view. There is first of all the great discrepancy in age\u2014indeed, it seems likely that Leonardo had already gained some interest in anatomy prior to the birth of Marcantonio. In the second place, Leonardo was neither Arabist nor Galenist but having partaken of both was by this time beginning to advance beyond any such authorities. It is true that his knowledge of anatomy had its foundations in these sources and that he continued to employ the Arabist terminology, and one would therefore assume that in the event of any influence by the younger man we might notice a change in this terminology. Moreover, we might assume that the influence of the professional anatomist would lead to the appearance of some sort of system in the anatomical studies as reflected in the drawings; indeed, some sort of collaboration would have been a very desirable thing so far as the direction of Leonardo's studies was concerned. We might also expect that if the two men had joined forces we should find mention of the anatomist on some of the anatomical drawings, but only once is the name Marcantonio employed by Leonardo and that not in connection with anatomical studies, so that we are not certain that it is a reference to the same person (210). Finally, the two men would have had less than two years in which to become acquainted, arrange for their collaboration and get it under way. Was such a project ever agreed upon? Disparity in age, temperament and training all seem to oppose such an idea. Furthermore, it must be recalled that the whole story depends largely upon the statement of Vasari, a writer who has frequently been found in error and who in this case took his information at second hand.\n\nIf Marcantonio ever saw Leonardo's note-books he could not but have been impressed by them and presumably would have urged the older man to get on with their publication. Indeed, he might even have suggested the need for some sort of system which might have influenced Leonardo but just as easily might have angered him since in his note-books he frequently mentions the plan or plans which he had for the organization of his anatomical studies. He was writing about the anatomical text which he hoped to publish long before he became acquainted with Marcantonio. In the final analysis it appears that if Marcantonio had any influence at all it is more likely that it would have been that of a goad\u2014eventually unsuccessful\u2014rather than that of a collaborator.\n\nIt was during this second Milanese period that Leonardo made one of his friendships which was to have important implications for the future. Early in the year 1507 he was living at the villa of Gerolamo Melzi at Vaprio, a short distance outside of Milan. The son of his host, Francesco, then some fourteen years old, displayed a certain artistic ability which first aroused interest in him on the part of the great artist, and gradually there developed a relationship almost that of father and son. It was as a result of this close friendship that when Leonardo was compelled to leave Milan, his young disciple Francesco Melzi chose to accompany him, first to Rome and thereafter to France, remaining faithfully in his service until the death of Leonardo. It was in return for such service that in his last testament Leonardo bequeathed to young Melzi all his books, which meant primarily that the young man became the possessor of the note-books and the source from which we shall trace their ultimate distribution.\n\nMeanwhile Italian politics in their wayward and changing fashion were once again preparing events which would force Leonardo once more to become an outcast and refugee. The pope, now the militant Julius II, allied the Papacy with the Emperor Maximilian, Ferdinand of Aragon and Louis XII of France to form the League of Cambrai, of which the object was the recovery of certain papal territories seized by Venice. With the successful attainment of this goal, the pope thereupon turned on the French and sought to drive them from Italy with the ready assistance of Maximilian and Ferdinand and even that of the erstwhile enemy Venice. For a time Charles d'Amboise, as governor of Milan, with the aid of the French general Gaston de Foix successfully resisted the movement, but the sudden death of Amboise in 1511 and thereafter the fall of Gaston de Foix before the walls of Ravenna in 1512 completely discouraged the French, and Milan, with the consent of the allies, once more passed into the possession of a Sforza, Massimiliano, son of Lodovico.\n\nThus Leonardo had not only lost his patron, but as one who had transferred his allegiance from Sforza to Valois, he could not readily recover his position with the former family, and although the Sforza tenure was to be brief, terminating in 1515, Leonardo had by that time departed the city. Meanwhile, in March 1513, Giovanni de'Medici, son of the famous Lorenzo, had ascended the papal throne as Leo X. The new pope, recognized as heir to the Medici tradition of aesthetic discrimination and patronage, was soon surrounded by painters, sculptors and architects. Not the least hopeful was Leonardo, now sixty-one, who had left Milan in September in company with the faithful Francesco Melzi as well as several other disciples. In Rome he was successful in gaining the patronage of Giuliano de'Medici, brother of the new pope, and was quartered in the Belvedere.\n\n## the final period\n\nIn Rome Leonardo continued his anatomical studies, apparently at the Ospedale di Santo Spirito, and as well carried on studies in distillation and physics, or more particularly optics. Unfortunately such studies appear to have brought him into conflict with a German mirror-maker known merely as Giovanni degli Specchi who seems to have been envious not only of Leonardo's influence with their common patron but as well of the considerably larger stipend that he received. As a result of the slanderous rumors which he spread, including suggestion of sacrilege in connection with Leonardo's anatomical studies, the latter found himself in papal disfavor and barred from Santo Spirito. Hence Leonardo terminated his anatomical studies. However, he appears to have remained in Rome at least until 1515. In July of that year his patron Giuliano de'Medici was taken ill and returned to Florence, and Leonardo quite possibly followed him there only to be deprived once again of a patron with the death of Giuliano in March 1516.\n\nFate, however, had reserved its kindest treatment for Leonardo's final years. The French king Francis I, who possessed the greatest admiration for the artist, invited him to France to live on the royal bounty, and a pension and the castle of Cloux near Amboise provided ample comforts until Leonardo's death in 1519, while royal friendship and visits to Cloux must have persuaded Leonardo, if such was necessary, of the greatness of his achievements.\n\n# Leonardo's anatomical achievements\n\nTo bring Leonardo da Vinci into proper historical perspective it is essential that his biological contributions be viewed as a whole. It is not enough to examine his illustrations alone, but if we are to understand this extraordinary figure as a unified personality and historical phenomenon, it is necessary to study the many notes and observations which accompany the drawings. We may excuse the incompleteness and disorganization of his writings on the grounds of their haphazard informality, and we can make allowances for the uncertainty which surrounds their chronological sequence, but we cannot ignore them and the imperfections which they reveal without gravely distorting the true historical picture. Without the notes it would be impossible to perceive beneath the genius of his art the groping of his mind as it sought emancipation from a debased mediaeval Aristotelianism, through a corrupted Galenism to the achievement of a position of relative scientific independence. We would fail to see him as part of the contemporary growth, and we would lack an appreciation of the difficulties which he had to surmount. It has been this failure to consider the notes and illustrations as one which has been responsible for the many specious and unjustifiable claims that have been made on his behalf such as the all too frequent assertion that Leonardo had knowledge of the circulation of the blood.\n\nMoreover, it needs to be emphasized how slender were Leonardo's resources in human dissection material, and it should be pointed out that the word anatomy does not necessarily mean a human dissection. He uses the term in its literal sense as a dissection and applies it when he is definitely referring to the dissection of an animal or a portion of an animal. Despite various assertions which have been made regarding the numerous dissections\u2014presumably human\u2014which Leonardo performed, the only evidence of human dissection which can be drawn from the note-books seems as follows: (1) a human head and neck dissected during the first Milanese period; (2) dissection of the centenarian and Leonardo's statement of having dissected a child of two years, during the Florentine period; (3) dissection of a human foetus c.7 months; (4) the dissection of the series in Fogli A which seems to have been that of an elderly man (cf. 45), and perhaps the body of a younger individual, cf. facial features (36, 56); (5) perhaps a leg. Undoubtedly Leonardo was a spectator at other dissections.\n\n## osteology\n\nLeonardo's representation of the skeletal system is one of the outstanding features of his work, but all the evidence seems to suggest that at no time did he ever possess an intact skeleton. Around the year 1489 he acquired, possibly from an execution, a human head, and from the dissections of this were made the series of magnificent illustrations of the skull found on plates 3-7. However, the accompanying notes display his Aristotelian position and the fact that he was more interested in the materialistic psychological implications than in the osteological system as such.\n\nIn his examination of the action of the bones as levers and especially in the mechanism of pronation and supination of the forearm, Leonardo turned his great knowledge and deep interest in mechanics to excellent account.\n\nFairly late in his career, c.1509-10, he acquired a copy of Galen's De usu partium, a work which must have appeared to him as a revelation, and thenceforth Leonardo became essentially a Galenist. It is from this period on that most of his studies on the skeletal and the myological systems date. His great powers and imagination in illustration are best seen in the series on the foot, but here again the misarticulation of the tibia and fibula with the tarsal bones of the opposite side indicate the incompleteness of his skeletal material.\n\nLeonardo's greatest difficulty was with terminology which was then in a very confused state, most of the terms being of Arabic origin. As late as 1510 we find him reminding himself of the origin of the word acciaiolo (11). Indeed, he seems to have depended upon the physicians for his terms for on plate 214 he reminds himself to enquire about \"the vein which was searched for in the lungs on Sunday\". Despite the many imperfections, Leonardo's standard of osteological illustration is immeasurably superior to that of his predecessors and is, together with a large part of the myological section, one of the few systems in which his illustrations are based on human dissection.\n\n## myology\n\nFor accuracy of representation Leonardo's figures on the muscular system are among his best drawings. However, his interest is primarily that of an artist concerned with the influence of the superficial muscle masses on surface modeling as indicated by the large number of illustrations which treat of this aspect, and seldom does he penetrate very far below the surface. This initial interest is later extended to the action of muscles and physiological problems.\n\nIt is noteworthy that almost all the dissections are dated between 1505-10, and that the great majority of the material is human. We suspect that most of the drawings are based fundamentally upon the dissection of the centenarian.\n\nLeonardo's early dependence upon spare living subjects led him to the conception that muscles such as the deltoid, pectoralis major, etc., are compound or multiple muscles, and this explains his division of these muscles in dissection into multiple fasciculi. Logically he extends these ideas to the production of cord diagrams.\n\nWhile it is true that the presentation of muscles, as in the case of the series on the upper extremity, viewed from every aspect, is indicative of his very considerable imaginative skill, yet in the representation of the abdominal muscles Leonardo is still relying upon tradition.\n\nAs mentioned above, almost all the studies of muscles are from the period 1505-10, and it was during this period that he had come into possession of Galen's De usu partium. We suspect that Leonardo derived much profit from this work, especially as regards his consideration of muscle action and the action of antagonistic muscles, and it may have been the cause of his very considerable preoccupation with the problems of respiration and the action of the intercostal muscles.\n\nIt is extremely difficult to attempt any comparison between the treatment of muscles by Leonardo and contemporary physicians since myology was at the time one of the most poorly understood aspects of anatomy. Among the difficulties plaguing any study of the muscle structure was the lack of any proper myological nomenclature. Few of the muscles were specifically named, and the result was constant confusion of identity which bothered Leonardo no less than the medical fraternity.\n\n## comparative anatomy\n\nLeonardo has been called the first comparative anatomist since Aristotle, but this statement cannot be accepted without many reservations. Like Galen, Leonardo dissected many forms and like Galen, he made the fundamental error of supposing that the structure of man was essentially the same as that of most animals, differing only in relative proportions. Consequently in a large number of his drawings it will be found that he has transposed observations made on animals to the human body, distorting the proportions to fit the outlines of the human figure, or combining observations made on both. Nonetheless, he was aware that in many cases certain animal structures differed from the human. It was his interest in proportional differences which enabled him to draw correctly such comparisons between the bones of the lower limb of man and the horse as found on plate 58. His comparative anatomy was thus an extension of his interest as an artist in body proportions. It is therefore quite impossible to separate altogether Leonardo's observations in comparative anatomy from his major interest in the anatomy of the human body without creating a false impression. It is only when he makes a faithful and accurate drawing of some animal part such as his dissections of the bear's foot or the wing of a bird that it is possible to segregate his studies on animals. Unlike Aristotle, Leonardo's interests are directed towards the structure of the body in relationship to its workings, and here the structure of animals had much to offer.\n\n## cardiovascular system\n\nAt the outset it should be stated that Leonardo had no knowledge of the circulation of the blood and that his views on the function of the heart were in a continual state of flux. Prior to 1500 he appears to have derived his opinions entirely from Mundinus or other contemporary sources and to have had little or no experience of the cardiovascular system based on dissection (cf. 116). Consequently illustrations from this period reflect a debased Galenism in which the emphasis lies on the liver as the source and origin of the vascular tree. Later he was to adopt a mediaeval-Aristotelian position in which primacy is placed in the heart, and thereafter reverted once more to a modification of the Galenical theory on the flux and reflux of the blood. However, it is extremely difficult to provide a connected account of Leonardo's final concepts on the movement of the blood since not only do his ideas vary over a very short space of time but he makes no complete statement. His earlier observations are quite sporadic and desultory, but c.1513 he began to study the heart and its action more intensively, and the great majority of his drawings and notes on the cardiovascular system date from this period. However, these later observations are made almost exclusively upon dissections of the heart of the ox.\n\nAs has been mentioned, Leonardo's views on the motion of the blood were largely governed by the Galenical theory of its flux and reflux. Piecing together Leonardo's theory as well as possible, his views may be briefly stated as follows: Right ventricular diastole is initiated by the active contraction of the papillary muscles which open the tricuspid valve and the active dilation of the ventricle itself which creates a vacuum. Blood is simultaneously forced into the ventricle by active contraction of the right auricular appendage and the passive elastic recoil of its previously dilated walls. Owing to the action of these forces the right ventricle is filled with great impetus, creating frictional currents and eddies among the interstices of the irregular muscular walls of both chambers which heat and thin the blood. Excessive expansion of the ventricle is prevented by the moderator band. In the meantime, the left ventricle has contracted so that right ventricular diastole occurs with left ventricular systole.\n\nRight ventricular diastole is followed by its systole which forces the blood in three directions. That portion of the column of blood lying in the tricuspid orifice and between its valves is returned to the right auricle which is passively dilated. A second portion is driven through the pulmonary orifice into the lungs for their nutrition. A third portion is forced through the pores of the interventricular septum into the left ventricle. The passage of the blood through the septum is facilitated by the simultaneously active dilation of the left ventricle which has established a vacuum creating a vis a fronte and by the loss of viscosity of the blood due to its frictional heating. The septum thus acts as a filter removing impurities which are left behind in the right ventricle, and the subtilized blood becomes the vital spirit of the left heart. Thus, as Leonardo puts it, \"the right ventricle has a double loss\", to the lungs and to the left ventricle. This loss \"is paid back by the liver, the treasurer\", but the amount of the loss is very small, being calculated, by means unknown, as seven ounces per hour.\n\nDiastole of the left ventricle occurs simultaneously with right ventricular systole at which time not only does the left ventricle receive the minute quantity of blood which passes through the septum but also that forced into it by the contraction of the left auricle. On the other hand, blood escapes in two directions on left ventricular systole, a part returning to its auricle and the pulmonary veins by way of the mitral valve and a part being expelled into the aorta. Owing to the flux and reflux of the blood and the greater thickness and power of the left ventricular wall, the blood is heated more on the left than on the right. This heat subtilizes and vaporizes some of the blood and converts it into gas which is carried with the blood on systole to the lungs to escape into the bronchi. At the same time the blood is cooled and refreshed prior to its return to the left heart. The blood which escapes to the aorta is lost to the tissues and is apparently made good by that which sweats through the septum so that the greater quantity of blood participating in the ebb and flow movement on the left side is that which passes through the mitral valve to the pulmonary veins.\n\nThe cycle of events between two beats of the pulse is thus right ventricular systole, left ventricular diastole, left ventricular systole or as Leonardo puts it, \"Between one and the next beat of the pulse, the heart closes twice and opens once\". Likewise systole and diastole of the auricles alternate on the right and left sides.\n\nIt is thus apparent from the above outline that Leonardo's opinions on the movement of the blood are no more than a speculative extension of the Galenical ebb and flow theory. The most important modifications are the attempt to supply a mechanistic explanation of the ancient mystery of the source of innate or vital heat and the application of dynamic principles in an attempt to understand the mechanism of closure of the valves. Neither of these problems could be solved without the discovery of oxygen centuries later and without a knowledge of the circulation.\n\nAs to the distribution of the vessels, Leonardo's descriptions are very incomplete, confused and uncertain. Again we find a curious mixture of findings based on observations made from dissections of animals and the appearances found on inspection of the superficial veins in the living human subject. His supply of human cadavers was too small to accomplish his purpose and the only human dissection carried out with any degree of thoroughness to uncover the human vascular arrangement was that made on the body of the centenarian at Florence, c.1504-06.\n\n## nervous system\n\nLeonardo's treatment of the central nervous system, based upon traditional materialistic psychological notions of mediaeval times, is vague and confused. In his earlier figures he attempts to illustrate these primitive ideas as he drew them from Avicenna or Albertus Magnus by means of schematic sketches. Leonardo's outstanding contributions were the introduction of an injection technique to obtain casts of the cerebral ventricles and his physiological experiments on the nervous system of the frog from which he concluded that the spinal cord was the center of life. The vast majority of his observations were made on animals, almost all his work on the distribution of the peripheral nerves of the extremities being based on dissection of the monkey with the findings distorted to fit the contours of man.\n\nLater he comes more and more under the influence of Galen and begins to make excellent independent observations on the arrangement of the nervous system. The point of departure can be traced to the dissection of the centenarian, and all his best drawings are derived from this specimen, cf. 148-50, 156-8, 167-8.\n\n## respiratory system\n\nLeonardo's observations on the respiratory system, the majority of which are very late, c.1510-13, are based exclusively on animal material. His opinions on the physiology of respiration are almost entirely Galenical with few or very slight modifications. As a musician he was especially interested in the larynx, which he considered the essential organ of the voice and of phonation. He was, of course, far astray since he failed to recognize the vocal cords. The trachea was compared to an organ pipe, and by its length and diameter the pitch of the voice was correspondingly altered.\n\nIn respect to the mechanism of respiration, Leonardo was initially confused by his acceptance of the Galenical statement that the pleural cavities contain air; later, however, he became dubious of this statement. While he granted that the function of the lungs was to cool and refresh the blood, this was not by any direct communication with the pulmonary vessels. On the special action of the diaphragm and abdominal muscles in the forcing on of the food through the alimentary tract, see below.\n\n## alimentary system\n\nLeonardo's considerations on the alimentary system are very incomplete. Pre-Leonardine illustrations can only be regarded as pure conventionalism, and this conventionalism is also to be seen in Leonardo's early drawings where the alimentary tract is shown diagrammatically and with no pretence to accuracy. The great change came with the dissection of the centenarian in Florence, 1504-06. Almost all the best drawings of the digestive organs, insofar as accuracy and realism are concerned, seem to have been derived from this dissection, cf. 183, 185-6, 188-9.\n\nLeonardo's main interest is in the physiology of digestion, and this physiology is primarily Galen's, but whether he derived his notions of Galen indirectly from Mundinus and Avicenna or directly from the De usu partium, which he was beginning to read about this time, is difficult to say. He devotes considerable attention to the mechanism by which the alimentary contents are passed on from one segment to another, and here his observations and theory are original. However, the wave-like contractions of the intestines which we call peristalsis were quite unknown to him, and, indeed, he specifically denies that the stomach contracts to expel its contents (177). Instead he theorizes that it is the rhythmical contractions of the diaphragm and abdominal wall in respiration which force the food onward, while the flexures prevent reverse movements of the contents. It is noteworthy that he does not accept the Galenical idea that the longitudinal and circular fibres of the intestines are responsible for the retention and expulsion of the contents.\n\n## genito-urinary system\n\nThere is not much that can be said on the urinary apparatus beyond that which is contained in the notes to the illustrations. Almost all Leonardo's studies on the kidneys were carried out on animals. He says very little regarding the physiology of the kidney, and his views are very primitive\u2014as, indeed, were the theories of his contemporaries. He was most interested in the mode of entrance of the ureter into the bladder and in the mechanism which prevents reflux of urine from the bladder into the ureters.\n\nThe reproductive organs of the male and female are treated with a curious mixture of fact and fancy. Most of the figures have some objective basis which is, however, overlaid by traditional theories on function. Again, as is common in Leonardo's drawings, the earlier figures reflect primitive mediaeval theories of generation which later on are replaced by drawings and text in which Galenical ideas are predominant.\n\n## embryology\n\nTo avoid repetition of what is expressed in the notes to the plates, we shall here merely note the chief points of Leonardo's belief.\n\nHe started out as an Aristotelian, probably having derived his ideas from Albertus Magnus. Eventually he became a follower of Galen. This is all discussed on plate 201.\n\nThere is positive evidence that he dissected a human foetus of c.7 months.\n\nThe remainder of his observations are drawn from animals, and since he knew nothing of the foetal coverings of the human, he added those of the ox, cf. plates 210-11.\n\n# plans for the anatomical treatise\n\nVasari's detailed but misleading statement has led to a widely held assumption that Leonardo had written a treatise on human anatomy in collaboration with Marcantonio della Torre and that long since this treatise was lost. This belief has been fortified by quotations from Leonardo's writings in which he speaks of a \"Treatise on Anatomy\" as though the work had been completed. However, it is now abundantly clear that Vasari's statement is a highly colored and inaccurate reference to one or other of the existing note-books and that Leonardo's mention of a treatise on anatomy reflects his intention, never fulfilled, and not unlike similar remarks regarding other contemplated works such as that \"On Waters\". Nonetheless, Leonardo had established a plan for such a treatise as early as his first Milanese period, and c.1489 he began to jot down a rough outline of its contemplated contents to which he later (c.1500) added a terminal paragraph.\n\n## On the order of the book\n\nThis work should begin with the conception of man and describe the nature of the womb, and how the child lives in it, and up to what stage it dwells there, and the manner of its quickening and feeding, and its growth, and what interval exists between one stage of growth and another, and what drives it forth from the body of the mother, and for what reason it sometimes comes forth from the belly of its mother before the proper time.\n\nThen describe which are the members which grew more than the others after the child is born, and give the measurements of a child of one year.\n\nNext describe a grown male and female, and their measurements, and the nature of their complexions, color and physiognomy. Afterwards describe how he is composed of vessels, nerves, muscles and bones. This you will do at the end of the book.\n\nThen represent in 4 accounts 4 universal conditions of man, that is, joy with various modes of laughter and represent the cause of laughter; sorrow, in various ways with its cause; strife, with various acts of slaughter, flight, fear, ferocity, daring, murder, and all things which pertain to such cases.\n\nThen represent labor with pulling, pushing, carrying, restraining, supporting and the like.\n\nATTITUDES\n\nThen describe attitudes and movement.\n\nEFFECTS\n\nThen perspective through the office of sight; and on hearing. You will speak of music and treat of the other senses.\n\nSENSES\n\nThen describe the nature of the 5 senses.\n\nWe shall demonstrate the mechanical structure of man by figures of which the first 3 will be on the ramification of the bones, that is, one from in front which shows the latitudinal position and shape of the bones; the 2nd will be seen from the side and will show the depth of the whole and its parts and their position; the 3rd figure will be a demonstration of the bones from behind. Then we shall make 3 other figures in similar views with the bones sawn across in which one will see their thickness and cavities. We shall make 3 other figures of the intact bones and of the nerves which arise from the medulla and in which members they ramify; and 3 others of the bones and vessels and where they ramify; then 3 with the muscles; and 3 with the skin and the proportions of the figures; and 3 of the female to show the womb and the menstrual veins which go to the breasts. [Clark 19037v\/FB 20v: c.1489; last paragraph c.1500].\n\nTo the above could be added innumerable other notes of approximately the same period modifying or, more usually, extending Leonardo's grand plan to encompass every phase of the normal and abnormal anatomy and physiology of the human and animal body. But a single example, typical of his restless and inquiring mind, must suffice.\n\nRepresent whence catarrh [i.e., the phlegm supposedly from the pituitary gland] is derived. Tears Sneezing. Yawning. Trembling. The falling sickness [epilepsy]. Madness. Sleep. Hunger. Sensuality. Anger, where it acts in the body. Fear, likewise. Fever. Sickness. Where poison injures. Describe the nature of all the members. Why lightning kills man and does not wound him, and if man blew his nose, he would not die, because it injures the lungs. Write what the soul is. Of Nature which, if necessary, makes the vital and active instruments of suitable and necessary shape and position. How necessity is the companion of Nature. Illustrate whence comes the sperm. Whence the urine. Whence the milk. How the nourishment proceeds to distribute itself through the veins. Whence comes intoxication. Whence the vomit. Whence the gravel and the stone. Whence \"pain in the side\" [pleurisy or dolor lateralis as it was called]. Whence dreams. Whence frenzy resulting from sickness. Whence it happens that by compressing the arteries a man falls asleep. Whence it happens that when pierced in the neck, the man falls dead. Whence come the tears. Whence the turning of the eyes, so that one draws the other after it on sobbing [Clark 19038r\/FB 21r:c.1498].\n\nNonetheless, keeping in mind that art theory had gone scientific, a careful reading of the description of the contemplated work makes it apparent that at this period Leonardo's conception was that of an artist to which had been grafted the universal outlook of that period. Thus in attempting to classify his drawings it is at times difficult to determine whether a particular drawing was intended to be a scientific or a purely artistic production. It is equally clear that despite the formulation of his thought, no particular plan had as yet jelled, and hence his plans remained in a somewhat nebulous state. Gradually the formlessness of his notes and drawings began to dawn upon him. By c.1509 their mass was so great as to cause some concern, and in reference to those on physics he wrote in the beginning of that collection known as the Arundel Mss. (B.M.1r):\n\nBegun at Florence in the house of Piero di Braccio Martelli, on the 22nd day of March 1508. This makes a collection without order, taken from many sheets which I have here copied hoping to arrange them later, each in its place according to the matters of which they treat. I believe that before I make an end to this I shall have to repeat the same things many times, for which, O reader, do not blame me, for the subjects are many and the memory cannot retain them, and say, \"This I do not need to write because I have written it before\". If I wished to avoid falling into this error, it would be necessary in every instance when I desired to copy, that I should read over all that had gone before so as not to repeat myself, and especially so since the intervals of time between one writing and the next are long.\n\nAbout this time, Leonardo may have made some attempt to arrange his anatomical notes, for a memorandum written c.1507-09 (Clark 19070v\/Q I 13v) reads: Have your books on anatomy bound, which, if carried out, would of necessity have required some sort of ordering of the many loose sheets.\n\nLeonardo had high hopes of completing the work while at Milan during the winter of 1510 (Clark 19016r\/FA 17r), but these hopes were never to be fulfilled. However, he began to compose at a later period, c.1513 a series of more connected and finished passages (Clark 19061-67\/Q I 2-8), obviously intended for incorporation in the projected book. Among these is an introductory chapter outlining in more definite fashion his latest plan of arrangement. Because of its importance this passage is given in full.\n\nORDER OF THE BOOK\n\nThis my depiction of the human body will be shown to you just as though you had a real man before you. The reason is that if you wish to know thoroughly the parts of an anatomized man, you must either turn him or your eye so as to examine him from different aspects, from below from above and from the sides, turning the subject around and investigating the origin of each member, and in this way, satisfying yourself as to your knowledge of the actual anatomy. However, you must realize that such knowledge will not leave you satisfied on account of the very great confusion which results from the combination of membranes intermingled with veins, arteries, nerves, cords, muscles, bones, and the blood, which of itself stains every part the same color. The vessels which discharge this blood are not perceptible owing to their minuteness. The continuity of the membranes is inevitably destroyed in searching for those parts enclosed within them and as their transparency is marred by staining with blood, this prevents recognition of the parts covered by them, owing to the similarity of their sanguineous color. You can have no knowledge of one without confusing and destroying the other. Therefore it is necessary to make further anatomies, three of which you will need to acquire a complete knowledge of the veins and arteries, destroying everything else with the utmost care; three others to acquire a knowledge of the membranes; three for the cords, muscles and ligaments; three for the bones and cartilages; and three for the anatomy of the bones which must be sawn through to demonstrate which are hollow and which are not, which are medullary, which are spongy, which are thick from without inwards, which are thin. And some are extremely thin in one part and thick in another, and in other parts hollow or full of bone or of marrow or are spongy. Thus it may be that all these conditions will sometimes be found in one and the same bone and there may be a bone which has none of them. You must also make three of the female body in which there is a great mystery owing to the womb and its foetus\n\nTherefore through my plan every part and every whole will be made known to you by means of a demonstration of each part from three different aspects; for when you have seen any member from the front with what nerves, cords or vessels which arise from the opposite side, the same member will be shown to you turned to the side or from behind, just as if you had the same member in your hand and went on turning it gradually until you had a complete understanding of what you wish to know. And so, similarly there will be put before you in three or four demonstrations of each member from different aspects, in such a way that you will be left with a true and full understanding of all you wish to know of the human figure.\n\nConsequently, here will be shown to you in fifteen entire figures the cosmography of the Microcosmos in the same order as was adopted before me by Ptolemy in his Cosmography. Likewise, I shall then divide each member as he divided the whole into provinces, and then I shall describe the use of parts from every aspect, placing before your eyes a knowledge of the entire form, and habit (valitudine) of man, insofar as it has local motion by means of its parts. And might it so please our Creator that I be able to demonstrate the nature of man and his customs in the way that I describe his figure.\n\nI would remind you that an anatomizing of the nerves by means of bodies macerated in running water or in lime-water, will not give you the position of their branchings nor into what muscles they ramify, because, although the source of their origin may be discerned without, as well with water, their ramifications tend to unite under the influence of running water, just as flax or hemp combed for spinning becomes tangled all in a bundle, so that it is impossible to find out again into which muscles, with what, or with how many ramifications, the nerves are distributed into the aforesaid muscles.\n\nIn the margin of the same page Leonardo describes, as an example, the manner in which he hopes to demonstrate certain portions of the body, such as the hand.\n\nON THE HAND FROM WITHIN\n\nWhen you begin the hand from within, first place all the bones a little separated from one another so that the true shape of each bone on the internal aspect of the hand may be readily recognized, and further, the real number and position of each. Prepare some sawn through the middle of their thickness, that is, longitudinally, so that you can show which are hollow and which are full. Having done this, place these bones together properly articulated and draw the entire hand, fully open, from within. Then set down the figures of the first bony joints. The next demonstration will be that of the muscles which tie together the rasetta [carpus] and the pettine [metacarpus and phalanges]. The fifth will demonstrate the cords which move the first joints of the fingers; the sixth, the cords which move the second joints of the fingers; the seventh, those which move the third joints of the fingers; the eighth demonstration, the nerves which provide sensibility. The ninth will demonstrate the veins and arteries. The tenth will show the intact hand, complete with its skin, and its measurements, which measurements should also be made of the bones. And whatever you do for this side of the hand, you will also do for the other three aspects, that is, from the internal side, from the dorsal side, from the external side and the side mentioned above. [Clark 19061r\/Q I 2r:c. 1509-13]\n\nFrom time to time Leonardo proposed numerous other plans from the traditional scholastic arrangement from the head to the feet, to a consideration of the body from the surface to the deeper structures, almost always extending his plan until it would have reached such encyclopaedic proportions, and illustrated with such prodigality that he could not hope for its completion or expect its publication.\n\n## history of the anatomical manuscripts\n\nOn 10 October 1517, Leonardo, then living at Cloux, was visited by Cardinal Louis d'Aragon and his secretary Antonio de Beatis. The artist, partially paralyzed and almost at the end of his life, displayed his drawings and note-books to his visitors, and Beatis, recording this visit in his journal, remarks:\n\n[Leonardo] has compiled a special treatise of anatomy with pictorial demonstrations of the limbs as well as of the muscles, nerves, veins, joints, intestines and whatever can be imagined in the bodies of men as well as women, such as never have been made before by any person. All this is what we have seen with our own eyes. And he said that he had dissected more than thirty bodies of men and women of all ages.\n\nSuch is the only account of the intact collection of Leonardo's anatomical drawings during the lifetime of the artist.\n\nIn 1519 Leonardo died, and by his will all his drawings and note-books were inherited by his faithful disciple Francesco Melzi and remained in his possession until his death in 1570. Melzi brought them to his villa in Vaprio near Milan where they were inspected from time to time by visitors. There is record of a visit paid to Melzi somewhere between 1537 and 1545 by the person known today only as Anonimo Gaddiano who has left a description of the collection. Presumably the mathematician and physician Girolamo Cardano, a native of Milan, also saw the collection. His remarks are of considerable interest because of their relationship of Leonardo to Vesalius. In his De subtilitate, after remarking that a painter is at once philosopher, architect and dissector, he continues, \"for proof there is that remarkable imitation of the whole human body which [I saw] many years ago, by Leonardo of Vinci and of Florence, which was almost complete; but the task required a great master and investigator of nature such as Vesalius\". Apparently Cardano the physician immediately recognized the non-systematic nature of the work. Leonardo's treatise on anatomy is also mentioned by Biondo in his Eulogy of painting (1549).\n\nStill later (1566), Vasari paid a visit to Melzi, and in his record of it propounded the troublesome thesis of the proposed collaboration of Leonardo and Marcantonio della Torre:\n\nIn this attempt Marcantonio was wonderfully aided by the genius and labor of Leonardo, who filled a book of drawings in red crayon, outlined with the pen, all copies made with the utmost care dissected by his own hand. In this book he set forth the entire structure, arrangement, and disposition of the bones, to which he afterwards added all the nerves, in their due order, and next supplied the muscles, of which the first are affixed to the bones, the second give the power of cohesion or holding firmly, and the third impart that of motion. Of each separate part he wrote an explanation in rude characters, written backwards and with the left hand, so that whoever is not practised in reading cannot understand them, since they are only to be read with a minor. Of these anatomical drawings of the human form, a great part is now in the possession of Messer Francesco da Melzi, a Milanese gentleman, who sets great store by these drawings, and treasures them as relics....\n\nVasari's statement is incorrect in respect to the order in which Leonardo made his drawings, but nevertheless it does suggest that they may at the time of his visit have been arranged in some such order. He would have had neither the anatomical knowledge nor the time to discover discrepancies in the chronology of the drawings and the varying states of Leonardo's knowledge of the subject. A theory is therefore possible that at some time, possibly after his removal to France, Leonardo had actually arranged the drawings into some sort of system. In view of a similar effort to reorganize some of his note-books during his Florentine period, an effort thwarted by a constantly roving interest, it is possible that in his latter years, less widely occupied, Leonardo did actually achieve some sort of arrangement. Moreover, any such arrangement of the anatomical drawings would naturally have strengthened Vasari's belief in the truth of the story of the collaboration of Leonardo and Marcantonio.\n\nThe final visit to the collection prior to the death of Francesco Melzi was that of the Milanese painter Lomazzo who mentions his visit some twenty years later in his Idea del Tiempo della Pittura:\n\nLeonardo is worth remembering as he taught the anatomy of the human body... which I have seen at Francesco Melzi's, drawn divinely by Leonardo's hand... but of all these works none was printed, existing only in his manuscripts which in great part have come into the hands of Pompeo Leoni,... and some also came into the hands of Signor Guido Mazenta, distinguished scholar who treasures them lovingly.\n\nLomazzo's account therefore not only continues the recognition of Leonardo's anatomical studies, but also it is the first notice of the dispersal of the drawings.\n\nIn 1570 Francesco Melzi died and his property passed to a relative, the jurist Orazio Melzi, who appears to have had neither interest in nor realization of the significance of his inheritance. Our knowledge of this episode is derived from Ambrosio Mazenta, and recounted by him toward the end of his life, 1631-35. According to Mazenta, when he was studying law in Pisa in 1588, another student, Lelio Gavardi d'Asola, a nephew of Aldus Manutius the younger, showed him some thirteen note-books of Leonardo which he had filched during an earlier period when he had been employed as a tutor in the household of Orazio Melzi. It had been his intention to sell them to Francesco de'Medici, Grand Duke of Tuscany who, however, had died before Gavardi had been able to show them to him. Mazenta eventually persuaded Gavardi to allow him to return the note-books, but as it happened Orazio Melzi who already had a houseful of books and relics of Leonardo was not eager to receive any more. As a result the Mazenta brothers, Ambrosio and Guido, retained the drawings. Thereafter as the Mazenta collection was seen by artists and its source was learned, Melzi found himself under constant request for more of Leonardo's drawings. The person who appears to have been the most eager to acquire them was Pompeo Leoni (c.1533-1608), a sculptor and pupil of Michelangelo, and now in the service of the King of Spain. When he promised that Melzi would gain honors and privilege in Milan, then under Spanish control, if the drawings were presented to the King of Spain, Melzi suddenly recognized a value in his inheritance\u2014hardly aesthetic it may be said\u2014and besought the return of the note books from the Mazenta brothers who returned seven of them which Melzi in turn handed over to Pompeo Leoni. Eventually the six note-books retained by the Mazentas were dispersed, three of them after the death of Guido Mazenta, coming into the hands of Leoni. It is also possible that he had meanwhile acquired even more drawings from Orazio Melzi. At any rate, Leoni took apart the original note-books and mounted the sheets in paper frames so that both sides were visible. Thereafter he assembled them disregarding any previous order and bound them in two large volumes.\n\nOne of these volumes Leoni took to Spain in 1591 where he sold it to Don Juan d'Espina. This volume may have contained the anatomical drawings which eventually found their way to England, although the route is not always clear. We do, however, know that Thomas Howard, Earl of Arundel, purchased the volume while travelling in Spain (1636). The Codex Arundel, representing a portion of the purchase, upon the urging of John Evelyn, was presented by its owner to the Royal Society in 1681 and thence was transferred to the British Museum in 1831. However, a large collection of drawings, including the anatomical ones, in some way or other, and exactly when is unknown, found their way into the Royal Library at Windsor. All that can be said about them is that they were in the Royal Collection as early as 1690 when Queen Mary showed them at Kensington Palace to Constantijn Huygens. Thereafter they appear to have been unnoticed until mention is made of them shortly after 1735 in an inventory of the prints and drawings \"in the Buroe of His Majesty's Great Closet at Kensington\". Again the collection seems to have been lost until 1778 when \"Mr. Dalton, Royal Librarian, fortunately discovered it on the bottom of [a chest]\". At this time the collection was said to number 779 drawings. However, when the drawings were properly mounted and cared for in the nineteenth century only 600 could be found. Sixty-four pages had at some time been removed, but why and whither they went is today unknown.\n\nThe drawings, in particular the anatomical ones, are next mentioned by William Hunter, the celebrated physiologist, who speaks of them with enthusiasm and announces his intention of publishing them, a task from which he was prevented by his death in 1783, and the first selection of the drawings, including some of the anatomical studies was brought out by John Chamberlaine in his Imitations of Original Designs by Leonardo da Vinci (1796).\n\nOnce again these drawings were neglected until studies of them were initiated by Gaetanao Milanesi (1872) and by Gustavo Uzielli (1872). In 1878 an exhibit was arranged at the Grosvenor Gallery, at the instigation of the Prince Consort, of a large number of the drawings, not however including the anatomical ones, and in 1883 appeared the first thorough-going study, including the anatomical drawings, by J. P. Richter.\n\nThe first effort to make the anatomical drawings generally available through publication in facsimile was that of Theodore Sabachnikoff who published a selection of the drawings in 1898 under the title of Dell' Anatomia, Fogli A. The volume contains an introduction by Mathias Duval, then professor of anatomy at the Ecole Nationale des Beaux Arts, and a transcription of Leonardo's text together with a translation into French. In 1901 a second volume was published known as Fogli B. Regrettably the introduction by Duval displays more admiration for Leonardo's drawings than scholarship and a considerable lack of knowledge of the history of anatomy. Similarly the transcriptions are not wholly lacking in error, while the translations into French contain numerous mistakes arisen through misunderstanding and ignorance of the subject.\n\nMeanwhile Sabachnikoff had continued the photographing of the remainder of the Windsor Collection and had deposited the negatives with Eduard Rouveyre, publisher of the Fogli A. Apparently with the intention of supplying a waiting market Rouveyre, without waiting for the transcription of Leonardo's text to be completed, published an edition of the photographs. While this unethical if not piratical action is said to have hastened the death of Sabachnikoff, it also meant that the work would eventually have to be done over again.\n\nBetween 1911 and 1916, the need for a proper edition of the remainder of the anatomical drawings, that is, those pirated by Rouveyre, was finally met by the appearance of the Quaderni d'Anatomia published in Oslo through the editorial efforts of C. L. Vangensten, A. Fonahn and H. Hopstock and contains an Italian transcription and translations into English and German. The facsimiles were carefully and beautifully made, but the volumes lack proper annotations, and the translations suffer frequently and woefully from error.\n\nIt is a curious fact that hitherto no editor has attempted to arrange Leonardo's note-books so as to indicate systematically what the extent of his anatomical studies was. This is now done, and the plates have been arranged according to systems. Within the systems, so far as possible, a chronological sequence has been observed to indicate Leonardo's growth and development as an anatomist. The text has been newly translated, and it is hoped that at least a few of the errors in previous translations have been removed. The sources from which the plates have been taken are indicated as follows:\n\nFA I manoscritti di Leonardo da Vinci della Reale Biblioteca di Windsor. Dell' anatomi fogli A. Pubblicati da Teodoro Sabachnikoff... Parigi... 1898.\n\nFB [Ditto] fogli B... Torino... 1901.\n\nQ Quaderni d'anatomia... Pubblicati da ove C. L. Vangensten, A. Fonahn, H. Hopstock... Christiania... 1911-16. 6 vols.\n\nClark, Kenneth. A catalogue of the drawings of Leonardo da Vinci in the collection of His Majesty the King at Windsor Castle. Cambridge, England, 1935. Clark's work indicates the number of each plate in the Windsor Collection, occasionally correcting errors such as the indications of recto and verso in Q. Clark has also attempted to date the plates, and while he has achieved considerable success in his efforts, nevertheless the anatomical content occasionally suggests an earlier or later date than he has ascribed.\n\n# illustrations\n# OSTEOLOGICAL SYSTEM\n\n# 1 the skeleton\n\nApart from the four drawings in the Uffizi Gallery in Florence, attributed by Holl and Sudhoff (1914) to Leonardo, and those of the Codex Huygens, which may have followed some Leonardine tradition, these illustrations constitute the nearest approach to the representation of the complete skeleton. They differ greatly from the osteological figures of the Huygens manuscript in their correct representation of the spinal curves, the tilt of the sacrum and innominate bones, and an appreciation of these features in relation to the statics of the erect posture. Despite the remarkable accuracy of observation and delineation, there is evidence of some persistence of traditional authority, although the figures as a whole far surpass the crudities of Leonardo's immediate predecessors.\n\nWritten across the top of the page appears the note, What are the parts of man where the flesh, no matter what the obesity, never increases, and what are the places where this flesh increases more than anywhere else, indicative of Leonardo's interest in the distribution of the subcutaneous fat modifying the surface contours of the body. It will be recalled that it was Leonardo's encyclopaedic intention to represent the body in all aspects from infancy through the prime of life to old age. This note may, therefore, relate to the larger plan. Such knowledge would be of particular value to the artist and was developed by Albrecht D\u00fcrer in his illustrations of various somatotypes.\n\nfig 1. Posterior view of thorax and pectoral girdle.\n\nMake a demonstration of these ribs in which the thorax is shown from within, and also another which has the thorax raised and which permits the dorsal spine to be seen from the internal aspect.\n\nCause these 2 scapulae (spatole) to be seen from above, from below, from the front, from behind and forward.\n\nHead 1, Jaws 2, Teeth 32.\n\nAlthough far in advance of anything which had preceded it, this sketch of the posterior aspect of the thorax exhibits certain inaccuracies. The arrangement of the ribs is only approximate, but they show their obliquity which is necessary for an appreciation of the mechanics of respiration. The scapulae are relatively too long since their vertebral borders extend from the second to the tenth rib instead of to the seventh. This may have been due to the fact that Leonardo did not possess a complete skeleton or to the failure, when articulating the specimen, to provide intervertebral discs of adequate thickness or, if these were left in situ as was the custom, to their drying out and shrinking. Leonardo employs several terms for the scapula: spatula, spathula, spatola, and occasionally padella. This last term is also used for the patella but may be a misspelling. The word spatula, and its variants, was in common use up to the time of Vesalius (1514-1564) and was derived from the Greek \u03c3\u03c0\u00e1\u03b8\u03b7, i. e., any broad blade, and used by Hippocrates for the scapula.\n\nLeonardo's final note on the above illustrations undoubtedly is the beginning of an enumeration of the bones of the body. This was a subject of great concern to mediaeval anatomists, and various figures were given as the total number. Each authority was inclined to defend his mathematics with considerable force.\n\nfig 2. Lateral aspect of thorax.\n\nYou will make the first demonstration of the ribs with 3 representations without the scapula, and then 3 others with the scapula.\n\nFirst design the front of the scapula without the pole m, of the arm [head of humerus], and then you will make the arm.\n\nFrom the first rib a, and the 4th below b, is equivalent to the [length of] the scapula (padella) of the shoulder c d, and is equal to the palm of the hand and to the foot from its center to the end of the said foot, and the whole is similar to the length of the face.\n\nBefore you place the bone of the arm m, design the front of the shoulder which receives it, that is, the cavity of the scapula (spatula), and do it as well for each articulation.\n\nfig 3. Anterior view of thorax and pectoral girdle.\n\nSpondyles [vertebrae] 5.\n\nThe clavicle (forcula) moves only at its [acromial] extremity t, and there it makes a great movement between up and down.\n\nYou will design the ribs with their spaces open, there where the scapula terminates on these ribs.\n\nThe scapula receives the bone of the arm on 2 sides, and on the third side it is received by the clavicle from the chest.\n\nDesign first the shoulder without the bone a [summus humerus], and then put it in.\n\nRemark how the muscles attach together the ribs.\n\nDemonstrate the bone of the humerus, how its head fits into the mouth of the scapula, and the utility of the lips of this scapula o t [acromoid and corocoid processes], and of the part a [summus humerus], where the muscles of the neck are attached.\n\nYou will make a 2nd illustration of the bones in which is demonstrated the attachment of the muscles on these bones.\n\nDespite its relative accuracy this figure exhibits several features indicative of the overlay of traditional authority. It will be observed that not only is the sternum too long, but it is divided into seven segments consisting of the manubrium, five segments for the body and the xiphoid process. This was Galen's number based on his findings in apes. It was required that there be as many parts of the sternum as attached costal cartilages. However, Leonardo shows eight true ribs instead of the usual seven, and includes the xiphoid with the sternebrae so that his surrender to authority is only partial.\n\nIn the shoulder, at the tip of the acromion, a separate ossicle noted by the letter a, is illustrated. This is the so-called summus humerus, a third ossicle believed to exist between the acromion and the clavicle. The notion was derived from Galen, but Rufus of Ephesus (c.98-117) states that Eudemos (c.250 B.C.) referred to the acromion as a separate ossicle. In any case almost all mediaeval anatomists discuss this ossicle. Some have attempted to excuse Leonardo's traditionalism on the ground that he saw an ununited epiphysis in his specimen. This may have been so since many of his drawings of the scapula do not show this\n\n(continued on page 489)\n\n# 2 the vertebral column\n\nRepresent the spine, first with the bones and then with the nerves of the medulla (nucha), is Leonardo's marginal note indicating his intention to present the vertebral column together with the relationships of the spinal nerves.\n\nIn figs. 1-2, 5, illustrating the intact vertebral column from lateral, anterior and posterior aspects, Leonardo's notation is as follows:\n\na b, are the seven spondyles [vertebrae] of the neck through which the nerves go from the medulla and are spread to the arms giving them sensibility.\n\nb c, are the twelve vertebrae where are attached the twenty-four ribs of the chest.\n\nc d, are the five vertebrae through which pass the nerves which give sensation to the legs.\n\nd e, is the rump divided into seven parts which are also called vertebrae.\n\nfig 1. Lateral view of vertebral column.\n\nThis is the bone of the spine viewed from the side, that is to say, in profile.\n\na b, is the bone of the neck viewed in profile, and it is divided into seven vertebrae.\n\nb c, are the 12 vertebrae in which the origins of the ribs are fixed.\n\nThe greatest breadth of the vertebrae of the spine in profile is similar to the greatest breadth of the aforesaid vertebrae seen from the front.\n\nMake all the varieties of the bones of the spine so that you represent it as separated in 2 likenesses and united in two, and you will thus make of it 2 borders which vary; you will make them separated [from one another] and then united, and you will obtain in this way a true demonstration.\n\na b, vertebrae 7 [cervical]\n\nb c, vertebrae 12 [thoracic]\n\nc d, vertebrae 5 [lumbar]\n\nd e, vertebrae 5 [sacral]\n\ne f, vertebrae 2 [coccygeal]\n\nThat makes a total of 31 vertebrae, from the beginning of the medulla to its end.\n\nfig 2. Anterior view of vertebral column.\n\nThis is the bone of the spine viewed from the internal aspect.\n\nAt n [thoracic 5] is the smallest of all the vertebrae of the ribs, and at b and at S [lumbar 4] are the largest.\n\nThe vertebra r [lumbar 5] and the vertebra S [lumbar 4] are equally large; o [cervical 3] is the smallest vertebra of the neck.\n\nfig 5. Posterior view of vertebral column.\n\nSay for what reason nature has varied the 5 superior vertebrae of the neck at their extremities.\n\nRepresent the medulla, together with the brain, as it passes by the 3 superior vertebrae of the neck which you have separated.\n\nThe fifth of the bifurcated [cervical] vertebrae has greater breadth than any other vertebra of the neck, and its wings are smaller than those of all the others.\n\nThere was great confusion among mediaeval anatomists as to the number of vertebrae. Galen had described the vertebral column as consisting of thirty segments; of these twenty-four were presacral, but since Galen depended upon the barbary ape he enumerated three sacral and three coccygeal. Both Avicenna and Mundinus give Galen's number. In the illustrations and notes Leonardo shows a bold departure from tradition in his recognition of thirty-one segments. Apart from the twenty-four presacral vertebrae he shows for the first time that the human sacrum is made up of five vertebrae, but he ascribes only two segments, instead of the usual four, to the coccyx. It appears that the coccyx in his figure consists in reality of four vertebrae reduced by fusion to two. However, variation in this region is exceedingly common. Even the great anatomist Andreas Vesalius illustrated a six-piece sacrum and was willing to assume that the coccyx might be regarded as not fully ossified in order to harmonize his findings with the opinion of Galen. Taken to task by Gabriel Fallopius (1523-1562) for selecting a six-piece instead of a five-piece sacrum as the modal type, Vesalius weakly defended himself on the ground that the specimen he had illustrated in his works was the most perfect he had ever seen.\n\nThe lateral view of the articulated column correctly represents the spinal curvatures and reflects Leonardo's appreciation of their importance in body mechanics. This appreciation is especially evident in \/99, where the pelvic bones are included. However, despite Leonardo's great powers of observation and accuracy of draughtsmanship, it will be observed that he has included in this view, in the interval between thoracic 2 and 3, an additional spinous process without the corresponding body.\n\nA word should be said on the terms here employed. The term \"spondyle\" (spondylis) was derived from the Greek \u03c3\u03c0\u00f3v\u03b4v\u03bbos and appears in the Latin version of Avicenna. With the recovery of the works of Celsus by Guarino Veronese in 1426, the term \"Vertebra\" gradually superseded \"spondyle\" and became standard through the efforts of the medical humanists in the middle of the sixteenth century. The surgeons, however, continued to use \"spondyle\" which long remained the vernacular word for vertebra. Since the terms spondyle, vertebra and trochanter etymologically all imply a turning movement, Leonardo sometimes employs the word spondyle to indicate the lesser trochanter.\n\nAs was customary among mediaeval anatomists, Leonardo uses the word nucha to mean either the nape of the neck or the spinal cord. The word owes its double meaning to the fact that it is the latinized version of the early translators of two different Arabic words. Constantinus Africanus (d.1087) at Monte Cassino had introduced nucha from the Arabic nucha for the spinal cord, and the term continued in use until the sixteenth century when medulla dorsalis, and eventually medulla spinalis, were substituted. However, the Arabic nugrah for neck, and especially the nape of the neck, was also rendered nucha and in this sense still persists in modern terminology as the ligamentum nuchae and the nuchal lines of the occipital bone.\n\nfigs 3-4. Posterior view of cervical vettebrae.\n\nThe first bone at the top is joined to the second by two joints, and the second is joined to the 3rd by 3,\n\n(continued on page 489)\n\n# 3 the skull: anterior view\n\nfig 1. Anterior view of skull with frontal and maxillary sinuses exposed.\n\nThe cavity of the orbit and the cavity of the bone which supports the cheek, and that of the nose and of the mouth, are of equal depth and terminate in a perpendicular line below the sensus communis; and each of these cavities is as long as the third part of a man's face, that is, from the chin to the hair.\n\nThis magnificent drawing of the skull has been universally admired. It demonstrates admirably Leonardo's care in anatomical dissection and imagination in presentation. The skull has been divided down the middle. The frontal and maxillary air sinuses, the nasal cavity and placement of the roots of the teeth in the jaws have been exposed on the right half of the specimen. On the left half the superior and inferior orbital fissures, the supraorbital, supratrochlear, infraorbital and mental foramina, as well as other features, are displayed with an accuracy unparalleled for the times. For the meaning of the sensus communis, usually corresponding to the third ventricle of the brain, cf.\n\nfig 2. The teeth of the upper jaw.\n\nThe 6 upper maxillaries [molars] have each 3 roots of which 2 roots are on the outer side of the jaw and one on the inner; and the 2 hindmost erupt in 2 to 4 years or thereabouts.\n\nThen come the 4 maxillaries [premolars] of 2 roots each, one on the inner and the other on the outer side; then follow the 2 maestre [canines, lit., master teeth] with only a single root, and in the front are the 4 teeth [incisors] which cut and have only one root.\n\nThe lower jaw, like the upper, also has 16 teeth, but its maxillaries have only 2 roots; the other teeth are like those above. In animals, tooth number 2 seizes the prey, number 4 cuts and number 6 grinds.\n\nAt this time great arguments occurred between the peripatetic philosophers and the physicians over the number of the teeth, since Aristotle had stated that females had fewer teeth than males and that longevity in various animals was proportional to the number of teeth. As Vesalius sarcastically remarked, \"Since no one is prohibited from counting the teeth, it is obvious that it is as easy for anyone to test this assertion as it is for one to say that it is false\". The information here provided by Leonardo is derived almost word for word from Galen through Avicenna. The origin of the word maestre for canine tooth is unknown. On 181, Leonardo presents us with a highly original discussion on the occlusion of the teeth and the mechanical principles which determine their power in mastication, as well as the relationship between their form and function.\n\n# 4 the skull: lateral view\n\nfig 1. Lateral view of skull.\n\nI wish to elevate that part of the bone, the support of the cheek, which is found between the 4 lines a b c d, and to demonstrate through the exposed opening the size and depth of the two cavities which are hidden behind it. The eye, the instrument of vision, is hidden in the cavity above, and in that below is the humor which nourishes the roots of the teeth.\n\nfig 2. Lateral view of the skull with maxillary sinus exposed.\n\nThe cavity of the cheek-bone has a resemblance in depth and size to the cavity which receives the eye within it, and in capacity it is very similar to it and receives in its interior some veins through the opening m, which descend from the brain, passing through the sieve (cholatorio) [ethmoid] which discharges into the nose the superfluities of the humors of the head. No other obvious openings are found in the above cavity which surrounds the eye. The opening b [optic foramen] is where the visual power passes to the sensorium and the opening n [nasolacrimal] is where the tears well up from the heart to the eye, passing through the canal of the nose.\n\nThe first of these two figures is the only illustration left by Leonardo of the intact skull. Like his figure of the vertebral curves, the careful orientation of the specimen by means of a block placed beneath the occiput will be noted. However, nowhere does Leonardo discuss or enumerate the constituent bones of the skull, although undoubtedly he understood its construction far better than any of his predecessors. In fact, among mediaeval physicians there was no more confused subject since in the absence of direct observation their notions were derived from debased versions of Galen who in turn had depended upon the bones of animals.\n\nThe maxillary air sinuses here shown are usually associated with the name of Nathaniel Highmore, the English physician, who published a full description of them in 1651. Leonardo's drawings must be regarded as the first representation of the antrum, and Vesalius and the Paduan school of anatomists were well aware of its existence long prior to Highmore.\n\nIn Leonardo's notes mention is made of the ancient humoral doctrine that the phlegm or pituita was condensed by the brain to pass to the pituitary gland and thence through the cribriform plate of the ethmoid to the nasal passages. Leonardo employs the term cholatorio, sieve, which in Latin form was long the standard term for the cribriform plate of the ethmoid which was regarded as a separate ossicle until Gabriel Fallopius showed it to be but a part of the ethmoid.\n\nThe nasolacrimal duct was known to Galen who correctly traced the passage of the tears from the lacrimal glands to the nasal cavity. The notion here expressed by Leonardo that the tears well up from the heart is undoubtedly Aristotelian with its doctrine of the primacy of the heart as the seat of the emotions.\n\n# 5 the skull: lateral view\n\nOn the 2nd day of April, 1489, the book entitled   \nOn the Human Figure\n\nThis is one of the few dated anatomical drawings. It is evidently the first leaf of his sketch-book and permits the dating of his early studies on anatomy conducted at Milan.\n\nfig 1. The skull and vessels of the forehead: anterolateral aspect.\n\nThe maxillary vein m, is shown passing into the infratemporal fossa and continuing as infraorbital and zygomatic branches. The infraorbital passes through the foramen or anastamoses with the anterior facial. The external nasal, supraorbital and superficial temporal veins are arranged in the same patter as found on 125. Leonardo writes:\n\nThe [maxillary] vein m, ascends upwards and enters beneath the bone of the cheek and through the foramen of the socket of the eye [infraorbital]. It passes between the under surface of the eyeball and the bone supporting it. At the middle of the said course the said vein pierces the bone and descends downwards for half a finger s breadth. Having perforated the surface of the bone beneath the margin of the above-mentioned socket at n, it begins to ascend and having bordered for a little distance the margin of the eye, it passes the lacrimator [lacrimal caruncle and duct]. At length within the eyelids, after ascending for an interval of 2 fingers, it commences the branchings which spread over the skull.\n\nThe lacrimal glands were unknown to Leonardo and his contemporaries. The tears were supposed to well up through the lacrimator or lacrimal duct from the heart which was the seat of the emotions.\n\nfig 2. The skull and veins of the forehead: lateral aspect.\n\nThe maxillary vein is shown as in fig. 1. The superficial temporal is now clearly revealed.\n\n# 6 the skull: interior view\n\nfig 1. Lateral view of skull to show meningeal vessels.\n\nThe confluence of all the senses [Ventricle III] has perpendicularly below it at a distance of 2 fingers the uvula, where one tastes the food, and lies straight above the wind-pipe and above the opening of the heart by the space of a foot. A half-head above it is the junction of the cranial bones [bregma], and a third of a head anterior to it in a horizontal line is the lacrimator [nasolacrimal duct] of the eye.   of a head posterior to it is the nape [of the neck], and at an equal distance and height to the side are the 2 pulses of the temples. The veins which are represented in the cranium in their ramifications make an imprint of a half of their width in the cranial bone, and the other half is hidden in the membranes which cover the brain. Where the bone is poorly provided with veins within, it is refreshed from without by the vein a m [middle meningeal vessels] which issues forth from the cranium, passes into the eye and then into the [...]\n\nAs in the previous illustrations, the horizontal and vertical lines intersect above the pituitary fossa at the position of the third ventricle which being the seat of the sensus communis was at the point of confluence of all the senses. Thus the optic, acoustic and other sensory nerves are drawn converging upon this point. The relation of the uvula, believed to be the organ of taste, the heart and the nasolacrimal duct which carried emotions from the heart to be expressed as tears, are considered since their sensations would bear upon the sensus communis.\n\nOf great interest are the representations of the distribution of the anterior and middle meningeal vessels, not only as the first accurate illustrations of these structures, but also because of their fancied role of providing the brain and eye with animal spirits. The meningeal arteries were long regarded as veins. Even Vesalius fell into this error. Other vessels which may be identified are the angular and frontal veins and the emissary vein passing through the mastoid foramen. The frontal vein was regarded as of special importance since according to Avicenna, following traditional Hippocratic practice, this vessel must be selected for bloodletting in the revulsive treatment of pains in the head and disorders of the mind.\n\n# 7 the skull: interior view and saggital suture\n\nfig 1. Lateral view of skull with the left half of the calvaria removed to expose the interior.\n\nFor the significance of the horizontal and vertical lines intersecting at a point just above the pituitary fossa, which was believed to correspond to the \"confluence of the senses\" or sensus communis, cf. below.\n\nfig 2. Sagittal section of skull.\n\nWhere the line a m, intersects the line c b, will he the confluence of all the senses; and where the line r n, intersects the line h f, will be the pole of the cranium, at a third of the base of the head, and thus c b, will be a half.\n\nRemember when you delineate this halved head from within, to make another which shows it from without, turned in the same direction as this, so that you may better understand the whole.\n\nThe anatomical features presented in these two views of the skull require no comment. The real significance of the illustrations is related to mediaeval notions on the relationship of different parts of the brain to mental processes. It will be observed that the point of intersection of the lines mentioned occurs a little above the pituitary or hypophyseal fossa and would correspond approximately to the position of the third ventricle of the brain. It will be observed also that in the second figure the optic nerve is shown emerging from its foramen and terminates at the point of intersection which Leonardo says is the confluence of all the senses. In the materialistic psychology of the middle ages the intellectual faculties were supposed to be contained within the ventricles of the brain. One of these, variously placed, was the so-called sensus communis which received all sensations and especially the \"emanations\" of vision, and thus is called by Leonardo \"the confluence of all the senses\". The ventricle was connected with all the others which housed such functions as fantasy, imagination, judgment, cognition, memory, etc. Leonardo's views as to the position and relations of the sensus communis changed from time to time. A fuller discussion of this subject will be found in connection with 142-3, 145, 147.\n\nThe second feature to be observed is Leonardo's reference to the pole or axis of the cranium. It will be noted that the point of intersection of the second pair of lines mentioned corresponds approximately with the dens of the second cervical vertebra, although the section of the spinal column is purely diagrammatic. There are indications elsewhere that it had been his intention to study the turning movement of the head. The line c b passes through the nasion to extend horizontally backwards, and thus divides the skull, with mandible attached, into approximately equal halves. This would be useful information for his work on bodily proportions.\n\n# 8 the upper extremity\n\nfig 1. Bones of the upper extremity.\n\nThe sinew (nerbo) d [tendon of biceps] is attached midway between the shoulder joint and the tips of the fingers.\n\nThe bone of the shoulder c e [for c d, scapula] is one-third of the length of the bone b c [humerus].\n\nThe greatest length of the scapula (padella) of the shoulder is from n [acromion] to m [inferior angle], and it is equal to the length of the hand from f to a. The hand, f a, measures six-sevenths of the bone a b [radius].\n\nThe bones a b [radius and ulna] are five-sevenths of the length of the bone b c [humerus], the arm remaining extended with the palm of the hand turned toward the sky.\n\nLeonardo was intensely interested in the skeleton of the limbs. As an artist he was concerned with the relative proportions of the several parts of the limbs and usually employs as a unit of measurement the length of the hand or foot. On occasion, as in the text above, he expresses the length of one part in terms of the length of some other part. He fully appreciated the fact that the proportions given were only approximate and subject to individual variation. Of the measurements given, the last is approximately the equivalent of the radio-humeral index. The ratio is stated to be five-sevenths or 71.4 per cent, making the limb brachy-kerkic, with an index less than 75, as commonly found in Europeans.\n\nHowever, the primary purpose of the illustrations on this plate is to show the mechanism of pronation and supination. Thus the two chief muscles concerned with these movements, biceps brachii and pronator teres, are included, although no mention of the action of the muscles is made.\n\nfig 2. Bones of the upper extremity separated.\n\na, is the muscle on the inner side of the arm [biceps brachii], which is attached to the scapula of the shoulder.\n\nYou will first have these bones sawn longitudinally and then transversely, so that one may see where the bones are thick or thin; then display them intact and separated as here above, but from 4 aspects so that one can understand their true shape; then clothe them step by step with their nerves (nervi), veins and muscles.\n\nThe true knowledge of the shape of any body will be obtained by seeing it from different aspects. Consequently, to give a notion of the true shape of any member of man, the first beast among animals, I shall observe the said rule by making 4 representations for the 4 sides of each member, and I shall make 5 for the bones, sawing them in half and showing the cavity of each of them, of which one is the medullary, the other spongy, empty or solid.\n\nThe \"exploded\" view was a method favored by Leonardo to present not only the detailed morphology of the bones but also the relationships of the various parts to one another. Sometimes, as in the illustrations of the ankle joint, he includes leaders to indicate the opposing surfaces. On many occasions mention is made of his intention of including transverse and longitudinal sections of the bones to demonstrate their relative thicknesses and internal structure, but no such drawings have survived.\n\nfig 3. Anterior view of the bones of the upper extremity to illustrate supination.\n\nFirst make this demonstration with the bone called the furchola [clavicle] and then beside it, repeat without the clavicle, that is, like this.\n\na, the sinew or cord, is joined with b, the muscle [biceps brachii].\n\nThe primary purpose of this figure is to illustrate the relationships of the bones of the forearm in supination and the action of the biceps brachii muscle in bringing about this motion. It will be observed that the biceps tendon has been divided, leaving the muscle belly displaced to the medial side and the tendon attached to the radius. As in the preceding drawing, the origins of the short and long heads of biceps are clearly shown, and the muscular portions indicated as though separate. Appearances suggest that Leonardo was exploring, although erroneously, the possibilities that the long head acted as a supinator and the short head as a pronator, cf. fig. 4, where the long head only is shown. The position of the pronator quadratus muscle seems to have been indicated approximately at the distal ends of the radius and ulna. Pectoralis minor, divided into two, is seen passing to its attachment on the coracoid process. For the term furchola, cf. 1.\n\nfig 4. Bones of the upper extremity to illustrate pronation.\n\nWhen the man is standing on his feet with the arm extended, the arm, which has two bones [radius and ulna] placed between the hand and the elbow, will be a little shorter when the palm of the hand is turned towards the earth than when it is turned to the sky. And this is because the two bones mentioned, when the palm of the hand is turned towards the earth, intersect in such manner that that which arises from the right side of the elbow goes to the left side of the palm of the hand, and that which arises from the left side of the elbow terminates on the right side of the palm of the aforesaid hand.\n\nThe bone a b [radius] makes exactly a half turn when the palm of the hand which was turned towards the sky is turned towards the earth.\n\nfig 5. Diagram to illustrate relative shortening of the radius on pronation.\n\nThis line becomes shorter as it is placed in a position of greater obliquity.\n\nThe figure and diagram illustrate pronation. Leonardo attempts to prove that owing to the oblique position apparently assumed by the bones in pronation, the forearm is somewhat shorter in pronation than in supination. His diagram attempts to show why this would occur, but he failed to recognize that the ulna remains relatively fixed and other factors make the shortening negligible. However, the illustrations emphasize his acute interest in body mechanics.\n\nRoth (1907) has criticized this drawing on the ground that the coracoid process is represented as a distinct bone. Apart from the possibility that Leo-\n\n(continued on page 489)\n\n# 9 the upper extremity\n\nHere one demonstrates how much the hand can be turned without moving the bone of the shoulder, and, likewise, one explains the [apparent] increase which occurs in the arm, from the shoulder to the elbow, in complete flexion of the [fore-]arm.\n\nThe above statement placed at the head of the plate requires interpretation. The earlier part of the statement refers to pronation and supination. Leonardo recognized that flexion of the forearm restricts rotation to a half circle while in extension the radius passes through three-quarters of a revolution (cf. 107), hence mention of \"the bone of the shoulder\". The second portion of his statement concerns the descent of the olecranon of the ulna in flexion and is illustrated in fig. 5.\n\nfig 1. The surface features of the shoulder from above.\n\nfig 2. The bones of the lower extremity.\n\nSee what the spondyles n m [lesser trochanters] serve.\n\nThis bone of the tail [coccyx] is folded back when woman gives birth.\n\nFor the use of the term \"spondyle\" as trochanter, cf. 2.\n\nfig 3. Lateral view of the bones of the upper extremity with forearm extended and pronated.\n\nRepresent each member articulated and disarticulated.\n\nThe drawing of the lower end of the ulna is not good. Leonardo seems to have transposed the distal end of the radius to the ulna\u2014an error, perhaps more apparent than real, due to faulty draughtsmanship.\n\nfig 4. Elbow seen from the outer side.\n\nfig 5. Outer aspect of the elbow.\n\nSee what is served by the 2 projections [exostoses] on the inside of the 2 bones of the [fore]arm.\n\nWhen the arm is bent, it is shortened [for lengthened] 3 fingers and a half in the interval between the shoulder and its elbow.\n\nThe arm does not approach the shoulder at its greatest proximity n m, by less than 4 fingers, and this is caused by the thickness of the flesh which is interposed at the jointure.\n\nThe exostosis arising from the interosseous crests of the radius and ulna are evident in both figs. 4 and 5, and may have arisen from trauma, although partial ossifications of the interosseous membrane are not uncommon.\n\nIn the second statement Leonardo refers to the descent of the olecranon from a to b, as indicated, during flexion producing an apparent lengthening of the arm. However, he has erroneously written \"shortened\" which contradicts his statement at the head of the page.\n\nfig 6. The elbow from within.\n\nfig 7. The elbow from within [for anteriorly].\n\nfig 8. The elbow from the inner [anterior] aspect.\n\nfig 9. The elbow from behind.\n\nfig 10. The elbow from behind.\n\nSee what the gibbosity of the arm [deltoid tubercle] at f, serves. And thus for all the other gibbosities in all the bones.\n\nI have examined it and find that the gibbosity f, serves to attach the [deltoid] muscle which elevates the arm; and I note that it will be necessary for me to investigate all the particular uses of each gibbosity of all the bones.\n\nFigs. 6-10 once again illustrate Leonardo's interest in the mechanism of pronation and supination, cf. 8. He now shows pronation in association with both flexion and extension of the elbow. He was aware (107) of the restriction of rotation occurring in flexion and observes that the radius passes through a half circle in flexion but through a three-quarter circle in extension.\n\n# 10 representation of the hand\n\nThe 1st demonstration of the hand will be made of the bones alone. The 2nd, of the ligaments and the various chains of sinews (nervi) which bind them together. The 3rd will be of the muscles which arise from these bones. The 4th will be of the first cords [flexor digitorum profundus] which lie upon these muscles and assist in giving movement to the tips of the fingers. The 5th will demonstrate the 2nd series of cords [flexor digitorum sublimis] which move all the fingers and which terminate on the penultimate bony segments of the fingers. The 6th will demonstrate the nerves (nervi) which give sensation to the fingers of the hand. The 7th will show the veins and arteries which give nourishment and [vital] spirit to the fingers. The 8th and last will be the hand clothed with skin, and this will be illustrated for an old man, a young man and a child, and for each will be given the measurement of the length, thickness and breadth of each of its parts.\n\nfig 1. The hand viewed internally [for dorsally].\n\nFirst represent these hands with their bones detached from one another and a little separated, so that the number and shape of their bones may be clearly understood, internally as well as externally; and represent the ligaments of the bones.\n\n27 bones, that is to say: 8 in the wrist (rasetta), a b c d, e f g h; 4 in the palm K L m n; 15 in the five fingers, i p q r S, o v x y z, 4 7 9 8 6.\n\nAnd I give 3 bones to the thumb as to the other fingers, because there are 3 movable bony segments like the 3 of each of the other fingers of the hand.\n\nfig 2. The hand viewed externally [for ventrally].\n\nIt is necessary to represent as many bones of these hands as may be separated and distinguished from one another, and with the dimensions and shapes of each bone considered fully from four aspects; and you will note the part of the bone united to those surrounding it, and also the part of the bone not united with those surrounding it, and which of them must be moved for the service of whatever action of the hand.\n\nThe first bone of the thumb [metacarpal I] and the first bone of the index finger [metacarpal II} are placed upon the basilar bone [multangulum majus] in immedate support, just as the bone i [metacarpal I] receives the same support from the bone K [metacarpal II] that K, receives from the bone f [multangulum minor].\n\nLeonardo's figures of the anterior and posterior aspects of the bones of the wrist and hand are the first to show these structures with any degree of accuracy. The carpus is designated by the term rasetta which was derived, usually as rasceta, by the translators of Avicenna from the Arabic word rusgh. The term was that most commonly used by mediaeval anatomists and surgeons and persisted to the seventeenth century. The word was also employed for the tarsus. Names for the individual carpal bones were a much later introduction so that Leonardo is unusual in naming the multangulum majus as the os basilare. The source of this term is unknown.\n\nIt will be observed that Leonardo recognizes only four bones in the metacarpus. Here he follows tradition since the first metacarpal was regarded as the first phalanx of the thumb. Galen was the chief support of this view, and since his time a very considerable literature has developed around the question of which bone has been suppressed. Modern evidence suggests that the reduction occurred by fusion of the second with the third phalanx to form the existing terminal phalanx.\n\nfigs 3-4. The finger seen from the side where it can be touched by the adjoining finger.\n\na, is the cord [extensor digitorum] which straightens the flexed finger.\n\ne, is the cord [flexor digitorum] which bends the extended finger.\n\nb, is the vein which nourishes the finger.\n\nd, is the vessel [artery] which gives vital spirit to this finger.\n\nc, is the nerve which gives sensation, etc. This having been cut, the finger no longer has sensation, even when placed in fire; and for this reason careful nature took pains to place it between one finger and the next, so that it would not be cut.\n\nLeonardo frequently uses the word vena to mean either artery or vein. In the then current humoral doctrine the artery carried the vital spirit and the vein, the natural or nutritive spirit.\n\nfig 5. Lateral view of the bones of the wrist and hand.\n\nfig 6. Medial view of the bones of the wrist and hand.\n\nfig 7. Ventral aspect of the forearm and hand.\n\nThe hand with the fist closed has 4 principal motions of which the first is toward the internal [ventral] side of the arm, and the second, toward the hairy side [dorsal] of the said arm; of the other two movements, one is toward the head [abduction] and the other, toward the feet [adduction], or, in truth, one is between the internal [ventral] and external [dorsal] part toward the focile major [ulna] of the arm, the other, between the internal and external part toward the focile minor [radius] of the said arm. After these movements, design the compound movements, which I name compound because they partake of two of the said movements, and these are infinite for they are produced in the whole of space, a continuous quantity, interposed between the said four principal movements. Finally, there is the rotatory movement of the hand [pronation and supination] for which none of the afore-mentioned muscles is employed but only the muscles which move the fociles [radius and ulna] causing the said hand to turn. Finally come the muscles and the cords, movers of the fingers.\n\nThe above passage has every indication of being a paraphrase from the second book of Galen's De usu partium to which has been added Leonardo's own conceptions of a continuous infinity of successive phases of motion lying between the extremes of the principal simple movements of the extremity. This is a subject which he discusses at length in his Trattato della pittura where a statement similar to that above may be found (\u222b402). He developed a \"cinematographic\" theory of body motion which he intended to incorporate\n\n(continued on page 489)\n\n# 11 the lower extremity\n\nIn the margin to the right of center at the top of the plate appears an outline sketch of a hemi-cylindrical structure beside which is the word Accaiolo (properly acciaiolo). This structure represents a fire-stick, two of which could be rubbed together to produce fire. The radius, ulna, tibia and fibula were compared by the Arabs to such fire-sticks, and their term al-zand was consequently translated as focile from the Latin focus, a hearth. Thus the radius and tibia were known as the focile majus or focile superius, and the ulna and fibula as the focile minus or focile inferius. Leonardo's sketch indicates the origin of the word which he sometimes employs in the form fucile as in fig. 6 of this plate.\n\nfig 1. Front of knee.\n\nBelow and to the left of this small illustration of the knee joint may be seen presumably the outline of the patella.\n\nfig 2. Bones of the left lower extremity: anterior aspect.\n\nfig 3. Bones of the right lower extremity: anterior aspect.\n\nfig 4. Bones of the right lower extremity: posterior aspect.\n\nFor the significance of the lettering, cf. Leonardo's note in connection with fig. 8 of this plate.\n\nfig 5. Bones of the right lower extremity: lateral aspect.\n\nfig 6. Bones of the right lower extremity: medial aspect.\n\nRotula. Patella.\n\nFirst make the fucile [fibula] separately.\n\nNote here that the cord [tendo Achilles] which pulls the heel c, draws to the extent that it elevates a man on the base of his foot a, the weight of the man being at the center b; and because the lever b c, is half of the counter-lever b a, so 400 pounds of force at c, make a force of 200 pounds at a, with a man standing on one foot.\n\nIn this series of drawings the femur, tibia, fibula and patella are displayed from various viewpoints with remarkable accuracy in comparison with any earlier figures. In fig. 6, Leonardo once again shows his interest in mechanical principles as applied to the body by comparing the foot to a lever of the second order. Rotula was the vulgar term for patella. It is to be found in all the romance languages and received a Latinized form. The word \"patella\", of better classical origin was, in Leonardo's day, being reintroduced from the works of Celsus.\n\nfig 7. Superficial muscles on the lateral aspect of the leg and thigh.\n\nfig 8. A figure representing the bones of the lower extremity from the posterior aspect, in flexion at the knee joint as when kneeling on the ground.\n\nDescribe what the gibbosity n [lesser trochanter] serves.\n\nThe cord a b [representing the tendon of biceps femoris] and the cord N M [representing semimembranosus] have been provided for the movement occurring on rotation made by the leg below the knee and where it is in contact with the bone of the thigh; that is, when the cord a b, is pulled, it moves with it the side of the leg b, and the opposite cord N M, is elongated, and the side of the bone M, is moved in a direction opposite to the movement of b; and so, when the cord N M, is pulled, it does that which the cord a b, does, which would not occur if the leg were straight as is shown above [fig. 4] in the two cords r S, g h, which when pulled, give no movement to the leg but only attempt to pull, draw together and press the bone of the leg against the bone of the thigh.\n\nGalen in his De motu musculorum was the first to discuss the coordination of reciprocally antagonistic muscles and the function of muscles in the maintenance of posture. The first Latin translation of this work is owed to the great medical humanist Nicolaus Leonicenus (1428-1524) of Ferrara. He began his translation c.1509, but it was not published until 1522 when his famous English pupil Thomas Linacre (1460-1524) saw it through the press of Richard Pynson. It is said that only one manuscript of the work was available at that time so that it is doubtful if Leonardo obtained his ideas, as expressed above, from this source. Piero Pollaiuolo (1443-C.1496) is said to have investigated the mechanical action of muscles through anatomical dissection so that there may have been some verbal tradition from which Leonardo could draw and amplify.\n\nfig 9. A figure representing the bones of the lower limb from the medial aspect in flexion as when kneeling on the ground.\n\nWhen a man kneels the interval between the lower end of the patella and the upper part of the bone of the thigh increases by the full thickness of the patella.\n\nThe patella of the knee a, has [acting upon it] forces of which the first is the [rectus femoris] muscle of the thigh above it; the second and 3rd [vastus medialis and lateralis] are the right and left lateral muscles of the aforesaid; the 4th is the inferior sinew [lig. patellae] joined to the said patella, and it arises from the tuberosity of the tibia (fuso del gamba); the patella has less sensation than any other bone of man.\n\nThe above note sufficiently explains the significance of the drawing.\n\n# 12 the lower extremity\n\nThis magnificent series of drawings of the bones of the foot is completed on 13 and 36, where the remainder appear. In the last plate Leonardo states that the bones of the foot are twenty-seven in number, a departure from tradition since Avicenna, following Galen, states that there are twenty-six. Leonardo obtains twenty-seven by including the two sesamoids lying beneath the metatarso-phalangeal joint of the great toe. Furthermore, he reckons only two phalanges for the fifth toe instead of the typical three. However, reduction by refusion of the middle and terminal phalanges is so frequent that he may well have had such a condition before him. However, he may have been attempting to homologize the thumb with the little toe. This is suggested by the fact that the only bone of the tarsus which he names is the cuboid which he calls the os basilare, the same term employed for the multangulum majus of the carpus supporting the thumb, cf. 10.\n\nfig 1. Medial aspect of foot and ankle.\n\nDraw still another foot from the same aspect to demonstrate how the ligaments and the sinews of the bones [capsules] bind these bones together.\n\nfig 2. Deep dissection of the shoulder joint.\n\nAt first sight the inclusion of a drawing of the shoulder region with the bones of the foot seems to be out of place. The significance of the figure becomes apparent when taken in conjunction with the note accompanying fig. 6 of the series. Its purpose is to show the acromion as a separate ossicle, the summus humerus, lying between the scapula and the clavicle. For the summus humerus, cf. 1, and below. No note identifying the lettered structures is given. However, it is apparent that a, on the left is the infraspinatus muscle turned back; b, on the left, the teres minor which was not recognized as a separate muscle until very much later; a, on the right, the head of the humerus; and b, on the right, the greater tubercle or shaft of the humerus. Other structures nicely shown are the long head of triceps, the supraspinatus, the capsule of the shoulder-joint, the posterior belly of omohyoid, sternomastoid, the upper trunk of the brachial plexus, subclavian artery and other indefinite structures in the posterior triangle of the neck.\n\nfig 3. The bones of the leg and foot: anterior aspect.\n\nfig 4. Dorsal aspect of the bones of the foot.\n\nYou will make these bones of the foot all equally separated from one another so that one can clearly understand their number and shape. And you will make this demonstration from four aspects, in order to understand better the true shape of the said bones from all aspects.\n\nfig 5. Dorso-medial aspect of bones of foot and ankle.\n\nMake the bones of the foot separated somewhat from one another so that one may readily distinguish one from the other, and this will be the means of giving knowledge of the number of the bones of the foot and of their shape.\n\nfig 6. Plantar aspect of the bones of the foot and, Inset figures, the sesamoid bones.\n\nThe glandular bones [sesamoid] are always placed near the termination of the cords when they [the tendons] are attached to the bones. One finds eight of them in the composition of the bones of man; two [acromial bones] in the sinews called the omeri del collo [?trapezius] where these are attached to the upper heads [tubercles] of the bone called the aiutorio [humerus]; and two others [the patellae] in the terminations of the muscles [quadriceps] arising from the alchatin [pelvis] and ending at the knee; 4 in the feet, that is, two for each great toe in the underneath part.\n\nThe sesamoid bones were well known to both classical and mediaeval authors. Avicenna frequently mentions them and notes their relationship to the joints. Leonardo calls them ossi glandulosi or ossi petrosi and appreciates that they are situated at the termination of tendons. In early times there arose among Jew, Christian and Mohammedan a legend of an indestructible bone in the body which was supposed to form a nucleus from which resurrection would occur (Psalms XXXIV:20). This mythical bone was variously supposed to be the petrous temporal, the sacrum or the coccyx. Some held it to be the medial sesamoid of the great toe which received the pseudo-Arabic name of albadaran. Vesalius refers to this with the remark, \"However, any dispute on the dogma which holds that man is propagated from such an ossicle we leave to the theologians, who claim for themselves alone the right to free dispute and opinion on the resurrection and the immortality of the soul\", Fabrica, I:xxviii, 126.\n\nThere are some curious statements in Leonardo's note. He refers to a separate acromion, the summus humerus of tradition, which he illustrated in fig. 2, and which may be an unfused epiphysis of that process. He says it occurs in the omeri del collo, which is possibly the trapezius muscle, but he says this is attached to the numeral tubercles, by which he may have meant the processes about the shoulder since he uses the word aiutorio which can mean the shoulder as well as the humerus. The word aiutorio, an Italianized form of adjutorium, is a literal translation of Avicenna's al-'adid and was the customary term for the upper arm, the shoulder region or for the humerus itself. He correctly classifies the patellae with the sesamoids, but he says these lie in the muscle arising from the alchatin. The word alchatin is also of Arabic origin, but in Avicenna is the lumbar vertebrae, and in Mundinus, the hollow of the sacrum. Leonardo uses sometimes the word to denote the pelvis and at others, the sacrum. Actually the term means the loins and is the equivalent of lumbar. The note suggests that Leonardo regarded the rectus femoris as the main origin of the quadriceps although he shows the vasti muscles arising from the femur. For further remarks on the sesamoids by Leonardo, cf. 13, fig. 4.\n\nfig 7. Lateral aspect of the foot and ankle.\n\nThe aspects of the foot are 6, that is, inferior, superior, medial, lateral, posterior end anterior; and added\n\n(continued on page 490)\n\n# 13 the lower extremity\n\nThe figures of this page are primarily a continuation of the series of illustrations of the bones of the foot shown in the previous plate. The series is completed on 36, which has been arranged with the series on myology although it might as well have been placed here. It is evident that the three plates mentioned were drawn at about the same time except for the figures of the shoulder region which are apparently additions made on some other occasion when the blank areas on the page were utilized.\n\nfig 1. Bones of the foot and ankle from behind.\n\nConstruct the two feet with the same surface (colli) turned in the same direction and do not be disturbed if one remains on the right and the other on the left, for by making them so, they will be more easily understood.\n\nThe lower ends of the fibula and tibia are poorly represented in this figure and appear to have been added as an afterthought. The articular surface of the talus and the peroneal tubercle on the calcaneum are well shown. Leonardo's intentions are not very clearly expressed in his note. Apparently he intended to provide bilateral representations of the feet from the same aspect, and he was not concerned if the feet were transposed in so doing.\n\nfig 2. Surface anatomy of the shoulder region.\n\nThis figure, as may be gathered from the correspondence in pose, appears to belong to the series shown on 36, apparently added to the drawings of the bones of the foot at a later date.\n\nfig 3. Bones of the foot and ankle from the plantar aspect.\n\nFirst you will make all these bones separated from one another, placed in such a way that each part of each bone faces or may be turned towards that part of the bone from which it has been separated and to which it should be united when you restore all the bones of this foot to the original state. And this demonstration is made for a better understanding of the true shape of each individual bone; and you will do the same for each demonstration of each member to whatever aspect it may be turned.\n\nAs in fig. 1, the distal ends of the tibia and fibula are poorly and inaccurately drawn. It will be observed that the medial malleolus is absent. So poor is the representation of the tibia in comparison to other drawings of the same bone, and in contrast to the accuracy of delineation of the tarsus in the same drawing, that we may conclude it was sketched in from memory at a later date. This is borne out by the irregularities and overlap in the shading. Cf. the accuracy in the figure below. The sustentaculum tali and groove on the cuboid for the tendon of peroneus longus are well expressed. It will also be noted that as in all drawings of this series only two phalanges are shown for the fifth toe, indicating that they were probably made from a single specimen.\n\nfig 4. Illustrations of the function of the sesamoid bones at the metatarso-phalangeal joint of the great toe.\n\nNature has placed the glandular bone [sesamoid] under the joint of the great toe of the foot because if the sinew to which this glandular bone is united were to be deprived of this glandule, it would be severely damaged by friction under such a weight as that of man when walking and raising himself up on the joints of his feet at each step.\n\nWhen the potential line of movement passes through the middle of the junctions of movable bodies, they will not be moved but will stabilize themselves in their original straightness as is demonstrated in a n, the mover, which passes through the center of two movable bodies, n m, and m o, and makes them stable [second small figure]. But if the potential line of the mover [b] is outside the central axis of the two rectilinear movable bodies [c d, d e], then if the end of the first or second movable body has a hemispherical shape, the junction of the two rectilinear movable bodies will undoubtedly be angulated at their point of contact [third small figure]. And if the line of the mover [a b c] is outside the junction of two rectilinear movable bodies, then the more distant it becomes from the axis of these movable bodies [through the interposition of a sesamoid bone], the more it will bend their straightness into an angle [c b d], just as a cord does with its arc [fourth and fifth of small figures].\n\nFor a further discussion of the function of the sesamoid bones, cf. 12. The mechanical principles of the effects of such bones are clearly set forth.\n\n# MYOLOGICAL SYSTEM\n\n# 14 myology of trunk\n\nfig 1. Surface features of the muscles of the back.\n\nAlthough the figure is possibly of greater interest to the artist than to the biologist, it is included here to provide an illustration of Leonardo's knowledge of the superficial muscles of the back. It will be observed that the contour of the lower portion of the trapezius muscle is clearly shown. Yet in all the dissection figures Leonardo omits this part of the muscle. On the other hand, the drawing shows exaggerations undoubtedly derived not from the living model but by interpretation of his findings in dissected subjects. It was his intention to include in his anatomy figures illustrating the dynamic action of the body, fully described in his note accompanying 10.\n\n# 15 myology of trunk\n\nfig 1. Surface modeling of the muscles of the back and extensor aspect of the upper extremity.\n\nfig 2. Surface modeling of the muscles of the back and upper arm.\n\nLeonardo's figures illustrating the surface modeling produced by the underlying muscles were doubtless intended for the instruction of artists. One would judge that they were not drawn entirely from the living model since they reflect features derived from his method of dissection. Thus we observe the deltoid muscle divided into several distinct elements indicating the artificial divisions which he made with the knife, cf. 47. These exaggerations are frequent in studies of this type. However, Leonardo was aware of the differences in surface contours produced by accumulations of fat and intended to illustrate these differences as indicated in the note below.\n\nThe most prominent parts of thin individuals are most prominent in the muscular and likewise in the fat. But the difference which exists in the shape of the muscles of the fat as contrasted with the muscular will be described below.\n\nThe remaining notes are memoranda outlining future procedures.\n\nYou will make the rule and the measurement of each muscle and give the reason of all their uses, in what manner they work and what moves them, etc.\n\nFirst make the spine of the back; then clothe it step by step with each of these muscles, one upon the other, and put in the nerves, arteries and veins to each individual muscle; and in addition to this, note to how many vertebrae they are attached, and which intestines are opposite to them and which bones and other organic instruments, etc.\n\nThe phrase \"organic instruments\" is Galenical and had special meaning to mediaeval anatomists, corresponding approximately to present concepts of functional systems. Thus the eye was regarded not only as an organ but when taken together with all structures pertaining to it, constituted the instrument of sight.\n\n# 16 myology of trunk\n\nThe figures on this plate should be followed from right to left since, as was Leonardo's custom, they are numbered in this direction and represent successive steps in the same dissection from the more superficial to the deeper structures. Many of the notes, although placed in close relation, do not refer to the figures, but contain general observations. They have, therefore, been rearranged slightly for the convenience of the reader.\n\nAt the top of the page and in the margins appear the following general notes.\n\nCommence your anatomy with a man in his prime: then show him old and less muscular; then proceed step by step to strip him down to the bones.\n\nAnd then do it in the child with a demonstration of the womb.\n\nDescribe and sketch the internal muscles of the neck included between the spine and the oesophagus (meri).\n\nLeonardo was greatly interested in the anatomy of the aged and made several illustrations of his findings, cf. 129, 183. Likewise he illustrated the foetus in utero on several occasions. No drawings, if ever made, have survived of the prevertebral muscles. The term meri was of Arabic origin and long customary until replaced by stomachus and finally by oesophagus.\n\nEach muscle moves the member to which it is attached in the line of the fibres of which that muscle is composed.\n\nIn all the parts where man has to work with greater effort, nature has made the muscles and cords of greater thickness and width.\n\nfig 1. The first demonstration of the superficial vertebro-scapular muscles.\n\nWhen you have made the muscles which serve the movement of the scapula, elevate the scapula and draw the 3 muscles n m o [serratus posterior superior] which serve only for the use of respiration.\n\nIt is curious that Leonardo nearly always represents the trapezius muscle incorrectly. The lower half of the muscle is either omitted or, as in this figure, shown inserting into the vertebral border of the scapula. Since this is the first of five figures designed to show the successive layers of muscles, it is difficult to understand how he could have failed to observe the true insertion of the lower portion of the trapezius when the muscle was reflected. This same error is repeated in the cord diagram below, fig. 7. Numerous errors of this sort suggest that the drawings were not always made directly from the dissection but were, perhaps, outlined at the time and completed from memory. The serratus posterior superior muscle designated n m o, is shown in fig. 3.\n\nfig 2. The second demonstration of the deep layer of vertebro-scapular muscles.\n\nFirst make the sinews which are under the scapula, attached to the ribs, and then place the scapula over them, and represent all the cords.\n\nThe posterior belly of the omohyoid, the levator scapulae noted by the letters a b, supraspinatus, infraspinatus and teres minor are well shown. The letter c, marks the base of the scapular spine and the middle of three muscle slips which probably represent rhomboideus minor and major, although the upper most of these is somewhat too high. Covering the inferior angle of the scapula is a muscle which may be a portion of latissimus dorsi or the teres major, but no certain identification can be made.\n\nfig 3. The third demonstration of the deep muscles of the back.\n\nThe 3 muscles n m o [serratus posterior superior] of the 3rd demonstration elevate and spread the 3 ribs for the benefit of respiration, and especially when man stands stooped, and the 3 ribs draw with them the 4 others below.\n\nThe three muscles n m o, placed parallel to the ribs serve to support the ribs with the weight of the shoulder and also the neck when it is bent to the right and to the left.\n\nn m o, are three muscles which pull the cords attached to the vertebrae (spondili) of the neck; and as the vertebrae cannot come towards the muscle, the muscle, together with the rib to which it is attached is elevated towards its vertebra, and this is the cause of the rotation of the chest when one is seated.\n\nDescribe how the recurrent nerves (nervi reversivi) serve the 3 muscles n m o.\n\nThe 3rd demonstration: the muscles which terminate in the vertebrae are in continuity with those of the 4th demonstration [fig. 4], and this serves the lateral motions of the head, and they are attached to the vertebrae to enable the head to be turned from side to side.\n\nThe muscles m n 0, are presumably the serratus posterior superior, the digitations of which have been separated. Leonardo regards the muscles as important in respiration but here as elsewhere (17) gives no reason for supposing that they help to stabilize the vertebrae to which they are attached. At times he seems to have confused them with the scalene muscles, hence it is not difficult to understand why he thought they were supplied by the recurrent nerves, by which is meant the vagi. Other structures clearly indicated are the posterior belly of the omohyoid and the upper trunk of the brachial plexus.\n\nThe final note pertaining to the illustration concerns the series of antagonistic muscles acting on the vertebral spines, as will be discussed in the remaining figures.\n\nfig 4. The fourth demonstration of the deep muscles of the back.\n\nEach cord attached to the vertebrae has another cord as an opponent which supports that vertebra.\n\nOnce again reference is made to the action of antagonistic muscles which are shown attached to the vertebral spines in figs. 3-5. The theme is developed below.\n\nIt is quite impossible to identify with any certainty the deep muscles of the back here illustrated. Even Vesalius refers to them as a \"chaotic mass\". Following the order of Leonardo's dissection it might be hazarded that, from above downwards, semispinalis\n\n(continued on page 490)\n\n# 17 myology of trunk\n\nThe notes and figures on this page largely supplement and extend the observations made on the function and action of the muscles of the back, found on 16. Leonardo was greatly concerned as to whether these dorsal muscles extending from the cervical vertebrae to the rib were related functionally to the mechanism of respiration or to the stabilization of the cervical spine and thus, indirectly, to the support of the head. He returns to the idea, as illustrated, in 18, that these muscles support the head and neck like \"the mast of a ship with its stays\", and he provides in figs. 2-3, diagrams showing why he adopts this view. The order of the notes has been rearranged somewhat to maintain the continuity of Leonardo's thought.\n\nOF THE DEMONSTRATION ON HOW THE CERVICAL SPINE IS STABILIZED.\n\nIn this demonstration of the neck as many figures of the muscles and cords will be made as are employed in the actions of the neck. And first, as here noted, is how the ribs with their forces maintain the cervical spine upright, and how, by means of the cords which ascend towards the spine, these cords serve a twofold office, that is, they support the spine by means of the ribs and support the ribs by means of the spine. And this duplication of powers, situated at the opposite extremities of such a cord, acts through this cord no differently than a cord acts through the ends of a bow. But such a convergence of muscles on the spine holds it erect just as the ropes of a ship support its mast and the same ropes, tied to the mast, also support in part the framework of the ships to which they are attached.\n\nfig 1. Diagram of the dorsal muscles of the spine to demonstrate their dual action in support of the spine and in respiration.\n\nThe muscles illustrated are difficult to identify with any certainty since the figure is largely diagrammatic, but by comparing this figure with those of 16, it is probable that the three upper pairs represent serratus posterior superior and the lower group, spinalis thoracis, cf. 16, figs. 3, 5.\n\nAll these muscles are to elevate the ribs, and the elevation of the ribs is dilation of the chest, and the dilation of the chest is the expansion of the lung, and the expansion of the lung is the inspiration of the air which enters through the mouth into the increased capacity of the lung.\n\nIn addition, these same muscles hold the cervical spine erect when the power of the inferior muscles which arise from the sacrum (alcatin), dominates. When the latter muscles, which terminate on these ribs, come into action, they are qualified to resist and to support the roots of the muscles which hold the neck upright.\n\nLeonardo clearly expresses the opinion that the sacro-spinalis and ilio-costalis muscles act as synergists or fixation muscles in passing from the pelvis to the ribs. By stabilizing the ribs the upper dorsal muscles are provided with a firm foundation from which to act in supporting the neck. The term alcatin or alchatim, of Arabic origin, was variously used to mean the loins or lumbar vertebrae, the sacrum or the pelvis. In Avicenna the term refers to the loins or lumbar structures, but in Mundinus to the sacrum or its hollow.\n\nfigs 2-3. Diagrams comparing the cervical spine and vertebro-costal muscles to the mast and stays of a ship.\n\nIn fig. 2, the last two cervical vertebrae and first thoracic, together with the first ribs extending anteriorly to the sternum, are shown from the posterior aspect: a b, and a c, are a pair of muscles passing from the angle of the rib to the spine of the sixth cervical vertebra, a. a d, is an imaginary line passing on either side from a, to the point of greatest curvature of the rib. The first thoracic vertebra is lettered r.\n\nFig. 3, is the mast of a ship supported by stays a m, a n, lying almost parallel to the mast, and stays a b, a c, set at an angle of approximately 55 degrees to the base.\n\nON THE MUSCLES ESTABLISHED FROM THE RIBS AS DRAWN ABOVE.\n\nI have long wondered, and not without reason, whether the muscles [serratus posterior superior] which are established under the scapula above the 3rd, 4th and 5th ribs on the right, and also on the left side, are made for the purpose of holding erect the cervical spine to which they are attached by their cords, or whether these muscles on shortening are drawn together with the ribs towards the nape of the neck by means of the aforementioned sinews attached to the said portion of the spine. Reason moves me to believe that these muscles are the stays of the spine so that it is not bent in having to support the heavy head of man when it is lowered or elevated, for the help of which the muscles of the shoulders or of the clavicles do not serve, seeing that man will relax these muscles arising from the shoulders and clavicles when he raises the shoulders towards the ears and removes the force from his muscles. By this relaxation and shortening the motion of the neck is not lacking and the resistance of the spine for supporting the head is not impeded. I am further convinced in this opinion by the very strong contours possessed by the ribs in the region where these muscles are situated, which is well adapted to resist any weight or force which would pull the cord a b [in fig. 2] in the opposite direction. This cord in pulling against [the portion of] the rib b r, stabilizes it more strongly at the point r [first thoracic vertebra], and if this cord had to elevate the rib for the service and augmentation of respiration, nature would not have placed the cord at the obliquity a b, but at the greater obliquity a c [for a d; the line extending to the point of maximum curvature of the rib]. Read the propositions placed below [the figures] in the margin which are concerned with this matter, etc.\n\nThe \"proposition\" and its corollary placed in the margin beneath figs. 2-3, read from right to left as follows:\n\nThe cords with greater ease prevent the fall of the\n\n(continued on page 490)\n\n# 18 myology of trunk\n\nThe series of diagrams on this page are concerned with the supposed action of the muscles in stabilizing the vertebral column to permit the various movements of the head. This is expressed in Leonardo's note at the head of the page.\n\nYou will first make the cervical spine, without the skull, with its cords like the mast of a ship with its stays; then make the skull with its cords which give it its motion upon its axis.\n\nThe ideas here illustrated are more fully developed in 16, to which this plate is complementary although of earlier origin. The second note at the top, right-hand corner of the page reads: Each vertebra of the neck has ten muscles attached to it. The identical statement is found in 16, where the five pairs of muscles are illustrated. On the bottom, left-hand corner occurs the following: O speculator on this machine of ours, let it not distress you that you give knowledge of it through another's death, but rejoice that our Creator has placed the intellect on such a superb instrument.\n\nfig 1. Diagram of a vertebra and attached tendon.\n\nThis small diagram crudely represents a vertebra with four tendons attached to its spine. It is intended to illustrate the notion that each vertebra is stabilized by the interaction of contra-lateral muscles. This view is further expressed in fig. 4.\n\nfig 2. Small, rough sketch of skull and upper spinal column from behind.\n\nfig 3. Small, rough sketch of skull and upper spinal column: antero-lateral aspect.\n\nfig 4. Cord diagram of tendons attached to a vertebral spine.\n\nn, is a vertebra of the neck to which is attached the origin of 3 muscles, that is, of 3 pairs of muscles which are in opposition to one another so that the bone whence they arise may not be broken asunder.\n\nLeonardo shows four, not three, pairs of muscles attached to the vertebra. Elsewhere, as in his note at the top of the page, he states that there are five pairs or ten in all. He believes that a series of antagonistic muscles is necessary to prevent displacement of the vertebra in the various movements of the head and neck. The tendon with the bulbous extremity representing the muscle belly is undoubtedly his favorite muscle, the serratus posterior superior, as may be gathered by comparison with the illustration of 16.\n\nfig 5. Cord diagram of the muscles of the head and neck.\n\na b [approximately semispinalis capitis] are muscles holding the skull upright, and so do those c b [sternomastoid] which arise from the clavicle [and are] joined to the mastoid (pettine) by means of longitudinal muscles.\n\nIn the 2nd demonstration delineate which and how many nerves there are giving sensation and motion to the muscles of the neck.\n\nWritten on the left scapula: Width... at the shoulders. In this rough figure the muscles are represented by cords or \"linen threads\" and, therefore, only approximate. However, on comparison with 16, the upper portion of trapezius, semispinalis capitis and sternomastoid muscles are intended. The idea of a mast supported by shrouds upon which the head moves is suggested. The figure is very crude. It will be observed that the scapula possesses no spine or acromion, the ribs are attached to the eleventh vertebra, and the sternum is represented by seven segments. Although the figure is obviously diagrammatic and drawn to show the supposed action of muscles rather than bones, nonetheless some of the errors are of a traditional nature and indicate how powerful was this tradition in the absence of the osteological specimens themselves. When drawing from memory, as in this figure, Leonardo frequently makes errors of this kind reflecting, in comparison with other figures, the difference between what he saw and what he read.\n\nThe term pettine is used elsewhere with the meaning \"pubis\" or \"pelvis\", but here obviously the mastoid process is intended. Vangensten, Fonahn and Hopstock (1911), MacCurdy (1939), and other editors render this passage incorrectly. Of course pettine may be a lapsus calami for poppa, the nipple.\n\n# 19 myology of trunk\n\nThe widely spaced writing of the notes accompanying the figures is also found in 21, 22, and 23, which suggests that the illustrations belong to one and the same series which is confirmed by the fact that all deal with the superficial muscles of the trunk. The style is that of a late period, c.1506.\n\nfig 1. Superficial muscles of the trunk: lateral aspect.\n\nThe latissimus dorsi muscle is indicated by the word superior, i.e., above or superficial to the serratus anterior, the digitations of which are lettered n, m, o, p, q. On the upper portion of the external oblique muscle is the letter a, and the lower portion of the same muscle is indicated by the letter b, concealed in shadow. The accompanying note apparently describes the attachments of the external oblique and especially the distribution of its fleshy portion, but the attachments are incorrectly given owing to a failure to define the posterior border of the muscle. The note reads:\n\nThe muscle a b [external oblique] has a fleshy termination under the arm, in its upper and lateral part or inferiorly, in the flank, behind, in [the region of] the bone of the spine, and in front, longitudinally with the middle of the body [as seen from the lateral aspect, cf. figure]. Behind, it terminates in the vertebrae of the spine.\n\nThe serratus anterior muscle and its interdigitation with the external oblique of the abdomen is described as follows:\n\nThe muscles n m o p q [serratus anterior] are placed upon the ribs, and with their angles they are blended into a short, thick cartilage [costal cartilage] and are united with the ribs. Where they are placed other muscles immediately arise, that is to say, a m n [upper portion of external oblique] and that which is shown appears when the skin has been removed.\n\nfig 2. Sketch to show the intercostal muscles after reflection of a portion of the external oblique.\n\nCareful study of the figure and Leonardo's note suggest that the external intercostal muscles of the lower four spaces have been revealed by removal of the costal origin of the external oblique.\n\na b c [external intercostals] is covered by the muscle a [external oblique] above in the 2nd demonstration.\n\nfigs 3-4 Outlines probably of the rectus abdominis seen in profile as originally drawn and as corrected.\n\nThe note reads: a b c, is the concavity of the old\n\nmuscle.\n\nc d f, is the new.\n\nThese outlines should be compared with that of the rectus abdominis as seen in fig. 1. It will be observed that the figure has been corrected to follow the second of these two diagrams. Two additional notes of a general nature are included. The first refers to the aponeuroses and tendons of the muscles on the lateral aspect of the trunk and to the longitudinal muscles of the anterior aspect.\n\nAll the muscles which arise from the body are converted into membranes (panicholi), which membranes are in continuity with the opposite muscle passing over the lower venter [abdomen], as are the transverse and oblique muscles. But the longitudinal or straight muscles [rectus abdominis] are fleshy from the height of the xiphoid process (porno granato) to the pubis (pettine). The muscle of the breasts [pectoralis major] which arises from the entire middle of the thorax and terminates in the bone of the shoulder, when it has passed some distance under the breasts, is transformed into membrane and [this membrane] clothes all the body.\n\nIt was a commonplace for the mediaeval anatomists to divide the trunk into an upper venter, the thorax, and a lower venter, the abdomen. Such a division, introduced by Mundinus, had practical importance. In an age when preservatives were unknown, the \"order of an anatomy\" was to attack the lower venter and its most corruptible organs first, followed by the upper venter and then the brain in a three day session. For the curious origin of the term porno granato, meaning xiphoid process, cf. 23.\n\nThe second general note deals with a favorite subject of Leonardo, namely the arrangement and disposition of the subcutaneous fat.\n\nNote how the flesh increases upon the bones as one grows fat and how it diminishes as one becomes lean, and what shape it assumes, and what [...]\n\n# 20 myology of trunk\n\nThe figures on this page should be followed from right to left and are so numbered.\n\nfig 1. Superficial muscles of the shoulder, trunk and leg: lateral aspect.\n\nAlthough depicting the superficial muscles of the greater part of the body, the accompanying notes chiefly concern the anatomy of the thigh. It will be observed that the trapezius muscle has been removed in the upper extremity. In the abdomen the external oblique muscle is shown interdigitating with the serratus anterior and is labeled by the letter m, placed in the lower right quadrant to indicate the bulge which Leonardo says is produced by the caecum on the right and the colon on the left. In the thigh several structures are indicated by letters as follows: n, the greater trochanter called ascia, a term possibly from the mediaeval scia meaning the acetabulum and sometimes, the hip; r, the upper end of sartorius; a, tensor fasciae latae; b and c, gluteus medius shown as two muscles; d (like the numeral 4), gluteus maximus; e (like the letter D), vastus lateralis; h, a portion of the ilio-tibial tract. It is difficult to explain the inaccuracies of representation of the muscles of the gluteal region. The notes on the illustration read as follows:\n\nThe point n [greater trochanter] is always found in the well-proportioned to lie opposite the fork of the thighs.\n\nThe bulging of the flank at m [iliac region] is of skin and thin flesh but is made to project by the colon on the left and by the caecum (monoculo) on the right.\n\nThe term caecum (Greek  ) means blind gut, a term which the Arabs found inappropriate and, since it had an opening, renamed the one-eyed gut (al-a'war) which the translators rendered with the word monoculum.\n\nThere are as many layers (panniculi) which, one upon the other, invest the bony joints as there are muscles which join together at the end of each bone.\n\nThis statement is repeated in the note accompanying fig. 2, of 61 where the meaning is more clearly expressed.\n\nThere are four muscles which descend from the haunch (anca) m, and which end at the trochanter (ascia) n; they are the muscles a [tensor fasciae latae], b [anterior portion, gluteus medius], c [posterior portion gluteus medius], d [gluteus maximus]; the muscle e [vastus lateralis] arises at the trochanter n, and is attached to the entire length of the bone of the thigh.\n\nSuddenly as though overcome by the complexity of the body and the wonder of its construction, Leonardo interjects in the middle of his discussion the remark: He who finds it too much, let him shorten it; he who finds it too little, add to it; he for whom it is sufficient, let him praise the first builder of such a machine.\n\nLeonardo then continues with his anatomical notes: h [region anterior to ilio-tibial tract] is attached to the skin to a greater degree than e [vastus lateralis and ilio-tibial tract] or any other part.\n\nThere should be five views of this figure; that is, anterior, posterior, lateral, and one which contains a lateral view and the back [i.e., postero-lateral] and one which contains a lateral and the chest [i.e., anterolateral].\n\nWhen the two muscles a [tensor fasciae latae] and r [sartorius] pull, the leg is carried forwards and the 2 muscles b c [gluteus medius] are relaxed and d [gluteus maximus] is elongated; and describe this rule on the action of all the muscles and you will be able to reconstruct, without seeing the living, almost all the actions without error.\n\nTo the left of the upper portion of fig. 1, appear a series of small sketches surrounded by text, which were intended as a series on the structure of individual muscles. The series is introduced by the following statement: Describe each muscle by itself, its shape, the regions where it terminates, and its substance; and see that this is not lacking and carry it out like those I have displayed below [figs. 3-8].\n\nfigs 2-3. Sketches of the tensor fasciae latae muscle: anterior and posterior aspects.\n\na b [in fig. 2] is a thin, broad cord, and in its upper part it ends with the bone of the flank [innominate].\n\nb c, is a fleshy muscle, and it is round outwardly and obtusely angular internally in this way [fig. 3], and its filaments run together at the termination and origin of this muscle.\n\nc d, is a rounded cord; it arises from the lower end of the muscle and terminates in the fascia which binds the knee.\n\nfigs 4-6. Three small sketches illustrating a muscle receiving its nerve and vascular supply, the nerve plexus of a muscle dissected out, and the vascular tree of a muscle.\n\nWith reference to fig. 4, Leonardo identifies the various parts both functionally and anatomically following Galenical tradition.\n\no, the sensibility; nerve.\n\nm, the force; cord.\n\nS, the nutriment; vein.\n\nt, the spirit; artery.\n\nc, the movement; muscle.\n\nOther structures lettered but not mentioned are h, a branch of the nerve, and k, branches of the vessels. Above these figures he writes: The nerve always enters the muscle at its thickest part and directs its ramifications towards the cord which arises from this muscle. The note expresses the then current belief, derived from the Greeks, that the nerve eventually became the tendon so that both were called nervi. This idea survives in the modern term aponeurosis.\n\nBelow the figures is the reminder: Sketch first the shape of the muscle with its cords, then show in this muscle [as in fig. 4] the position of the arteries, cords [i.e., nerves] and veins, and finally speak of its necessary government.\n\nAnd first make [as in figs. 5-6] the tree of these nerves, veins and arteries.\n\nfigs 7-8. Two sketches of the tensor fasciae latae muscle: posterior aspect.\n\nIt was intended that these figures supplement or replace fig. 3. In the first, the \"obtusely angular\" shape\n\n(continued on page 491)\n\n# 21 myology of trunk\n\nThe widely spread writing appears on 19, 22, 23, indicating that these several drawings were executed about the same time, c.1506. It is also evident from the arrangement of the page that the notes in smaller hand were added later. Since these later notes do not refer directly to the figures but are concerned with the general subject of respiration, they have been placed at the end.\n\nfig 1. The pectoralis minor and external intercostal muscles.\n\nThe pectoralis minor is indicated by the letter b, and its insertion, by n. The purpose of the illustration is to show the function of this muscle as an accessory muscle of respiration, b [pectoralis minor] terminates above at the beginning of the humerus and is the support of the ribs and of the thorax of the chest.\n\nfig 2. Superficial muscles of the anterior abdominal wall and thorax.\n\nThe pectoralis major muscle is identified by the letters a c d. Pectoralis minor, indicated by b, and the dotted lines, is carried too low. In fig. 1, the origin of this muscle is correctly shown. What appears to be the external oblique is, as may be gathered from the note, either the deep fascia or possibly the tendon of the oblique. So erroneous are the details as to suggest once again that the drawing was made from memory and not from a dissection. For the curious use of the term pome granato below, to mean xiphoid process, cf. 23.\n\nThe muscle a [pectoralis major] supports the breast and descends fleshy as far as the 7th rib, at the side of the xiphoid process (pome granato). Then having been converted into membrane, it proceeds to cover the entire lower venter [abdomen] and terminates by uniting with the pubic bone (pettine). This muscle of the breast is composed of several muscles [fasciculi] all of which arise over the entire thorax and run together and terminate in the part [of the muscles, incompletely erased] of the humerus.\n\na d c [pectoralis major] terminates in the bone of the shoulder and arises in the middle of the thorax. Below, it does not extend to cover b [pectoralis minor], marked above [in fig. 2], except by its cartilage [tendon] with which it covers the entire lower venter and terminates in the flank and in the pubic bone.\n\nLeonardo did not fully appreciate the action of extrinsic muscles of the thorax as accessory muscles of respiration. His difficulties are evident in the accompanying note. On the maximum elevation and depression of the shoulders which interfere with the motion of the ribs.\n\nBecause the maximum elevation and depression of the shoulders by means of the muscles of the neck, which are stabilized in the vertebrae of the spine, when the shoulders are raised, impedes the movement of the ribs in their descent, and when the shoulders are depressed, impedes the movement of elevation of the ribs. Nature for this reason has provided the muscles of the diaphragm which depress this diaphragm at its concave middle. The elevation [of the diaphragm] arises from the air compressed and contained in the intestines\u2014air which arises from the dessication of the faeces which give off vapors. When the elevated shoulders pull up the ribs by means of the muscle b [pectoralis minor in fig. 1], then the diaphragm by simply moving through the medium of its muscles performs the office of opening the lung. The compressed intestines with the condensed air which is generated in them, thrust the diaphragm upwards; which diaphragm compresses the lung and expresses the air.\n\nLeonardo's plan for the representation of the muscles of respiration is contained in his memorandum: The demonstration of the rib cage requires first merely the ribs, bare, with spaces open; then the [intercostal] muscles which are joined to their borders and by which they are connected together; then the muscles [serratus anterior, etc.] which are imbricated upon them, serving the movements of expansion and contraction of these ribs; in addition, the other muscles interwoven upon the aforesaid muscles at different angles; serving for various movements.\n\n# 22 myology of trunk\n\nThese figures are part of a series which includes 19, 21, 23.\n\nfig 1. Muscles of the abdominal wall: external oblique muscle.\n\nThe external oblique muscle is indicated by the word superior, i.e., the superficial muscle. Leonardo occasionally refers to the muscle as the oblique, a term which had long been in use. Below the figure, the origin of the external oblique is given by the words, Arises in the spine, an error which is repeated elsewhere. The muscle is described in the note as follows:\n\nThe first muscle [external oblique] of the lower venter [abdomen] arises in its superior part from the 6th rib of the chest and terminates towards the arm, in the manner of a saw, in the muscles [serratus anterior] which arise upon the ribs. Having been converted into cartilage [i.e., tendon], it terminates below in the bone of the flank [ilium] as far as the pubis (pettine).\n\nFor the significance of the term lower venter, cf. 19.\n\nfig 2. Muscles of the abdominal wall: internal oblique muscle.\n\nThe internal oblique is indicated by the letters n m. However, it should be recognized that Leonardo did not always distinguish the internal oblique from the transversus abdominis but evidently took them to be one; an error not difficult to understand since the fasciculi of the lower portion of the internal oblique are transverse and parallel to those of the underlying muscle. He usually calls the double muscle, the transverse lying on the peritoneum, as mentioned in the caption placed below the figure. It terminates upon the sifac [peritoneum]. The term sifac, of Arabic origin, meant \"membrane\" and although commonly signified the peritoneum as in Mundinus, it was occasionally applied to other membranes such as the dura mater, the pericardium and periosteum.\n\nThe accompanying note to the above figure reads: The muscle n m [external oblique] is the inferior [i.e., deep] transverse which arises in the vertebrae, behind the umbilicus, passes through the soft parts of the flank and terminates in the penultimate false rib. It is converted into cartilage [i.e., tendon] upon the longitudinal muscles [rectus abdominis]. It goes fleshy as far as the mons veneris (pettigone).\n\n# 23 myology of trunk\n\nThese figures are part of the series 19, 21, 22.\n\nAt the top of the page is a general note on the fascial sheaths of muscles and on the formation of aponeuroses and tendons. The note appears to have been added later. All the muscles of the body are ensheathed by a very thin cartilage [i.e., membrane], and then they become converted into thicker cartilage [i.e., tendon], and in that their substance terminates.\n\nfig 1. The muscles of the abdominal wall: transversus and rectus abdominis muscles.\n\nThe transverse abdominal muscles are indicated by the letters a b, and described in the note, a b [transverse abdominales] are the final latitudinal muscles; the membranes [aponeuroses] into which they are converted pass at right angles under the longitudinal muscles a m [recti abdominales].\n\nThe function of the transverse muscles is described thus: The transverse muscles squeeze the intestines, but not the longitudinal, because if it were so, man when he stands bent and relaxes these muscles, would not have the power to perform the office of squeezing [the intestines]. However, the transverse [muscles] never relax when man flexes himself but rather they are stretched.\n\nThe recti abdominalis muscles are well shown and their tenuous inscriptions accurately placed.\n\nThe muscles n r S h [rectus abdominalis] are 4, and they have 5 cords and were not made of a single piece like the others so that each would be shorter; for where there is vitality with thickness there is strength, and where there is so great a range of movement there it is necessary to divide the mover into several parts. Its greater extension exceeds the lesser extension by the third part of one of his arms and by as much more as he makes a greater hollow in the arch of his spine, as is seen to occur in those contortionists who bend themselves so far backwards that they join their hands with their feet. This excess [of movement] arises from the greater proximity of their feet to their hands. These muscles are made in two rows, that is, right and left, from the necessity of bending to the right and left.\n\nfig 2. The muscles of the abdominal wall: posterior sheath of the rectus and aponeurosis of the transversus and internal oblique muscles.\n\na b [posterior sheath of rectus abdominis] is entirely cartilage [i.e., tendon] which confines the sifac [peritoneum] and arises from the fleshy muscles c d [transversi abdominales]. These muscles enter under the ribs and are the latitudinal muscles. They arise from the bone of the spine and it is these alone which squeeze the superfluities out of the body.\n\nUpon the membrane a b, descend the longitudinal muscles n m [recti abdominales] mentioned above [fig. 1], which arise from the last [true] ribs at the side of the xiphoid process (pome granato) and end below in the pubis.\n\nThe transverse muscles c d, are those which on contraction, constrict and elevate the intestines, and push the diaphragm upwards and drive the air from the lung; afterwards, on relaxation of these muscles, the bowels descend, draw down the diaphragm and the lung opens.\n\nFor origin of sifac, cf. 22. The term pome granato for xiphoid process has been shown by P. de Koning (1903) to have resulted from an error of the translator of Avicenna. The Arabic word for xiphoid was khanjara which means sword-like and thus the exact equivalent of the Greek xiphoeides. However, the first letter, kh, can only be distinguished from h by a diacritic dot so that the translator, Gerard of Cremona, apparently read hanjara which means larynx. This was rendered in the Latin Avicenna as cartilago epiglottalis, the term applied not to the epiglottis but to the larynx. The common synonym at this time for epiglottis was pomum granatum, thus transferred to the xiphoid.\n\n# 24 myology of trunk\n\nfig 1. The transversus abdominis muscle.\n\nThe transverse muscles a b c d, are those which cause the compression of the intestines; and the proof of this is that when the intestines are compressed by this cause, the angles of the soft flesh n m, are [?made evident].\n\nfig 2. Diagram of the action of the external oblique (or possibly recti) and sacrospinales muscles in flexion and extension.\n\nOf the four longitudinal muscles, the upper and lower attachments are of equal height and depth, but the posterior ones [sacrospinales] are stronger because it requires greater exertion to straighten the body from the side where it bends more [flexion] than where it bends less [extension]; and because it bends little backwards, the anterior muscles experience little exertion in straightening it, which does not happen when it bends forwards.\n\nThis and the final figure of the series showing the crossing of the oblique, or possibly recti, muscles are undoubtedly derived from traditional sources. Almost identical figures are to be found in Pietro d'Abano's Conciliator differentiarum philosophorum et praecipue medicorum, Venice, 1496, obtained from a later interpretation of the statements of Mundinus. The crossing of these muscles is also shown where they evidently represent the recti abdominales confused with the obliques. We may, therefore, conclude that these figures are an early example of Leonardo's work. Clark dates the drawing c.1505 which is probably a trifle too late since other drawings of around this period show the oblique and recti muscles correctly.\n\nfig 3. The sacrospinales muscles.\n\nfig 4. The external oblique, or possibly recti abdominales muscles.\n\nLike fig. 2, further diagrams of the presumed action of these muscles in flexion and extension of the body.\n\nIt follows that the proper motion of each of the two longitudinal muscles [recti or oblique] placed anteriorly in the body of man is to make the body move in an oblique motion; that is, when the anterior longitudinal muscle [a, in fig. 4] having arisen at b, on the right side and ending at c, on the left side, does its work, then the right shoulder inclines towards the left thigh and thus makes an oblique motion like the obliquity of its mover b c. Then the posterior longitudinal muscle [sacrospinalis in fig. 3] having arisen from ninth vertebra of the back [T.IX] on the right side and terminating in the right flank, comes to be stretched, and the left [muscle] shortens itself, because the obliquity is made straight. Hence the two anterior and posterior muscles serve the oblique inclination of man and its counteraction. When one shortens, the other lengthens, etc.\n\nIt follows that when the said muscles employ their force equally then the movement of man is equal flexion. This movement will be equidistant from the right and from the left, and the shoulders will be equidistant from the ground. This is proved in the 4th [book] which says that the motions (and the motions of its mover) will be equal which are performed in equal time.\n\nAt the head of the page Leonardo has penned a dictum reading: Every muscle uses its force in the line of its length.\n\n# 25 myology of trunk\n\nThe figures and notes on this page deal for the most part with the mechanics of respiration and appear to be preliminary studies leading to the ideas expressed on 27, 32, on the relative parts played by the intercostals muscles and the diaphragm.\n\nfig 1. The costal cartilages of the lower ribs.\n\nThe costal cartilages of the eighth to the tenth ribs are shown united for their common attachment at a. The cartilages of the eleventh and twelfth ribs are indicated as free by the letter n. The accompanying note appears to have been deleted by the oblique line running through it.\n\nThe connection (introito) which the lower end of the ribs, converted into cartilage, make one below the other, like a piece of rope, occurs only to make them resistant and solid, and gliding and slippery [for] the friction of the skin upon the curved ends of the ribs in the increase and decrease which the ribs make under the skin.\n\nfigs 2-6. Outline of articulated ribs, of thorax (incomplete) and a series of geometrical figures.\n\nThe precise significance of these rough figures is unknown but may be associated with the related note in which Leonardo perceives that the elevation of a rib will tend to raise those below and that the lower ribs have successively more motion than the upper. This note has, likewise, been deleted by an oblique line.\n\nThe lower ribs have more motion upwards than the upper, because when each amount of the muscles interposed between the ribs performs its office of contraction and shortening, the lowest rib is moved to a greater extent by these muscles than the uppermost. The reason for this is that if the first rib moves one degree towards the second through the shortening of one degree made between these muscles, the 2nd will move 2 degrees and the 3rd, 3, and so forth to the lowest rib as many degrees as there are muscular spaces which are interposed between the lowest and the uppermost ribs. And this motion is understood even if the uppermost rib remains immobile.\n\nfig 7. Diagram of the thorax to demonstrate lateral expansion of the ribs.\n\nThe lateral curvature of the rib cage is indicated by the letters a b c, either side and from above downwards. The anterior extremities of the ribs correspond to a line extending from d (like the number 4) to c. The accompanying note explains the increase in lateral diameter which occurs on elevation by the term \"curved obliquity\", obviously having reference to the \"basket-handle\" motion of the ribs. The note has also been deleted by a double line, suggesting that like the others it had been transcribed elsewhere.\n\nThere are four things which have to be considered in the motion of the ribs. Of these, one is the elevation of the ribs through the curved obliquity a b c\u2014note this definition of curved obliquity. The second is the expansion of the ribs which are removed from the sternum (toracie) owing to the bending of the cartilages which in the form of a supplement to the ribs are interposed between the ribs and the sternum; third, the experiments performed with a bladder which is full of air and that [air] which ordinarily is received by the lung. Fourth, which ribs possess more movement, the lower or the upper.\n\nThe use of the term thorax (toracie) for sternum should be observed. This is the classical meaning of thorax, i.e., breastplate, hence sternum, but by the process of synecdoche, the part came to be applied to the whole, especially among medical authors.\n\nfigs 8-9. The internal and external intercostal muscles sketched probably from the ox.\n\nThe figure on the left also shows the distribution of some of the intercostal nerves. The note is a continuation of that on the right. See below.\n\nfigs 10-11. The internal and external intercostal muscles of man.\n\nThe oblique lines n m, and o p, demonstrate the obliquity of the muscle fibres and show that the two obliques lie at right angles to one another. These illustrations appear to be earlier versions of the more finished figures of 26. The floating ribs are lettered S. The notes are concerned with the strength of inspiration.\n\nThe chest is very powerful in its expansion and contraction by the inspiration of air into it, and it is such that if the chest is placed on the floor with a man standing on the back, this inhalation when air is drawn into the chest, will raise the man by the force of the inspired air.\n\nA further note proposes an experiment to determine the relative role of the diaphragm in respiration. And if the chest is prevented from expanding in any direction by a bandage which is not expandable, then observe whether the diaphragm will move up and down and is the cause of respiration or not.\n\nfigs 12-13. Geometrical figures of unknown significance.\n\nOnly two of the remaining heterogeneous notes have any biological significance. Take out a bulls liver to make an anatomy. The second note is of great interest, but we do not know if Leonardo ever constructed the glass model of a heart mentioned here as well as in 110, 113, and The shape of a glass to see in the glass what the blood does in the heart when it shuts the openings of the heart.\n\n# 26 myology of trunk\n\nOn the office of the mesopleuri [intercostal muscles].\n\nIn these three illustrations Leonardo demonstrates the actions of the intercostal and accessory muscles of respiration as assigned by tradition. The use of the term mesopleuri for the intercostal muscles indicates a Galenical source. The obliquity of the fibres of the external intercostals is shown as being at right angles to those of the internal intercostals and thus that the action of the muscles is contrary; the external serving to elevate and the internal to depress the ribs. He appreciated the fact that elevation of the ribs increases the antero-posterior diameter of the thorax (27), but was uncertain of the effect on the lateral diameter, 25. As elsewhere, he stresses unduly the importance of the serratus posterior superior muscles for respiration.\n\nfig 1. The muscles of respiration: serratus anterior.\n\nThe digitations of the serratus anterior muscle, attached too low, are indicated by the letters c d e f g and the body of the muscle by a b.\n\nTo the five muscles c d e f [g] [serratus anterior] which were created for the dilatation of the chest, we give the name, the dilators.\n\nfig 2. The muscles of respiration: the external intercostals and serratus posterior superior.\n\nThe 3 muscles [o p q in fig. 2] which pull the ribs upwards, we shall call the pullers [serratus posterior superior].\n\nfig 3. The muscles of respiration: the internal intercostals.\n\nThe intercostals (mesopleuri) are the minute muscles interposed between the ribs, devoted to the dilatation and contraction of these ribs. These two entirely opposed movements are ordained for the collection and expiration of the air in the lung which is enclosed in the rib cage (costato). The dilatation of these ribs arises from the external muscles of the ribs which are placed at the obliquity m n [fig. 2] and with the aid of the three muscles o p q [serratus posterior superior], by drawing the ribs upwards with great force, they increase their capacity in the manner which one sees done in the ventricles of the heart. But the ribs, having to return downwards, would be unable to descend by themselves were man to remain recumbent, if it were not for the internal muscles which have an obliquity opposite to that of the external muscles; an obliquity which extends along the line f n [in fig. 3].\n\nON THE POWER OF THE INTERCOSTALS.\n\nThe office of the external intercostals is to raise and expand the ribs. They possess extraordinary power from their position, for they are stabilized with their furthest extremities above at the same spine where the unfixed [i.e., moveable] ribs arise and their obliquity descends towards the umbilicus.\n\n# 27 myology of trunk\n\nThe illustrations and notes of this plate are concerned with the problems of leverage on the ribs by the muscles of respiration, especially the insignificant serratus posterior inferior which Leonardo thought to be very important. His opinions on this subject were very uncertain and changed from time to time. The plates 17, 21, 26, 28 should be examined to trace these varying opinions.\n\nfig 1. The muscles of respiration: serratus posterior superior.\n\nThe upper portion of the thoracic cage is viewed from behind to show the imagined attachments of the serratus posterior superior to the cervical column and upper three ribs. On the right the origin of the muscle is indicated by N, M, D, and the insertion by a, n, m. The upper three ribs are labelled f, g, h. On the left, the muscle slips have been freed from their costal attachment and elevated.\n\nThe sinews (nervi) of these muscles [serratus posterior superior] are branches of the reversive nerves [vagi, or their recurrent branches].\n\nThis curious error is repeated on 17. According to Galen, nerves were believed to enter the muscle and constitute a part of its tendon.\n\nThe three sinews feel nothing but the weight of the thorax with its ribs, because the weight of the shoulders and arms is supported by the sinews of the neck on the posterior aspect of the spine.\n\nfig 2. Diagram of the leverage of serratus posterior superior to illustrate the note below on the mechanism of respiration and the relationship of rib elevation to diaphragmatic action in increasing the thoracic capacity.\n\nOn the muscles which assist in yawning, sighing and dilatation of the lung in all its extreme dilatations.\n\nThe extreme dilatation of the lung when one yawns or sighs does not arise from the diaphragm because its power is insufficient to elevate and dilate the ribs united to the thorax. But there are the muscles [serratus posterior superior] attached to the upper vertebrae of the back by means of very strong cords which are connected between these muscles and the vertebrae of the back. The said muscles are six in number and possess a shape between pisciform and oval. They are stabilized and attached to the furthest six upper ribs. The said six muscles are divided 3 on one side and 3 on the other, that is, 3 on the right and 3 on the left. These muscles on shortening are drawn towards the upper attachment of their cords and carry the ribs, where they are united upwards. They draw the thorax with them much more strongly than by their own motion as these muscles are nearer to the attachment of the ribs with the vertebrae than is the thorax according to the second [demonstration, fig. 2] of the levers placed here in the margin. That is, on the arm b c, the nearer the cord a n, which moves it, is tied to b, than to c, so much the greater will be the motion of c, than of a. Thus as the interval a b, is nearer to b, by one-fourth than c, c, will move four times more than a. Consequently, this dilatation of the lung acquires height by the elevation of the cover which the upper part of these ribs forms for them. And besides this, the diaphragm, which is carried upwards with its anterior sides, comes to separate itself from the stomach and the other intestines, and through this the diaphragm with its middle portion can descend to a lower level and increase the altitudinal interval which exists from the diaphragm to the furthest [i.e., upper] ribs.\n\nThe term pisciform used above is discussed in 45, 61.\n\nfig 3. Diagram illustrating the increase in the antero-posterior diameter produced by elevation of the ribs as described in the accompanying note. The reader should remember that the lettering is reversed, but this should give no difficulty in following the diagram.\n\nThe tendon [of serratus posterior superior] through the motion of which [the thorax] is elevated and enlarged, and thus it is proved. Should the cord r s, move the rib g e, to the height g b, it has elevated itself with [its arrival at] b, the entire height n b, and has displaced itself from the [vertical] line f d, to the [vertical] line a c. Consequently b n, is the height which it [the rib] has reached and m b, is the dilatation to which it has enlarged itself. The motion of these 3 cords [or serratus posterior superior] can be uniform and it can be unequal. It is uniform when one muscle pulls as much as the other, and unequal when one muscle pulls less than the others. If the motion occurs uniformly, the intervals between the ribs remain equal during their elevation, and if the pulling occurs unequally, the intervals between the ribs will be unequal, etc.\n\nLeonardo did not finish and was about to go on with an analysis of the actions of the serratus anterior muscles and the diaphragm on the lower portion of the rib cage as indicated by the title which is all that is given.\n\nOn the muscles which turn the ribs downwards and restore them to their original position. The reader should therefore turn to 25, 26, and 28, for his views on the action of the respiratory muscles in increasing the lateral diameter of the thorax.\n\n# 28 myology of trunk\n\nfig 1. The muscles of respiration: serratus anterior and serratus posterior superior.\n\nThe serratus posterior superior muscle is shown as three slips which are believed to elevate the ribs acting synergistically with the serratus anterior which is called the dilator of the chest. From the accompanying note it is possible that Leonardo meant that the elevator increased the antero-posterior diameter of the thorax and the dilator, the lateral diameter, but his position is very unclear. Certainly he regarded the action of the serratus anterior as being necessary to give fixation to the lower ribs on contraction of the diaphragm. However, his opinions on the action of these muscles changed from time to time, apparently owing to his failure to dissect out the attachments of the muscles. Thus it is obvious here, as in many other drawings, that he knew only the costal digitations of attachment of the serratus anterior muscle which he shows arising by slips from the vertebral column and failed to follow beneath the latissimus dorsi to the vertebral border of the scapula. In 17, 21, 26, and 27, other conflicting views on the action of the respiratory muscles are expressed.\n\nWHAT USE THE MUSCLES OF THE RIBS FULFILL.\n\nThe muscles of the ribs attend to the dilatation and to their elevation. The six lower muscles [serratus anterior] are dedicated to the dilatation. On pulling, they move the flexible cartilages placed at the ends of the ribs. The three upper muscles [serratus posterior superior] are constituted for elevation and these, on pulling, elevate the 3 ribs to which they are attached, drawing with them the other lower ribs whereby they are opened, dilated and acquire capacity. Here it is shown that the dilatation of the lower ribs does not suffice to open the lungs if they are not elevated towards its hump, that is, of the lung. This elevation is effected by the upper muscles. The elevation of all the ribs by these muscles is not sufficient if the ribs are not widened and dilated by the lower muscles. Thus we have discovered what opens and elevates the ribs in respiration and counteracts the power of the pull and contraction which the lateral muscles of the diaphragm exert when the said diaphragm flattens out its hump and increases the space downwards where the lungs enlarge on filling with air, compressing and gradually forcing the food contained in the stomach, making it descend downwards, bit by bit, into the lower intestines successively, etc.\n\n# 29 myology of trunk\n\nfig 1. Diagram of diaphragm and abdominal contents.\n\nLeonardo here contradicts a previous conclusion as to the function of the diaphragm.\n\nDemonstration, how the diaphragm does not assist in the expulsion of the superfluities of the intestines.\n\nRespiration not being prevented at the time when the superfluities of the nourishment are expelled from the intestines.\n\nLeonardo's thinking on this subject is clarified in an unillustrated note (Q IV 5r):\n\nNo one can move others if he does not move himself.\n\nIf the diaphragm grasped and shut up the intestines between itself and the longitudinal muscles and compressed them, it would follow that the diaphragm would follow the motion of the intestines with its descent. This cannot occur if the diaphragm does not leave a vacuum between itself and the lung. On this you will examine an experiment [as to] what occurs when the lung is restrained by the expulsion of air which is expelled by it [the diaphragm].\n\n# 30 myology of trunk\n\nThe figures on this plate are largely concerned with the anatomy of the diaphragm from dissection of the ox. The drawings and writing are of a late style, c.1513, and the written notes are almost all upside down.\n\nfig 1. Diagram showing the diaphragm separating the pleural and peritoneal cavities. The anterior wall of the abdomen and thorax is represented as having been turned down en masse.\n\nfig 2. The coverings of the diaphragm.\n\nThe legends are written in the usual reversed handwriting but are also upside down, indicating that the figure is to be viewed the other way round. To one side of the figure appear the words, Coverings of the diaphragm. The central, vertically placed structure is a segment of the diaphragm, so labelled, tapering from its muscular to its tendinous portion. The structure extending to the right, when the figure is viewed in the conventional manner, represents the pleural reflection upon the upper surface of the diaphragm and is labelled with the words, Clothes all the ribs within. On the left are two layers seen passing to the lower surface of the diaphragm. The more superficial is indicated by the word sifac, that is, the usual mediaeval term for the peritoneum derived from Arabic sources. The deeper layer is called the vestment of diaphragm and doubtless represents the phrenic fascia.\n\nfig 3. The deep muscles of the back in the ox.\n\nThe longissimus dorsi muscle of the ox is shown on either side labelled a b c (letters upside down). The note reads: a b c, is a compound muscle. At the upper end of longissimus, the spinalis dorsi muscle is clearly distinguishable as it is to be found in the ox.\n\nfig 4. The posterior aspect of the anterior thoracic wall.\n\nThis illustration also seems to be based on the dissection of the thorax in the ox. The vertical structure outlined on the left is the sternum receiving the attachment of the costal cartilages and ribs. The wavy outline appears to be the attachment of the digitations of the transversus thoracis muscle, indicated by n (letter upside down). We suspect that Leonardo regarded this muscle as an upward extension of the diaphragm. Excision of the transversus thoracis reveals the internal thoracic vessels (internal mammary of human anatomy), labelled a. Laterally at b, is, judging from Leonardo's description, the pericardiaco-phrenic artery.\n\na [internal thoracic artery] is a vessel (vena) conducted between the muscles of the diaphragm [transverses thoracis] and the middle of this diaphragm. n [transversus thoracis] is a muscle. b [pericardiaco-phrenic] is a vessel conducted outside the muscles of this diaphragm.\n\nfig 5. A series of objects (?floats) apparently used in experiments on the flow of water. Leonardo's legend reads: Objects carried by the course of the water between the surface and its depth.\n\nfig 6. Posterior wall of interior of thorax to show costal attachment of diaphragm.\n\nAbove the figure is the word ox. Below is a note on the diaphragm.\n\nThe diaphragm is a thick and sinewy (nervosa) pannicle which is surrounded by muscles, its extensors. And such a diaphragm, together with the muscles, is covered by a dense membrane composed of very thin ones [cf. fig. 2, above]. Without, it is clothed by a hard membrane [pleura], the covering of the diaphragm and ribs.\n\nfigs 8-10. Details of the costal slips of attachment of the diaphragm.\n\nThe accompanying note is similar to that found on 175. Leonardo believed that the diaphragm could not act except by \"compound motion\", which is to say that expansion and elevation of the ribs giving attachment to the diaphragm is a necessary accompaniment.\n\nHOW THE TENSION OF THE DIAPHRAGM IS EFFECTED BY COMPOUND MOTION.\n\nThe tension of the diaphragm is effected by compound motion inasmuch as at the time when the surrounding muscles stretch it, the ribs to which such muscles are united expand themselves.\n\nfigs 11-12. Rough sketches of the thorax and diaphragm apparently designed to illustrate the chest in inspiration and expiration.\n\nThe remaining notes concern the flow of water and are not pertinent to the illustrations.\n\n# 31 myology of trunk\n\nThe plate is devoted to the anatomy of the diaphragm and is very similar in both subject and style to 30, and therefore a late production, c.1513. The sepia notes have been carefully inked over, letter by letter. Clark suggests that Leonardo feared that the faint ink would fade with time, which is perhaps evidence of his intention that the notes be read by posterity.\n\nfig 1. Diagram of diaphragmatic coverings.\n\nThe figure is closely related to fig. 2 of 30. Of the four layers shown, the first or uppermost is the pleura reflected from the diaphragm to the rib cage and here labelled internal membrane. The second is the diaphragm itself and so called. The third is called the middle membrane and represents the phrenic fascia. The fourth and lowermost, designated the external membrane outside the lung cage, is the peritoneum.\n\nThe notes above the figure are unrelated and describe the appearances of smoke as seen in landscapes.\n\nfig 2. Diagram of the diaphragm, pleural and peritoneal cavities.\n\nThe figure is similar to fig. 1 of 30. The parts are labelled Receptacle of the spiritual members, i.e., the pleural cavity; Diaphragm; Receptacle of the material members, i.e., the abdominal cavity.\n\nfig 3. Diagram of the diaphragm, heart and lungs.\n\nThe figure is undoubtedly derived from some form other than man as is clear from the large and distinctive cardiac lobe of the lung. Leonardo says of the figure:\n\nTHIS IS THE LUNG IN ITS CHEST.\n\nIt is asked where the lung is more cooled or more heated, and the same is searched for in the heart.\n\nIt is to be investigated whether the wall of the heart [ventricular septum] interposed between its two ventricles is thinner or thicker in the elongation or shortening of the heart, or, you may say, in the dilation or contraction of the heart. It is judged that on dilation it increases in capacity and that the right ventricle draws blood from the liver, and the left ventricle at this time draws blood from the left [for right] etc.\n\nThe pulse beats as often as the heart expands and contracts.\n\nThe above note on the heart seems to have been overlooked in discussions of the question of Leonardo's knowledge of the circulation of the blood. It is tantalizingly brief, and much or little may be read into it. Since he mentions the septal wall, one suspects that this statement is no more than a reflection of the Galenical theory of the transmission of blood from right to left through that structure.\n\nTo the right of the figure is the observation that The lung increases and decreases continually in every direction, but more downwards, because it is more useful for the expulsion of food from the stomach.\n\nBelow the figure are a lengthy series of notes and questions on diaphragmatic function.\n\nThe diaphragm does not assist in the expulsion from the intestines, and this is evident through the lungs which having emptied themselves of air, the intestines continue the aforesaid expulsion.\n\nWhat has to be investigated in the position of the lungs.\n\nWhat shape the lobes have when placed between the diaphragm and the rest of the chest.\n\nIn what part is the lung more remote from the wall of the chest on decreasing, and to what does it approach more on increasing.\n\nOn the shape of the lungs.\n\nWhether the shape of the lung is exactly similar to its space in the chest or not.\n\nWhether the motion of the lung arises from the diaphragm or not.\n\nHow the lateral muscles of the diaphragm are the cause of the motion of the lung, of the stomach and of other intestines.\n\nHow the sinews of the neck elevate the entire anterior part of the chest by voluntary motion. This elevation animals sometimes use to relieve the fatigue of the strained diaphragm, and then the lung increases more upwards than downwards.\n\nThe elevation of the shoulders does not always compel the lung to draw air into itself.\n\nNor does the diaphragm always augment the expulsive power of the intestines, because, although the lung is empty of air, this expulsion is not lacking in ordinary function.\n\nHow the abdominal wall (mirac) with its longitudinal muscles does not assist in the expulsion from the intestines, but the peritoneum (sifac) with its transverse muscles is decreed for the aforesaid office.\n\nfig 4. The diaphragm to show its costal origin.\n\nThe illustration purports to show the costal digitations or origin of the diaphragm but is obviously very inaccurate if intended to represent the findings in man. There are too many ribs, and the muscular slips of origin are too numerous. The position and prominence of the musculo-phrenic arteries suggest some animal form. The similarity of the figures to those of 30, where the musculature of the ox is shown, raises the question of this animal, but the number of ribs and digitations excludes this form if the figure is a reasonably faithful representation. Likewise, the dog and sheep can be excluded as well as the pig. This leaves the possibility of the horse with its eighteen or nineteen pairs of ribs and more extensive diaphragmatic attachment. Furthermore, apart from other details, Leonardo was greatly interested in the anatomy of the horse. The relatively small size of the kidneys, the left being labelled kidneys, also suggests an animal form. However, the shape of the thoracic cavity is unlike that of animals so that the figure may be purely diagrammatic.\n\nLeonardo apparently intended to illustrate the attachments of the diaphragm step by step as indicated by the statement related to the figure which reads: First make the ribs and in the second demonstration the ribs and the diaphragm.\n\nfig 5. The costal origin of the diaphragm.\n\nThe figure shows the costal attachments of the diaphragm and also the phrenic vessels. The illustration is doubtless derived from fig. 4. The legend reads:\n\n(continued on page 491)\n\n# 32 myology of trunk\n\nThe figures and notes of this page are intended to show what Leonardo calls the paradoxical action of the diaphragm. His argument is based upon the reasoning that since the muscular portion of the diaphragm is peripheral and the tendon central, the diaphragmatic musculature can have little action unless the peripheral origin is translated by expansion of the lower ribs to which it is attached. This requires the synergistic action of the serratus anterior muscle which, as he was in error on its attachments, he believes expands the lower and not the upper ribs. The paradox in Leonardo's mind is that the diaphragm acts not by moving its central tendon but by it itself being moved or translated by the laterally expanding rib cage. Therefore he maintains that the lower ribs have only a single point of articulation with the spine which leaves the anterior ends free as so-called floating ribs to permit the lateral expansion of the ribs.\n\nfig 1. Diagram to illustrate the \"paradoxical\" action of the diaphragm.\n\nThe letter f, indicates the rib cage; a b c, the diaphragm relaxed with the central tendon highly curved at b, and the peripheral musculature at a, and c: \u00e1 b  , the tensed diaphragm, the curvature of the central tendon flattened by the expansion of the ribs to a c. The note above the drawing reads: It is impossible for the cord drawn by the motor to move this motor. The meaning of this note which refers to the diaphragm is explained above.\n\nfig 2. Diagram of lower ribs to show action of serratus anterior muscles.\n\nLeonardo maintains that the serratus anterior arises from the vertebrae and is inserted into the lower floating ribs. Thus he conceives them to be responsible for the outward movement of the ribs.\n\nTHE PARADOX OF THE SAID OFFICE OF THE DIAPHRAGM.\n\nThe diaphragm without doubt is moved by its own muscles through the medium of which it stretches out [i.e., flattens] its curvature. After this curvature is stretched out, it is more tense and powerful than when it was curved and slack. This being so, it is necessary that the muscles which stretch it should advance towards the middle of the tensed diaphragm and not that they should remove from the middle. As experience clearly shows that these muscles are removed from the middle, it is necessary that the said muscles be moved by other muscles more remote from the middle of the diaphragm. Therefore we shall say that the [serratus anterior] muscles attached to the dorsal spine on the outside are those which dilate the ribs, because when one draws the air into oneself, we observe that all the ribs dilate and increase outwards. This would not occur were it not in an opposite direction, if the muscles of the diaphragm were not assisted by the muscles on the outside which are clearly the dilators of the ribs. These ribs are not fixed [i.e., floating], and their origin from the spine is almost at a [single] point for the benefit of breathing.\n\n# 33 myology of head and neck\n\nThese studies are believed, on the bases of style and paper, to be examples of Leonardo's earliest anatomies. Clark dates the drawings c.1487, hence earlier than the dateable 1489 drawings of 5.\n\nfig 1. Superficial muscles of the neck and shoulder: lateral aspect.\n\nfig 2. Superficial muscles of the neck: lateral aspect.\n\nWe doubt that the figures were drawn from an actual dissection, but they give every indication of being derived from studies on a living but spare subject. The sternomastoid, trapezius, deltoid and pectoralis major muscles are well modelled, but the deeper structures are very indefinitely suggested.\n\n# 34 myology of head and neck\n\nLeonardo's knowledge of anatomy at this early period is largely derived from a synthesis of traditional information, animal sources of material and the surface inspection of the living body, with occasional reference to a human specimen as will be illustrated in the main figure of this page.\n\nfig 1. Dissection of the head and face; mandibular muscles.\n\nThe sketch outlines the masseter and temporal muscles of the mandible. In the face the zygomaticus and possibly the caninus muscles are suggested.\n\nfig 2. Synthetic dissection of the neck.\n\nThis curious figure is based partly upon human and partly upon animal appearances. The skull is possibly that sketched in fig. 1 and may have been obtained from a decapitation. The larynx is obviously from an animal, probably the ox. The course of the external jugular vein and the sternomastoid muscle would be familiar from surface inspection of the living. On the clavicle appear the letters M N o p q R S t, which are not in Leonardo's hand but added much later as a guide to the identification of the various structures. However, the anatomy is too confused to make identification of any but the salient features certain. One suspects that Leonardo is putting together a figure to illustrate the results of his reading of some traditional manual such as that of Mundinus.\n\nfig 3. Outline of a head.\n\nfig 4. The anatomy of the neck and external jugular vein.\n\nThe external jugular vein has been inked in over a silver-point sketch which is now badly rubbed but represents the structures seen in fig. 2.\n\nfig 5. Unfinished sketch of undetermined subject, deleted.\n\nfig 6. Profile of a man.\n\n# 35 myology of head and neck\n\nThe series of anatomical sketches are closely allied to the more finished drawing on 34 and appear to be stages in its development.\n\nfig 1. The external jugular vein and its tributaries.\n\nfig 2. Slight sketch of the larynx.\n\nThe faint outlines show the larynx and oesophagus. The shape of the thyroid cartilage indicates an animal source, but this is better shown in fig. 3 below.\n\nfig 3. The hyoid bone and larynx.\n\nThe drawing is based on animal anatomy, probably the ox. The hyoid bone exhibits keratohyoids, epi-hyoids and stylohyoids, and the thyrohyoids curve backwards as in animals. The thyroid cartilage is also of animal type. The attached cords are difficult if not impossible to identify since they may represent either muscles or nerves.\n\nfig 4. Sketch of the larynx.\n\nAgain the thyroid and cricoid cartilages are of animal form.\n\nfig 5. Sketch of the external jugular vein.\n\nfig 6. The neck and external jugular vein.\n\nfig 7. Structures in the region of the mastoid process.\n\nFrom an examination of the several figures of the series a guess might be hazarded that these structures represent the hypoglosseal, glossopharyngeal and vagus nerves, but identification is very uncertain because of Leonardo's custom of indicating muscles in similar fashion.\n\nfig 8. Architectural drawing of columns.\n\n# 36 myology of head and neck\n\nThe drawings of the bones of the foot are a continuation of the series to be found on 12, 13, with which they provide representations of almost every aspect of this member. The series of drawings on the musculature of the neck are by far the most detailed and important on this subject.\n\nfig 1. The first metatarsal and phalanges to illustrate an abductor and adductor tendon.\n\nOn this figure Leonardo writes: a b [an abductor and adductor tendon] are the 2 lateral movers of the toes.\n\nfig 2. The bones of the foot: dorsal aspect.\n\nThe counterpart of this drawing is to be found in 12 and 13. The tarsal bones are accurately represented, and the articular surface of the talus beautifully shown. However, it will be observed that the tibia and fibula have been reversed so that the bones of the left leg are shown to articulate with the right foot. Errors of this kind suggest, apart from carelessness, that Leonardo possessed an incomplete skeleton. The \"exploded\" view is a useful device to show articular relationships.\n\nfig 3. Superficial muscles of the shoulders and neck: postero-lateral aspect.\n\nThe position of the sternomastoid is poorly represented. Note the prominence given to the upper portion of the trapezius which muscle Leonardo nearly always shows incompletely, omitting its lower half.\n\nfig 4. Rough diagram of the skeleton.\n\nThis very rough sketch of the human skeleton is no more than a pictorial reminder to utilize more extensively the \"exploded\" view to show articular relationships as in fig. 2. This is indicated by the note: Break or disunite from one another each bony articulation.\n\nfig 5. The bones of the foot: plantar aspect.\n\nThe entire series representing the bones of the foot are remarkable for their accuracy. All show the not uncommon reduction of the little toe to two phalanges, perhaps evidence that the specimens were derived from a single subject. The only tarsal bone specifically named is the cuboid which is called the os basilare, cf. 12. The posterior process, tuberosity and anterior lip of the groove for the peronaeus longus tendon are indicated by the letters a, b, c, respectively.\n\nWrite what purpose is served by each of the prominences [a, b, c, of fig. 5] on the inferior part of the basilar [cuboid] bone and also by each of its perforations, and into how many parts it is divided.\n\nNote what the tuberosities (globi) a b c, serve, and also all the other bony shapes.\n\nThe sesamoid bones of the first metatarso-phalangeal joint were of great interest to Leonardo (cf. 12), as well as their number. Avicenna, following Galen, stated that there were twenty-six. Leonardo discards tradition by enumerating twenty-seven, a number which he obtains by including the two sesamoids and counting two phalanges for the fifth toe, as his specimen showed, instead of Avicenna's three.\n\nThe pieces of bone of which the foot of man is composed are 27, counting those 2 [sesamoids] which are found under the great toe of the foot.\n\nfig 6. The superficial muscles of the anterior and posterior triangles of the neck.\n\nThe salient features of the superficial muscles are well shown. In the floor of the triangles the omohyoid, levator scapulae and scalene muscles are identifiable.\n\nfig 7. The muscles of the anterior and posterior triangles of the neck.\n\nThe figure, similar to the above, illustrates some of the smaller muscles in greater detail. The posterior belly of the digastric and, presumably, stylohyoid are now revealed, although the characteristic perforation of the latter muscle by the digastric is not evident here but is suggested in the following figure. The sternohyoid, but not the sternothyroid, is also shown.\n\nfig 8. The deeper muscles of the neck: lateral aspect.\n\nThe dissection is carried a stage further exposing the deeper structures by reflection of the sternomastoid muscle. The digastric is seen passing between two \"cords\" which possibly represent the stylohyoid. In the muscular triangle, both the sternohyoid and sternothyroid muscles are revealed. The carotid sheath is apparent, but it is difficult to say with any certainty what structures are intended in the posterior triangle. The scalenes, levator scapulae and, perhaps, splenius capitis are identifiable, but there are other structures represented which seem to be errors of interpretation.\n\nfig 9. The anterior belly of the digastric muscle.\n\nThe diagram outlines the mandible from below to show the anterior bellies of the two digastric muscles which are labelled a, and b.\n\na b, are the muscles [digastric] under the chin.\n\n# 37 myology of head and neck\n\nThe notes refer largely to the tongue and faucial region so that this page has been grouped with the section devoted to the anatomy of that structure rather than with the cardiovascular system.\n\nfig 1. The great vessels of the thorax and superficial veins of the arm.\n\nThis curious and confused diagram seems to date from a much earlier period than the drawings of the tongue and larynx since the vascular pattern closely resembles that of 32 which has been ascribed to c.1504 but is probably of even earlier origin. Unquestionably a composite figure, the vessels of the upper extremity derived from a surface inspection of man, the deeper vessels have been derived from some lower animal as shown by the common brachiocephalic trunk springing from the aorta.\n\nThe caval system is shown receiving the pulmonary veins. This region, in fact, represents the right atrium since the heart was regarded as a two-chambered organ, the right ventricle of which was connected directly to the cava. Hence the opening shown on the right is the right atrioventricular orifice. The inferior vena cava is observed receiving the hepatic vein cut short. From this point two vessels pass to the right which are labelled with the words To the spleen. This error is also illustrated on 89. The splenic vessels were of great importance in the Galenical philosophy since they carried the black bile from the spleen. Consequently the error is one of tradition. Above, the superior vena cava (anterior vena cava) is distributed in a manner suggestive of the ox or pig.\n\nThe aorta, as mentioned above, provides a common brachiocephalic trunk distributed as in the horse or ox. It will be noted that the arterial system provides the cephalic vein of the arm.\n\nThe superficial veins of the upper extremity are shown with reasonable accuracy except in their connections at the root of the neck. The confusion here shown is of the sort not uncommonly found in anatomical drawings of the period, which were based on authoritarian statements rather than on dissection. Therefore it is not unlikely that this diagram is a copy from some pre-existing figure.\n\nfigs 2-3. The tongue, larynx and palate.\n\nThe tongue is so labelled, and the circle carries the word tonsil. The inset figure is a rough diagram of the palate and alveolar and possibly displays the palatine vessels emerging from the greater palatine foramina on either side.\n\nThe 2 tonsils are formed on opposite sides of the base of the tongue, acting as two cushions interposed between the bone of the jaw and the base of the tongue so that a space may be created between the bone of the jaw and the base of the tongue in order that on one side it may receive the lateral prominence of the convexity arising in the tongue when it is bent, and so that with its convex part it can clean away food from the internal angle of the jaw at the lateral margins of the base of the tongue.\n\nfig 4. The intrinsic muscles at the root of the tongue.\n\nfig 5. The larynx showing the vocal cords.\n\nfig 6. The dorsum of the tongue of a feline to show papillae.\n\nBelow fig. 4 it is stated that there are 28 muscles in the root of the tongue, but elsewhere (39) the number is given as twenty-four which fuse into six, making up the mass of the tongue. The illustration purports to show the intrinsic muscles at the lingual root, doubtless created by artificial separation of fasciculi as done elsewhere as, e.g., in the pectoralis major muscle.\n\nThis is the reverse [fig. 4] of the tongue. Its surface is rough in many animals and especially in the leonine species, such as the lion, panther, leopard, lynx, cat and the like. In these the surface of the tongue is very rough, like somewhat flexible, minute nails [fig. 6]. These nails (when they lick their skin) penetrate as far as the roots of the hair (and act as a comb to remove the minute animals which feed upon them). I once saw a lamb being licked by a lion in our city of Florence, where there are always twenty-five to thirty of them and where they are bred. This lion in a few licks removed the entire covering from the skin of the lamb and so having denuded it, he ate it. The tongues of the bovine species are also rough.\n\nfig 7. The superficial veins of the upper extremity.\n\nThe median vein is labelled vena communis. The distribution of the cephalic and basilic veins is accurately represented as in fig. 1 above.\n\n# 38 myology of head and neck\n\nLeonardo's notes are sufficiently explanatory to obviate comment.\n\nON THE MUSCLES WHICH MOVE THE LIPS OF THE MOUTH.\n\nThe muscles which move the lips of the mouth are more numerous in man than in any other animal. This arrangement is necessary to him because of the many operations in which he constantly employs the lips as in the 4 letters of the alphabet b f m p, in whistling, laughing, weeping and the like, and then in the strange contortions which are used by buffoons when they make faces.\n\nfig 1. Diagram of the mouth with the angles lettered a b.\n\nWhat muscle is it that constricts the mouth in such a way that its lateral extremities are brought nearer together?\n\nThe muscles which constrict the mouth diminishing its length are in the lips themselves, or rather the lips are the actual muscles which they themselves close. It is true that a muscle [triangularis or quadratus labii inferioris] displaces the lip downward away from the other muscles united to it, of which one pair are those [risorius] which stretch it out and prepare it for laughter. The muscle [orbicularis oris] shortening the lips is the same muscle forming the lower lip itself which is constricted by drawing the extremities towards its center, and the same thing occurs simultaneously in the upper lip. Other muscles are those which bring the lips to a point, others which spread them, and there are others which curl them back, others which straighten them out, others which twist them transversely and others which return them to their first position. Thus one will always find as many muscles as there are positions of the lips and as many more which serve to undo these positions. I here intend to describe and to represent these muscles in full, proving these motions by means of my mathematical principles, etc.\n\nON THE MOTIONS OF THE MUSCLES OF THE MOUTH WITH ITS LATERAL MUSCLES.\n\nThere are many occasions when the muscles comprising the lips of the mouth move the lateral muscles joined to them, and an equal number of occasions in which these lateral muscles move the lips of the mouth to replace it where it cannot return of itself because the office of a muscle is to pull and not to push, except in the case of the genital members and the tongue. But the shortening of the mouth will not of itself regain its lost length unless these lateral muscles return it there. And if these lateral muscles extend the mouth in length for the production of laughter, it is necessary that these lateral muscles be pulled back by the shortening of the mouth in the destruction of laughter.\n\n# 39 myology of head and neck\n\nThe notes and figures of this page treat of the anatomy and function of the lips, palate and tongue in the mechanism of speech, and seem to be related to the lengthy unillustrated notes of FB28v on the anatomy of the tongue, and to 38 on the action of the lips.\n\nfigs 1-3. Three sketches of the lips formulating the vowels a o u, as indicated by these letters.\n\nfig 4. Median sagittal section of the buccal and nasal cavities.\n\nThe figure, somewhat faded, shows the tongue c, the buccal cavity a, the soft palate n, the larynx and epiglottis m. The buccal cavity and inferior meatus of the nose are shaded.\n\nTHE VOWELS.\n\nThe pannicle [palate] interposed between the passage which the air follows partly through the nose and partly through the mouth, is the only one which man employs to pronounce the letter a; that is, the pannicle a n [palate in fig. 4]. Though the tongue and the lips do what they may, this will never prevent the air which streams out of the trachea [larynx] from pronouncing the letter a, in this cavity a n [buccal cavity]. Moreover, the letter u, is formed at the same place with the aid of the lips which are constricted and somewhat protruded. The more the lips are protruded the better the letter u, is pronounced by them. It is true that the epiglottis m [in fig. 4], is elevated a little towards the palate. And if it were not so, the u, would be converted into o,...\n\nTrachea here means larynx and not trachea. The translators from the Arabic customarily employed trachea in the above sense. Leonardo sometimes uses trachea when referring to the entire bronchial tree. Likewise epiglottis usually means larynx through synecdoche.\n\nWhether, when a o u, are pronounced distinctly and rapidly it is necessary in their continuous pronunciation without lapse of time that the opening of the lips should contract continuously: that is, in saying a, they will be widely parted, more contricted in saying o, and still more constricted in pronouncing u [as illustrated in figs. 1-3].\n\nIt is proved how all the vowels are pronounced with the back part of the movable palate which covers the epiglottis; and furthermore, such pronunciation comes from the position of the lips by means of which a passage is formed for the expired air carrying with it the created sound of the voice. This sound, even when the lips are closed, passes out through the nostrils of the nose, but it will never demonstrate through the latter passage any of these letters, etc. By means of such experiment, one can conclude with certainty that the trachea [larynx] does not create the sound of any of the vowels, but its use extends only to the creation of the aforesaid voice and especially in a o u.\n\nfig 5. The tongue.\n\nThe root of the tongue is indicated by the letters a e, the canine vessels by b, the lateral margins of the tongue by c and g, and the dorsum of the tongue by d. Beside the figure Leonardo places the reminder: Make the motions of the tongue of the woodpecker. Elsewhere (37) Leonardo states that there are twenty-eight muscles in the root of the tongue, but here he gives the number as twenty-four. These twenty-four seem to be the extrinsic muscles since he says they go on to form the six intrinsic muscles of the tongue. Vesalius and his contemporaries also had great difficulty in determining the exact number which is to be understood in the case of the intrinsic group.\n\nThe tongue is found to have 24 muscles which correspond to the six muscles making up the mass of the tongue which moves in the mouth. The present task is to discover in what way these twenty-four muscles are divided or apportioned in the service of the tongue in its necessary motions which are many and varied. In addition to this, it is to be observed in what manner the nerves descend to it from the base of the brain and how they come to be distributed and ramify through the tongue. Furthermore, it is to be noted how and in what manner the 24 said muscles are converted into the six making up the complex in the tongue. In addition, indicate whence these muscles take origin, that is, at the vertebrae of the neck in the contact of the gullet [superior constrictor], some at the inner side of the jaw [genioglossus] and some at the front and sides of the trachea [larynx-hyoglossus]. Likewise, how the veins nourish them and how the arteries provide them with [vital] spirit (and how the nerves give them sensation [...].\n\nThe above memorandum seems to have been constructed from a reading of the statements on the tongue given by Mundinus and Avicenna, in an attempt to provide answers to the indefinite remarks made in those works. Leonardo continues:\n\nFurthermore, you will describe and indicate in what manner the office of variation, of modulation and of articulation of the voice in singing is the simple office of the rings of the trachea moved by the recurrent nerves, and in this case no part of the tongue is employed.\n\nAnd this remains proved by what I have proved before, that the pipes of an organ are not made deeper or higher in pitch by mutation of the fistula (that is, the place where the voice is produced) in making it wider or narrower, but only by the mutation of the pipe to wide or narrow, or to long or short, as is seen in the extension or retraction of the trombone and also in pipes of fixed width and length where the sound is varied by introducing air with greater or less force. (Such variation [of pitch] does not occur in objects struck with a greater or lesser blow as is perceived in bells struck with very small or very large clappers). And the same thing occurs in cannon similar in width but varying in length. But here the shorter makes a louder and deeper noise than the longer. I shall not extend these remarks further because it is fully treated in the book on musical instruments. Therefore, I shall resume the postponed order on the office of the tongue.\n\nThe tongue is employed in the pronunciation and articulation of the syllables, the component parts of all words. Further, the tongue acts in the necessary\n\n(continued on page 492)\n\n# 40 myology of shoulder region\n\nfigs 1-4. The surface anatomy of the muscles of the shoulder region: anterolateral, lateral and posterolateral aspects.\n\nThe series is continued on 41, where the same subject is portrayed and the intent similar to that of 44. The style is loose and summary, like that employed by Leonardo in his caricatures but is, nonetheless, effective in showing the surface modeling of the muscles. The tendon of insertion of the deltoid muscle is unduly prominent and no doubt a projection from the findings at dissection. Again, the fasciculation of the major muscles is emphasized as is common in Leonardo's figures of this period, cf. 44, 56. The portrait is undoubtedly that of the subject shown on 45.\n\n# 41 myology of shoulder region\n\nfigs 1-2. Surface anatomy of the muscles of the shoulder: lateral aspect.\n\nThese figures are a continuation of the series found on 40. The same elderly subject is employed. The arm is shown in flexion to bring out in striking fashion the surface modeling of the triceps muscle. The subject is undoubtedly that dissected on 45.\n\n# 42 myology of shoulder region\n\nfigs 1-6. Illustration of the surface modeling of the muscles of the shoulder and upper arm.\n\nIn conformity with Leonardo's plan, the surface anatomy of the arm and shoulder region has been sketched from several aspects as the body is turned through two right angles. The subject was evidently younger and more robust than that of 40. These sketches seem to constitute in part the preliminaries to the superficial dissections of the muscles of 53. The outlines of fig. 3 are identical to those of fig. 4 of the latter plate.\n\nfig 7. Diagram of the movements of the hand.\n\nThe circular motion of the hand, showing first the 4 principal ones a d [flexion], d a [extension], b c [adduction] and c b [abduction], and in addition to these four principal movements, one makes mention of the non-principal motions which are infinite.\n\nBy circular motion of the hand, Leonardo does not mean pronation and supination but that the hand may be carried in a circle or circumducted. To those unfamiliar with mediaeval handwriting the letter d at the bottom of the figure resembles the numeral 4 and the letter e, our D (actually reversed because of Leonardo's mirror-writing). In the right margin appears the note:\n\nWrist (rasetta): 7 bones.\n\nThe 8th is the base of the thumb.\n\nFor the origin of rasetta, cf. 10. The only bone of the carpus which Leonardo names is the multangulum majus which he calls the basilar bone. Doubtless he is disagreeing with some traditional source since many early anatomists held that there were only seven bones in the carpus, the pisiform being regarded as a so-called \"cartilaginous\" bone and therefore akin to a sesamoid. Celsus (VIII:i) whose De medicina was one of the first medical books to be printed, Florence 1478, and therefore available to Leonardo, states that the number of carpal bones is uncertain. Mundinus and Avicenna, Leonardo's other sources, write that there are eight bones.\n\n# 43 myology of shoulder region\n\nThe series of illustrations shown here is concerned chiefly with the surface anatomy of the shoulder region and its modification with movements of the extremity. However, the notes found occupying the upper left-hand margin are entirely unrelated to the figures and consist of certain remarks on the vascular system which read as follows:\n\nTHE NATURE OF THE VEINS.\n\nThe origin of the sea is the contrary of that of the blood, for the sea receives into itself all the rivers which are caused exclusively by the aqueous vapors that have ascended into the air, while the sea of the blood is the source of all the veins.\n\nOF THE NUMBER OF THE VEINS.\n\nThere is only one vein [vena cava] which is subdivided into as many main branches as there are principal places which it must nourish, branches which proceed to ramify infinitely.\n\nThe above image on the sea of blood is a development from the statement of Aristotle, De partibus animalium, III:5:668a, where the system of blood-vessels is compared to irrigation channels springing from a single source. Galen held that the liver, the blood-making organ, was this source and that the cava arose from it to be distributed by ramification to all parts of the body.\n\nfig 1.Surface anatomy of the left shoulder: lateral aspect.\n\nfig 2. Surface anatomy of the shoulder region: anterior aspect.\n\nObserve the fasciculation of the pectoralis major as often seen in spare individuals and which caused Leonardo to regard the muscle as consisting of four separate muscles. The neurovascular bundle and coracobrachialis muscle are clearly delineated on the right axilla; the posterior belly of omohyoid and the cephalic vein, in the left posterior triangle.\n\nfig 3. Diagrammatic sketch of anterior aspect of shoulder region.\n\na n m, a conjunction at n, of the two muscles (lacerti) a n [left sternomastoid] with n m [fasciculus of right pectoralis major] which assist [or] oppose one another when the clavicle threatens to be drawn out of place by one or other of the muscles.\n\nAs mentioned above, Leonardo regarded the pectoralis major as four separate muscles. One of these fasciculi, he believed, opposed the action of the sternomastoid of the opposite side and thus prevented displacement of the clavicle at the sternoclavicular joint. He uses the term lacerta usually for long, slender, fleshy muscles. It was practically synonymous with muscle but was used more frequently for the long muscles of the arm because of their fancied resemblance to a lizard. In modern anatomy the word has survived as lacertus fibrosus, the tendinous expansion from the biceps brachii to the fascia of the forearm.\n\nfig 4. Outline drawing of the clavicle and spine of the scapula as seen from above to illustrate the course of supraclavicular veins.\n\na b, is a vein [transverse cervical] which is found under the large muscle [trapezius] which covers the acromion (l'omero della spalla).\n\nThe acromion is called literally \"the humerus of the shoulder\" by which is meant the mythical third ossicle thought to exist between the scapula and the clavicle, and called the summus humerus by mediaeval anatomists, cf. 1. The word \"humerus\" referred classically to the shoulder and three bones, the humerus, the clavicle and the scapula, which have at different times received this name.\n\nfigs 5-6. Surface anatomy of the shoulder region from above.\n\nThe first of these illustrations shows the change in surface contour of the deltoid muscle, the elevation of the clavicle and prominence of the medial angle of the scapula when the arm is carried into abduction. The second drawing contrasts the appearances when the arm rests at the side of the body.\n\nfig 7. Surface anatomy of the shoulder region: anterior aspect.\n\nThe surface modeling of the shoulder region is shown abducted forty-five degrees and in slight flexion. The clavicular head of the pectoralis major is contracted, and the sternocostal portion of the muscle is in relaxation. The posterior belly of the omohyoid muscle in the posterior triangle is rendered prominent.\n\nfig 8. Superficial dissection of the posterior triangle.\n\na [posterior belly of omohyoid] arises from the bones of the clavicle deep to the origin of the large muscle of the shoulder [trapezius] which arises from the aforesaid clavicle.\n\nThis figure supplements fig. 7, to show the omohyoid muscle, the upper trunks of the brachial plexus and the levator scapulae muscle lying in the floor of the posterior triangle and which would modify surface appearances in certain positions.\n\nfig 9. Superficial dissection of the musculature of the shoulder region.\n\nThe purpose of the figure is to reveal the superficial muscles producing the surface appearances. The twisted bilaminar insertion of the pectoralis major rounding the lower border of the anterior axillary wall is exceptionally well portrayed.\n\nfig 10. Sketch of the clavicle and interclavicular ligament.\n\na b is a small sinewy muscle which binds the part a, of the bone of the clavicle [sternal end] and arises from the bone of the clavicle at b, and is inserted into the bone of the thorax [sternum] at a, and I wish to say that it arises at a, and ends at b.\n\nThe muscle described is identified as the subclavicus by Piumati (1898) and Holl (1905), but this could only be the case if this drawing were to be regarded as\n\n(continued on page 492)\n\n# 44 myology of shoulder region\n\nThis page devoted to the surface appearances of the muscles about the shoulder is obviously the companion to 43, where the same subject has been employed.\n\nfigs 1-6. Surface anatomy of the shoulder region and neck: various aspects.\n\nLeonardo here follows his proposed scheme of representing various regions of the body progressively from the anterior to the posterior aspect as though the observer were slowly walking around the subject. The figures further reflect Leonardo's dependence on spare subjects for much of his anatomical knowledge, which in turn is probably responsible for the division of major muscle masses into multiple fasciculi as in fig. 7 below.\n\nfig 7. The pectoral muscles.\n\nPectoralis major and minor, m n, muscles are shown artificially divided into several fasciculi as is common in many of Leonardo's figures and perhaps is due to the appearances often seen, on contraction of these muscles, in the living subjects.\n\n# 45 myology of shoulder region\n\nTo judge from the likeness of the subject at the top of the plate, these figures are possibly a continuation of the series shown in 40, and 41, after removal of the skin to reveal the most superficial structures. In arranging the plates of this section, we have followed approximately Leonardo's intentions as expressed in the note on the left-hand side which reads:\n\nFirst represent the muscles of the neck, of the shoulder and of the chest above the axilla, which move the shoulder, then the muscles of the shoulder which move the humerus....\n\nFollow with the muscles of the humerus which flex and rotate the arm, and then the muscles of the [fore-] arm which move the hand, and the muscles which move the fingers.\n\nfig 1.Head and neck to show surface modeling of submental region.\n\nfig 2. Outline of lower jaw and surface contours of submental region.\n\nfig 3. Two line diagrams, the significance of which is undetermined.\n\nfig 4. Superficial dissection of muscles of the shoulder, arm and elbow region.\n\nThe muscles of the proximal portion of the upper extremity are beautifully portrayed. As Leonardo customarily proceeded from right to left, this figure in reality follows figs. 5-6, where the extremity is still clothed by the deep fascia and the superficial veins have not been removed.\n\nfig 5. Superficial dissection of the arm exhibiting the cephalic vein. This figure fallows fig. 6, and its purpose is to show the termination of the cephalic vein as it passes into the delto-pectoral triangle to join the axillary vein.\n\nfig 6. The superficial veins of the upper extremity and trunk.\n\nThe essential features of the venous pattern of the trunk and upper extremity are superbly illustrated. The cephalic, median, basilic, external and internal mammary, thoraco-epigastric and superficial epigastric veins are all readily identifiable. The accuracy of this representation should be compared with the fanciful expression made in a very early drawing of the venous arrangement (116), where Leonardo was still dominated by Avicenna's description. As an artist Leonardo was greatly interested in this subject and provides several other sketches of the superficial veins. For details of the termination of the basilic vein, cf. fig. 9, below.\n\nfig 7. The superficial muscles of the upper extremity: anterior aspect.\n\nfig 8. The superficial muscles of the upper extremity: posterior aspect.\n\nfig 9. The basilic vein and axillary veins.\n\nFrom the vein m e [axillary v.], the vein e b [distal part of axillary v.] which descends between e and b, where the arm separates itself from the chest, at which place b, a branch [external mammary, labelled a], separates off and ramifies between the skin and the flesh of the breast; and the branch b [subscapular v.] arises opposite, which ramifies between the flesh and the skin [periosteum] of the body (paletta) of the scapula. Above [for below] there arises the vein c [thoracoepigastric] which ramifies between the flesh and the skin which covers the ribs. Laterally a little further down arises the vein o [brachial vena comites] which enters between the biceps (pesce del braccio) and its skin, and the master vein from which these ramifications are given off, is called the basilic vein.\n\nParallel to the main trunk is written basilic vein. Since the lettering is in reverse and both basilic and axillary vein are regarded as the basilic, it may help the reader desirous of understanding the diagram and Leonardo's note to trace the vessels from above downwards in modern terms. The letter m, lies at the junction of the axillary and internal jugular veins forming the innominate. The first part of the axillary is shown extending horizontally to the point e, where it is shown receiving the cephalic. The axillary vein is there shown descending vertically to the point b, and receiving three tributaries. On the lateral or left-hand side is the subscapular vein labelled b (letter reversed). On the medial or right-hand side are two tributaries. The uppermost represents the lateral thoracic or external mammary vein labelled a, (resembling the letter p). The lower vein, designated c, is the thoracoepigastric. The second vein on the lateral side at a lower level, noted by o, is probably the venae comites of the brachial artery. The main trunk of the basilic vein is indicated by the letters n q. The confusion of the basilic vein with the axillary was inherited from Avicenna, and Leonardo is attempting to straighten out the difficulties derived from this earlier source. The word \"basilic\", despite similarity, is not derived from the Greek but is of Arabic origin. In Gerard of Cremona's translation of Avicenna's Canon we read that \"the first vein which is separated from the shoulder vein [axillary] is the cephalic;... the rest is the basilic\". Thus Leonardo is following his source rather closely.\n\nThe term paletta is sometimes used to mean the entire scapula, but here refers obviously to the body of that bone. The biceps muscle is called pesce del braecio, literally \"fish of the arm\". Muscles of a certain shape, especially those with bifurcated tendon of origin, as the biceps brachii and the rectus femoris, were called pisciculus in Latin, and the biceps is still called il pescetto in Italian.\n\n# 46 myology of shoulder region\n\nThe four figures showing the superficial muscles of the upper extremity form a continuous series with those of 47, so that every aspect of the limb is revealed from the full posterior to the anterior view. A similar manner of representation is to be adopted for the arm which is to be turned through 360 degrees as described in the diagram fig. 8, at the bottom right-hand side of the page.\n\nSince Leonardo wrote and sketched from right to left, the figures should be followed in this direction, but we have followed the customary order of left to right in numbering them. At the top right of the plate is an unrelated note reading What are the veins which border on the bones? By \"veins\" Leonardo often means \"vessels\", as will be evident from an examination of other illustrations.\n\nfigs 1-3. Muscles of the posterior aspect of the neck.\n\nThese three figures are labelled from right to left: 1st and 2nd demonstration, 3rd demonstration, 4th demonstration. The demonstrations illustrate layer by layer the attachment of the muscles to the spinous processes of the cervical vertebrae. They are similar to the more detailed demonstrations of 16, of which they are, perhaps, the precursors. On the right side of fig. 3 a portion of the trapezius is shown. On the left side of the same figure are possibly the rhomboid muscles labelled a b and b c. In fig. 2, which corresponds to fig. 4 of 16, splenius capitis is suggested, and in fig. 1, spinalis might be hazarded.\n\nfigs 4-7. The superficial muscles of the upper extremity from the lateral to the anterior aspect in turning through a right angle.\n\nEmphasizing the importance of a knowledge of the superficial muscles to the artist, Leonardo asks the following questions: What are the muscles which are never hidden either by corpulence or by fleshiness?\n\nWhat are the muscles which are united in men of great strength?\n\nWhat are the muscles which are divided in lean men?\n\nThe last two questions refer to the greater prominence of the muscle fasciculi in spare individuals. Leonardo regarded the fasciculi of the deltoid and pectoralis as separate muscles but believed them to be fused in robust subjects. This was no doubt suggested to him by the examination of living subjects where the muscle bundles during contraction frequently appear to be distinct.\n\nIn the lateral view the only muscles indicated are the triceps at n, the brachialis at m, and the biceps brachii at o, and in the anterior view the letters refer to the same muscles except that the pronator teres is indicated by p. The identification of the unlettered muscles presents no difficulty owing to the accuracy of representation. Leonardo recognized that the triceps was the chief extensor and the brachialis, the important flexor of the elbow. He appreciated that the biceps was the chief supinator and only secondarily a flexor, a view which has come to be recognized only in recent years. Although the action of the pronator teres is not discussed here, Leonardo describes it elsewhere (212) as a pronator and antagonist to the biceps. But here below are his opinions on the action of these muscles.\n\nAll the muscles which have arisen from the chest and the outer aspect of the scapula serve the movement of the humerus, that is, the bone placed between the shoulder and the elbow.\n\nBut the muscles which have arisen from the anterior aspect of the scapula serve in part the movement of elevating the focile [radius or ulna: error for humerus] and in part to fix the scapula to the ribs of the chest.\n\nAll the muscles which have arisen from the humerus serve the movement of the two fociles [radius and ulna] of the arm.\n\nThe muscle n [triceps] does not show itself either relaxed or contracted if the arm is not extended, because it is attached to the tip of the elbow made to assist the extension of the arm.\n\nThe muscle m [brachialis] is made for the purpose of flexing the arm.\n\nAnd the muscle o [biceps brachii] is appointed to rotate the arm from the elbow downwards, and it rotates it whether the arm is extended or flexed; and if the hand presents its dorsal surface [i.e., pronated], this muscle then assists the power of the muscle m [brachialis].\n\nThere are as many muscles as there are cords, or rather, I wish to say, there are as many as there are bones to be moved by them.\n\nThere are as many divisions of the cords and of one and the same muscle as there are of attendant movements possible to the bone itself.\n\nfig 8. Perspective diagram of the arm.\n\nThis diagram, resembling a star, represents the eight points of view from which Leonardo intended to illustrate the anatomy of the arm, apparently when freed from the trunk. His plan is indicated in the accompanying notes.\n\nI rotate an arm in 8 aspects, of which 3 are outwards and 3 inwards, and one to the back and one to the front.\n\nAnd I rotate it in 8 others when the arm has its fociles [radius and ulna] crossed.\n\n# 47 myology of shoulder region\n\nThe four figures of the upper extremity on this plate should be viewed in conjunction with those of 46, in order to appreciate in continuity Leonardo's magnificent conception of representing the extremity from every aspect by turning the body through 180 degrees. The impression given is almost cinematographic and not unlike the representations of human movements seen in the Codex Huygens which, as Panofsky has shown, developed from the Leonardine tradition. Leonardo's note below on the representation of circular movements of the shoulder clearly indicates the purpose of this technique to display the action of all the muscles during movement. Further, it was his intention to provide a similar series with the arm in abduction, extension and flexion as well as in adduction. This is expressed in the statement below fig. 2, reading: TO BE NOTED.\n\nMake an arm elevated and one depressed, one [carried] backwards and one forwards, and sketch each of them from 4 aspects, and do the same with the elbow bent.\n\nfig 1. Superficial muscles of the upper extremity: posterior aspect.\n\nfig 1a. Inset outline of the bones of the elbow.\n\nn m, the muscle turning the arm to the front from behind [i.e., lateral motion].\n\nIt is curious that Leonardo nearly always shows the posterior portion of the deltoid as a slip separated by an interval from the rest of the muscle. On the olecranon is placed the letter a, with the notation a, is the movable bone of the elbow. The inset drawing below the main figure shows the outline of the underlying humerus and ulna at the elbow.\n\nfig 2. Superficial muscles of the upper extremity: posterior aspect after a quarter turn.\n\nDescribe the extreme movements of the borders of the scapula, that is, the movement from below upwards and from right to left.\n\nAnd do the same for each movement of each member.\n\nLeonardo refers in his note to the rotation and elevation of the scapula, and this is illustrated to some extent in fig. 5, where the scapula rotation is shown at right angle abduction.\n\nfig 3. Superficial muscles of the upper extremity: posterior aspect after a half turn.\n\nSee if the muscle of the shoulder [...]\n\nElevate the muscle b [middle deltoid] and thus having raised it, sketch successively the other muscles down to the bone from each of 4 aspects.\n\nThe deltoid muscle is divided into four distinct portions which are designated from before backwards by the letters a,b,c,d. Apparently Leonardo regarded the fasciculi of the deltoid as four separate muscles.\n\nIn the forearm the tendons of the long abductor and extensor of the thumb are indicated by the letters a b, and referred to in the following reminder.\n\nRemember to represent the origin of the two cords a b, by uncovering the muscles which are connected with them.\n\nAnd you will do the same for all the muscles, leaving each separately bare upon the bone so that not only does one see the origin and termination, but so that it may be demonstrated how it moves the bone for which it is intended; and concerning this it will be necessary to give a scientific explanation by means of simple outlines.\n\nfig 4.The oral cavity and fauces.\n\nn, is the uvula, m, is the tongue, o p, are the last molars.\n\nfig 5. Superficial muscles of the shoulder region: posterior aspect.\n\nThis arm, from the elbow a, as far as b, must be made in 4 movements, that is, in extreme elevation and extreme depression, and [carried] backwards as far as possible and likewise forwards; and should it seem desirable to you to do this in more ways, the function of each muscle will be the more understandable. And this will be advantageous to sculptors who must exaggerate the muscles which cause the movements of the members more than those which are not employed in such movement.\n\nRepresent the arm from the shoulder to the elbow when it makes a circular movement by fixing the shoulder against the wall, and making the hand with a piece of charcoal turn around the shoulder, the arm being extended; and it will make in this circumduction all the actions of the muscles which move the shoulder. But make this shoulder from the dorsal spine to the thorax of the chest.\n\n# 48 myology of shoulder region\n\nOne possesses a true conception of all figures if one knows their breadth, length and thickness; therefore, if I observe the same in the figure of man, I shall present a true conception in the judgment of all of sound intelligence.\n\nExplain these words for they are confused.\n\nfig 1.The shoulder seen from the back which covers the ribs behind the shoulder.\n\nAbove and to the right of the figure appears the reminder to include illustrations of the articulations and bones in various positions: You will make all the movements of the bones with their joints after the demonstration of the first three figures of the bones; and this must be done in the first book.\n\nFor lack of terminology the muscles are seldom named. In the figure the trapezius has been partially detached and its tendon and insertion on the acromion indicated by the letter a (resembling a lambda). The letter m, marks the levator scapulae; n, the supraspinatus; o, the infraspinatus; p (reversed); the teres minor; q (reversed), teres major; r, latissimus dorsi; S, rhomboideus minor, and above it, unlettered, the rhomboideus major. Note that the posterior portion of deltoid is shown as a separate muscle as in many other figures. Below the illustration is written the word spine.\n\nfig 2. Muscles of the shoulder and neck: lateral aspect.\n\nNo comment accompanies this figure. The pectoralis major is divided into four fasciculi which are treated as separate muscles.\n\nfig 3. Wire model of the direction of the fasciculi of the shoulder muscles.\n\nMake it [the figure] twice as large with the same thickness of ribs and muscles, and it will be easier to understand.\n\nAgain, this figure would be confused unless you first made at least 3 demonstrations before this with similar wires; the first of such demonstrations should be simply of the bones, then follow with the muscles which arise in the breast above the ribs, and finally the muscles which arise together with the ribs from the thorax, and last that [figure] which is above.\n\nMake the ribs so thin that in the final demonstration made with wires, the position of the scapula can be shown.\n\nThe wire or cord model is a unique characteristic of the work of Leonardo and serves two purposes. The first is to provide an understanding of the relations of the underlying to the surface structures, and the second to demonstrate muscle action. His preoccupation with function no doubt gave rise to a particulate theory of muscle action, and the breaking up of major muscle masses into their fasciculi as demonstrated in several of the drawings in this series as well as elsewhere.\n\nfig 4. Deep muscles of the shoulder: anterior aspect.\n\nFirst make the ribs.\n\nDraw the ribs where the scapula n, is detached.\n\nIt will be observed that the outline of the ribs has been added secondarily to the figure.\n\nIn the subscapular region appears the word dimestica or \"ventral\". The letter n, indicates the subscapular muscle. Other structures readily recognized are the coracoid process and tendons of pectoralis minor and coracobrachialis, the suprascapular foramen, teres major, latissimus dorsi, the long heads of triceps and biceps. The serratus anterior muscle is described in the following note: At n there is another muscle which intervenes between the cartilage [?fascia] which covers and binds the ribs, and the muscle n [subscapularis] which lies within the body of the scapula....\n\nfig 5. Superficial muscles of the shoulder and axilla.\n\nBefore you represent the muscles, make in place of them wires which will show the position of these muscles, [and] which will terminate at their extremities in the middle of the attachment of the muscles upon their bones. And this will provide a more ready understanding when you wish to represent all the muscles, one above the other. And should you do it in any other way, your representation will be confused.\n\nThe teres major n, and latissimus dorsi m, are well shown. Their action as medial rotators will be commented upon in the next figure. The superb rendering of the trapezius and deltoid in contraction during abduction should be observed.\n\nfig 6. Deep muscles of the shoulder and axillary region: anterior aspect.\n\nThe pectoralis minor is shown divided into two portions, the lower of which is labelled d f, and extends a little too low to the sixth rib. On this rib and its cartilage are the letters a h c, which will be referred to in Leonardo's note below. There he indicates the presence of the costal cartilage is to permit the rib to straighten out under the pull of the pectoralis minor. He must, therefore, be thinking of this muscle as an accessory muscle of respiration, an idea which was not fully developed until the time of Sir Charles Bell (1774-1842). Latissimus dorsi is indicated by m, and teres minor by n. The other structures, including the neurovascular bundle, are easily identified.\n\nWhy has the cartilage a h, been made to join with the rib h c? This occurs so that the cartilage may be bent by the voluntary movement of the muscle d f [pectoralis minor] which by pulling on the arc [of the rib and cartilage] a h c, widens it and increases the cord of this arc, that is, the interval a c; and by the increase of these spaces in the entire chest [...]\n\nThe illegible words no doubt lead to a fuller development of the idea of the pectoralis minor acting as an accessory muscle of respiration. This is also evident from the final note on this plate.\n\nThe muscles n [teres major] and m [latissimus dorsi] are the cause of the turning motion of the humerus.\n\nShow here what muscles are the cause of respiration [and] what occurs through the muscles and sinews (nervi) which are attached to the external aspect of the ribs [and] which elevate those ribs, the cartilages allowing it.\n\n# 49 myology of shoulder region\n\nAt the top of the page appear the following comments on the superiority of the illustration combined with text for the presentation of human anatomy and function where words alone would fail.\n\nAnd you who claim to demonstrate by words the shape of man from every aspect of his membral attitudes, dismiss such an idea, because the more minutely you describe, the more you will confuse the mind of the reader and the more you will lead him away from a knowledge of the thing described. Therefore it is necessary both to illustrate and to describe.\n\nShould the actual object being in relief seem to you to be more recognizable than that which is represented\u2014an impression which arises because one can see the object from different aspects\u2014you must understand that in these my illustrations one obtains a like effect from the [several] similar aspects, hence no part of these members will be hidden from you.\n\nReferring to this comment there appears below fig. 2, the note: One will never understand the shape of the shoulder without this rule.\n\nfig 1.Deep dissection of the muscles of the shoulder region: posterolateral aspect.\n\nThe first demonstration of the deep muscles of the shoulder, figs. 4 and 6 being the second and third. The outline of the deltoid which has been elevated as in the other figures of this series is partially obliterated by the written note. These three figures have evidently been made from the same dissection and show three different aspects of it. The letters n, o, indicate clavicular and acromial portions of the trapezius muscle and p, the lateral end of the clavicle. It will be observed that the acromion is shown as a separate bone, the summus humerus, for the significance of which cf. 1. The quadrilateral space bounded by teres minor, teres major, the long head of triceps and the humerus, is beautifully shown. The purpose of the illustration is to demonstrate the action of teres minor and major as apparent extensors of the shoulder joint when the scapula is carried anteriorly around the thorax in flexion of the humerus and, in addition, to show the antagonism of these muscles as rotators when assisting the long head of triceps.\n\nfig 2. Superficial muscles of the shoulder, arm and forearm: anterior aspect.\n\nWrite how each muscle can swell and shorten or become thinner or thicker, and which is the most or least powerful.\n\nIn this otherwise accurate drawing of the muscles of the upper extremity, there is some confusion in the region of the posterior triangle of the neck. The trapezius muscle is once again divided into separate fasciculi representing the clavicular, acromial and spinous portions of the muscle. The posterior belly of the omohyoid is duplicated, but the upper of these, placed at too high a level, may be a \"trial\" which the artist intended to erase as in fig. 3, where the muscle is again duplicated but the upper muscle not clearly outlined. The upper trunk of the brachial plexus is indicated in the floor of the triangle. The remaining muscles are clearly and accurately defined.\n\nfig 3. Superficial muscles of the shoulder, arm and forearm: lateral aspect.\n\nFirst draw this shoulder with its bones only and then opposite, draw it with the muscles shown here.\n\nThe only muscles indicated in this illustration are the abductor pollicis longus and extensor pollicis brevis with the remark: Note where in the elbow, the two muscles n [abductor pollicis longus] and m [extensor pollicis brevis] arise. Describe each muscle, what finger it serves and what member; represent it therefore simply without any obstruction from any other muscle that is placed over it and so that afterwards one can recognize the parts which have been damaged.\n\nAs in fig. 2, the trapezius has been divided into separate portions and the posterior belly of the omohyoid duplicated, although the upper of the two muscles is less distinct as though corrected for position by the lower representation. One can only admire the detailed accuracy of the drawing which with fig. 2 partially fulfils the promise of Leonardo's greater plan expressed in the preliminary note at the top of the page.\n\nfig 4. Deep dissection of the muscles of the shoulder region: anterior aspect; the second demonstration of the series shown in figs. I and 6.\n\nThe muscle a b [pectoralis major] and the muscle d c [latissimus dorsi] serve to draw the arm towards the ribs so as to break away vigorously from the hands of anyone who grasps the arm, and this is the reason why they are such large muscles.\n\nThe shoulder, stripped of its largest muscle f [deltoid], has uncovered the muscle S t [pectoralis minor] which elevates the ribs of the chest when the lung within these ribs enlarges, and this muscle is drawn to the bone q, the coracoid process of the scapula (rostro della spatola), where it is attached; and this process together with the scapula is bound to the cartilage g [ligaments and capsule] the forepart of the clavicle p, and the clavicle itself is moved by the two muscles of the neck n o [portions of trapezius].\n\nLeonardo seems to have believed that the primary action of the pectoralis major is to serve as an accessory muscle of respiration working in unison with the serratus posterior superior as discussed by him in 16. The chain of action is through the insertion of the muscle into the coracoid, the coraco-clavicular ligaments (better shown in fig. 6), the clavicle and the trapezius muscle to the vertebral column. This idea is further illustrated in the cord diagram of fig. 5.\n\nfig 5. Wire or cord diagram illustrating accessory muscles of respiration.\n\nThe sinews or muscles [trapezius] which have arisen from the last cervical vertebrae serve the purpose of respiration when man stands upright, and they serve respiration together with the muscles of the neck [serratus posterior superior] which arise from the last vertebra of the spine of the back and [with] the action of these muscles of the chest which are o r, o t, o q [pectoralis minor shown as 3 cords],\n\n(continued on page 493)\n\n# 50 myology of shoulder region\n\nAnd thou, man, who, by these my labors dost gaze upon the marvelous works of nature, shouldst thou judge mutilation to be am impious thing, reflect then that it is of infinitely greater impiety to take the life of a man. Though his structure seem to thee a marvel of artifice, consider that it is as nothing compared to the soul which abides within this dwelling, and in truth, wherever it is, it is a divine thing which lets the soul dwell within its works and at its good pleasure and will not that anger and malignity should destroy such a life since, in truth, he who values it not, deserves it not.\n\nFor it parts from the body so unwillingly and I, indeed, believe that its tears and anguish are not without cause.\n\nIt will be recalled that Leonardo while in Rome in 1513 was afforded opportunities of continuing his anatomical studies at the Ospedale di Santo Spirito, but owing to reports of sacrilegious motives, maliciously spread by the jealous German mirror-maker, Giovanni degli Specchi, these privileges were withdrawn by Pope Leo X. The above passage may have been written following this incident. If this is the case, some of the illustrations may have been drawn as late as 1514, although other evidence suggests an earlier date.\n\nApparently unrelated is a further note on the preservation of health which is in part a paraphrase from the Regimen sanitatis of Arnold of Villanova, or one of the numerous modifications of that work such as the tract of Ugo Benzo. Milan, 1481. It is not difficult to discern from the Italian version that the note arose by word association from that given above.\n\nEndeavor to preserve thy health in which thou wilt succeed the better the more thou guardest thyself from physicians.\n\nFor their mixtures are a kind of alchemy on which there are no fewer books than there are remedies.\n\nfigs 1-3. Three outline sketches to illustrate relative shortening of the forefoot on dorsi-flexion.\n\nWhat are the members of man which lengthen or shorten on flexion; and what are those which, when one portion lengthens, the other shortens, and what are those which, when one portion shortens, the other lengthens.\n\nIn the first of these sketches, the interval between the great toe d, and the tip of the lateral malleolus c, is shown to undergo a relative increase on dorsi-flexion when compared to the same interval on plantar flexion as shown in the second figure where the same points are labelled b, and a, respectively. In the third figure the bony outlines show this more clearly, and the following points are indicated by letters: f, the distal phalanx of the great toe; m, the tibia; a, the lateral malleolus labelled at the axis of motion; n, the tip of the lateral malleolus; 0, the calcaneus. Leonardo's note referring to the third of these small figures reads as follows:\n\nWhen m [tibia] approaches f [the toes], a, the axis of the foot, remains constant and a [error for n, the tip of the malleolus] departs from the aforementioned f.\n\nThe figures illustrating the muscles of the shoulder region are a continuation of the series seen in 49. For the most part, the dissections have been carried a stage further so as to expose the joint itself. Among the notes is a reminder to express the physical attitudes of the emotions, for which Leonardo employs the mediaeval term sentiments, by emphasizing the muscles which contract in their expression. This information would be of great value to the artist and sculptor. The note is thus quaintly expressed:\n\nOne must make the sentiments which employ force, more evident in their muscles than those which do not employ these forces.\n\nfig 4. Dissection of the muscles of the shoulder: posterior aspect.\n\nIn this figure the following structures are indicated by the lettering. A portion of the trapezius muscle is reflected and its tendon n, detached from its point of insertion on the acromion, also n. On the muscle is written the word omero, an abbreviation for musculo del omero or muscle of the shoulder which is used by Leonardo variously for the trapezius or deltoid. The origin of the deltoid is indicated by the letters a d, placed on the spine and acromion of the scapula and on the corresponding margins of the detached muscle. The deltoid itself carries the single word spalla standing for musculo del spalla, or muscle of the shoulder which is likewise variably used. The humerus is identified by the word osso, bone. The letters r h, mark the brachialis muscle which in the note given below is established as the pure flexor of the forearm. Other structures easily recognized are the levator scapulae, coraco-clavicular ligament, supraspinatus, infraspinatus, teres minor and major, latissimus dorsi, long and lateral heads of triceps, long head of biceps, and the radial nerve. Observe that the long head of triceps is shown incorrectly arising from the base of the spine of the scapula. Leonardo's note on the action of the brachialis muscle follows:\n\nr h [brachialis] is the muscle which bends the [fore-]arm in an angle, and it is alone in this office, and it arises from the middle of the humerus (aiutorio) and is attached to the [proximal] quarter of the ulna (fucile maggiore).\n\nFor the origin of aiutorio and fucile maggiore, cf. 11, and 12.\n\nfig 5. Dissection of the shoulder as viewed from above.\n\nThe shoulder viewed from above, the eye occupying a position more towards the loins (le reni) than towards the anterior parts; and one sees the internal part of the scapula of this shoulder, that is, that part which is in contact with the ribs; and I have done this to expose the very large muscle m n o [subscapularis].\n\nThe articulation of the clavicle with the acromion is indicated by guide lines. The subscapularis is well shown passing below the coracoid process to its insertion. The structures attached to the coracoid are, posteriorly, the coraco-clavicular ligament; anteriorly, pectoralis minor constituted of the three medial tendons representing the three fasciculi into which Leonardo divided this muscle; the fourth and most\n\n(continued on page 493)\n\n# 51 myology of upper extremity\n\nfigs 1-2. Surface modeling of the arm in extension and flexion.\n\nWhen the arm is bent in an angle at its elbow or forms an angle of any sort\u2014the more acute this is, the shorter the muscles within this angle, and the opposed muscles are extended to a greater length than they ordinarily are, as you might say in the example a [for n, biceps brachii], c [brachialis], e [brachio-radialis] are greatly shortened and b [triceps], n [extensors of forearm] greatly lengthen themselves.\n\nIn fig. 2, the other structure lettered is the lateral epicondyle d.\n\nThe vigor and freedom of the drawings, quite unlike that of a later period, have suggested that they were done around the time of the Anghiari cartoon and therefore c.1504. The modelling, though reasonably accurate, is not nearly so detailed as that of both earlier and later date. They should be compared to those of 52, which are very similar in style.\n\nfig 3. Small sketch of torso indicating a study of spinal balance.\n\nExtraneous to the subject is a sketch of a watermill in black chalk and upside down.\n\n# 52 myology of upper extremity\n\nAlthough intended to be read from below upward and from right to left, the figures will be enumerated in the opposite direction except for that lying above and to the right which will be considered last.\n\nfig 1. Bones of the arm and forearm showing the brachialis muscle.\n\nAll the muscles have been removed except the brachialis which is shown passing from its origin in the distal two-thirds of the humerus to its insertion into the coronoid process of the ulna. Leonardo correctly regarded this muscle as the only pure flexor of the forearm, cf. 54.\n\nfig 2. The biceps muscle has now been added. The sketch is full of errors, suggesting that it was done from memory. The radius and ulna appear to have been transposed, and the tendon of biceps passes beneath that of brachialis. It is clear that at this stage the middle period of his anatomical investigations, Leonardo had not yet appreciated the mechanism of pronation and supination, cf. 54, 212.\n\nfig 3. Similar figure to the above in which some of the extensors of the forearm have been added, but a very rough and confusing sketch.\n\nfig 4. The deltoid, triceps, flexors and extensors of the forearm have been added providing an outline which is reasonably accurate. Leonardo was evidently more familiar at this time only with the general arrangement of the superficial muscles.\n\nfig 5. Superficial muscles of the arm and forearm posterior view.\n\nA fairly accurate sketch of the superficial muscles but not nearly so detailed as those of a later period.\n\nfig 6 [top right]. Enlargement of a portion of the above fig. 5.\n\nIn style these figures resemble those of 51, and probably date from c.1504 when Leonardo was dissecting in Florence. They are transitional between the traditional sketches of the earliest period and the more detailed anatomy of a few years later when the idea of a textbook had more fully developed.\n\n# 53 myology of upper extremity\n\nfig 1.Superficial dissection of root of neck, arm and forearm: anterior aspect.\n\nThe dissection reveals the superficial veins and muscle masses with great faithfulness.\n\nfig 2. Deep dissection of superficial muscles of arm and forearm.\n\nThe dissection has been carried a step further. The superficial veins have been removed, and the muscles are more clearly delineated.\n\nfigs 3-4. Superficial muscles of arm and forearm: lateral aspect.\n\nThese figures should be compared with those of 42, especially fig. 4 of that plate, where the surface appearance of these muscles is shown. No difficulty should be encountered in identifying the various muscles since they are well portrayed. At the foot of the page is a note on the function of the muscles and their relative power. The comparison with birds reflects Leonardo's great interest in the mechanics of flight.\n\nNo movement of the hand, or of its fingers, is produced by the muscles which are found from the elbow upwards; and it is the same in birds, and it is for this reason that they are so powerful because all the muscles which lower the wing arise from the chest and have in themselves a greater weight than those of all the rest of the said bird.\n\n# 54 myology of upper extremity\n\nfig 1. A small sketch of a seated figure.\n\nfig 2. Flexor muscles of the arm: anterior aspect.\n\nThis rough sketch of the arm flexed and pronated at the elbow is apparently to illustrate the change of shape and position of the biceps brachii muscle when it acts as a supinator. It will be observed that the muscle possesses a double outline, the inner or medial of which would correspond to its position in flexion and pronation, the outer lateral being that occupied by the muscle in flexion and supination. The action of brachio-radialis as a flexor when the forearm is pronated is clearly expressed.\n\nAt the foot of the page is a note which is not in Leonardo's holograph but has been identified by Calvi as that of Francesco Melzi. It reads:\n\nON THE OCEAN.\n\nIf the water becomes so salt through the earth being scorched by the sun, it should follow that earth boiled in water would make the water salty.\n\nThis folio is in reality a portion of a large sheet which was once folded but is now divided into two. The other half, reproduced in the Quaderni edition as f. 20v, contains a note in Leonardo's hand on the motion of the wind. This has been omitted here as not pertinent to the present subject.\n\n# 55 myology of upper extremity\n\nfigs 1-2. Sketches comparing the leverage of the muscles of the upper arm in man and monkey.\n\nThe first figure is labelled monkey, the second, man. The note reads: The nearer the hand the sinew c d [flexor muscle] flexes the bone o p [ulna] the greater the weight the hand can lift; and it is this which makes the monkey proportionately more powerful in his arms than man.\n\nfig 3. Diagram to illustrate the proportional advantages with the increase in length of the lever arm.\n\nThe forces are indicated by the numerals 2,3,4,6, as the fulcrum is approached.\n\n# 56 myology of upper extremity\n\nAt the top of the page Leonardo attempts to classify muscles into various morphological types according to the nature of their origin and insertion. One of these types is illustrated by a sketch of the subclavius muscle.\n\nThere is a type of muscle which begins in a cord and terminates in a cord, and this is divided into two classes, one of which has its cord expanded and converted into cartilage [not cartilage in our sense, but a flat aponeurotic-like tendon], and the other has its cord rounded in the form of a cord.\n\nThe 2nd type of muscle has its cord only at one end, and this is further divided into two classes, of which one has expanded cords converted into cartilage, the other remaining quite round.\n\nfig 1. The clavicle and subclavius muscle.\n\nThe faint sketch buried in the text shows the clavicle p n, to which is attached the subclavius muscle a b n, spreading out like a fan.\n\nThere is another type of muscle [e.g., subclavius] which is attached by its lower part over its entire length to the bone covering it, and in this type each of its smaller parts has a different length, and the shortest is the most powerful. [Thus in] a b p n, the [subclavius] muscle lies as shown at a b n, attached to the bone of the arm p n [clavicle] so that the portion a b, is longer than the portion b n.\n\nAnother type is that which begins in flesh, arising from a bone and terminates in a cord, or I may say, begins in a cord and terminates in flesh.\n\nThe above considerations lead Leonardo to the idea of representing the muscles attached to each bone separately.\n\nMake for each bone taken separately, its muscles, that is, the muscles which arise from it.\n\nfig 2. The superficial muscles of the arm and forearm: lateral aspect.\n\nThis figure, like fig. 5 below, seems to belong to the series found on 45, 46, 47. However, the features of the subject are identical with those of the specimen found on 43, 48, and therefore is probably derived from a separate dissection.\n\nfigs 3-4. Superficial and deeper dissection of the facial muscles.\n\nIn these remarkable figures many of the important facial muscles are clearly identifiable. The second figure is a deeper dissection in which the masseter muscle and a portion of the ramus of the mandible have been removed to expose the insertion of the temporals and the buccinator muscle, a. The lettering in the two figures is as follows: p, median portion of frontalis; h, lateral portion of frontalis; g and p, temporalis; 0 t, procerus and nasalis; b r, 0 r, and c s, angular, infraorbital and zygomatic heads of quadratus labii superioris; c a, zygomaticus; m n, masseter; a (in both jaws), buccinator; n, ramus of mandible; f, zygomatic bone. In the second figure caninus may be discerned. Of these various structures Leonardo remarks:\n\nh [lateral portion of frontalis] is the muscle of anger; p [median portion of frontalis] is the muscle of sadness; g [part of temporalis] is the muscle for biting; g n m [temporalis and masseter] is one and the same muscle [in function]; o t [procerus] is the muscle of anger.\n\nNote which nerves are those which serve the muscles b 0 c [heads of quadratus labii superioris] of the human cheek, placed here above.\n\na [buccinator] is the muscular flesh which arises from the gums above and terminates in the gums below, and it ends in the jaw and in the mouth.\n\nThe muscle m [masseter] is larger than the muscle p [posterior portion of temporalis] because it has to do more work.\n\nI elevate the muscle m, and its position remains as is seen in the other head [fig. 4] at n.\n\nAnd I elevate the muscles o c [heads of quadratus labii superioris], and the bone f [zygomatic] remains [in fig. 4].\n\nRepresent all the causes of motion which the skin, flesh and muscles of the face possess and [see] if these muscles receive their motion from nerves which come from the brain or not.\n\nAnd do this first for the horse which has large muscles and clearly evident parts.\n\nNotice whether the muscle which raises the nares of the horse is the same as that which lies here in man at f, and which emerges from the [infraorbital] foramen of the bone f.\n\nfig 5. Superficial muscles of the arm and forearm: anterior aspect.\n\nA single note draws attention to the fasciculi of the deltoid, abed.\n\nNote where the lowest parts of the muscles of the shoulder abed [deltoid fasciculi] are attached and which of them are attached to the bone called the aiutorio [humerus] and which are attached to other muscles.\n\nfig 6. The distribution of the median and ulnar nerves in the hand.\n\nThis splendid figure of the digital distribution of the median and ulnar nerves shows the great attention paid by Leonardo to the mechanism of the hand, and his simple experiment recounted below, how great was his insight. The margins of the fingers are lettered c a n m b, in relationship to the experiment. But first he asks whether masking of sensation occurs.\n\nSee if you think that this sense [of touch] is affected in an organ player while at the same time the mind is attentive to the sense of hearing.\n\nWhy does the same object touched by the side of the finger b, and by the side of the 2nd finger a, appear to be double and if touched by n m, appear single? It is because n m, derive from a single nerve and a b, arise from two nerves.\n\nHere is motion and sensation.\n\nHere, following a cut in the hand, sometimes the sensation and not the motion of the fingers is blocked, and sometimes the motion and not the sensation. Sometimes it is both sensation and motion.\n\nIf one and the same object is touched at c and n, it appears to be two.\n\n(continued on page 494)\n\n# 57 myology of upper extremity\n\nThese 10 demonstrations of the hand would be better turned upwards, but my first general demonstration of man obliges me to do otherwise having had to draw it with the hands directed downwards, and in order not to discard my principle, I am obliged to make them turned downwards.\n\nOnly 4 of the 10 demonstrations mentioned in Leonardo's note appear on this page. They are in order, figs. 7,8,1,3, of our numeration. The fifth and sixth demonstrations of the series are to be found on 56, where they constitute figs. 5-6. Demonstrations 7 to 10 have not been identified. This passage should be compared with that of 10 where Leonardo discusses his intended method of presenting the anatomy of the hand, likewise in ten demonstrations but not corresponding entirely to those numbered here. We may assume from his statement that the first illustration of his anatomy was to have been the intact figure in the upright posture but, if such a figure was constructed, it has not survived.\n\nfig 1. Third demonstration. Deep dissection of the palm of the hand.\n\nThe tendons of flexor digitorum profundis and flexor pollicis longus are shown passing beneath the transverse carpal ligament, in the form of two bands, p q, to gain their insertion into the terminal phalanges of the digits. Attention is called to the expansion of the tendons at their insertions by the letter b. Flexor carpi ulnaris and flexor carpi radialis are easily identified. The structure, resembling a tendon and passing to the base of the thumb on the radial side of flexor pollicis longus, is probably the radial artery. The ulnar nerve, dividing into its two terminal branches, is seen in faint outline reflected over flexor carpi ulnaris to the medial side of the forearm. The following general notes are appended to the illustration:\n\nShow and describe what cord in each finger is the most powerful and the largest, and arises from the largest muscle and the largest sinew and is placed upon the largest digital bone.\n\nThe cords of the palm of the hand together with their muscles are very much larger than those of its dorsum.\n\nTO BE NOTED.\n\nNote how the muscles [interossei] which arise from the bones of the palm of the hand are attached to the first bone of the digits, how they flex them and how the nerves are distributed there.\n\nLeonardo's reminder to describe the tendon arising from the largest muscle and largest nerve needs explanation. In Aristotle's view, Historia animalium, 111:5:515a; De partibus animalium, III:4:666b ff., the nerve formed the connective tissue of a muscle and was the active element producing the contraction, and the flesh, the inactive. Galen and the mediaeval anatomists held that muscle was formed by the interweaving of nerves, arteries and veins, intermixed with ligament. The tendon was a mixture of ligament and nerve. Hence, according to both theories the nerve was proportional in size to the muscle and an indication of its \"power\".\n\nDescribe how many coverings (panniculi) intervene between the skin and the bones of the hand.\n\nIn connection with this note it should be observed that in the six demonstrations of this plate and of 56, the palmaris longus and the palmar aponeurosis are not represented.\n\nThe final note on this figure concerns the innervation and sensation of the fingers. Leonardo was aware of the distribution of the median nerve to the lateral   digits and of the ulnar nerve to medial   fingers, cf. 56, fig. 5. He provides the following interesting experiment on confusion in localization of a painful stimulus to the crossed fingers:\n\nIf you cross the digits c d [ring and middle fingers] so that a [ulnar border of ring finger] and b [radial border of middle finger] touch one and the same object between them, and this object stimulates them so that the 2 fingers are made painful, I say that the object will give rise to pain in 3 places although applied to 2.\n\nAnd this occurs because a, is provided with sensation by the nerve [ulnar] which passes below the elbow, and b, has its sensation from the nerve [median] which passes the joint in the interior of the elbow.\n\nfig 2. The digital bones illustrating the insertion of the long flexor tendons.\n\nThe penetration of the tendon of flexor digitorum sublimis by flexor digitorum profundus greatly interested Leonardo because of the mechanical principles involved. Therefore, around and about the sketch he writes the reminder to include in his projected work a section on mechanics with examples before taking up the action of muscles.\n\nArrange it so that the book on the elements of mechanics, with its practice, comes prior to the demonstration of movement and force of man and of other animals, and by means of these [examples] you will be able to prove all your propositions.\n\nfig 3. Fourth demonstration. Intermediate dissection of the palm of the hand.\n\nThis dissection is carried to a position intermediate between that of fig. 1 on this plate and fig. 5 of 56. The median nerve has been reflected laterally and the ulnar nerve, medially. The arrangement of the flexor digitorum sublimus and profundus muscles entering the flexor sheaths to pass to their insertions is admirably displayed. The four lumbrical muscles are clearly indicated. In the hypothenar eminence the abductor, flexor and opponens digiti quinti may be identified. The structure on the radial side of the tendons of flexor pollicis longus and flexor carpi radialis is the radial artery. The transverse carpal ligament is again shown as two cords extending from p to q, but is a single structure in fig. 5 of 56. From the accompanying note it is impossible to determine whether Leonardo mistakenly regarded the transverse carpal ligament as a muscle or is referring to the action of the muscles of the thenar or hypothenar eminences.\n\n(continued on page 494)\n\n# 58 myology of lower extremity\n\nIt was Leonardo's intention, as stated on 60, to introduce illustrations of the surface features prior to the figures of the anatomical dissections. On the plate mentioned above he was to compare the human leg with that of the frog and of the hare. Here he compares it with the hind limb of a horse. The similarity of subject matter suggests, despite differences in style, that these two plates are companion pieces of the same date. And since he calls 60 the second demonstration, perhaps this is the first.\n\nfig 1. Surface anatomy of the lower extremity: lateral aspect.\n\nBelow the figure is the note:\n\nDescribe which muscles disappear upon [the man] growing fat, and which muscles are uncovered, on growing lean.\n\nAnd note that those regions on the surface of a fat man which will be more concave, will become more elevated when he grows thin.\n\nfig 2. Surface anatomy of the lower extremities: posterior view.\n\nThe pose and proportions of this figure are identical with those of 60, with which it should be compared. In fact, so close are the proportions that it is fairly safe to assume that the figure on the plate mentioned and figs. 1-3 of this plate were obtained from one another by the method of transformation or parallel projection in which any required figure may be developed from any two others provided they are in planes at right angles to each other. This method was highly developed by the Milanese artists and entirely familiar to Leonardo who illustrates the technique (Clark, 12605r:).\n\nfig 3. Surface anatomy of lower extremity and torso: lateral aspect.\n\nIn this more finished drawing, the left leg is a repetition of that in fig. 1. It will be observed that errors in surface contour of the gluteal region are the same as those seen in fig. 1 of 20, where the gluteus medius muscle is shown as two distinct muscles. It appears that Leonardo failed to distinguish the outline of the fat of the buttocks from that of gluteus maximus and manufactured his muscles to conform to surface appearances with which he was more familiar. The pose of these several figures is similar to that of those made for the Anghiari cartoon. Beside the figure is the notation:\n\nWhere the muscles are separate from one another, you will make profiles, and where they fuse together: and you will draw only with a pen.\n\nThis statement as it stands is almost unintelligible. The key to the meaning is provided by the notes on muscles given on 20. There we learn that by \"profiles\" Leonardo meant outlines in pen and ink of the individual muscles to show their shape and cross-sectional appearances.\n\nfig 4. Wire or cord diagram of the muscles of the hind-limb of a horse.\n\nfig 5. Wire or cord diagram of the hip muscles of man.\n\nfig 6. The bony skeleton of the pelvis and thigh, ostensibly of man.\n\nThese three figures are for comparative purposes. In fig. 5, the cords show diagrammatically the position and attachments of the adductors, sartorius, tensor fasciae latae, gluteus medius (as two muscles), gluteus minimus and maximus. The supposedly corresponding muscles of the horse are shown in fig. 4, but very inexactly. Presumably the cords represent the adductor, sartorius, tensor fasciae latae, gluteus superficialis or gluteus medius and gluteo-biceps of the horse. The elongation of the innominate bone and the length of the coccyx in fig. 6, suggest the pelvis of an animal rather than of man. In addition, the observer will note a trochanter tertius below the greater trochanter. From these appearances fig. 6 seems to have been derived by the expansion of animal bones to the approximate proportions of the human. The notes read from right to left:\n\nFusion of fleshy muscles [as the vasti] with the bones, without any sinew or cartilage\u2014and you will make the same in several animals and birds.\n\nMake a man on tip-toe that you may better compare man with other animals.\n\nDraw the knee of man flexed like that of the horse.\n\nTo compare the skeleton of the horse with that of man, you will make the man on tip-toe, in drawing the legs.\n\nOn the correspondence which the shape of the bones and muscles of animals have with the bones and muscles of man.\n\nFirst make the bones separated with the sockets where they join and then join them together, and especially the hip-joint (scia) or the joint of the thigh.\n\n# 59 myology of lower extremity\n\nfig 1. Surface anatomy of lower leg: lateral and posterior aspects.\n\nThis exquisite drawing was evidently designed to show the surface contours of the lower leg as indicated in the note below. The drawing dates from probably the period of the Anghiari cartoon, c.1504-05, or perhaps even later. Note the greater accuracy exhibited in the modeling of biceps femoris and the ilio-tibial tract as compared with the earlier drawings of 64 and 65. Above and to the left is written, the feet. The note reads:\n\nNature has made all the muscles appertaining to the motion of the toes attached to the bone of the leg and not to that of the thigh, because when the knee-joint is flexed, if attached to the bone of the thigh, these muscles would be restricted and bound under the knee-joint and would not be able, without great difficulty and fatigue, to serve the toes; and the same occurs in the hand owing to the flexion of the elbow.\n\n# 60 myology of lower extremity\n\nfig 1. Surface anatomy of the lower extremity: anterior aspect.\n\nA second demonstration interposed between the anatomy and [the representation of] the living.\n\nAs indicated in Leonardo's caption, this beautiful representation of the surface anatomy was intended as a transition between the representation of the living body in motion, as described in his discussions on \"the order of anatomy\" in 71, and views of the dissection of the surface muscles as in 61 and 63. Closely allied to the present drawing is 62 where the right leg only is shown in almost the identical pose of the left leg seen here. A note on comparative anatomy follows the caption.\n\nYou will represent for a comparison the legs of a frog which have a great resemblance to the legs of man, both as to bones and to their muscles; then you should follow with the hind limbs of a hare which are very muscular and which have active muscles because they are not encumbered with fat.\n\nVery similar ideas have been carried out in 58, a drawing of slightly earlier date, where the hind limb of a horse is compared to the lower extremity of man. The general style and pose of the present drawing suggest a study of the Anghiari period and therefore sometime between 1505-08. The plate bears the number 55 believed to be that assigned by Pompeo Leoni after he obtained possession of the note-books.\n\n# 61 myology of lower extremity\n\nfig 1. Dissection of axilla and arm (badly rubbed charcoal drawing).\n\nMake a demonstration with lean and thin muscles so that the interval which develops between one another makes a window to show what is formed behind them.\n\nAs in this sketch of a shoulder made here in charcoal.\n\nThis practice was no doubt responsible for the division of certain of the larger muscles into separate fasciculi, as may be observed in the case of the pectoralis major muscle in 48.\n\nfig 2. Superficial muscles of the lower extremity: anterior aspect.\n\nThis figure is one of several posed in similar manner suggestive of Leonardo's studies for the Battle of Anghiari. The muscles are accurately represented if somewhat exaggerated in size, cf. 47 on reason for the exaggeration. In the thigh Leonardo largely confines his investigations to the superficial muscles and is very unclear on their deeper attachments. In the accompanying notes he classifies muscle attachments generally into three types: first is direct insertion by means of a tendon; second, indirect attachment through a common insertion; third, described for the case of the tensor fasciae latae, is a combination of the first two. In the latter portion of the note, which is directly related to the figure, he states that the tensor fasciae latae is attached to the vastus lateralis, presumably through the deep surface of the ilio-tibial tract, and thus indirectly to the femur. In addition, he believes that the tensor has a direct attachment into the femur in this region of the greater trochanter possibly referring to the fascia which extends from the deep surface of that muscle. This is his third method of attachment as it is both direct and indirect.\n\nNATURE OF MUSCLES.\n\nAs the cords of muscles are of greater or lesser length, so man has a greater or lesser amount of flesh. And in a lean individual the flesh always retreats towards the origin of its fleshy part. And in taking on robustness (pinguedine), [the flesh] extends down towards the origin of the cord.\n\nHOW MUSCLES ARE ATTACHED TO THE JOINTS OF THE BONES.\n\nThe end of each muscle is converted into a cord which binds together the joints of the bones and to which this muscle is attached.\n\nON THE NUMBER OF THE CORDS AND OF THE MUSCLES.\n\nThe number of cords which successively one above the other cover each other and all of which together clothe and bind the bony joint to which they are attached, is the same as the number of muscles which run together at the same joint.\n\nAs the attachment of the muscle b [tensor fasciae latae] is made with the bone of the thigh and, in truth, with the muscle a [vastus lateralis] or, rather, the muscle b, and the muscle a, since they are united and are attached to and fixed upon the bone of the thigh. And this 3rd method [of attachment] is more useful for the benefit of the motion of this thigh, and more secure, because if the muscle a, were cut or otherwise injured, the muscle b, would itself move the thigh which it could not do if it were not united to the bone between b and a [at the base of the greater trochanter].\n\nIn the first portion of the above note, Leonardo uses the term pinguedine, literally \"fat\". However, all mediaeval anatomists, following Aristotle and Galen, recognized two kinds of corpulency, that due to fat proper and that due to flesh. Hence we have rendered the term \"robustness\" to provide a better feel of the sense.\n\nThe final note, found in the lower right-hand margin, reads: The muscles are of two shapes with two different names, of which the shorter is called \"musculus\" and the longer is called \"lacertus\".\n\nHere Leonardo mentions two of the three terms commonly employed by mediaeval anatomists to describe a muscle in terms of its shape. It should be remembered that the terms at this period still contained the imagery of their derivation so that musculus meant \"a little mouse\" (from  ) and was reserved by some for a short muscle, while lacertus, a lizard, was used for long muscles, cf. 43. This distinction was not always followed, and the terms were frequently regarded as synonymous. In the case of muscles possessing two heads of origin, the third term pisciculus, diminutive of piscis, a fish, was common and is so used by Leonardo in 45.\n\n# 62 myology of lower extremity\n\nfig 1. Surface anatomy of lower extremity: anterior aspect.\n\nThe figure is very similar to 60 and was numbered by Pompeo Leoni to follow it, and with good reason since not only are they related stylistically but are drawn on the same paper. The modelling of surface muscles is carefully done and differs from the preceding in that the limb is in moderate lateral rotation to reveal the outline of the gracilis muscle medial to the adductor mass.\n\n# 63 myology of lower extremity\n\nfig 1. Superficial muscles of the thigh and calf: anterior aspect.\n\nThe figure is very similar to those on 20, 61, 169, of approximately the same date. The pose is a favorite one and suggestive of the series for the Anghiari cartoon. The muscles are represented with some accuracy except for the upper end of the rectus femoris muscle.\n\nfig 2. The external and internal intercostal muscles.\n\nThe direction of the fibres of the intercostal muscles is indicated by the letters a b, a c, but it is evident that Leonardo is confused since the fibres of the external intercostals run in the opposite, instead of the same direction in contiguous intervals. This error leads to a curious statement as to their action which contradicts the opinion held elsewhere, although reference is made to the tendons rather than to the muscles themselves.\n\nThe mesopleuri [intercostal muscles] are those sinews which bind the ribs together. Not only do they bind them and prevent their dilatation, but they also prevent transverse movements.\n\nfig 3. The interosseous muscle of the foot.\n\nThis figure is a continuation of the series on the dissection of the foot found on 80.\n\n# 64 myology of lower extremity\n\nfig 1. Mechanical diagram, significance unknown.\n\nfig 2. Surface anatomy of lower extremity and torso: lateral aspect.\n\nThe inscription written in a more elaborate and formal gothic hand indicates the early date of this sketch, made possibly around 1490. The page is part of the same sheet as 65 on which similar studies appear. The modelling of the gluteal region differs considerably from the surface studies shown in 58. However, at the knee we have the same exaggeration of elevations produced by the biceps femoris muscle, the vastus lateralis and the ilio-tibial tract. The accompanying note reads:\n\nRobust nudes will be muscular and thick.\n\nThose who are of less strength will be lacertus and thin.\n\nFor the meaning of lacertus, cf. 61.\n\n# 65 myology of lower extremity\n\nfigs 1-2. Surface anatomy of the lower extremity: lateral aspect.\n\nThis page was originally a part of 64 and the sketches very similar. In the thigh there is less modelling, and the rectus femoris is not differentiated from the vastus lateralis by shading as in the previous figure, which gives to the thigh an unpleasant heaviness. The outline of the biceps femoris is less correct and there is the same exaggeration of its tendon which is now misrelated. One gains the impression that these are largely sketches done from memory and based, no doubt, on the previous more finished work. It is doubtful if Leonardo possessed much anatomical knowledge at this period, and he appears to have depended for the most part on living models. In any case the comparison should be made with the more accurate rendition of surface contours about the knee seen in 59.\n\n# 66 myology of lower extremity\n\nfigs 1-2. Surface anatomy of lateral and medial aspects of lower extremity.\n\nThese preliminary sketches of the lateral surface of one leg and the medial surface of the other limb in the same posture carry out the idea mentioned in the note accompanying fig. 1 of 13, of representing portions of the body to show opposed surfaces even if this necessitated reversing one of them. In other words, the student would by this means be able to see and to compare the two opposed sides as though he had walked around the model.\n\nfig 3. Surface anatomy of lower limb: medial aspect.\n\nfig 4. Surface anatomy of lower limb: lateral aspect.\n\nThese figures, together with 62, complete the series on the surface anatomy of the lower limb. They should be compared with the similar studies of an earlier date, 64, 65.\n\n# 67 myology of lower extremity\n\nfig 1. Small figure ascending a hill.\n\nfig 2. Small figure walking downhill.\n\nHe who descends takes short steps because the weight rests upon the hinder foot. And he who mounts takes long steps because his weight remains on the forward foot.\n\nBoth as an artist and as a scientist Leonardo was intensely interested in locomotion and its mechanics. A number of drawings and notes on this subject are to be found scattered through his works but are concerned more with the representation of body balance during motion than with anatomical or physiological pursuits. More extensive notes on this topic are to be found in Ms. A of the Institut de France, 28v, and in FB21r.\n\nfigs 3-4. Surface anatomy of lower extremity and torso (sketch of eye below).\n\nThese drawings are remarkably similar to those of 64 and 65, with the same exaggeration of the lower end of the ilio-tibial tract. They are presumably of the same date.\n\nfig 5. Drawing of stick resting in the fork of another: significance unknown.\n\nThe remaining notes concern aerial perspective in painting and the behavior of forces in water. Since these are not concerned with the topic, they have been omitted. On the folio is a faint chalk drawing of a profile and other writing which has either rubbed or was partially erased.\n\n# 68 myology of lower extremity\n\nfig 1. Superficial muscles of the thigh: medial aspect.\n\nI wish to detach the muscle or lacertus a b [sartorius] and show what passes beneath it.\n\nThis desire has been carried out, and fig. 2 of the recto of this folio shows the sartorius resected to expose the femoral vessels lying in Hunter's canal. Long muscles were called lacertus\u2014an abbreviation of this word, il lace, is observed written just below the perineal region of the figure. Cf. 43.\n\nAll the muscles of the thigh arrive upon the knee and are converted first into sinew (nervi) and then, below the sinew, each is transformed into thin cartilage by which the knee-joint is bound with as many skins or membranous coverings as there are muscles which descend from the thigh to the knee. And these fasciae extend for four fingers breadth above the knee-joint and 4 below.\n\nfig 2. Superficial muscles of the thigh: anterior aspect.\n\nThe long muscle (lacerto) a b [sartorius] and the long muscle a c [tensor fasciae latae] serve to raise the thigh forwards.\n\nAnd they also give lateral movements to the thigh, that is, on abducting and adducting the thighs. On abducting the thigh, the muscle a c, undergoes thickening and shortening, and the lacertus a b, acts by its shortening.\n\nON THE ROTATORY MOVEMENT OF THE THIGH.\n\nThe rotatory part of the movement of the thigh to the right and to the left [in abduction and adduction] is caused by the above-mentioned muscles, that is, the muscle a c, turns the thigh inwards and the lacertus a b, returns it outwards, and the two together raise the thigh.\n\nBetween the figures are placed generalizations and a reminder of work to be done.\n\nThe muscles always arise from and terminate in the bones touching one another, and they never arise from and terminate in one and the same bone, because it would be able to move nothing unless it itself were not in a rarified or dense state.\n\nWhat are the muscles one part of which arises from a bone and the other attaches to another muscle?\n\nLeonardo refers to compound muscles such as the quadriceps of the thigh and calf muscles, the action of which greatly interested him.\n\n# 69 myology of lower extremity\n\nfig 1. Superficial muscles of the thigh: lateral aspect.\n\nThe gross exaggeration of the outlines of the tensor fasciae latae and vastus lateralis is characteristic of several of Leonardo's sketches presumably made around his middle period of anatomical studies. The illustration should be compared with the related drawings on 68.\n\nfig 2. Superficial muscles of the thigh: posterior aspect.\n\nThe figure, like its companion, appears not to have been made from an actual dissection and possibly represents an attempt to show the structures responsible for surface contours. The two structures in the popliteal space are doubtless the common peroneal nerve on the lateral side and the tendon of semimembranosus on the medial side.\n\n# 70 myology of lower extremity\n\nfig 1. Superficial muscles of the thigh: posteromedial aspect.\n\nfig 2. Superficial muscles of the thigh: medial aspect.\n\nThese figures are continuous to the series found on 69, and like them, appearances suggest that they were derived from other drawings and not from dissection itself. The arrangement of the gracilis and other muscles at their pelvic attachment is obviously erroneous.\n\nThe note is unrelated to the drawings. Leonardo mistakenly divided certain muscles into several fasciculi regarded as separate muscles, as in the case of the pectoral in 43. He believed that these fasciculi fused together to form single muscles in those of greater muscular development.\n\nWhat muscles are those which, when they become lean, divide themselves into several muscles and form one from many when they become fleshy.\n\n# 71 myology of lower extremity\n\nfigs 1-2. The anatomy of the thigh on flexion at the knee.\n\nThe purpose of these illustrations is to show the changing relationship of the sartorius to the semitendinosus muscle on flexion of the knee and, further, to show the action of sartorius as a medial rotator of the flexed knee. A similar diagram is to be found on 11. Leonardo points out the value of this information to the artist and to the surgeon.\n\nIn this demonstration made from different aspects take account of all the muscles which move the leg, which muscles are attached to the lips of the pelvis where also arise the muscles which move the thigh from the knee upwards.\n\nAnd also of those which bend the knee when one kneels.\n\nTO BE NOTED.\n\nDifferent muscles are uncovered in the different movements of the animals, and there are different muscles which are hidden in such diversity of movement. It is necessary to make a long treatise on this subject for the purpose of understanding the regions injured by wounds and also for the sake of sculptors and painters, etc.\n\nTO BE NOTED.\n\nAll the movements of the leg arise from the muscles of the thigh, which movements are the cause of the flexion of the leg, of its extension and of its rotation to the right or to the left.\n\nBut the movements of the feet are caused by the muscles arising in the leg; as to the movements of the toes, some arise in the leg and others in the foot.\n\nAnd of the motor muscles of the leg, some arise from the hip and others from the thigh; and of all you will give the true position.\n\nInterspaced between the figures are other notes which refer directly to them.\n\nThe muscles which elevate and lower the foot arise from the leg; that is, those which elevate the anterior part [of the foot] arise from the outer (silvestra) part of the leg and are attached at the origin of the great toe of the foot.\n\nNote which are the principal cords and cause the greater injury to the animal when they have been cut, and which are of less importance; and you will do this for each limb.\n\nNote the proportion of the bones to one another.\n\nAnd what purpose each serves.\n\nAt the top of the page are certain notes written in an earlier handwriting, c.1492. These seem to be a continuation of the jottings found on FB21r, and related to the note on the order of Leonardo's contemplated book written on the verso of the present sheet and given elsewhere.\n\nThe ramification of the veins from the shoulders upwards, and from the spleen to the lungs.\n\nThe ramification of the nerves and of the reversive [recurrent] nerves to the heart.\n\nOf the shape and position of the intestines.\n\nWhere is the umbilical cord attached?\n\nOf the muscles of the body and of the loins (reni).\n\n# 72 myology of lower extremity\n\nfigs 1-4. Cross-sectional anatomy of the leg.\n\nThe major interest of these figures depends upon the fact that they constitute the first known example of the use of cross-sections for the study of gross anatomy and thereby anticipate modern technique by several hundred years. As might be expected in the absence of hardening reagents or methods of freezing, it was apparently found not entirely satisfactory by Leonardo since he seldom uses it. Moreover, he no doubt found that his knowledge of anatomy was scarcely sufficient to enable him to identify the various structures on cross-section. Unfortunately no text accompanies the illustration and no explanation is given of the lettered section. This section is from the mid-thigh region but of no accuracy. Presuming that the section is maintained in the same position as its counterpart in the series, it is suggested that the letters identify the following structures: d, the femur; a, vastus medialis; b, adductor magnus; c, adductor longus; e (like D), vastus lateralis, e, f, biceps femoris; g, semimembranosus and semitendinosus.\n\nThe drawing is believed to date from an early period, c.1487, and a similar illustration is to be found on 151.\n\n# 73 myology of lower extremity\n\nThis 2nd is the demonstration of the muscles with their cords which relate only to force and movement.\n\nAnd there will be four [illustrations], that is from behind, from in front, in profile from the outer aspect, and in profile from the inner aspect.\n\nFirst make these 2 demonstrations without their cords.\n\nAs these illustrations are said to form the second demonstration, we may assume that they were to follow similar figures of the muscles themselves. Only three of the four contemplated figures appear on this page. They were to be preceded by drawings of the bones alone. The various notes have been rearranged somewhat.\n\nfigs 1-3. Wire diagrams of the muscles: medial, anterior and lateral aspects of the lower extremity.\n\nHere Leonardo specifically states that these models showing the outlines or lines of force of the muscles are to be made of copper wire. Elsewhere in discussing similar figures he mentions linen threads or cords. It is doubtful that such models were ever constructed. Their purpose was to show not only the action of the muscle but also the relations of the muscles to one another. On their construction he writes:\n\nMake this leg in full relief, and make the cords of tempered copper, and then bend them according to their natural form. After doing this, you will be able to draw them from 4 sides. Place them as they exist in nature, and speak of their uses.\n\nI put only the number of the muscles with their origin and termination, and the places where their extremities are attached.\n\nThese four legs are to be on one and the same sheet of paper so that you may better understand the position of the muscles and be able to recognize them from several aspects.\n\nThe wires or cords are to indicate the lines of tension developed by the muscles, as shown by the words: All the lines of force of man.\n\nLeonardo, lacking a descriptive terminology for the muscles and other structures, expected to follow the clumsy method of Galen and number the various structures.\n\nHaving finished with the bones of the leg, give the number of all the bones and at the termination of the sinews put the number of these sinews; and you will do the same for the muscles, cords, the veins and the arteries, saying: So many has the thigh, so many the leg, so many the foot, and so many the toes. And then you will say: So many are the muscles which arise from a bone and terminate in a bone, and so many are those which arise from a bone and terminate in another muscle. In this way you will describe every detail of each member and especially the ramifications which some muscles make which give rise to different cords.\n\nTo facilitate the above plan, he asks the question: How many are the muscles which arise from the hipbone (alchatin), and which are created for the motion of the thigh.\n\nFor the origin and use of alchatin, in this instance meaning the innominate bone, cf. 12.\n\nA functional classification of the muscles of the extremity into primary and secondary groups is suggested by the remark: The immediate causes of the motions of the legs are entirely separated from the immediate cause of the motion of the thigh, and the same makes for power.\n\nCompound muscles such as the quadriceps of the thigh and the triceps of the calf pose mechanical problems which greatly interested Leonardo and are mentioned on several occasions as in one of the notes above where they are called \"ramifications\" giving rise to a different tendon and again in the statement: Many are the muscles which arise from the bones and terminate in another muscle.\n\nIn fig. 1, the only muscle indicated by letters, p q, is the sartorius which is discussed in conjunction with the ilio-tibial band and tensor fasciae latae, fig. 3, r o. These tendons are believed to produce medial and lateral rotation respectively of the leg on the thigh, but only when the knee is flexed.\n\nAfter the leg is bent at the knee, then the sinew p q [sartorius], of the leg in profile from the internal aspect [fig. 1], and r o [tensor fasciae latae] of the other leg in profile from the external aspect [fig. 3], (besides the straight movement of the leg from the knee downwards), further serve the movement causing the rotation from the knee downwards. When these are not operating, the extended leg cannot turn without turning the thigh, the leg being extended. And this occurs because in the extended leg the sinews mentioned do not have leverage upon the bone of such a leg in the same way that it has when bent. And the reason is that when the leg is straight, the cords pull the leg directly towards the joint of the knee.\n\nIn fig. 3, a number of structures are indicated by letters. However, it should be recognized that there are many inaccuracies in these drawings so that the identifications which can be made are only approximate. a b r, outlines the gluteus medius; r b c n, tensor fasciae latae with r o, and m o, indicating the ilio-tibial tract; a second r and v, gluteus maximus; K, the patella; s, the sole of the foot. A note on the proportional relationship of the length of the foot to the leg and to the thigh accompanies fig. 3, which is drawn to the dimensions mentioned.\n\nThe length of the foot is half that of the leg from the knee to the ground, that is, from K [patella] to s [sole of foot], which is as long as K to c [anterior superior spine of ilium]. Thus the foot goes four times into c s. And know that such feet are of esteemed dimensions since they are inclined to be a little small because an attractive leg has [a foot] rather smaller than large.\n\n# 74 myology of lower extremity\n\nfig 1. Muscles of the anterior aspect of the leg and dorsum of the foot.\n\nThe muscles indicated by letters are m, tibialis anterior; S and r, extensor digitorum longus, which is described as two muscles due to artificial separation; t, extensor hallucis longus; n, peroneus tertius; h, the medial malleolus; a b e d, extensor digitorum brevis (with extensor hallucis brevis); f, peroneus longus; g, (concealed in shadow), peroneus brevis. Unlettered are the margin of soleus and gastrocnemius and the digital branches of the anterior tibial nerve.\n\nThe muscles which move the foot solely to elevate it anteriorly [dorsi flexion], are m n [tibialis anterior and peroneus tertius] which arise in the leg from below the knee, and those which evert it to the outer side of the ankle are the muscles f n [peroneus longus and peroneus tertius]; therefore n [peroneus tertius] is common to both these movements.\n\nLeonardo's acute appreciation of the action of synergistic muscles in the patterns of movement is clearly evident in the above observation.\n\nThe muscles n m [peroneus tertius and tibialis anterior] serve only to move the whole foot upwards [dorsi flexion].\n\nMundinus says that the muscles which elevate the digits of the feet are found in the external part (parte silvestra) of the thigh, and then adds that the dorsum of the foot has no muscles because nature wished to make it light so as to move with ease, for if it were fleshy it would be heavier. In this regard experience shows that the muscles a b e d [extensor digitorum brevis] move the second pieces of the bones of the toes [phalanx II], and the muscles of the leg r S t [extensor digitorum longus and extensor hallucis longus] move the tips of the toes. Now the question here is to see why necessity has not caused them all to arise in the foot, or all in the leg; or why those of the leg [long extensors] which move the tips of the toes should not arise in the foot instead of having a longer path to reach the tips of the toes, and likewise why those [short extensors] which move the second joints of the toes [should not] arise in the leg.\n\nLeonardo either misread the work of Mundinus or was quoting from memory or from a corrupt text. Mundinus actually said, \"Yet thou shouldest know that the cords extending to the toes arise in the muscles which are in the pars silvestris [external part] of the leg...,\" and that \"those which expand the toes could not be placed in the upper part [of the foot] because the upper part must be free from flesh so that it might not add to the weight of the foot\" [ed. Singer, p. 99].\n\nAvic[enna]. The muscles which move the digits of the feet are 60.\n\nfig 2. Detail of the dorsal aponeurosis of the extensor tendon of insertion of the toe.\n\nIn this superb illustration is shown the membranous expansion of the extensor tendon on the dorsum of the toe and the collateral slips formed by the tendons of extensor digitorum brevis, the lumbricals and interossei. Nothing approaching such detail is to be found until comparatively recent times. Leonardo correctly notes how these muscles eventually pass to insert into the distal phalanx.\n\nAll the sinews (nervi) on the front of the leg serve the tips of the digits of the feet as is shown in the great toe.\n\nThe notes pertain to the illustrations themselves, to the methods of illustrating the anatomy of the leg and foot, and to general physiological observations. Since they are scattered in disorderly fashion, they have been rearranged in the above order.\n\nFIRST.\n\nFirst set down the two fociles of the leg [tibia and fibula] between the knee and the foot, then represent the first muscles which arise from the said fociles and so continue to place one upon the other in as many different demonstrations as there are steps in their superposition. And you will do so until completion of the same side and do the like for the four sides in continuity with the entire foot, because the foot is moved through the cords arising from these muscles of the leg, but the region of the sole is moved by the muscles which arise in the sole. However, the coverings (panniculi) of the bony joints arise from the muscles of the thigh and leg.\n\nOn the use of the term focile for one or both bones of the leg, cf. 11. By panniculi or coverings of the joints Leonardo means the fascial expansion of the tendons or other ligamentous structures associated with the muscle tendon or the joint capsules as indicated in the succeeding note.\n\nWhen you have made the bony demonstration, then show how it is clothed by the panniculi which intervene between the cords and these bones.\n\nTo make certain of the origin of each muscle, remember to pull on the tendon produced by this muscle in such a way as to see this muscle move and its origin on the ligaments of the bones.\n\nTO BE NOTED.\n\nYou will cause nothing but confusion in the demonstration of the muscles and of their position, origin and termination if you do not first make a demonstration of thin muscles by using threads, and so you can represent them one upon the other as nature has placed them. Thus, you can name them according to the member which they serve, that is, the mover of the end of the great toe, of its middle bone, of the first bone, etc. And after you have presented these ideas, you will illustrate on one side of it the true shape, size and position of each muscle. But remember to make the threads which represent the muscles in the same position as the central lines of each muscle, and so these threads will demonstrate the shape of the leg and [provide] a clear idea of their extent.\n\nExamples of these wire or cord diagrams will be found on 16, 48, and elsewhere. The terminology which Leonardo contemplates using, but seldom does, is derived from Galen who numbered the muscles according to their action, thus: the first, second and third muscles moving the leg.\n\n(continued on page 495)\n\n# 75 myology of lower extremity\n\nThis plate is of first importance, being one of the few in the anatomical series of drawings to carry a date. \"This winter of 1510\", says Leonardo, \"I believe I shall complete all this anatomy\", so that we may assume the drawing was made during his second stay at Milan at which time, it has been said, he was associated with the physician Marcantonio della Torre in anatomical pursuits, perhaps conducted at nearby Pavia where the physician was established. The drawings are identical in style and character with those of 74 and 76, and are obviously part of the same series.\n\nfig 1. Rough sketch of forearm and base of hand: anterior aspect.\n\nThis very rough sketch of the forearm seems to have been intended as a reminder in connection with the accompanying notes. The fragments of muscles seen in the region of the elbow cannot be identified but are meant to represent the muscles of the upper arm acting upon the forearm.\n\nWhen you draw the hand, draw with it the [fore-] arm as far as the elbow; and with the [fore-]arm, the sinews and muscles which come to move it from above the elbow. And do the same in the demonstration of the foot.\n\nAll the muscles which arise from the shoulder, scapula and chest, serve the movement of the arm from the shoulder to the elbow. And all the muscles which arise between the shoulder and the elbow, serve the movement of the arm between the elbow and the hand. And all the muscles which arise between the elbow and the hand, serve the movement of the hand. And all the muscles which arise from the neck, serve the movement of the head and of the shoulders.\n\nfig 2. Muscles of the leg: lateral aspect.\n\nThe figure should be compared with its companions, 74 and 76, which are all drawn from the same specimen. Again, as in the anterior view, the extensor digitorum longus is subdivided into two muscles as may occur very easily in dissection.\n\nWhen you represent the muscles of the thigh, draw with them the bone of the leg so that one may recognize where these muscles are attached to the bones of the leg.\n\nYou will then make the leg with its muscles attached to the bones of the foot, and make these bones bare. And you will carry out the same plan for all the sinews.\n\nThe muscles of the foot serve the movement of its toes and are assisted in this movement by the cords derived from the muscles of the leg.\n\nThe above note refers to the common insertion of the tendons of extensor digitorum brevis with those of extensor digitorum longus and hallucis longus by means of the membranous expansions on the dorsum of the toes as illustrated in 74.\n\nWhat are the muscles of the leg which serve only the simple movements of the foot, and what are those of this leg which serve only the simple movements of the digits of this foot? And remember, when clothing the bones of the leg with their muscles, do draw first the muscles which move the feet and which you will attach to the feet.\n\nDraw here the foot of a bear, of a monkey and of other animals and how they differ from the foot of man; and also put in the feet of some birds.\n\nAs indicated here and elsewhere, the comparative approach to anatomical problems greatly interested Leonardo, although like Galen, he often fell into the error of transferring the parts of animals to man on the assumption that they were identical. Four brilliant drawings of detailed dissections of the foot of a bear have survived (81-84), and the above note may be a reference to them. However, on stylistic grounds authorities have assigned them to the years 1490-93, which is highly doubtful since the anatomical skill suggests a much later date. Leonardo had also dissected monkeys and represents the bones of the hand from one of these specimens on 152.\n\nThe muscles of the leg between the knee and the joint of the foot are as many in number as the cords which are attached to the upper [dorsal] part of the toes and it is the same underneath [i.e., on the plantar aspect], adding those which move the feet up and down and from side to side, and of these [cords] those which elevate the toes are five. And the muscles of the feet above and below [i.e., dorsal and plantar] are as many as double the number of the digits, but as I have not yet finished this discourse, I shall leave it for the present, and in this winter of 1510 I believe I shall complete all this anatomy.\n\nThe cords which lower [flex] the toes are derived from the muscles arising in the sole of the foot, but the cords which elevate the same toes, do not arise from the outer (silvestra) part of the thigh as someone has stated in writing, but arise from the upper part of the foot, called the dorsum of the foot. And if you wish to prove this, grasp the thigh with your hands a little above the knee and elevate the toes and you will perceive that the flesh of your thigh has no movement within itself, in any of its cords or muscles\u2014so it is quite true.\n\nIn a note on 74, Leonardo states that it was Mundinus who said that the long extensors of the leg arose from the lateral aspect of the thigh. No such statement is to be found in the works of Mundinus, so that we must assume that Leonardo either misread his source or was working from a corrupt version of this famous medical text.\n\n# 76 myology of lower extremity\n\nfig 1. Superficial dissection of the muscles of the leg: medial aspect.\n\nThe character, style and dimensions of the figure are identical with fig. 2 of 75, and therefore may be dated c.1510. Undoubtedly the drawing on 74, although proportionately somewhat larger, is a member of the same series.\n\nThe structures lettered are from above downwards: h, lateral head of gastrocnemius; K, medial head of gastrocnemius; m, soleus; c, tendon of gastrocnemius prior to its fusion with the tendo calcaneus at S; n, flexor digitorum longus; o, tibial nerve observed dividing into medial and lateral plantar branches at its lower end; f, tendon of tibialis anterior; a, the medial malleolus. Other structures unlettered are the tendons of tibialis posterior and extensor hallucis longus, abductor hallucis muscle, dorsal arch and long saphenous vein, digital branch of superficial peroneal nerve. The notes pertaining to this illustration read:\n\nK [gastrocnemius] serves to elevate the heel, and this muscle becomes hard when drawing up the heel as well as when releasing it.\n\nThe calf of the leg has several muscles which are joined together longitudinally, that is, the muscle h [lateral head of gastrocnemius] which serves to flex the knee, also serves the heel in part, assisting the muscle K [medial head of gastrocnemius] with which it is united.\n\nAlso m [soleus] serves at c, as does K; thence K m e [tendo calcaneus] serves the heel. And here one asks why nature has not put a single muscle there, which would be worth as much as these three.\n\nThe sinews which move the foot inwards at the ankle, or joint of the foot, are n f [flexor digitorum longus for tibialis posterior and tibialis anterior]; f [tibialis anterior] is then common to two movements, that is, of elevating and of bending [inverting] the foot. And here you observe the sagacity of nature, because she has provided each member with two agents of motion so that when one is lacking, the other substitutes in part if not entirely.\n\nObserve from the fibres [fasciculi] of the muscles which are united, as shown on the internal aspect (dimestiche) of the calf of the leg made by m [soleus] with c [tendon of gastrocnemius] at the position S [tendo calcaneus], and see which fibres are common and which are individual.\n\nFrom the above considerations Leonardo arrives at a generalization on the value of compound muscles which is appended to the foot of the page but is properly related here. He makes a similar remark in connection with the biceps brachii on 54. The idea expressed is perhaps not too far removed from the observation of Beevor (Croonian Lectures, 1904) that a muscle which participates in more than one action may be paralyzed for one movement but not the others since the motions may have separate cortical representation.\n\nIt often occurs that two muscles are joined together although they have to serve two members; and this has been done so that if one muscle were to be incapacitated by some lesion, the other muscle would in part supply the place of that which is lacking.\n\nBelow the foot of fig. 1, Leonardo makes a note to represent the bones of the foot without their periosteal and other connective tissue coverings so that the relationships of the various small joints to overlying structures may be made apparent.\n\nMake a demonstration of these feet without the panniculus [periosteum] which clothes the bones\u2014a panniculus which occupies the bones there interposing itself between these bones and the muscles and cords which move them. In this way you will be able to show under what cords, nerves, veins or muscles the joints of the bones lie.\n\nfig 2. Diagram illustrating the action of the gastrocnemius on the foot as a lever of the second class.\n\nNoteworthy is the error of placing the fibula on what is obviously intended to be the medial side of the leg, an error perhaps excusable in a diagrammatic representation but typical of the uncertainty of Leonardo's anatomical knowledge in the absence of a specimen and when relying upon memory. Mistakes of this sort are very common in his figures. The lettering is as follows: f, lateral head of gastrocnemius; d, medial head of gastrocnemius; 0, tendo calcaneus; n, calcaneum; v, line of weight transmission; g, the dorsal aspect of the foot; m, ball of the great toe; a, fulcrum, b, weight, and c, power of a lever of the second class.\n\nHere is a given calculation of the strength and fatigue which muscles experience.\n\nWhen the muscle d, and those attached to it [triceps surae] relax, it is stretched and elongated until the heel descends to the ground at c.\n\nWhen man raises himself on tip-toe, the muscle f d [gastrocnemius] in contracting experiences half the weight of the man on one foot. This is proved by the equilibrium a b c, the center of which is at b, and the ends equidistant from this center are at a and c. Since on placing m, the ball of the foot, upon a, the center of the foot, v, cannot descend because the sinew f d [tendo calcaneus], which is attached to the heel, does not want to be stretched, so the ankle, or joint of the foot v, supports a weight of two hundred pounds, of which 100 of natural weight is at m, or that is, at a, and 100 of accidental weight is at n [the heel]. One or other of the forces is directed upwards, for m, attempts to go to g [dorsally], and n, is drawn upwards by the calf of the leg.\n\nIn dealing with levers and balances, Leonardo, following Aristotelian tradition, refers to the weight as natural, and the force or weight added to counterbalance it, as accidental.\n\nfigs 3-4. Diagrams to illustrate the leverage exercised by the processes of a vertebra, as seen from the side and above.\n\nIn the first of these diagrams a force acting upon the extremity of the process is indicated by the letters a b, and a similar force acting on the base by c d. In the second diagram these forces are shown by the lines m n, and a b, respectively, while the body of the vertebra is noted by the letter c.\n\nWhy are the muscles of the neck attached to the tips of the spinous processes of their vertebrae.\n\n(continued on page 496)\n\n# 77 myology of lower extremity\n\nfigs 1-2. Illustrations of the medial aspect of the leg and foot to demonstrate the relationship of the tendon of tibialis anterior to the medial malleolus on flexion and extension of the ankle.\n\nThe letter a, indicates the tendon of tibialis anterior, b, the medial malleolus and n, the ball of the great toe.\n\na b. On raising the heel, the sinew [tendon of tibialis anterior] and ankle (tallone) approach one another by a finger's breadth, and lower [the heel], they are separated by a finger s breadth.\n\nIn the above passage Leonardo uses the term tallone for ankle or perhaps more specifically, the medial malleolus. The term is derived from the Latin talus, but like the French talon, came to mean the heel in non-technical speech. Usually Leonardo calls the ankle-joint cavicchia.\n\nWhile the present plate had been dated by Clark as belonging to 1513, it should be pointed out as coincidence if nothing more that fig. 2 bears a striking resemblance to fig. 2 of 76, which is definitely assigned to the year 1510.\n\n# 78 myology of lower extremity\n\nThe great majority of the notes on this page are concerned with problems of mechanics especially on the purchases of pulleys, and are consequently not translated here. The anatomical drawings and note appear to have been added at a later period.\n\nfigs 1-3. Sketches of the abdominal vessels, large intestine and small intestine.\n\nfig 4. Diagram to illustrate the mechanism of balance at the ankle joint.\n\nThe centre a [ankle joint] is that where man balances his weight by means of the cords n m [tendo calcaneus] and o p [extensors of foot] which are to the axis of the leg above the said centre as the shrouds are to the masts of ships. And one pound of his weight which man throws to any part outside of the said centre a, will carry great weight to the opposite cord, as will be shown in its place, namely on the function of the members.\n\nThe above comparison of the action of muscles to the shrouds supporting the mast of a ship is also used by Leonardo in discussing the function of the muscles of the neck in their support of the head in 18.\n\n# 79 myology of lower extremity\n\nThis series of dissections of the sole of the foot is continued in 80. Almost every aspect of the anatomy of the region will be found to have been covered in these two plates.\n\nfig 1. Sole of the foot illustrating the distribution of the medial and lateral plantar nerves.\n\nIt will be noted with what detail Leonardo has followed the branchings of the medial and lateral plantar nerves and that he has indicated the distribution of the medial plantar nerves to three and a half toes and the lateral to the remainder. Beside the nerve is the outline of the posterior tibial artery dividing into its terminal, medial and lateral branches, but the drawing is too indistinct to follow their distribution.\n\nfig 2. Dissection of the sole of the foot: superficial layer.\n\nThe abductor hallucis is indicated by the letter a, and flexor digitorum brevis by b. Posterior to the medial malleolus, the following structures may be recognized from before backwards: tibialis anterior, flexor hallucis longus, posterior tibial artery, posterior tibial nerve dividing into medial and lateral plantar branches, flexor digitorum longus. The perforation of the tendons of flexor digitorum brevis by flexor digitorum longus is well shown. An anastomosis between branches of the medial and lateral plantar nerves is seen lying superficial to the tendons of flexor digitorum brevis. Of his plans Leonardo writes:\n\nMake a demonstration of this foot with the bones only; then, leaving in place the panniculus which clothes them, make a simple demonstration of the nerves; and then, upon the same bones you will make one of the cords and then, of the veins and arteries together. And finally, a single demonstration which contains the artery, vein, nerves, cords, muscles and bones.\n\nReferring doubtless to the action of the interossei and other small muscles, he asks the question: What are the sinews (nervi) or cords which spread and press the toes against one another?\n\nfig 3. Dissection of the sole of the foot: second layer.\n\nA portion of abductor hallucis has been resected and flexor digitorum brevis retracted to reveal the long flexor tendons. The crossing of the tendons of flexor digitorum and hallucis longus, including the slip given by flexor hallucis to flexor digitorum, are beautifully shown. Leonardo once again calls attention to the origin of the long flexors and extensors from the bones of the leg in contradistinction to an opinion derived from a misreading of Mundinus that they arose from the thigh, cf. 74.\n\nThe muscles which move the toes at their tips, both above and below the toe, all arise in the leg from the knee-joint to the joint of the foot; and those which move the whole toe up and down, arise from the upper and under aspects of the foot, and so make the hand related to the arm as the foot to the leg.\n\nfig 4. Dissection of the sole of the foot to show quadratus plantae muscle.\n\nIn this sketch the abductor hallucis and flexor digitorum brevis have been divided leaving short segments attached to the calcaneum. The quadratus plantae muscle is shown passing to its attachment into the flexor digitorum longus tendon. Medial to this tendon is that of the flexor hallucis longus which is seen giving off its slip to the long flexor of the toes.\n\n# 80 myology of lower extremity\n\nThis series of dissections of the sole of the foot is continued from 79.\n\nfig 1. Detail of some of the muscles attached to the great toe.\n\nThe tendons of peroneus longus and tibialis anterior are observed passing to their insertion on the lateral and medial sides respectively of the first cuneiform and first metatarsal. Tibialis posterior is shown reaching its attachment at the tubercle of the navicular bone. Flexor hallucis brevis is labelled n, and lateral to it is the oblique head of abductor hallucis covered by the medial two lubricles arising from the tendon of flexor digitorum longus. Leonardo refers to the sesamoid bones in the two heads of flexor hallucis brevis in his note and shows these exceedingly well in fig. 4.\n\nThe muscle n [flexor hallucis brevis] thrusts the two petrous [sesamoid] bones under the joint m [metatarso-phalangeal I].\n\nfig 2. Detail of some of the deeper muscles attached to the great toe.\n\nThe figure illustrates the tendon of peroneus longus crossing the sole of the foot and giving origin from its sheath to the oblique head of abductor hallucis, which is shown as two muscles and wrongly inserted. Flexor hallucis brevis and abductor hallucis, turned back, may be identified as before.\n\nfig 3. Lateral aspect of foot to show peroneal tendons.\n\nThe illustration is designed to show especially the tendon of peroneus longus winding around the cuboid into the sole of the foot where it may be followed in figs. 1-2. Flexor digiti quinti has been turned back and peroneus brevis and tertius are also shown. The note reads: Represent clearly these muscles which bind the bones together, and then make the muscles and the cords of movement and define the nature and power of motion of each member.\n\nfig 4. Detail of the sesamoid bones in the tendon of flexor hallucis brevis.\n\nFlexor hallucis brevis, labelled muscle, has been turned back to show the sesamoid bones m n, at the metatarso-phalangeal joint of the great toe. These bones are shown in profile in the inset above. For a discussion of these small bones and their special interest to mediaeval anatomists, cf. 12. The tendon of the peroneus longus muscle may now be followed to its termination.\n\nfig 5. Sketch of the soles of the feet.\n\n# COMPARATIVE ANATOMY\n\n# 81 comparative anatomy\n\nfigs 1-2. Dissection of the leg and foot of a bear viewed from the lateral aspect.\n\nThis exquisite drawing in silver-point is one of a series of four, other members of the series being 82-4.\n\nThe drawings represent a dissection of the left leg and foot of a bear as originally pointed out by the anatomist, William Wright. There can be no question that the identification is correct. In two memoranda (75, 81) Leonardo mentions the foot of the bear as though he had dissected it. In one of these notes (81) when discussing a proposal to present the comparative aspects of the hand he appears to have in mind this specific drawing showing the crural ligament or extensor retinaculum with the words, as in the bear in which the ligaments of the cords of the toes connect over the neck of the foot. Nonetheless, with that curious lack of critical evaluation which everywhere characterizes the writings on Leonardo, these figures are frequently put forward as typical examples of how he united science with fantasy in the construction of the foot of a monster.\n\nThe drawings differ in spirit from the great bulk of Leonardo's anatomical figures since they are purely representational and of great accuracy, and in no way are intended to illustrate some physiological principle or function which so often caused him to distort his anatomy for quasi-diagrammatic purposes. Here he is functioning as an artist pure and simple. The reader should compare similar drawings from this early period such as the representational figures of the skull (7, etc.) with the theoretical diagrams as 209, to appreciate the power of faithful drawing alone in Leonardo's biological pursuits.\n\n# 82 comparative anatomy\n\nfig 1. The tendon apparatus of the claw of a bear.\n\nfig 2. Dissection of the leg and foot of a bear: lateral aspect.\n\nThese drawings are part of a series on the dissection of the leg of a bear, for which cf. 81. Fig. 2 is almost identical to that of 81 and may have been a preliminary to it. There would have been little difficulty in obtaining such dissection material in Florence where a zoo was maintained, and presumably Milan in its efforts to develop the material aspects of urban sophistication may have developed a similar institution. The lions and bears of Florence are frequently mentioned in the diary of Luca Landucci which covers the years 1450-1516, and as late as the mid-sixteenth century Gabriel Fallopius was to make use of such animals, notably in a study of the bones of lions. Elsewhere Leonardo also mentions the animals of the Florentine zoo, cf. 37.\n\n# 83 comparative anatomy\n\nfigs 1-2. Dissection of the leg and foot of a bear from the lateral aspect.\n\nThe figures are part of the same series as 81-4. For a discussion cf. 81.\n\n# 84 comparative anatomy\n\nfig 1. Dissection of the sole of the hind foot of a bear.\n\nFor a discussion as well as the other plates in this series, cf. 81.\n\n# 85 comparative anatomy\n\nThis page may be dated with some confidence as c.1513. Clark points out that the drawings and writing are in Leonardo's later style. The anatomical study of a bird's wing immediately suggests the \"Codice sul volo dei uccelli\", which is dated 1505, but there is no resemblance in style. However, Leonardo again took up the study of the flight of birds in Ms. E of the Institut de France (ff.35-63) dated 1513-14.\n\nfigs 1-3. Dissection of a bird's wing and the action of the tendons in flight.\n\nThis excellent study shows the bones, tendons and attachment of the feathers in a bird's wing. The humerus, radius, ulna, second and third metacarpals, and phalanges are all readily recognizable. An accompanying memorandum states that, The cord a b, moves all the points of the feathers towards the elbow of the wing, and it does this on folding the wings. But on extending it by means of the pull of the muscle n m, the feathers direct their length towards the tip of the wing.\n\nThe first comprehensive study of birds was the celebrated treatise on hawking by the Emperor Frederick II, composed between 1244 and 1250, in which the muscles of flight and the true homologies of the bones of the wing and leg were established with reasonable accuracy. The anatomical section of this work was not published until 1596. However, Leonardo appears to have been the first to recognize the bastard wing or alula attached to the thumb which, owing to its independent movement (this mechanism is illustrated), he believed to be of first importance in propelling the bird forward.\n\n# CARDIO-VASCULAR SYSTEM\n\n# 86 heart: superficial view\n\nOriginally this page was part of the same sheet as 87 on which similar drawings of the heart appear. The folded sheet was torn apart but is now mounted as one. The drawings belong to Leonardo's latest period and can be dated from fig. 179 with considerable accuracy as c. 1513. By now Leonardo had begun to modify somewhat orthodox Galenical views on the fundamental mechanism of the heart. These differences will become apparent as the series of drawings and notes are followed. In the examination of the figures it must be borne in mind that almost all are based upon appearances in the bullock's heart and not that of man. The figures are not easy to interpret because of the displacement of the great veins which are pulled upwards.\n\nfig 1. The interventricular septum of the heart.\n\nFor the technique employed to demonstrate the interventricular septum in this manner, cf. 104. The lateral walls of the ventricles have been displaced after sectioning the heart, thus exposing the septum. The interventricular septum was of great importance in the Galenical system since it was through its pores (cf. 91) that some of the blood which ebbed and flowed in the right ventricle passed to become refined or subtilized in the left ventricle as the vital spirits giving rise to the so-called natural heat of the body. The note accompanying the figure brings forward the Galenical system, but an ingenious attempt is made to explain the origin of the mysterious innate heat of the ancients on mechanical principles. Earlier Leonardo had paid little attention to the auricular appendages which he calls auricles or additamenti, terms borrowed from Mundinus, or the external ventricles, a term likewise derived, but by extension, from the statements of the same author. It is the mechanical stirring or beating of the blood in these appendages which helps to subtilize the blood. A great deal of confusion is avoided if it be remembered that up to the time of William Harvey (1578-1657) and beyond, the heart was considered as a two-chambered organ consisting of right and left ventricles. Thus following Mundinus, the ventricles are called intrinsic or internal. On the other hand, the atria were regarded as forming the stems of the veins, cava and pulmonary vein respectively, so that the auricles themselves were thought of literally as appendages to the venous stems and therefore additamenti or additions, external or extrinsic in position. Likewise, the heart muscle was divided into external and internal or extrinsic and intrinsic, the ventricular wall forming the first and the papillary and pectinate muscles, the second.\n\nThe blood is more subtilized where it is more beaten. This beating occurs through the flux and reflux of the blood which are generated in the two internal ventricles of the heart to the two external ventricles, called the auricles or additions of the heart. The latter are dilated and receive into themselves the blood driven from the internal ventricles and then contract to return the blood to the internal ventricles. The internal [papillary and pectinate] muscles, capable of contraction, are of one and the same nature in the 4 ventricles, but the external muscles [of the ventricular wall] are solely for the internal ventricles of the heart and, for the external, form only a single, continuous dilatable and contractable coat.\n\nfig 2. The ventricles of the heart divided at the interventricular septum.\n\nThis rough figure, now almost obliterated, shows the ventricles divided at the interventricular septum prior to the displacement of their lateral walls as in fig. 1 above.\n\nfig 3. Mechanical drawing to illustrate the function of the cardiac valves.\n\nThe figure is apparently designed to show the action of the muscular forces controlling the ventricular valves. The base of the triangle is supported by ropes passing over pulleys to which are attached the weights S f. At the apex of the triangle is another rope carrying a weight g. The triangle represents a ventricular valve, the base of which is stretched by the contraction of the muscle of the ventricular wall corresponding to the forces S f, and the valve closed. However, when this muscle is relaxed on diastole, the pull of the papillary muscle, represented by g, opens the valve. Thus Leonardo's theory was that the contraction of these muscles alternated in systole and diastole. In diastole, relaxation of the two ventricles and the contraction of the papillary muscle to open the atrio-ventricular orifice allows ventricular filling, while in systole the opposite closes the orifice.\n\nfig 4. The heart from the left and posterior side.\n\nIn this figure of the heart, that of an ox, the root of the pulmonary artery has been severed and laid back to expose the root of the aorta giving rise to the left coronary artery. The left coronary is observed dividing into its descending and circumflex branches. A portion of the left auricle is displaced to reveal the branch to the roots of the great vessels. The aorta is also observed giving off a common brachiocephalic trunk. Behind and to the right of the aorta are the posterior vena cava pulled upwards and the anterior vena cava.\n\nfig 5. The heart from the right side.\n\nThe same heart as in fig. 4 has now been turned to view from the right side. The root of the sectioned pulmonary artery has been removed to expose the pulmonary orifice and the medial, lateral and posterior semilunar valves guarding it. From the aorta spring the right and left coronary arteries, a b, are two vessels [coronary] which arise from the two external openings [i.e., aortic sinuses of Valsalva] of the left ventricle. Leonardo uses the term usscioli, openings, which is also employed for the valves themselves and for the cavities completed by the valves, forming what we now call the aortic sinuses of Valsalva. The distribution and branches of the coronary arteries are displayed with some accuracy, and the gradual diminution in cahbre of these vessels as they pass distal is observed with the remark: The branches of the vessels are always larger in proportion to their origin from a larger trunk, that is, from the principal ramification; the same continues in the ramifications of the ramifications up to the end.\n\n(continued on page 497)\n\n# 87 heart: superficial view\n\nThe figures of this page are a continuation of the series found on 86 since originally the page was part of the same sheet which has become divided into two. The drawings belong to Leonardo's latest period, and like those of 86 the figures are all based upon dissections of the heart of the ox.\n\nfig 1. The heart from the right posterior aspect showing the distribution of the great cardiac vein.\n\nThe dissection is that of an ox heart viewed from the right side and somewhat posteriorly. The posterior vena cava is pulled upwards, and at its root is the great cardiac vein or coronary sinus S G, receiving at S, the middle cardiac vein. The circumflex branch of the left coronary artery is lettered H. Of these vessels Leonardo states, S G, is the vein [great cardiac] which encounters the artery S G [left coronary], and that, the artery is always beneath the vena nera [cardiac vein]. The vessel lettered O is the anterior vena cava and, p is the auricle of the left ventricle. The apex of the heart is indicated with the letter T.\n\nfigs 2-3. The heart from the left anterior aspect showing the distribution of the left coronary artery.\n\nThe figures of an ox heart are said to be of, the heart seen from in front. In fig. 2 the words, right side, are written on the right ventricle, and above the letter N, we are told that this region is the left ventricle, by which is meant in Leonardo's terminology, the left external ventricle or auricle. Leonardo is confused. At M, is the left coronary artery dividing into r f, its interventricular branch and its circumflex branch associated with the great cardiac vein N. However, the left coronary artery springs from a vessel labelled the vena arteriole, i.e., pulmonary artery, which is undoubtedly the aorta shown giving off its brachiocephalic trunk. The pulmonary artery proper is roughly indicated displaced to the right of the specimen. This error is therefore found in the description of the left coronary artery. M, a vein, arises from the vena arteriole [pulmonary artery, in reality the aorta] and is that which nourishes the substance of the heart.\n\nThe interventricular vessels are described: r f, a vein, and the front of the wall [septum] placed between the right and left ventricles of the heart. At S T, in the other heart [fig. 1] are the vein and artery placed on the opposite side of the said wall, that is, on the back of the heart. Improvements are to be made in the drawing, Make the vein r f, more arched. The great cardiac vein N, carries the notation, N, a vein, arises. Of figs. 1-3, Leonardo reminds himself, Make these 3 demonstrations with all the vessels [elevated] from the heart upwards [as in fig. 11].\n\nfig 4. An abortive sketch.\n\nThe sketch lying to the left of the letter D, is now too badly rubbed and faded for its nature to be determined.\n\nfig 5. The heart: right anterior aspect.\n\nThe right ventricle is so labelled just below the origin of the pulmonary artery. Behind the pulmonary artery the aorta gives off a brachiocephalic trunk as in the heart of the ox. The right and left coronary arteries are shown passing from the aorta to embrace the stem of the pulmonary artery. On the left is the posterior vena cava, pulled upwards, and the anterior vena cava, and at their root, the lesser cardiac vein. The auricles have been turned back on either side. It will be noted that this, as well as several of the other drawings has an asterisk, formed by a circle with four lines running through it, placed above it. The significance of the asterisk is indicated by a note on 88 where we are told that such drawings are to be made enclosed by their capsule, i.e., the pericardium.\n\nfigs 6-9. Diagrams of the heart and coronary vessels.\n\nThe significance of these diagrams is revealed in the accompanying note in which attention is called to the crossing of the interventricular branch of the left coronary artery and the great cardiac vein as observed when the heart is examined from the left side and somewhat anteriorly as in the first, third and fourth of the diagrams. The second of this group of figures presumably shows the heart encased in the pericardium.\n\nThe heart seen from the left side will have its veins and arteries intersecting like one crossing his arms\u2014and they will have above them the left auricle and within them the gateway [aortic orifice] of triplicate triangular valves and the open gateway will remain triangular [as shown in figs. 14-15 below].\n\nfig 10. The heart viewed from the right and posteriorly to demonstrate the distribution of the right coronary artery.\n\nThe heart of the ox is shown as viewed from the right and somewhat posteriorly to reveal the extent of the right ventricle a b c, in relationship to the surface. The lateral wall of the right ventricle is indicated by the words written on it, The cover of the right ventricle. The aorta, which has again been confused with the pulmonary artery in the notes, is shown giving off a brachiocephalic trunk and providing at o, the right coronary artery o p. The right coronary artery passes between the pulmonary orifice exposed by resection of the root of the pulmonary artery, and the right atrio-ventricular or tricuspid orifice which is revealed by division and displacement of the right auricle from its attachment to the region of the coronary groove. Above the right auricle are the roots of the anterior and posterior venae cavae, the latter being pulled upwards. Below the right auricle is the middle cardiac vein b s, dissected free and elevated from the inferior interventricular groove. The left auricle is lettered f, and below it the course of the interventricular branch of the left coronary artery or great coronary vein is observed. The apex of the heart is indicated by m. The accompanying note discusses the distribution of the coronary vessels.\n\nThe vessels a c [anterior interventricular] and b c [inferior interventricular] enclose the extremities of the right ventricle, and the vena arteriole [pulmonary artery, in reality the aorta] sends forth the branch\n\n(continued on page 497)\n\n# 88 heart: superficial view\n\nON THE NAMES OF THE VESSELS OF THE HEART\n\nfig 1. The heart, interventricular septum and great vessels.\n\nA very rough sketch or diagram of the ventricles separated by the interventricular septum a b, through the pores of which Galenical physiology taught that some of the blood passed from the right to the left ventricle to be converted into vital spirit. Hence Leonardo notes that a b [interventricular septum] is the sieve or common wall. To the left is the vena cava receiving the hepatic veins below from the liver, indicated roughly by a circle, and entering the heart at a, the right atrio-ventricular or tricuspid orifice, since the heart was regarded as consisting of two ventricles only, and so the right atrium itself is part of the cava. The vena cava is named vena del chilo, i.e., vena chilis. Above the term vena chilis appear the words The vein called the nourisher of the heart, which have been deleted to be replaced with the notation on the right atrio-ventricular orifice: a, the gateway of the vena chilis: the vein which nourishes the heart.\n\nAbove the heart is the arch of the aorta providing a single branch, the brachiocephalic trunk. The descending aorta may be followed to the region below the heart. On either side the lungs are roughly represented and passing to them the pulmonary arteries. The hilum of the right lung and right pulmonary artery is indicated by the letter S.\n\nS, the gateway of the lung, and it is named the vena arterialis; it is called vena because it carries blood (to the lungs [deleted]), and arterioles, because it has two tunics. It has three valves which open from within outwards with perfect closure, and these are in the right ventricle.\n\nThe vena arterialis, i.e., pulmonary artery, following Galen's physiology, was necessarily part of the venous system although morphologically an artery. The information provided by Leonardo is to be found in all his sources. A further note discusses the left ventricle and its orifices.\n\nThe right [for left] ventricle has two orifices, one at the aortic vessel (vena aorta)\u2014they open from within outwards\u2014the other orifice is at the arteria venalis [pulmonary vein-left atrium] which goes from the heart to the lung. It has a single tunic and is called arteria because of the spirituous blood and is named venalis through its being a simple vein.\n\nIt is unfortunate that Leonardo has written \"right\" instead of \"left\" ventricle. This has given rise to much speculation. However, from the context it is obviously a lapsus calami, as first pointed out by Boruttau (1913), and the substitution of right for left and vice versa is an error common in Leonardo's notes, doubtless due to his mirror-writing.\n\nfig 2. The heart and pulmonary artery: posterior aspect.\n\nfig 3. The trachea, right bronchus and its branches.\n\nThe above two figures appear to be preliminary stages of the drawing on 173 where the two figures are fused into one to show the distribution of the branches of the pulmonary arteries and bronchi in the lung.\n\nOn the heart is written the word behind for what is in reality the inferior or diaphragmatic surface of the heart, but the figure is somewhat diagrammatic. The absence of any indication of the left atrium is noteworthy. The vessel on this surface is presumably the right coronary artery providing interventricular and marginal branches, or perhaps the middle coronary vein. Above, the pulmonary artery is shown dividing into right and left branches, and thereafter subdividing in a purely fanciful or impressionistic manner. Behind and to the right of the pulmonary artery is the stem of the aorta. The right bronchus is likewise shown subdividing in a fanciful pattern. The drawing is marked by an asterisk below which is written: First make the capsule. Below the drawing is a memorandum reading: First make the heart with its vessels from two aspects, that is, from behind and in front.\n\n# 89 ventricles of the heart\n\nfig 1. The heart, great vessels and principal viscera.\n\nBoth ventricles are opened exposing a series of moderator bands and the interventricular septum which contains the channels required in Galenical physiology for the transmission of blood from the right to the left side for the formation of vital spirits. The heart is regarded as consisting of ventricles only, but there is a suggestion of the left auricle. The branches from the aorta are presented as in ruminants. The right atrium is regarded as part of the vena cava, and reflecting Leonardo's highly speculative and traditional views at this time, the pulmonary veins open directly into the cava. The five-lobed liver of tradition is shown giving off the hepatic vein to the cava along which flows the new blood manufactured in that organ. Splenic vessels pass from the spleen directly to the liver and are supposed to carry the black bile. An umbilical vein extends to the porta hepatis. Other structures are easily recognized, but note the relatively correct arrangement of the spermatic veins especially the left. The discovery that the left spermatic vein drains into the left renal has been claimed for Vesalius, Berengario da Carpi, Achillini and many others.\n\nThe primary purpose of the illustration is to express in diagram the manner in which the so-called pneuma passed from the lungs to the heart. Leonardo's opinions are adapted from Galen, and how they differ will be discussed with the notes accompanying this illustration. The first of these notes brings to the fore the controversy between the Aristotelians and the Galenists. Primacy was placed by Aristotle in the heart which was also the seat of the intelligence or sentient soul. In Galen's scheme, held by the physicians, the vital spirit was carried from the left ventricle to the brain where it was transformed into the animal spirit which brought the nervous system into action through the supposedly hollow nerves. The vagus, since it gives off the recurrent, was commonly called the reversive nerve.\n\nDo not leave the reversive nerves until the heart, and see whether these nerves give motion to the heart, or if the heart moves of itself. If its motion comes from the reversive nerves which have their origin in the brain, then you will clarify how the soul [i.e., animal spirit] has its seat in the ventricles of the brain and the vital spirits have their origin in the left ventricle of the heart. And if this motion of the heart originates in itself, then you will say that the seat of the soul and similarly, that of the vital spirits, is in the heart. So you should attend well to these reversive nerves and likewise to other nerves because the motion of all the muscles arises from these nerves which with their branches are diffused through the muscles.\n\nIn the Galenical physiology the basic principle of life was the pneuma, anima or spirit drawn into the lungs by the act of respiration. From the lungs it passed via the pulmonary veins to the left side of the heart to join with the refined blood which had passed through the interventricular septum to form the vital spirit distributed by the arterial system as the living force. Meanwhile, the blood in the right heart having picked up the impure exhalations from the organs, carried these so-called \"sooty vapors\" via the pulmonary artery to the lung whence they passed to the outer air. In this way the excess of heat generated by the heart was dispersed.\n\nMany are the times that the heart attracts to itself the air which it finds in the lung, and after heating it, returns it without the lung taking in other air from without.\n\nLeonardo attempts to relate the movements of systole and diastole of the heart to the transference of the pneuma and sooty vapors to and from the heart. Respiration and the movements of the heart are coordinated except when one is voluntarily suppressed. The difference in rate is accounted for in part since he held that the ventricles contracted alternately thus producing two pulse beats in the cycle.\n\nIt is proved that of necessity it must be as here set forth. This is that the heart which moves of itself does not move except on opening and closing. Its opening and closing cause a motion along the line which extends between the apex (cuspide) and the base or crown of the heart. It cannot open without drawing into itself air from the lung which it immediately blows out again into the lung. In the lung it will then be seen that the lung is restored anew by the vigorous motion of sudden respiration of cold, refreshing air, and this happens when a fixed thought in the mind banishes into oblivion the respiration of the breath.\n\nIt is difficult to follow Leonardo's thought in the next passage. He attempts a mechanical explanation of how the pneuma and vapors pass to and from the heart and lungs. At a later period he comes to realize that there is no free passage of air to the heart and that the respiratory movements are due to the action of the muscles of the rib cage. Here, however, he seems to imply that respiration is fundamentally due to the movements of the heart which in diastole create a vacuum which by drawing out the air from the lung causes its collapse. With systole, the heart pulls the lung tissue open through the medium of its vascular connections which then creates a vacuum in the lung which is immediately filled by vapors from the heart. These ideas he later discards, indicating that these remarks are of early date.\n\nIn closing itself [i.e., in systole] the heart with its sinews and muscles draws behind the sinewy veins [pulmonary] which unite the heart to the lung. This is the chief cause of the opening of the lung, because it cannot open if the vacuum does not increase. The vacuum cannot be increased if it is not refilled, and finding the air speedier for this restoration of the vacuum, it refills itself with it. The heart after contracting comes to open again and on reopening relaxes the drawn out sinews and vessels of the lung, from which it follows that the lung closes again and at the same time replaces the increases of the vacuum of the heart with the air which it blows out of itself. In part it sends out through the mouth the superfluous air for which there is no room either in it or in the heart.\n\nThe liver being the blood-making organ, the heart\n\n(continued on page 497)\n\n# 90 ventricles of the heart\n\nfig 1. Faint chalk sketch of stomach, spleen and vessels.\n\nfig 2. Left ventricle of heart and action of the papillary muscles.\n\nTHE MARVELOUS INSTRUMENT INVENTED BY THE SUPREME MASTER.\n\nThe heart is probably that of an ox in which the left ventricle has been partially laid open by an incision along its left posterior border thus exposing the anterior papillary muscle N. At B, is the left atrio-ventricular or mitral orifice, leading into the left atrium which is regarded as the root of the pulmonary vein since the heart was thought of as a two-chambered organ consisting of ventricles only. Thus at C, is an orifice entering the auricle S, considered to be an appendage of the pulmonary vein. In the shadow to the right of the papillary muscle is concealed the letter M, indicating the aortic vestibule. Since the left ventricle generated the vital spirits distributed by the arteries, it is so designated in the note which follows. In the Galenical physiology the pulmonary vein led air to the left heart which combined with the blood transmitted through the interventricular septum to form these vital sipirts.\n\nThe heart opened into the receptacle of the [vital] spirits, that is, into the artery.\n\nAt M [aortic orifice], it takes, or rather it gives the blood to the artery. By the opening B [mitral valve], it refreshes the air from the lung and through C, it fills the auricle S, of the heart. N, is a hard muscle [papillary] which is contracted. It is the first cause of the motion of the heart. On contraction it thickens and on thickening it shortens and draws behind it all the superior and inferior muscles, and closes the gateway M [aortic vestibule]. It shortens the space intervening between the base and the apex of the heart and consequently comes to evacuate it and attract fresh air to itself.\n\nAs Leonardo mentions elsewhere, the function of the auricle is to produce the innate heat of the body by friction with the ebb and flow movements of the blood. This idea is used to explain the association of fever with an accelerated pulse.\n\nON THE CAUSE OF THE HEAT OF THE BLOOD.\n\nThe heat is generated through the motion of the heart and this is shown because the more rapidly the heart moves the more the heat is increased, as the pulse of the febrile, moved by the beating of the heart, teaches us.\n\n# 91 ventricles of the heart\n\nfig 1. The auricles and ventricles of the heart.\n\nLeonardo takes issue with traditional authority as to the number of chambers making up the heart. From Galen's time anatomists regarded the heart as consisting of ventricles only and contended that the auricles were no more than appendages of the veins. However, Leonardo is willing to accept such ancient ideas as the existence of pores in the septum of the heart, as illustrated, and the belief in the flux and reflux of the blood. Surrounding the illustration are some of his arguments by analogy for a four-chambered organ.\n\nIf you should state that these 4 ventricles are 2 because each pair leads from one to the other, I will say that all the veins are one and the same structure because one leads into the other, and likewise the intestines, since they are separated by openings like these.\n\nIf you contend that the 2 upper [auricles] and lower ventricles are one and the same, even if separated by such openings placed in their walls, I will say further that a chamber and a room are one and the same although they are separated only by a small passage.\n\nThe argument continues with a lengthy discussion on the function of the auricles in the ebb and flow of the blood. The position taken suggests that these notes derive from a late period in Leonardo's studies on the mechanism of the heart. A date of c. 1507-09 has been suggested, but the work shows every evidence of having been composed in his final period, c.1513.\n\nON THE VENTRICLES OF THE HEART.\n\nThe heart has four ventricles, that is, two lower in the substance of the heart and two upper [auricles] outside the substance of the heart, and of these, two are on the right and two on the left. Those on the right are much larger than those on the left. The upper [auricles] are separated by certain openings (or gateways of the heart) from the lower ventricles. The lower ventricles are separated by a porous wall through which the blood of the right ventricle penetrates into the left ventricle and when this right lower ventricle closes, the left lower opens and draws into itself the blood which the right provides. The upper ventricles [auricles] continually causes a flux and reflux of the blood which is repeatedly drawn or forced by the lower ventricles from the upper. Since these upper ventricles [auricles] are more able to drive from themselves the blood which dilates them than to attract it to themselves, Nature has so made it that by the closure of the lower ventricles (which close of their own accord) the blood which escapes from them is that which dilates the upper ventricles. These [auricles] being composed of muscles and fleshy membranes are able to dilate and to receive as much blood as is forced into them, or also capable by means of their powerful muscles of contracting with energy and driving out the blood into the lower ventricles of which one opens when the other closes. The upper ventricles [auricles] do the same in such a way that when the right lower ventricle opens, the left [for right] upper contracts and when the left lower ventricle opens, the right [for left] upper closes. And so, by such a flux and reflux made with great rapidity the blood is heated and subtilized and becomes so hot that but for the help of the bellows called the lungs which by dilating draw in fresh air, compress it and bring it in contact with the coverings of the branchings of the vessels and cools them, the blood would become so hot that it would suffocate the heart and deprive it of life.\n\nRiposte of the adversary against the number of the ventricles, stating that there are 2 not 4, because they are continuous and joined together\u2014the 2 right together making one and the same structure and the left doing likewise.\n\nIt is here replied that if the right and left ventricles form a single right and a single left ventricle, it is necessary that these perform one and the same function at one and the same time and not opposite functions on the right side as is shown by their flux and reflux. Furthermore, if it [ventricle] is one and the same structure, it is not necessary for sinewy valves to separate them from one another, and, if it is one and the same structure, it is not necessary that when one part opens the other should close. This is proved further by the essence of a member in that one and the same member is designated as that which carries out one and the same function at the same time. As in the case of the body of a bellows or of the bagpipes in which, although it may appear to be one and the same with the human body when being inflated by him, it is not actually united to him nor does it carry out one and the same function at the same time, for when the man's lungs are emptied of the air, the bag of the bagpipes is at the same time filled with the same air. Therefore it is concluded that the upper ventricles [auricles] of the heart are different in their functions, in their substance, and in their nature from those below, and that they are separated by cartilage [fibrous trigone] and various substances interposed between one another, that is, the sinewy membranes and much fat.\n\nThe upper ventricles [auricles] of the heart do not dilate of themselves but are dilated by the other ventricles. However, their contraction is generated intrinsically by means of their muscles. Owing to their diverse obliquities and concatenation or interwoven state without any flesh between their intertwinings, these muscles are without any villi so as to be capable of stretching longitudinally in accordance with the requirements of the superabundance of blood that sometimes beats against [? i.e., stretches or tears] the external membrane which clothes these muscles. Hence the auricle is membranous, fleshy and extremely dilatable.\n\nProve how the upper ventricles [auricles] are not one and the same ventricle with the lower ventricle.\n\nAt one and the same time in one and the same subject two opposite motions cannot take place, that is, repentance and desire. Therefore, if the right upper [auricle] and lower ventricles are one and the same, it is necessary that the whole should cause at the same time one and the same effect and not two effects arising from diametrically opposite purposes as one sees in the case of the right upper ventricle with the lower, for whenever the lower contracts, the upper dilates to accommodate the blood which has been driven out of the lower ventricle. The upper ventricle [auricle] does\n\n(continued on page 497)\n\n# 92 ventricles of the heart\n\nThe discussion of the function of the heart is continued from 91. The action of the right ventricle is now examined in terms of the ebb and flow theory of Galen.\n\nfig 1. Diagram of the heart.\n\nIn this purely diagrammatic representation the atrium a, contrary to traditional theory, is shown as a separate chamber receiving blood from the venous system d, which may then pass through the atrio-ventricular orifice b, to the ventricle c, whence it enters the arterial system d. However, in the note below it is explained that in the right heart the tricuspid valve must be partially incompetent to allow of the ebb to the auricle and perfect closure occurs only when the ventricle has lost a part of its content so as to permit the development of sufficient force on systole to squeeze some of the blood through the mythical pores in the interventricular septum into the left ventricle. This filtered or subtilized blood forms the vital spirits of the left heart.\n\nON THE RIGHT VENTRICLE.\n\nThe right ventricle having to eject rather than to retain more of the blood received, its three valves [tricuspid], which are closed from within, are so arranged that they do not close perfectly except when the ventricle on its contraction is found to have reserved that quantity of blood which it desires to retain. These three valves being then entirely closed, the walls [of the ventricle] next contract around the escaping blood with such force as to compel the greater part of it to escape from this ventricle and penetrate through the passages of the intermediate wall and enter the left ventricle. This [blood] being subtilized by penetrating these narrow passages, is converted into the vital spirits, leaving all impurities in the right ventricle.\n\nMisled by appearances in the right ventricle and owing to the rapidity with which the blood clots in that chamber, Leonardo describes the presence of fibrin fibres which he believes constitute the impurities left by filtration of the blood through the interventricular septum. He employs this finding to explain the cause of death in old age and refers to the case of the centenarian, cf. 156.\n\nOn the gross viscosity of the blood which collects in the right ventricle.\n\nThe blood of the right ventricle which remains after the subtilization of the blood which penetrates into the left ventricle, is viscous. Part of it is formed into minute fibres [fibrin] resembling those of the vermis [choroid plexus] of the ventricle in the middle of the brain. These fibres multiply in the manner of thick and short oakum, and in the course of time wrap themselves around the cords of the membranes which close the right ventricle in such a way that with the aging of the animal the valve cannot close fully, and a large part of the blood, which should pass through the narrow passages of the intermediate wall into the left ventricle for the creation of the previously mentioned [vital] spirit, escapes through the imperfectly closed valve into the right upper ventricle [auricle]. For this reason the total [vital] spirit is lacking in old age, and they often die while speaking.\n\nA further curious conclusion is reached on the function of the pericardial cavity. This cavity is regarded as a real rather than a potential space and is supposedly filled with air. On the principle that \"nature abhors a vacuum\" Leonardo is of the opinion that contraction of the right auricle creates a space which is filled by air from the pericardium to fulfil its needs. In Galen's theory air may pass directly to the left auricle but, as Leonardo points out, this is impossible in the case of the right auricle. Thus the pericardium is required in turn to draw air from the lungs so that the volume taken in by the lungs is greater than that required to fill the lungs alone.\n\nON THE FUNCTION OF THE LOWER AND UPPER [AURICLE] LEFT VENTRICLES.\n\nThe function of the lower and upper [auricle] right ventricle. The lower gives on deposit to the upper the blood which prevents its contraction, and it would not be able to dilate later if it did not get back from the upper ventricle the blood which previously filled its cavity. This [auricle or upper ventricle] is able to contract because it cannot obtain the air which should fill it. The air which replaces the space occupied by the upper ventricle when it held on deposit the blood of the contracted lower ventricle, runs in to fill the place of the upper ventricle when it contracts [in turn] and is that of the capsule [pericardium] of the heart. This capsule giving up its air to the space left by the upper ventricle is restored by drawing more air through the trachea into the lung than was its requirement and, therefore, the air which is drawn into the lung cannot always be equal [to it in volume].\n\nThe latter part of the note is classified by the following two lines which were probably intended as a marginal comment for the finished work:\n\nWhy the air which is drawn into the lung cannot always be of equal measure.\n\nThe argument is continued on 93.\n\n# 93 ventricles of the heart\n\nThe notes from 92 are continued on the important subject of the function of the heart, presenting an expansion of the theory of the ebb and flow movements and the formation of vital spirits in the left ventricle. In the margin is the statement: Not abbreviators but forgetters should those be called who abbreviate such works as these. Since the term \"abbreviators\" was applied to the secretaries of the Vatican chancery, this note may be directed against Leonardo's detractors in Rome and may therefore indicate the time of this and the related group of plates, mostly from Q I, as c.1513. While the contents of the notes supports this date, Clark suggests c.1507-09 on stylistic grounds. The notes are self-explanatory.\n\nON THE HEART.\n\nWhether on its reopening the right lower ventricle draws in all the blood of the upper right ventricle [auricle] or not.\n\nAll the blood which the right lower ventricle gave on deposit to its upper right ventricle when it contracted, is returned by the upper when the lower dilates with the aid of its longitudinal muscles. This is assisted by the transverse and oblique muscles of the upper ventricle which contract and force out the blood. During this time the vena cava gives no blood to it because there would be a vacuum. Neither does the lung, which has its own vessel [pulmonary artery], the valves of which at the same time close from without inwards towards the base of the heart. Nor does the liver provide any of it, as it would be necessary for it to attract it [from elsewhere], but only the upper ventricle which remains open immediately above the mouth of the lower ventricle and forces some of it into the body [of the lower ventricle] by its contraction. However, since the heart by the complete contraction of its openings when it elongates and forces the blood remaining in it through the narrow passages into the left ventricle, the right ventricle is not entirely refilled, as it was before it closed. The longitudinal muscles again carry out the same function which they customarily perform on the reopening of their ventricle and, because there would be a vacuum which is impossible, necessity draws blood from the liver of an amount equal to that which was driven out of the right into the left ventricle.\n\nThe right lower ventricle does not always attract to itself one and the same quantity of blood from the lung.\n\nWhen it so happens that the lung dilates at one and the same time as the right lower ventricle also dilates, then the lung increases in the interior towards the diaphragm, contracts and squeezes the blood out of the vena cava which lies between the lung and the dorsal spine. Some of this blood enters the right lower ventricle, and the more this vein pours into the ventricle, so much the less is drawn from the gibbosity of the liver.\n\nThe argument continues on the dictum, also in Galen, that nature does nothing in vain; a phrase which seems greatly to have appealed to Leonardo. The term \"capillary veins\" will also be noted in the next passage. It has been said that Jean Fernel (1497-1558) was the first to introduce the term, but it had long been current and may be found in much earlier writings. It meant \"hair-like\" in the true sense of the word.\n\nHOW IT IS IMPOSSIBLE FOR ANY BLOOD TO REMAIN IN THE RIGHT UPPER VENTRICLE WHEN ITS LOWER VENTRICLE OPENS.\n\nIt is impossible for any part of the blood to remain in the right upper ventricle [auricle] when its lower ventricle dilates, and this is proved thus. It has been stated that Nature always accomplishes her effects in the easiest way and in the shortest time possible. Therefore, since at the time of the dilatation of the lower ventricle the valves, which form the base and support of the blood retained by its upper ventricle, are open, it is necessary that the lower ventricle fill itself first with the blood which is in contact with it, rather than with that contained in the liver which is at a distance from it. And it is necessary for it to be filled more swiftly with the blood which the upper ventricle squeezes and forces into its body through a wide passage than by any other distant blood which must be drawn and sucked from capillary veins dispersed in the gibbosity of the liver.\n\nIf you were to say that these upper ventricles are formed solely to retain the superfluous blood which is sometimes generated in this part, I would reply to you that this is impossible because if it were so, the heart would fill its right ventricle with that blood most convenient to it, which, as I have said, is retained in its upper ventricle. If the lower ventricle were full of blood, which is given it and forced into it from above, the heart would not be able to draw more blood from the gibbosity of the liver. Consequently if this were to continue on many occasions, life would be destroyed. It might be possible for the heart to distribute by a few beats a part of this superfluous blood which remains in the upper ventricle as the right lower ventricle would force it into the left lower ventricle, but during that time the liver would not give any blood to the heart.\n\nWHETHER THE LIVER HEATS ITSELF INTRINSICALLY OR IS HEATED BY OTHERS.\n\nThe liver cannot heat its own self but is heated by others, that is, by the artery [hepatic] which enters the gateway of the liver and gives it life.\n\nWhether the lung is hotter or colder than the heart, [i.e.] than the left [heart].\n\nAs the heat of the heart is generated by the swift and continuous motions made by the blood with the intrinsic friction caused by its churnings and also with the friction which it produces with the cellular wall of the right upper ventricle into or out of which it continually enters and escapes with impetus, these frictions caused by the velocity of the viscous blood proceed to heat, subtilize and cause the blood to pass through the narrow passages [into the left ventricle] giving life and spirit to all the members into which it is infused. This cannot occur in the case of the\n\n(continued on page 498)\n\n# 94 ventricles of the heart\n\nAs in 93 we find a marginal note reading: Make a discourse on the censure which is deserved by scholars impeding anatomy and the abbreviators thereof, which once again and more pointedly seems to refer to Leonardo's difficulties in Rome and appears to confirm the date as c.1513. Leonardo continues with his discussion on the function of the heart employing a typically mediaeval type of argument in support of the Galenical theory.\n\nON THE HEART. WHETHER NATURE COULD HAVE MADE THE RIGHT VENTRICLE LARGER AND OMITTED ITS UPPER VENTRICLE [AURICLE] OR NOT.\n\nNothing is superfluous and nothing is lacking in any species of animal or product of Nature unless the defect comes from the means which produce it. It therefore follows that the right upper ventricle [auricle] was necessary for the flux and reflux of the blood which is generated by the aid of this ventricle. Through this flux and reflux of the blood and by its impetuous motion from one ventricle to the other, when one drives it out, the other receives it and the one which has received it, forces it back into that which previously drove it out. And so between successively raging up and down it never ceases to scour through the cavernous cells interposed between the muscles [pectinate] which contract the upper ventricle. The revolving which occurs in the blood itself as it rages in diverse eddies, the friction which it makes with the walls and the percussions in these cells, are the cause of the heating of the blood and of making the thick, viscous blood thin and capable of penetrating and streaming from the right to the left ventricle through the narrow passages of the wall interposed between the right and left lower ventricles. This could not occur if there were but a single ventricle on the right side, for the reason that when it contracted it could not contract except for [i.e., to leave] a small amount of space equal to the blood which had escaped from it into the right [for left] ventricle and would again open to an amount equal to the blood drawn from the liver to restore its re-acquired volume. Thus the flux and reflux of the blood would take place because it [i.e., auricle] gave up from itself to the right ventricle as much blood as that which it received from the liver. This motion of the blood behaves like a lake through which flows a river, receiving from one end as much water as it loses at the other, but the only difference is that the motion of the blood is discontinuous and that of the river flowing through the lake is continuous. Owing to the lack of flux and reflux the blood would not be heated, and in consequence the vital spirits could not be generated and for this reason life would be destroyed.\n\nFurthermore, it follows that at the escape of blood which occurs from the lower ventricle into the upper [auricle] and lasting until its valves can join to make a perfect closure, there is an interval of time which together with the time during which the expulsion of blood from the right to the left ventricle occurs and with the time which increases during the reflux caused by the upper ventricle, is so prolonged that the lower part of the liver can give to its upper part as much blood as that taken from the latter by the right ventricle. And so the double function of the right upper ventricle is proved, that is, to heat the blood through the flux and reflux and to provide time for the liver and miseriaic [portal] vein to create and restore to the gibbous part of the heart [or liver] that portion of blood of which the right ventricle robbed it.\n\nWHY THE UPPER VENTRICLE [AURICLE] WAS NOT ADDED TO THE RIGHT VENTRICLE SO AS TO RECEIVE THE SUPERABUNDANT BLOOD.\n\nSuperfluous blood is not received by the right ventricle because it is the structure which attracts it and attracts only the quantity for which it has room. The amount which enters it is equal to the amount of space produced by its dilatation. At this time the upper ventricle is deprived of its blood because if there were any in it, it would be easier for the lower ventricle to draw blood first from the upper ventricle than from the gibbous part of the liver through the narrow ramifications of the capillary veins. Furthermore, it of necessity first draws blood from the upper ventricle rather than from the liver, because this blood above is united to and in continuity with the blood below over a large interval. The volume lost by the upper ventricle is equal to the quantity of blood which descends from it into the lower ventricle because this ventricle [auricle] contracts behind the blood which is forced out by means of its muscles.\n\nIn the margin is an additional note referring to the above which reads: Superfluous blood cannot be received by the right ventricle because it is that which attracts and only attracts the quantity for which it has room. The quantity entering it is equal to the amount of space produced by its dilatation.\n\nIn the next note Leonardo discusses the position of the heart at death. The argument is similar to that used to account for diastole by the active lengthening of the transverse fibres and contraction of the longitudinal. Vesalius employed a model to show how this occurred. It consisted of a ring representing the base of the heart to which a number of osiers were tied and then gathered at their ends to form an apex. A piece of string was tied to this apex and passed to the outside through the center of the ring. The string, representing the longitudinal muscles of the septum, when pulled caused the osiers to budge and diverge thus widening the lumen. William Harvey in his De motu cordis, commenting upon the apparatus, reminds us that the experiment is invalid and only seems to prove what it was intended to prove.\n\nHOW THE HEART WIDENS ITSELF ONLY ON THE DEATH OF MAN WITHOUT CHANGING ITS POSITION [AT ITS BASE].\n\nThe heart widens and shortens on the death of man because its transverse muscles elongate and the longitudinal contract, and so only the inferior part is elevated and not the superior.\n\n(continued on page 493)\n\n# 95 ventricles of the heart\n\nAmong the most important contributions of Leonardo are his experimental observations on the heartbeat in which he adopted a method employed by Tuscan farmers for slaughtering pigs. The animal was tied and placed on its back. A spile (spillo) or sharp-pointed instrument, still used in essentially the same design to draw wine from a cask and to tap maple trees for syrup, was thrust through the thoracic wall into the heart. The point of the instrument moves with the systolic and diastolic movements of the heart and the handle is elevated or depressed on the fulcrum of the thorax so as to reveal the cardiac motions. E. C. van Leersum (Janus, 1913) shows that the method was first re-introduced by Jung of Basel in 1835, using a needle in place of the spile, and by Schiff in 1849 for studies on the innervation of the heart. Richard Wagner, Johann Czermak, the younger, Niddeldorpf, Moleschott, and several others found the method very useful in their researches into the function of the heart, and J. Berry Haycraft, 1891, by attaching a light straw to the needle, developed the cardiograph.\n\nfig 1. Diagram of an experiment on the heart-beat.\n\nA sharp-pointed instrument called a spile, f a, is thrust through the thoracic wall m n, of a pig at the point e, into the heart just above its apex while in diastole h a. At systole, h b, the point of the spile is carried upwards depressing the handle through the fulcrum e, to the new position g b. At death the heart remaining in partial systole, the instrument occupies the mid-position p 0. For Leonardo's discussion cf. note below.\n\nfig 2. Diagram illustrating the effects on piercing both walls of the heart.\n\nThe figure compares the shortening of excursion of the lever when thrust through both walls of the heart. The fulcrum of the thoracic wall is at p. The spile is shown to have a greater movement when its point is in the anterior wall of the heart at c and d, than when in the posterior wall at a and b, owing to the shortening of the distance from the handle to the fulcrum g p, n p. For discussion cf. below.\n\nANATOMY.  \nWHETHER THE HEART AT ITS DEATH CHANGES ITS POSITION OR NOT.\n\nThe change in the heart at its death is similar to the change which it makes during the expulsion of blood, and is a little less. This is shown when one sees the pigs in Tuscany where they pierce the hearts of the pigs by means of an instrument called a spile (spillo) with which wine is drawn from casks. And so, after turning the pig over and having tied it up well, they pierce its right side together with its heart by means of this spile, thrusting it straight inwards. If the spile passes through the heart while it is elongated, the heart in shortening itself on the expulsion of its blood draws the wound upwards together with the point of the spile. The point of the spile on the inside is elevated the same amount that the handle of the spile is depressed on the outside. And then when the heart expands and forces the wound downwards, the part of the spile on the outside makes a movement opposite to that of the part within, which moves in unison with the motions of the heart. And this it does many times in such a way that at the end of life the external part of the spile remains between the two extremes which were the maximum opposite movements of the heart when it was alive. And when the heart becomes quite cold, it retracts very slightly and shortens an amount equal to the space occupied when warm, because heat either increases or decreases a body when it enters or leaves. I have often seen this and have noted such measurements, having allowed the instrument to remain in the heart until the animal was cut up.\n\nTherefore let the expanded heart [in fig. 1] be h a, and the contracted heart, h o; and this when the animal is alive. If the spontoon or the spile finds the heart elongated when it is pierced with the spile f a, as the heart shortens, the point of the spile a, is carried to b, and the part of the point of the spile a, is carried to b, and the part of the handle of the spile on the outside descends from f to g. When the heart is dead, the spile remains in or about the middle of the two extremes of movement, that is, at o p.\n\nFrom the maximum to the minimum motion of the heart, there is about a finger's breadth. At the end [of the experiment] the heart rests with its apex out of its usual position by about the width of half a finger. Take heed lest you make a mistake in taking this measurement, because sometimes the handle of the spile will make no change from the life to the death of the heart. And this happens when the heart is wounded mid-way in its course on shortening where it rests when dead. Sometimes the handle makes a greater excursion. This happens when the heart is wounded at its maximum or minimum length. And so it will cause as many differing displacements as there are variations in the length or shortness of the heart when it is wounded. Furthermore, the handle will make a greater or lesser excursion depending upon whether the point of the spile penetrates the heart to a greater or lesser degree, because if the iron point pierces the entire heart [fig. 2], it makes a smaller movement from the centre of its motion, that is, from the fulcrum, than it would do if the iron had wounded the heart only in the anterior part of its first wall. I will not dwell further on this point because a complete treatise on such motions has been compiled in the 20th book on the forces of levers. If you should contend that when the entire heart is transfixed the length of the spile could not reveal the above-mentioned motion owing to its being obstructed by the anterior wall of the heart, you must then understand that on contraction and dilation of the heart it pulls or pushes the point of this iron along with its own motion and the iron which lies in the anterior wall [of the heart], enlarges its wound both upwards and downwards or, to speak more accurately, moves it, since the rounded thick part of the iron does not enlarge [the wound] as it does not cut, but carries with it the anterior wound in the heart compressing the part of the heart in contact with it,\n\n(continued on page 498)\n\n# 96 ventricles of the heart\n\nThis page was originally part of the same sheet as 86 and 106, and although called the verso in the Quaderni, it is in fact part of the recto of a single sheet. As a consequence of the separation, the extensive note occupying the upper left hand portion of the page is misrelated since it refers to an illustration on 106. Therefore this note will be transposed to the discussion concerning its related figure.\n\nfig 1. Cross-section of the ventricles of the heart.\n\nThe uppermost of the two ventricles is, as may be judged from its thinner wall, The right ventricle, and is so labelled. The thicker walled left ventricle carries that notation. The interventricular septum is called The sieve of the heart, once more drawing attention to the Galenical notion that a portion of the blood passes through the invisible pores of the septum from right to left ventricle. This modicum of filtered or refined blood was thought to mix with the pneuma from the lungs to provide the vital spirits. The interventricular and marginal branches of the coronary vessels have been severed as they lie beneath the visceral pericardium and are indicated at four points by the letters d a n c, reading from above downwards and to the right.\n\nfig 2. Cross-section of the left ventricle of the heart in diastole.\n\nThe left ventricle and interventricular septum only are shown although small portions of the attached wall indicate the position of the right ventricle. The intention is to show this cavity in diastole for comparison with fig. 3 where the heart is in systole. The interventricular septum is marked by the letters a c. The lateral wall of the ventricle is indicated by b d, but these letters also point to the papillary muscles shown bulging into the cavity and correctly disposed. For Leonardo's ideas on the function of the roots of the papillary muscle as buttresses to prevent obliteration of the ventricular cavity on systole, cf. note under fig. 3. In the note attendant to this figure Leonardo mentions his theory on the production of the so-called innate heat. He modified ancient beliefs by suggesting that the friction from the flux and reflux of the blood gives rise to this heat and that the beating of the auricles assists in its production, cf. 86.\n\nThe muscles branching from a b, and c d [in fig. 2] act to prevent the heart from dilating excessively when it reopens, because if it were dilated too greatly, it would be compelled to draw back too much blood from the vessels into which it first forced it. The passage of this [blood], owing to its velocity, would cause overheating from the friction made through the density of the artery where it moves.\n\nfig 3. Cross-section of the ventricles of the heart in systole.\n\nThis figure shows the ventricular cavities in systole and is to be compared with figs. 1 or 2. The circular objects in the cavity of the right ventricle, above, represent the papillary muscle in section. The interventricular septum is indicated by b. The letters a c, point to the buttresses formed within the left ventricle by the papillary muscles which on systole prevent the entire obliteration of the cavity, leaving a v-shaped space a d c, into which the refined blood passing through the interventricular septum may be received. This is explained in the following note:\n\nWHICH INSTRUMENT IS THAT WHICH PROHIBITS THE COMPLETE SHUTTING OF THE VENTRICLES OF THE HEART.\n\nThe muscles interposed in the cavities of the ventricles are those which by their extreme density prohibit the complete shutting of the right and left ventricles. If this were not the case, the blood which penetrates [the interventricular septum] from the right to the left ventricle on expulsion [systole], would not be able to penetrate [the septum] at the same time that the left ventricle drives out its blood from itself, because if it were to drive it all out, it would remain without a cavity to receive the new blood. For this reason the penetration of blood through the intermediate wall would be prohibited. But the aforementioned muscles interposed in the ventricles do not allow these ventricles to close entirely, but they behave as demonstrated at a b c d, and their interposed muscles are a b c d.\n\nfig 4. The ventricles of the heart in longitudinal section: semi-diagrammatic.\n\nThe figure is semi-diagrammatic to explain Leonardo's theory of the action of the auricles and the ventricles in the flux and reflux of the blood in the production of the innate heat. The cavities of the right and left ventricles containing their papillary muscles are exposed in longitudinal section. At the top of the figure on the right are b, representing the pulmonary artery and orifice and d, the vena cava to which the ovoid outline is attached as a diverticulum to represent the auricle. The atria of our terminology were not recognized. From the left ventricle emerge a, the aorta and aortic orifice, and c, the pulmonary vein, likewise presenting an auricular appendage. Of the drawing Leonardo writes:\n\na b [aortic and pulmonary orifices] are the gateways, the valves of which open outwards.\n\nc d [right and left atrio-ventricular orifices] are gates opening inwards and shutting after the escape of blood forced out by its ventricle whence the ventricles [auricles] placed behind these gates receive the impulse of the blood. Their dilation [of the auricles] is the reason why the percussion, which the impulse of the escaping blood produces in them, is not of too great power.\n\nThe idea of the flux and reflux of the blood being due to alternate action of the auricles and ventricles is described further.\n\nON THE CONTRACTON AND DILATION OF THE TWO VENTRICLES OF THE HEART.\n\nOf the two lower ventricles arising at the root of the heart, their dilation and contraction are made at one and the same time by the flux of the blood. The reflux of the blood is made at one and the same\n\n(continued on page 498)\n\n# 97 ventricles of the heart\n\nfigs 1-2. The heart and its ventricles.\n\nThe first of these sketches is somewhat unique in that Leonardo here shows the right atrium and its auricle as an integral part of the heart. In the fifteenth and sixteenth centuries the heart was regarded as a two-chambered organ formed by the ventricles alone. In most of his figures and notes Leonardo follows the common tradition, but later, in the series of which this figure is one, he begins to refer to the auricles as the upper ventricles, but these are still treated as appendages of the veins. Here for the first time the right atrium is represented as an independent chamber receiving the openings of separate superior and inferior venae cavae instead of a common vena cava. Other structures represented are the hepatic veins or vein entering the inferior vena cava, tricuspid valve and orifice, the moderator band, the mitral valve, aortic orifice and aorta.\n\nThe second sketch is essentially the same as the first except that the heart is shown more anteriorly, and the pulmonary artery is represented. The third vessel, on the extreme right, is the left superior pulmonary vein displaced upwards as may be done in a specimen from the ox which undoubtedly was the form employed. The figure is marked by an asterisk to indicate that it is to be the first in this group.\n\nThe extensive notes are in no way related to the figures. Since they provide, however, some indication of his state of mind at this period, they are given here in full.\n\nHe who blames the supreme certainty of mathematics feeds on confusion and can never silence the contradictions of the sophistical sciences which occasion an everlasting clamor.\n\nLeonardo often expressed his belief that \"no human investigation can be termed true knowledge if it does not proceed to mathematical demonstration\", and implored his students to \"study mathematics and do not build without foundations\", for, \"there is no certainty in sciences where one of the mathematical sciences cannot be applied\". In the next passage Leonardo proceeds to moralize:\n\nAnd in this case I know that I shall acquire few enemies as no one will believe that I can speak of him since there are few who are displeased at their own vices. On the contrary, they displease only those who are opposed by nature to such vices. Many hate their fathers and destroy their friendships when reproached for their vices, and examples to the contrary are of no value to them nor has any human counsel.\n\nLeonardo follows the above with a note on human weaknesses and folly. The passage is also of interest in that some of the statements have been interpreted as indicating that Leonardo was a vegetarian, but this cannot be substantiated by reference to the work of Platina mentioned, De arte coquinaria, published in Italian translation under the title De la honesta voluptate e valetudine, Venice, 1487. The tirade, is, however, concerned with cannibalism. Richter suggests that the passage was inspired by the second letter of Amerigo Vespucci to Piero Soderini, Gonfalonier of Florence, in which he describes the inhabitants of the Canary Islands after staying there in 1503. Although there appears to be some substance to the suggestion, it raises difficulties since the work known as the Letter from Amerigo Vespucci to Piero Soderini, Gonfalonier, the year 1504 is a patent forgery and Leonardo is believed to have been personally acquainted with Amerigo.\n\nBut let such as these remain in the company of beasts. Let their courtiers be dogs and other animals full of rapine. These be their company ever pursuing following the flight of innocent animals which driven by hunger in times of great snows come to your house begging alms as from a guardian. If you are, as has been written, the king among animals (but you shall rather say king of the beasts as you are the biggest!) why not help them so that they may later give you their young for the benefit of your throat which you have attempted to make the tomb of all animals? And I say still more, if I am allowed to speak the entire truth. But let us not leave the subject of man without speaking of that supreme form of wickedness which does not exist among terrestrial animals because among these there is none which devours its own kind except through lack of brains (for there are lunatics among them as among men, although they are not so numerous). This does not occur except among rapacious animals such as the leonine species, leopards, panthers, lynxes, cats and the like which sometimes devour their young. But you devour not only your children but father, mother, brother and friends, and this is not enough, but you go to foreign islands to capture other men and mutilating their penes and testicles to fatten them up, you cram them down your throat. Indeed, does Nature not produce a sufficiency of simples that you can satiate yourself, and, if you are not content with simples, can you not with a mixture of these make an infinite number of dishes as Platina and other authors for gourmets have written.\n\n# 98 ventricles of the heart\n\nfigs 1-2. Diagrams of the heart and great vessels.\n\nThe ventricles are opened to show their relative capacity, and a moderator band is demonstrated in the right ventricle. The aorta, pulmonary artery, pulmonary veins and vena cava may be identified. The auricles are shown as appendages to the veins. At the top of the page is a statement indicating that Leonardo is departing from the traditional concept of the heart as a two-chambered organ: The heart has four ventricles, that is, two superior called auricles of the heart, and two inferior to these called the right and left ventricles. Below this is a memorandum to draw the heart from 4 aspects. However, the real purpose of the diagrams is to show the difference in capacity and thickness of walls of the ventricles in connection with the question of the bilateral symmetry of the body with respect to weight. This question is more fully analyzed and discussed on 99. Another conclusion is reached, but in this respect it should be remembered that the blood was supposed to ebb and flow from ventricles to auricles.\n\nThe right was made heavier than the left ventricle in order that the heart might lie obliquely. As the blood rises out of the right ventricle and lightens it, this blood with respect to its center of gravity goes to the left side when it is in the upper ventricles.\n\nA further series of notes discuss the question of ventricular output in terms of the Galenical theory of ebb and flow, the liver as the blood-making organ, and the passage of blood through the interventricular septum to the left ventricle for the formation of the vital spirits.\n\nWhen the heart [i.e., ventricles] in systole gives its blood on deposit to its auricles, which return it to the heart, that which was given to them is less by the amount of which they were deprived by the upper vessels [pulmonary artery and aorta]. Since the heart must be compensated by the entire quantity which formerly filled its vacuum, it is necessary that the left ventricle borrow from the right and the right ventricle be compensated by the liver for that of which it was deprived by the vena arterialis [pulmonary artery] and the left ventricle. Therefore, the right ventricle has a double loss compared to that of the left ventricle.\n\nThe liver being the blood-making organ in the Galenical theory, Leonardo speculates that it makes up any deficit in blood volume necessitated by nutritive requirements with each ebb and flow cycle.\n\nIf the heart in systole decreases its capacity and gives the blood driven out of it on deposit to the ventricles [i.e., upper ventricles or the auricles], these [upper] ventricles restore it to the heart less an amount equal to that which is contributed to the nutritive requirements of life. The latter is paid back by the liver, the treasurer.\n\nI say that the greater volume the ventricles customarily receive is the amount of blood which escapes from them when they contract. This amount is received on deposit in the upper ventricles called the auricles of the heart, and it is retained in these until it is returned at the succeeding dilatation of the heart, but less by a quantity equal to that which was extracted by the vital requirements of nutrition. The loss is compensated for by the liver, the generator of such blood.\n\nLeonardo then attempts to explain how the blood supposedly passes through the interventricular septum from right to left ventricle. To generate enough force on systole, the right ventricle must be closed. Since the papillary muscles open the tricuspid valves, he assumes that they must be relaxed at this time.\n\nThe heart drives out the blood on contraction, and the more it contracts itself, the more perfectly the membranes which shut from within outwards [tricuspid valve] close. Therefore the blood is not entirely voided, but that which remains is forced from the right ventricle into the left. As it cannot penetrate the openings, it is consequently necessary that the muscles of the membranes [papillary muscles] lengthen themselves at that time.\n\nThe discussion of the septal transit of blood from ventricle to ventricle continues with an examination of the structure of the valves of the right ventricle.\n\nfigs 3-4. Rough diagrams of the valves and chordae tendinae.\n\nLeonardo describes the valves or membranes, as he often calls them, as being largely made up by the expansion of the tendinous fibres of the papillary muscles.\n\nWhy the principal valves of the right ventricle are made of so little membrane and so much interlacing of the cords.\n\nThis thing was ordained by Nature so that when the right ventricle begins to close, the escape of blood from its large cavity would not cease abruptly since some of the blood had to be given to the lung, and none of it would be given if the valves prevented its escape. However, this ventricle is closed when the lung has received its quantity of blood and the right ventricle can squeeze [blood] through the passages of the intermediate wall into the right [for left] ventricle. At this time, the right auricle is made the depository of the excess of blood beyond that which advances to the lung. This [excess] suddenly returns on the opening of the right ventricle replenished by the blood which the liver adds to it.\n\nThe final notes on the page are of great importance as the first, though misguided, attempts to apply the quantitative method in physiology. Since the liver constantly manufactures new blood Leonardo makes an estimate of the amount based upon 2000 cycles per hour which would at first seem to be far too low, corresponding approximately to 33 beats per minute. However, it should not be forgotten that in the Leonardine cycle there were two separate systoles, of the right and left ventricles respectively, so that the number of systoles per hour would correspond to 66 pulse beats per minute.\n\nHow much blood is the liver able to contribute owing to the opening [diastole] of the heart? It replaces as much as is consumed, that is, a very small quantity because in an hour approximately two thousand openings of the heart take place. There is a great weight.\n\nThe \"small quantity\" is explained by the sum given\n\n(continued on page 498)\n\n# 99 ventricles of the heart\n\nfig 1. Outline of the heart and its ventricles in diastole.\n\nThe figure is overwritten by a later note on the effects and appearances of secondary shadows in a field of view. For the note on the immediate subject cf. fig. 2.\n\nfig 2. A diagram to illustrate the effects of diastole on the dimensions of the heart.\n\nThe figure, with figs. 1 and 5, is explained in the accompanying incomplete note.\n\nAn object which contracts increases the distance from the middle to its extremities. On being restrained, the walls increase upwards, drawing behind them the apex of the heart....\n\nSince contemporary Galenical principles insisted that diastole was an active process under the influence of the so-called attractive force of the longitudinal muscles, Leonardo is seeking an explanation as best shown in fig. 5 below. He realized that in systole the heart elongated, and the apex rose against the chest wall, and that in diastole the opposite occurs. He apparently believes the longitudinal muscles constitute the interventricular septum as well as being the papillary muscles. His error, if it can be called one, is his failure to recognize that Galen's view did not consider the heart to be a strictly muscular organ and therefore his longitudinal fibres of the heart exercised their attractive faculty by something akin to magnetic force and not altogether by muscle contraction.\n\nfig 3. Abortive sketch of a papillary muscle and cardiac valve.\n\nfig 4. The chordae tendinae and a valve of the heart.\n\nfig 5. The ventricles in systole and diastole.\n\nFor a discussion of this figure cf. fig. 2 above.\n\nfigs 6-8. Sketches of the ventricles in systole and diastole.\n\nA then current doctrine was that the body is  , twin, that is, bilaterally symmetrical. The idea arose from Hippocrates and is expressed by Galen in connection with the testicles. And so the ventricles, as well as the testicles, are hung like the bottles of John Gilpin on either side \"to make his balance true\". The note is undoubtedly inspired by a statement from Mundinus to the effect that blood in the right ventricle being heavier than the spirit in the left ventricle, the heart would not be \"evenly balanced\". \"But that it might be of equal weight, the left wall was made thicker to compensate thereby the weight of the blood in the right ventricle\". The doctrine is examined in the illustrations of the heart in systole and diastole and in the notes and is discarded. The De ponderibus mentioned is that by Jordanus Nemorarius (d.1237), founder of the mediaeval school of mechanics, and deals with the fundamental notion of static moment and its application to levers. First published in 1523, it was known to Leonardo only in the manuscript which he borrowed from the library of the monastery of Brera, now the Palazzo delle Scienze et Arti.\n\nAnd if you say that the left external wall [of the ventricle] was made thick in order that it might acquire greater weight to counter-balance the right ventricle which has a greater weight of blood, you have not reflected that such a balance is unnecessary, for all terrestrial animals, except man, carry their hearts in a horizontal position, and likewise the heart of man is horizontal when he is lying in bed. But you would not be balancing it properly inasmuch as the heart has two supports descending from the root of the neck and, according to the fourth [proposition] of the De Ponderibus, the heart cannot be balanced except upon a single support. These two supports are the aorta and the vena cava. And in addition to this, when the heart is emptied of the weight of blood on its contraction, and deposits this in its upper ventricles [auricles], the center of gravity of the heart would then be on the right side of the heart and so its left side would be lightened. But such a balancing is not true because, as stated above, animals while lying down or standing on four feet have their hearts horizontal as they are themselves and the balancing of the heart is not required in them. And if you say that the testicles are made only to open and close the spermatic vessels, you are mistaken because they would only be necessary in rams and bulls, which possess very large ones, and when the testicles had re-entered the body owing to cold, then coitus could not be performed. And the bat which sleeps and always perches upside-down, how is its heart balanced with respect to the right and left ventricles?\n\nfig 9. Sketch of a nude: postero-lateral aspect.\n\nAt first glance this figure seems to be irrelevant to the discussion. However, it will be observed on closer inspection to be a study in balance, the compensatory curve of the spinal column being well shown and therefore related to the statements made above on the balancing of the heart.\n\n# 100 ventricles of the heart\n\nfig 1. A patent foramen ovale.\n\nThis rough sketch is apparently intended to represent the right and left auricles in communication with one another by means of a channel a b, passing through the septal wall and therefore presumably an observation on a patent foramen ovale. It is not uncommon to find a degree of patency of this foramen which is, however, not functionally open. In reading Leonardo's note it should be remembered that he sometimes calls the auricles the upper ventricles of the heart and, in this instance, simply ventricles.\n\nI have found from a, left ventricle [auricle], to b, right ventricle, a perforating channel from a to b, which I note here to see whether this occurs in other auricles of other hearts.\n\nfig 2. The mitral and aortic valves, from above.\n\nA related note deals with the Galenical theory on the flux and reflux of the blood. Leonardo holds that that portion of the blood lying between the cusps of the antroventricular valves is forced into the auricles by closure of the valve and is the reflux. The auricle responds by first dilating to accommodate this blood and then contracts to open the valve and fill the ventricle. The contraction of the auricles and ventricles therefore alternates. However, in the Galenical system, dilatation and retention, as well as contraction, were all active processes. Hence, at the end of the note we find mention of longitudinal, oblique and transverse muscles, for the longitudinal cause active dilatation and thus attract, the oblique retain the blood and the transverse expel it.\n\nON THE CLOSING OF THE GREAT VALVES OF THE HEART.\n\nThe cusps of the great valves of the heart are closed by the percussion of the blood which escapes from the lower ventricles [ventricles proper] of the heart to the upper ones [auricles] lying outside the heart. They are reopened by the reflux of the blood being squeezed from the upper ventricles into the lower. The vacuum which would be generated by the opening of the lower ventricles when they [the valves] reopen, is the cause of the return to them of the blood of the upper ventricles when they empty themselves. The latter could not empty themselves if they were not flexible and did not have longitudinal, oblique and transverse muscles which contracted them.\n\nfig 3. The right ventricle showing the moderator band, papillary muscle and tricuspid valve.\n\nThe moderator band of the right ventricle was first described by Leonardo who suggests (96) that its action is to prevent over-dilation of the ventricle. In the horse and ox, moderator bands vary in number, thickness and position, and we find Leonardo showing (89) as many as three. As expressed in the note below, Leonardo speaks of the chordae tendinae expanding to form the membranous portion of the cusp which he says elsewhere forms the ventricular surface of the cusp.\n\nWHAT THE CORDS OF THE MUSCLES OF THE HEART SERVE.\n\nThe chords which arise from the muscles of the heart and are converted into the membranes which become the cusps of the great valves of the heart are those which hold the cusps of the valve so that they do not pass out of the opening, but by their tension enlarge and oppose them and make perfect closure.\n\nFurther notes discuss the function of the heart, but in the margin he asks: Which orifice is deeper at the base of the heart?, a question also written in red chalk near the foot of the page, where it has been overwritten by the longer note, in the form: Which orifice descends more deeply at the base of the heart? The first of the longer notes describes the sequence of events occurring between one heart beat and the next. The note is almost incomprehensible unless one understands the speculative theory on which the statements are based. Galen's assumptions, accepted by Leonardo, required some of the blood to pass from the right to the left ventricle through invisible pores in the interventricular septum. The passage of this blood would be quite impossible if the ventricles were to contract simultaneously since the left ventricle must be in diastole to receive such blood. In consequence, Leonardo concludes (91) that the ventricles contract alternately, the one being in diastole as the other is in systole. The cycle of events between two beats is thus right ventricular systole, left ventricular diastole, left ventricular systole, or as Leonardo puts it, the heart closes twice and opens once between beats. On the other hand, starting with right ventricular diastole, in the interval between two diastoles the heart opens twice and closes once, and it is from this point the cycle begins. The reader should remember that both systole and diastole were regarded as active processes.\n\nOwing to its violent motion the heart is very hot from the middle downwards. This motion is made twice at each of its beats as appears at the pulse. Of these motions, one is made when the heart contracts and the other when it dilates and these motions are caused by two sorts of muscles, that is, the transverse and the longitudinal, for the transverse are those which contract the thickness of the heart and the longitudinal stretch out its length. The heart makes its beat when it is stretched out so that then it may contract with forceful motion and drive the blood out of itself into the destined vascular passages. The time interval between two beats of the pulse is half of a musical tempo. Between one and the next beat of the pulse the heart closes twice and opens once, and between one and the next opening the heart opens twice and closes once. Therefore the heart began the first motion at its opening and the last at its closing.\n\nAccordingly in every harmonic or, we might say, musical tempo, the heart has three motions, as is contained below, of which tempi there are one thousand and eighty in one hour. Therefore the heart moves three thousand five hundred and forty times in each hour while opening and shutting. This frequency of motion is that which heats the dense muscle of the heart which in turn heats the blood continually beating within it. It is heated more in the left ventricle\n\n(continued on page 498)\n\n# 101 ventricles of the heart\n\nThis page was originally part of a single sheet now divided in two, the other half being 107, 108.\n\nfig 1. Right ventricle laid open to expose the moderator band, papillary muscles and tricuspid valve.\n\nAbove the moderator band is the word catena, i.e., beam or band, Leonardo's term for this structure. For description of the band, cf. fig. 5 below.\n\nfig 2. Right ventricle laid open to expose the trabeculae carnae and moderator band.\n\nLeonardo believed that the trabeculae carnae created multiple eddies in the blood stream causing friction which was responsible for the innate heat of the body. In reading his note it should be recalled that the chordae tendinae of the papillary muscles formed the cusp of the valve by the expansion and fusion of these tendons. The very minute fibres mentioned in the note are undoubtedly fibrin filaments mistakenly identified as muscle fibres from their elastic properties, cf. 92. The vermis or \"worm\" is the choroid plexus which supposedly acted like a muscle to isolate parts of the cerebral ventricle during the process of thought, cf. 112. The rete mirabile, the vascular plexus at the base of the brain is found in ruminants and nonexistent in man, was the organ in the Galenical scheme which transformed the natural spirits into animal spirits distributed by the nervous system and the active factor in the conduction of impulses.\n\nBetween the cords and fibres of the muscles of the right ventricle are interwoven very minute fibres of the nature and shape of the minute muscles which form the vermis [choroid plexus] of the brain, and of those which weave the rete mirabile. These wind themselves around the most minute and almost insensible sinews and are interwoven with them. Muscles of this kind are very extensible and in themselves capable of contraction. They are interposed in the furor of the impetus of the blood which passes in and out between the minute cords of the muscles before they are converted into the membranes of the valves.\n\nfig 3. A rough diagram of the aortic valve and its cusps.\n\nfig 4. The right ventricle opened to expose the moderator band.\n\nfig 5. Diagram of the heart showing the position of the moderator band.\n\nThe moderator band a r, is shown attached a quarter of the distance along the line d e, extending from the base of the heart to its apex. The width of the heart is indicated by the letters b c, and the band is said to be a third of this width. The accompanying note is confusedly written:\n\nThe band (catena) of the right ventricle [moderator band] originates at a 3rd of the width of the middle wall and at a 4th of its depth. Thus for this ventricle d b c e, b c, is the width and d c, is the length or, you might say, height because of its position. Therefore I say that the band a r, which joins the dilatable wall of the left ventricle at a, a third part of the width of this ventricle a c [for b c] and a fourth part of the depth d e.\n\nLeonardo terminates with a note in which he reminds himself to estimate the volume of the cardiac chambers and discusses the production of innate heat. The condition called suffocation of the heart was a well-recognized clinical entity in the humoral doctrine and covered many things, probably including coronary disease. A method, proving whether the heat is engendered by its friction of motion, is discussed on the verso of this page.\n\nBefore you open the heart inflate the auricles of the heart beginning from the aorta. Then tie it off and examine its volume. Then do likewise with the right ventricle or right auricle. Thus you will see its shape and its function. It was created to dilate, to contract and to revolve the blood in its cells, full of tortuous passages separated by rounded walls without any angles so that the motion of the blood, not finding sharp obstructions, will make an easier revolution in its swirling impetus. And so it proceeds to warm itself with proportionately more heat as the motion of the heart becomes more rapid. Thus it sometimes becomes so hot that the heart suffocates itself. I once saw a case where it burst as a man was fleeing before his enemies, and he poured out sweat mixed with blood through all the pores of the skin. This heat forms the vital spirits, and so heat gives life to all things as you see that the heat of the hen or turkey gives life and birth to chickens, and the sun when returning causes all the fruits to blossom and to burgeon.\n\n# 102 ventricles of the heart\n\nThe page was originally part of a single sheet, the other half being 107-8. The arguments presented here are consequently similar since they date from the same time.\n\nfig 1. Sketch of the ventricles of the heart to show coronary vessels.\n\nThe accompanying note is self-explanatory. The three veins mentioned are probably the great, middle and small cardiac veins.\n\nThe heart has its surface divided into 3 parts by 3 veins descending from its base. Of these veins, two [great cardiac and small cardiac] delimit the boundaries of the right ventricle and have two arteries [right and left coronary] in contact beneath them. Of the 3rd vein [middle cardiac], I have not yet seen whether it has an accompanying artery, wherefore I am going to flay it to vouch for its presence. However, the surface interval of the heart enclosed between these arteries occupies half of the outer circular boundary of the heart and forms the external wall of the right ventricle, etc.\n\nfig 2. Diagram to illustrate the area occupied by the right ventricle on the surface of the heart.\n\nIn this figure the base of the heart is represented by a rough circle a n b (or S) c, at the center of which is the apex d, so that the heart is being viewed from its apex. The letters n, and m, indicate the right and left coronary vessels with their interventricular branches delimiting the area on the surface occupied by their interventricular branches.\n\nLet a n b c, be the circumference of the heart. The two veins and arteries which surround the lateral borders of the right ventricle are a S. The external wall of this ventricle will be a n S and the interval or area of the ventricle will be a n m S. d is the apex (cuspide) or point of the heart.\n\nfig 3. Preliminary outline of a dissection of the right ventricle drawn in detail in fig. 4.\n\nfig 4. The right ventricular cavity and tricuspid valve.\n\nThe lateral wall of the atrium has been resected so as to expose the tricuspid orifice from above. Below is the remaining portion of the auricle exhibiting the musculi pectinati. In the middle of the figure is a papillary muscle a b c, seen through the orifice. From it extend the radially disposed chordae tendinae f e d n m o p q r, passing to the cusp. At the base of the papillary muscle a moderator band is shown. The dissection is based upon the heart of an ox.\n\nfig 5. The right ventricle and tricuspid valve.\n\nWe are informed that this is the right ventricle, and that A is united with A, which indicates that the heart was opened by means of a transverse incision and the two halves hinged back upon one another. The three papillary muscles and their chordae tendinae passing to the tricuspid valve are revealed, as well as the beginning of the infundibulum. Further notes read: If you inflate the auricles of the heart, you will see the shape of its cells. This technique is discussed at greater length on the recto of this page in connection with the idea that the innate heat is produced by friction as the blood eddies among the various irregular bands lying within the cavities of the heart. Leonardo suggests a method of determining the truth of this idea, so important in the Galenical physiology.\n\nObserve whether the churning of milk when butter is made causes heat. And by such means you will be able to prove the efficacy of the auricles of the heart, which receive and expel the blood from their cavities and other passages, [and that they] are made solely to heat and subtilize the blood and make it more fit to penetrate the wall through which it passes from the right into the left ventricle, where owing to the thickness of its wall, that is, of the left ventricle, it conserves the heat which the blood carries to it.\n\n# 103 ventricles of the heart\n\nfig 1. Diagram of an atrio-ventricular orifice, valve and papillary muscle.\n\nThe various parts of the diagram are labelled, reading from above downwards, bone, cartilage, membrane sinew, muscle sinew. Since Leonardo dissected the heart of a ruminant, the bone is the os cordis and the cartilage the dense connective tissue of orifice which was commonly called cartilage at this time. The papillary muscle was supposed, by analogy with other muscles (cf. below), to possess a tendon at either end. The accompanying note reads: There are 6 things which take part in the composition of a motor, that is, bone, cartilage, membrane, cord, muscle and sinew, and these 6 things exist in the heart.\n\nfig 2. The papillary muscles of the heart.\n\nThe papillary muscle is indicated by n; the severed ring of the atrio-ventricular orifice by m; and the cusp of the valve by f. Leonardo describes a papillary muscle as having a tendon at either end. He believed it to contract during diastole to open the valve and to relax during systole\u2014a logical assumption but now disproved. The action of the muscle on the cordae tendinae is both active and passive since on diastole the whole heart shortens, thus permitting the entire papillary muscle to ascend, cf. 99.\n\nWhen the heart enlarges itself, n [papillary muscle] shortens, drawing itself by means of its cords towards f [the valve], and is the cause of the shortening and opening of the heart. When the heart contracts, n is elongated and is carried still further upwards. Between its elongation and its being carried upwards, it relaxes the membranes [cusps] and the blood, which beats against them from within, closes them.\n\nI say that when the muscle n thickens, it shortens itself and this shortening would freely draw the ends towards its middle, that is, if it were to shorten by half of its length, the inferior and superior quarters would proceed towards its middle....\n\nfig 3. The chordae tendinae of a papillary muscle.\n\nThe chordae tendinae are often found to be somewhat twisted upon one another, hence the statement beside the drawing, plaited cords. For Leonardo's views on the significance of this arrangement, cf. 98.\n\nfigs 4-5. Figure of a young man in profile and a heart dissected to expose the ventricular cavities.\n\nIf these two drawings are intended to show the heart in situ, then the heart is very badly misplaced. But it is more likely that the drawings are separate, the figure of the young man having been added later.\n\n# 104 ventricles of the heart\n\nfigs 1-2. Rough sketches of the heart and coronary vessels.\n\nAbove the figures we read: Vessels of the heart. In fig. 1, the two vessels arising from the aorta are indicated by the word artery, and that on the right as vein.\n\nfig 3. Diagram of the heart with lines for section.\n\nThe lines for sectioning of the heart to expose the ventricles and interventricular septum as shown in the figures below are indicated by the letters a c, b c. The auricles are identified by the letters a c. This is called the first of the two contiguous figures.\n\nfig 4. Coronal section of the heart to expose the ventricles and interventricular septum.\n\nThis figure is indicated as the second. Above it are the words a, angle of the circumference [?], which perhaps means that the section is to be cut from the point a, below the auricle on the left upper margin of fig. 3, in order to obtain the section as shown.\n\nfig 5. Abortive figure of the papillary muscles and mitral valve.\n\nfig 6. Transverse sections of the heart.\n\nThe upper portion of the figure labelled base of the heart, shows the four orifices, mitral, aortic, tricuspid and pulmonary, which carry the letters a b c d. The lower portion reveals the septum and the ventricular cavities, and the section is indicated as being below the base.\n\nfig 7. Heart divided as in fig. 3, to expose the interventricular septum.\n\nThis is indicated as the 3rd figure of the series, and the legend reads Demonstration of the sieve [interventricular septum] from the left [for right] side. The moderator band is clearly shown.\n\nfig 8. Heart divided as in fig. 3, to expose the interventricular septum.\n\nThe figure is indicated as the 4th of the series. The legend reads Demonstration of the sieve from the right [for left] side. It will be observed that left and right are reversed which is not uncommon in Leonardo's notes and may be the result of his habit of mirror-writing.\n\nfig 9. The chordae tendinae of a papillary muscle and the valve.\n\nLeonardo here illustrates his belief that the chordae tendinae form the ventricular surface of the valve by spreading out as a connective tissue layer.\n\nfig 10. Abortive figure of the papillary muscle and a valve.\n\nfig 11. The posterolateral wall of the left ventricle hinged back to expose the mitral valve and its papillary muscles.\n\nThe technique is expressed thus: This is the wall of the left ventricle which is opposite the wall [septum] interposed between the right and left ventricles. Leonardo nowhere uses the term \"mitral\" which seems to have been introduced by Andreas Vesalius in 1543.\n\nfig 12. Detail of the papillary muscles of the mitral valve.\n\nfig 13. Rough, unfinished sketch of an atrio-ventricular valve.\n\nfig 14. The mitral and aortic orifices: from above.\n\nThe legend reads: The left ventricle which goes to the auricle of the heart is seen from without when closed. Between and below the mitral and aortic orifices is written the word bone which points to the os cordis found in this position in the hearts of ruminants.\n\nfig 15. Incomplete sketch of aortic orifice and valve.\n\nfig 16. Unfinished sketch of papillary muscle, chordae tendinae and cusp.\n\nfig 17. Diagram of mitral valve to illustrate closure of its cusps.\n\nThe junctional lips of the membranes are bent downwards in this manner.\n\nfig 18. The four cardiac orifices.\n\nThe sketch clearly illustrates the nature and position of the mitral, aortic, pulmonary and tricuspid valves from left to right. Between the mitral and aortic orifices is the os cordis, labelled bone. In shape and position the os cordis once again indicates that the source of Leonardo's material was the ox.\n\n# 105 ventricles of the heart\n\nGEOGRAPHY OF THE HEART.\n\nfig 1. A papillary muscle and its chordae tendinae.\n\nThe chordae tendinae are shown expanding at their attachment to the ventricular surface of the valve. Leonardo held that the cusp consisted of two layers. The atrial surface is smooth and formed by the fleshy membrane or panniculus carnosus. The ventricular surface is \"armed\" or protected by a tendinous layer or panniculus nervosus established by the chordae tendinae of the papillary muscles.\n\nIn front [i.e., on the atrial surface] the valves are found to be membranous and supported on the opposite side, that is, protected from within by threads [chordae tendinae] which prevent their flapping back. All the muscles stretch lengthwise in death, and this is the reason that animals die with the mouth, and other regions where the skin is lacking, [open], and so the interior of the ventricles of the heart and their valves [are also open].\n\nfig 2. The tricuspid orifice laid open to expose the papillary muscles and valves.\n\nThe three papillary muscles of the tricuspid valve are shown with their chordae tendinae extending to the margins of the cusps. The papillary muscle on the right is labelled On the intermediate wall, i.e., the septal muscle. The second is noted as lying In the angle, and therefore the inferior muscle. The third muscle at the left is said to occur In the middle of the covering of the right ventricle, and so is the anterior muscle of that wall. Below the papillary muscles on the right and on the left may be seen a moderator band which is shown divided in two. It occupies a position as commonly found in the heart of ungulates. Near the portion of the moderator band on the right are the words The lowest filum of a simple membrane below, which doubtless means that a second moderator band occurs below, as in the ox. The trabeculae carnae of the ventricle are also represented especially on the left. By including a portion of the right papillary muscle and its chordae on the extreme left, it will be observed that Leonardo has so designed the figure as to enable the reader to reconstruct the orifice. Attention is called to this in the note above the figure.\n\nCut out these 3 muscles with their cords and valves and then join them in the manner in which they exist when the right ventricle closes itself, and then you will see the true shape of the valves [and] what they do with their cords when they shut themselves.\n\nThe technique suggested in this note must be the first example of the use of paper cut-outs in the teaching of anatomy. The method became popular in the second quarter of the sixteenth century.\n\nfigs 3-4. The papillary muscles, tricuspid valve and right ventricle.\n\nDiagrams to show the closure of the tricuspid valve when the wall of the ventricle has been removed.\n\nfig 5. Tricuspid valve and the three papillary muscles from below.\n\nThe figure is badly faded but the outlines are still discernible.\n\nfig 6. The ventricular surface of the tricuspid valve, chordae tendinae removed.\n\nThe points of attachment of the severed chordae tendinae are indicated on the upper cusp by the letters d c b a q f e, now almost illegible, and the note above the figure reads: a b c d e f g are the places where the chords which support the large valves of the heart are situated. Below the figure is the legend: The simple membranes without cords.\n\nfigs 7-8. The tricuspid valves, chordae tendinae and papillary muscles from below.\n\nLeonardo's note adequately describes the figures: The valves of the heart which the right ventricle sees from within.\n\nfig 9. Adjacent cardiac valves to illustrate the influence of margins on closure.\n\nThe area of overlap of adjacent cusps is indicated by a, the thinner margin, by c, and the apex, by b. The purpose of the illustration is to demonstrate that the margins of the cusp consist of a single layer, the panniculus nervosus, and the body of two layers, panniculus nervosus and carnosus, so that on closure the area of overlap will consist of two and not four thicknesses as described in 106. Thus nature's law that nothing is superfluous is demonstrated.\n\nWHY THE CUSPS OF THE RIGHT VENTRICLE ARE NOT ENTIRELY DOUBLE.\n\nThe cusps (uscioli) of the right ventricle are not entirely double because it would follow, as has been said [106] in this treatise of mine, that at the place [contiguous margins of the valves] where it is not necessary, it would be doubled to four [layers] and where it is necessary, it would be twofold only: and in this case Nature would be wanting in her law, as was said at the beginning of this treatise.\n\nfig 10. The mitral valve and left ventricle in longitudinal section.\n\nThe legend on the figure reads: The left [ventricle] sectioned through the arch of the membranes in side view.\n\nAttention has been called to Leonardo's opinion that the valves of the atrio-ventricular orifices consist of two layers. The atrial surface is a layer of \"flesh\" and thus, in the standard terminology of the times, a simple tissue. The ventricular surface of the valve is supportive and consists of \"sinew\" or \"cord\" established by the spreading out of the chordae tendinae to form this layer. An extensive note discusses the reason for this arrangement.\n\nWHY THE SIMPLE MEMBRANE IS PLACED UPON THE POWERFUL CORDS OF THE SECOND LOWER MEMBRANE.\n\nThe thin membrane is stretched over the thick cords and extends on the outside [atrial surface] of the lower membrane. It appears that Nature would fail here because on the expulsion of the blood which churns inside there [in the atrium] at the closing of the right\n\n(continued on page 499)\n\n# 106 ventricles of the heart\n\nAt one time part of a single sheet, now divided, the notes and drawings on this page continue to some extent the argument found on 96.\n\nfigs 1-2. Abortive sketches of the right atrio-ventricular or tricuspid valves.\n\nfig 3. The right atrio-ventricular or tricuspid valve of the heart opened out.\n\nThe three valves are indicated by the letters g f a, a b c, c d e, from right to left. The letter h, on the extreme right corresponds to d, on the left, the point of section. The letters n m o p q, mark the terminations of secondary lines outlining the valvular margins when stretched by the action of the papillary muscles shown with their chordae tendinae lying in the intervals between the valves. The three triangles, g f a, a b c, c d e, shut the gateway [tricuspid orifice] of the right ventricle when that ventricle contracts. A further note referring to this figure appears on 96, which became separated with the division of the sheet.\n\nON THE VALVES OF THE HEART.\n\nOn the shutting of the heart, the valves [mitral and tricuspid] of the heart always give passage first to a quantity of blood before they shut from within outwards.\n\nAnd the valves [aortic and pulmonary] which shut from without inwards return the blood to which they first gave passage. Those [mitral and tricuspid] which close from within outwards, before shutting completely, give passage to the impulse of that part of the blood which was within the lips of the opened valves c o [in fig. 3]. This part [of the blood], unobstructed, gives with its principal wave due nourishment to the vessels of the lung when, after being refreshed in the lung, it returns in large part to refresh the blood which was previously left in the ventricle where it was divided.\n\nThe above note develops the Galenical theory on the flux and reflux of the blood. The portion of the blood which remains behind in the right ventricle is that which was supposed to pass through the interventricular septum to become vital spirits as explained on 96. A further note is a recapitulation of the function of the auricles in this process of reflux discussed at length on 96.\n\nfig 4. A papillary muscle and its chordae tendinae.\n\nThe chordae tendinae of a papillary muscle are shown making a series of arches and spreading out to be attached not only to the apices and margins of a cardiac valve but also to its ventricular surface. Leonardo apparently considered a cusp to be formed of two layers. The first he calls the fleshy membrane and the second, which was established by the spreading out of the fibers of the chordae tendinae as a protective coat (armadura), he calls the sinewy membrane.\n\nThe [papillary] muscles which draw the membranes are without cords until near the membrane, which membrane being also fleshy, forms for itself a protective coat which is the sinewy membrane of these muscles in place of their cords.\n\nfigs 5-7, 9, 12. Diagrams of the right atrio-ventricular or tricuspid valve.\n\nIn fig. 6, the tricuspid valve is seen from below receiving the attachments of the chordae tendinae of the papillary muscles which are greatly foreshortened. In the other diagrams the valve is shown both opened and closed. In fig. 9, the intervals between the cusps are lettered at their base a b c, and the apices of the cusps c d f. A note attempts to explain in terms of the theory of flux and reflux why the chordae tendinae are attached to the ventricular surfaces of the cusps.\n\nNature has made the chordae [to attach] on the reverse side of the fleshy membrane of the three cusps with which the gateway of the right ventricle is shut. She has not made them on the posterior aspect because these cusps experience more effort when they draw the blood in than when they squeeze it out.\n\nfig 8. The tricuspid valve opened out to demonstrate formation of the margins of the cusps.\n\nfig 10. Papillary muscle, chordae tendinae and cusp (greatly foreshortened).\n\nTo follow the accompanying note, figs. 8 and 10 must be taken together. In the first three illustrations the papillary muscle is shown giving off four chordae tendinae indicated by the letters s t v n, which blend to form the thinner margin of the cusp at a c, b d, over the interval of adjacent cusp contact r o, and at the apex of the cusp h h. Thus the margin of the cusp is formed by a single layer which Leonardo calls the panniculo nervoso. Since the margins of adjacent cusps overlap, on closure of the valve, the region of overlap consists of a double layer, each of which is formed by the extension of the connective tissue of the chordae tendinae. On the other hand, the remaining central portion of the cusp being thicker is said to be formed by a double layer, the panniculo nervoso on the ventricular surface and the panniculo carnoso on the atrial surface. It is necessary to recognize this distinction, which incidentally approaches the truth, to understand the note below.\n\nIn the second figure, a papillary muscle n, is shown attached to the overlying ventricular wall, labelled The thickness of the right ventricle, and also indicated by the letters f g. The papillary muscle blends with this wall at e, and two of its chordae tendinae are indicated by a b, at the muscle, and c d, where their fibres spread out to form the margin of the cusp and Leonardo's panniculo nervoso.\n\nn [in fig. 10] is the muscle of the heart which is divided into two muscles [papillary, and muscle of ventricular wall]. These muscles are in contact and continuous and then separate each by itself, into their branchings made up of sinewy cords [chordae tendinae] clothed by the thinnest of flesh [endocardium?] until they are converted into the sinewy membrane covered by flesh [Leonardo's panniculo carnoso of the cusp]. But just as the muscles [of the ventricular wall] from which they arise form a cover, one for the other, their cords do the same and [form] membranes. But their motions in pulling upon the cords and stretching the membranes are not equal because the upper mem-\n\n(continued on page 499)\n\n# 107 aortic pulmonary valves\n\nThis page was originally part of a single sheet, the other half being 101-2. Although called the recto in Q, it is actually the verso.\n\nfig 1. Base of ventricles of heart showing atrio-ventricular and arterial orifices.\n\nThe heart is resting upon its left side so that the orifice on the right represents the mitral valve and is therefore labelled left ventricle. To the left of the mitral is the aortic valve, called the aortic artery, which shows the cusps correctly related and indicates the position of their lunules. The pulmonary valve on the left of the aortic is marked by the letter a. The cusps are likewise correctly disposed, and above is the tricuspid valve. Lacking fixatives, the specimen is somewhat flattened. The outlines above and below on the right indicate the position of the auricles.\n\nfig 2. Base of ventricles showing position of the four orifices.\n\nThe figure is similar to fig. 1.\n\nfig 3. Mitral valve and aortic orifice.\n\nThis is one of the few occasions in which Leonardo represents the mitral valve. The papillary muscles, chordae tendinae and cusps are clearly revealed as well as the relationship to the aortic valve. The legend reads: Left ventricle and its valves or shutters, and here there are always sinews, muscles, cords and membranes [valves].\n\nfig 4. Abortive figure of the ventricular orifices.\n\nIdentical with fig. 1.\n\nfig 5. The four ventricular orifices.\n\nSimilar to fig. 1. The aortic valve is labelled aortic artery, and the pulmonary as arteria venale, that is, the vein-like artery, the customary term.\n\nfigs 6-7. Bones of the upper extremity to illustrate pronation and supination of the forearm.\n\nIt is shown that true pronation and supination of the forearm have a range of 180 degrees which is increased in extension to 270 degrees by rotation at the shoulder.\n\nThe arm when flexed at its joint can show [when viewed] from one and the same aspect its entire dorsal side and, in addition, its entire volar side without altering the position of the bone called the aiutorio [humerus], that is, it will by its revolution be able to make a half-turn. And if you extend the arm, it will make three-quarters of a turn.\n\nFor aiutorio meaning humerus, cf. 12.\n\n# 108 aortic pulmonary valves\n\nLET NO ONE READ ME WHO IS NOT MATHEMATICIAN OF MY PRINCIPLES.\n\nThis opening statement emphasizes Leonardo's mechanistic approach to the problem of the function of the heart. Accepting Galen's theory almost in its entirety, it is Leonardo's endeavor to explain and extend the theory from his knowledge of physical principles. The page is part of a larger sheet which has become divided, the other half being 101-2. In Q this is called the verso although actually the recto.\n\nLeonardo proceeds with a discussion on the aortic and pulmonary valves which he regards as being morphologically part of the vessel wall and not of the heart itself. It should be remembered in reading his note that he is thinking in terms of the reflux of blood in the aortic sinuses, causing closure of the valve. Thus he contends that the arrangement must be so since only the vessels possess the necessary elasticity to absorb the momentum of the blood stream which would otherwise rebound from an inelastic wall with such force as to damage the delicate membranes of the valves.\n\nThe valves are constructed in association with the vessels immediately at the termination of the substance of the base of the heart. This was ordained by their Author so that the reflected blood with its momentum might not tear away the membranes of which these valves are composed. This momentum, seeing that it must expand in the membranes at the base of the vessels, does no damage to these valves, but is cast horizontally to beat against and expand with ease the tunics of the blood [vessels] in which the aforesaid momentum is expended.\n\nAnd if these valves had been constructed within [the ventricular substance] at the base of the heart, which is very strong and resistant, it would necessarily follow that the revolution of the blood would turn back from this resistance and beat against the weak valves which in a short time would be staved in and destroyed.\n\nfig 1. Diagram of the aortic valve.\n\nThe aortic valve is nearly always shown in relationship to the aortic sinuses since these structures are regarded as an integral part of the valvular mechanism serving to direct the eddying blood into the cusp during closure, cf. fig. 2. Within the sinuses are the triangular bases of the cusps n q r, which being thicker, are considered to be part of the aorta. At the margins of the cusps are the delicate lunules p q r, which make the final closure of the orifice and are joined together at the angles of the aperture marked a b c.\n\nThe right [aortic] valve.\n\nThe circumference a d b f c e, is the base or origin of the coat of the vessel [aorta]. The interval a d b n [aortic sinus], is that where the coat of the vessel covers over the base of the heart. Immediately beyond the origin of the vessel arises a thin membrane [the cusp] which is joined to it and which itself covers the interval a n b p. From its excess it gives rise to one of the sides of the valve a b c. This valve is duplicated by another similar membrane [pulmonary valve] which covers the purse or right ventricle within the heart. Both ventricles are similarly constructed.\n\nfig 2. Diagram of the vortices of blood in the aortic sinuses and valve.\n\nThe diagram illustrates Leonardo's favorite conception of the function of the aortic sinus in the creation of eddies of the blood stream which sweep through the concavities of the cusps to roll out their lunules which make the final perfect closure of the valves. The diagram is complementary to fig. 1.\n\nfig 3. Diagram of the base of the heart.\n\nThe rough outline represents the base of the heart which is indicated as being approximately triangular in shape. At the angles are shown the positions of the branches of the coronary vessels as represented by the anterior interventricular branches of the left coronary artery and great cardiac vein, the right coronary artery and the small cardiac vein, and the inferior interventricular branch of the right coronary artery and the middle cardiac vein. It is pointed out that the first two pairs of vessels mark the boundaries of the right ventricle. The aortic orifice with its valves is correctly, although diagrammatically, shown as occupying the center of the base which is regarded as right and proper, being the paramount vessel, since, according to theory, the most \"noble\" structure should occupy the most \"noble\" position.\n\nThe shape of the base of the heart is somewhat similar to a triangle as shown by c d f. At each angle are two vessels, that is, a vein on the outside and an artery on the inside beneath the vein. These are the veins a c f, and the arteries b d [for d] e. Between c, [and] f, is the right ventricle. In the middle of the base of the heart is the origin or base of the aorta established upon the middle of the base of the heart occupying pre-eminence of position at the base of the heart just as it occupies pre-eminence in the life of the animal. And the angles of the valves of this artery face the angles of the base of the heart, and the sides of the valves, the sides of the heart.\n\nfig 4. Diagram of the heart as viewed from its apex.\n\nSince a to b, is indicated as being the right ventricle, the diagram shows an anastomosis between the marginal branch of the right coronary artery and the anterior interventricular branch of the left or of the corresponding veins. The third vessel at c, will be the inferior interventricular artery or its corresponding vein.\n\na b, is the right ventricle, and there are many occasions in which the right and left vessels are joined together in the region of the apex of the heart.\n\n# 109 aortic pulmonary valves\n\nfig 1. The cusps of the aortic valve.\n\nThe legend reads: Figures of the cusps (aorti) of the gateway which the left ventricle possesses when it closes itself.\n\nfig 2. The closed aortic valve: from above.\n\nfig 3. The closed aortic valve: from below.\n\nfig 4. The ventricular aspect of the aortic cusps.\n\nBelow the figure the aspect is identified by the word back.\n\nfig 5. The open aortic valve: from above.\n\nfig 6. The open aortic valve: from below.\n\nfig 7. The aortic valve partially open: from above.\n\nfig 8. A portable Turkish bath.\n\nThe object beneath the bath is the kettle. The legend reads: A dry sudatory and moist sudatory, very small and portable weighing 25 pounds. The significance of the various arithmetical sums is unknown.\n\n# 110 aortic pulmonary valves\n\nThe figures on this page are concerned with the data necessary for the construction of a glass model of the heart to study the mechanism of the semilunar valves of the pulmonary and aortic orifices. In order to maintain a logical sequence the figures are numbered from right to left.\n\nfig 1. A mould for the fashioning of a glass model of the pulmonary or aortic valves.\n\nThe upper end of the cast is lettered a, and the lower, n. The mould appears to be based on the appearances at the root of the aorta, aortic vestibule of the left ventricle and the aortic orifice as shown in longitudinal section in fig. 11 below. The notes make it doubtful that the model was ever made.\n\nA plaster mould to be blown with thin glass inside and then break it from head to foot at a n.\n\nBut first pour wax into this valve of a bull's heart so that you may see the true shape of this valve.\n\nfig 2. Diagram of a collapsed cusp to illustrate the note below on valve closure.\n\nHow the blood which turns back when the heart reopens is not that which closes the valves of the heart. This would be impossible because if the blood beat against the valves of the heart while they are corrugated, wringled and folded, the blood which presses from above would weigh and press down the front of the membrane upon its origin, as is shown at the valve r o [in fig. 2], the folds of which, being weighted down from above, would close in solid contact, whereas Nature intended it to be stretched in height and width.\n\nfig 3. Rough sketch of vena cava entering the base of the heart.\n\nfigs 4-8. Designs for the construction of artificial semilunar valves.\n\nThe designs are no doubt related to the construction of an artificial valve for the contemplated glass model mentioned above.\n\nfig 9. Deleted figure.\n\nBelow these figures are the words, Bad company, also deleted.\n\nfig 10. The right ventricle, papillary muscle and tricuspid valve.\n\nThe ventricle is identified by the words written on it, Right ventricle. Leonardo suggests a picturesque nautical terminology for the chordae tendinae, papillary muscles and atrio-ventricular valves.\n\nGive names to their chords which open and close the two sails, that is, call the principal one the brace and capstan and the like.\n\nThe function of the chordae tendinae is again discussed:\n\nThe membranes exist here [tricuspid valve], which alone close the gateway of the right ventricle so that with the beating of the violent flood into the membraneous valves the closure of the ventricle may not be overcome and the valves reopened from behind. Necessity provided them with hard and powerful chords which could support a blow of such violence. The muscles of these chords are very hard, almost like cartilage.\n\nfig 11. The aortic vestibule, orifice and valve in longitudinal section.\n\nThe lateral walls of the aortic vestibule are indicated on either side by the letters a b c, a d e, and the aortic orifice and semilunar cusps by a. The aortic sinuses, named for Antonio Valsalva (1666-1723), are clearly shown containing the vortices produced by the blood stream which Leonardo explains as filling out the cusps in closure of the valve, cf. 111. Within the cavity of the left ventricle is a moderator band as commonly found in the heart of the ox.\n\nIn conjunction with this illustration, Leonardo presents an interesting theory on the function of the walls of the aortic vestibule as a sphincteric mechanism to assist the aortic valves in preventing regurgitation of the blood into the left ventricle during diastole. As is mentioned in connection with fig. 3 of 100, it must be understood that they require the left and right ventricles to alternate in systole and diastole. Diastole is an active, not a passive, process which on the left side provides the vis a fronte to assist the vis a tergo of the right ventricle in forcing a portion of the blood through the mythical pores in the interventricular septum. How this is done is explained in the appended note.\n\nThe flesh a b c, and the opposite flesh a d c, are those fleshy parts which expand and diminish within the gateway of the heart. When the heart dilates, they diminish, and when the heart contracts, they expand, because dilation increases its capacity and contraction diminishes it. On increasing its capacity it [the left ventricle] attracts with surpassing force and impetus that blood which is necessary to replace the vacuum. This attraction forces with vehemence the blood through the fine pyramidal passages which are placed in the wall between the right and this left ventricle. In addition, part of the blood which this left ventricle first thrust up into the cusps of the [aortic] gateway of the heart when it contracted, would attempt to turn back, bending back and almost overcoming the aforesaid membranes of the valve of the heart. But necessity, at the time of the attraction of the blood through the dilation of the heart, has provided that the walls [a b c and a d c of fig. 11] of the gateway expand against one another in such a way that the gateway of the heart is closed by these [walls], as well as the closure of the valve by the aforesaid thin membranes. And so the resistance at the gateway is made equal to the power of attraction of the heart.\n\nfig 12. Diagram of aortic vestibule and aortic valve.\n\nThe lateral walls of the aortic vestibule are now shown closed to support the semilunar cusps of the aortic valve. This is supposed to occur during diastole of the left ventricle (cf. note, fig. 11). In the aortic sinuses, the vortices o p are shown filling the cusps, and these cusps are also exhibited in the inset below the figure as they would appear from the ventricular surface when closed. The letter n, is placed in the mid-line above the vortices. The accompanying note reads: If the wave o p, fails to send blood through the valves, the wave n, will pass straight on and lose the two secondary vortices.\n\n# 111 aortic pulmonary valves\n\nThe series of figures and notes on this page examines the question of the influence of blood eddies in the closure of the aortic valve. Hydraulics or what Leonardo called \"the nature of water\" was a subject of abiding interest, and here we find an extension of these studies to problems of haemodynamics. Because of their scattered nature, it is simpler to consider the studies in three groups rather than treat them individually.\n\nFigures of group I. The centrally placed figures are, perhaps with one exception, analyses of the structure of the possible blood vortices produced in the aortic sinuses and which Leonardo holds are responsible for the filling out of the semilunar cusps of the aortic valve in its closure. The exception is the larger figure to the left of the middle of the page which seems to be an examination of the blood streams in the auricle although this is not specifically indicated. The centrally placed note describes with considerable insight the effect of these eddies or vortices established by the after-coming blood at the termination of the systolic thrust in closing the aortic valves.\n\nThe beating of the heart occurs by impulsions as the pulse shows.\n\nWe have demonstrated that the beating of the heart occurs by impulsions. If this were not the case, the left [aortic] valve would not be able to close and the blood which lay first above the valve would immediately descend. But as such a valve opens through the impetus and percussion of the blood which the ventricle forces out of itself, the valve remains open for as long a time as a small quantity of blood, which escapes from the heart, keeps it barred. At the same time the blood above it [the valve] cannot descend because the wave of blood which drives through it proceeds with the opposite motion throughout the entire artery. Simultaneously the remainder of the impetus of the blood which [originally] opened the valves, closes them with its reflux motion and the heart [i.e., ventricle] is reopened.\n\nFigures of group II. The group of figures, three in number, occupy the middle of the left margin. Their purpose is to illustrate that it is the vortices described above which fill out the cusps in closure of the aortic valve and not the pressure. If, Leonardo argues, it were the pressure or weight of the column of blood alone, the cusp would be folded back upon itself as shown in the third figure of this group. The adverse opinion is discussed in the note, cf. fig. 2, 110.\n\nThe adversary states that this part [aortic valve] of the left ventricle of the heart is of necessity closed when the ventricle reopens. This takes place because the blood which descends upon the valve, beats against the valve and presses it shut. The shape of the valves denies this as they would rather be flattened out than shut.\n\nIt is to be asked whether in the opening of the valves and sending the blood out of the gateways of the heart, an amount escapes equal to the diminution which occurs in the left ventricle when it closes.\n\nFigures of group III. This group of figures occupying the lower right-hand portion of the page show the aortic vestibule, aortic valve and root of the aorta. The vortices in the aortic sinuses are demonstrated in the neighboring detail opening out the cusp. Below, the vortices are shown in relationship to the blood stream when the aortic valve is open and when closed. Above and to the right of these figures are two parallel structures labelled a d, b c. These probably represent the walls of the aortic vestibule which Leonardo supposed acted as a sphincter in diastole to support the valve as described on 110. The latter is indicated by the note pointing to the base of the aortic valve and reading:\n\nWhen the heart is dilated at the left ventricle, this [aortic vestibule] contracts at its base to close the entrance to the gateway of the aortic artery.\n\nA note pointing to the aortic eddy of the main figure of the group, and also to the detail figure beside it, states as in a note above, that closure of the valve is effected by the terminal part of the blood stream injected into the aorta at systole.\n\nThe valves close when the heart opens and they close by means of the remainder of the impetus imparted to the blood.\n\nHowever, some doubt is expressed as to the correctness of the above view since the eddies might be produced at the head of the systolic blood stream which theoretically would require division of the stream into two, a main stream and a back eddy.\n\nIt is doubtful if the percussion made by the impetus in front of the upper curve [aortic surface] of the semilunar valve divides the impetus into two parts, one of which revolves upwards and the other turns downward. Doubts of this sort are subtle and difficult to prove and to clarify.\n\nHaving expressed his thoughts in the above notes and diagrams, Leonardo arrives at a final conclusion in the last note to be penned on the page but placed in the upper right-hand margin.\n\nThis, the last [note] written on this sheet concludes that on the reopening [diastole] of the left ventricle the blood contained in it ceases to escape from the ventricle, and at that time the escaping blood would attempt to return into this ventricle together with that which lies above it. But the remainder of the revolving impetus which still exists in the escaping blood is that which with this revolving beats against the sides of the three valves and closes them so that the blood cannot descend. If there were no revolving by the aforementioned circular motion of the blood recently forced out of the left ventricle, without doubt the penultimate blood forced out of the ventricle would return to the ventricle since this penultimate blood does not lie upon the sides of the valves which close the opening, but on the margins of the thickness of the said valves.\n\n# 112 aortic pulmonary valves\n\nOriginally this folio together with Q IV 12 (114) was part of a single sheet, three-quarters of which was devoted to a series of observations on the anatomy and function of the aortic valve. Leonardo seeks an explanation for the triangular shape of the orifice and its three semilunar valves in terms of the vortices set up by the current of blood passing into the aorta on systole.\n\nfig 1. Diagram of the flow of water at the outlet of a level pipe.\n\nThe central stream is lettered a d; the upper and lower marginal streams n e, and m f, respectively; the point of intersection of the marginal streams, c; and at b, the central stream passing beyond the point of intersection and therefore further from the outlet at the point of intersection. Leonardo notes:\n\nOf the water which pours out through a level pipe, that part of its intersection which originates nearer the middle of the mouth of the pipe will fall further away from the mouth of the pipe.\n\nHaving established this principle and having in mind the slit-like intervals between the cusps of the aortic valve, Leonardo reminds himself to Try it with a straight cut in a vessel.\n\nThe application of the above principle is illustrated on 113, where it is used to explain the production of the vortices in the aortic sinuses which he believes close the cusps.\n\nfig 2. Diagram of the flow of water from the outlet of a vertical pipe.\n\nAs in fig. 1, the principle of frictional loss is applied to a vertical stream. The water which surges through a pipe goes higher the further it is from the walls of that pipe.\n\nfig 3. Diagram of the aortic orifice, valves and sinuses.\n\nThe triangular opening of the aortic valve is indicated by the letters a b c. The larger semicircles are the aortic sinuses, lettered d e f, and within them are the semilunar outlines of the cusps. Leonardo employs the term emicicle for the hemispherical concavity formed by both the cusps and the corresponding aortic sinus of Valsalva. We are not always consistent in rendering this term which we sometimes translate as cusp, at others as sinus or semicircle, as best suits the meaning. The function of the aortic sinuses was to permit the formation of lateral eddies of blood which filled the semilunar valves and thus forced their closure.\n\nThe concavity of the semicircle (emicicle [=aortic sinus and cusp]) reflects the percussion of the blood with a large and speedy momentum towards the center of the triangle a b c [aortic aperture] where it presses against the apex of the cusp.\n\nThe friction produced by the eddying of the blood in the closure of the valves is used to explain the so-called innate heat of the body, and so when the pulse rate is increased in illness, to the production of fever. This [aortic] valve emits blood as often as the heart beats; and for this reason the fevered become heated.\n\nfig 4. The vortex of blood in the aortic sinus viewed from the apex of the triangular aortic aperture.\n\nfig 5. The vortex of blood in the aortic sinuses viewed from the base of the triangular aperture.\n\nThe principles as developed from the behavior of a jet of water passing through a level and a vertical pipe are now applied to the theory of the formation of vortices of blood in the aortic sinuses, and the concavities of the cusps in explanation of their closure. Since the peripheral portion of the blood stream is moving more slowly it not only turns back but is compelled to revolve in the aortic sinus by the faster moving more centrally placed portion which is reflected from and follows the hemispherical concavity of the wall of the aortic sinus. This is shown diagram-matically in 113. The swirling blood, revolving upon itself, opens out the cusp and ensures closure of the valve.\n\nThe closure [systole] of the heart, the percussion of the border [or the aperture] by the cusps, the beating of the pulse and the entrance of the blood into the antechamber [aortic sinuses] of the heart occur at one and the same time.\n\nThe middle of the blood [stream] which surges through the triangle a b c [aortic aperture, cf. fig. 3] rises to a much greater height than that which surges along the sides of this triangle. This occurs so that the blood in the middle of the triangle directs its momentum upwards and that which surges along the sides distributes its momentum by lateral motion, beats against the front of the curve of the semicircle [aortic sinuses], and follows the concavity of this semicircle, constantly passing downwards, until it beats against the concavity at the base of this semicircle [i.e, concavity of the cusp] and then by reflected motion turns upwards and continues to revolve upon itself with a circular motion until it expends its momentum.\n\nThe least height is that achieved by the last blood which entered the antechamber of the heart, immediately followed by the perfection of the closure made by the valve of the heart.\n\nThe several vortices of the blood stream in its ebb and flow movement are believed to cause not only the final closure of the valves but by friction the mysterious innate heat of the body. It would require the passage of centuries before Joseph Priestley (1733-1804) and Antoine Lavoisier (1743-1794) could offer the fundamental knowledge for the solution of the latter problem.\n\nThe revolution of the blood in the antechamber [aortic sinuses] of the heart, at the base of the aorta, serves two purposes. The first of these is that this revolution, multiplied on many aspects, causes great friction in it which heats and subtilizes the blood and augments and vivifies the vital spirits which are always kept hot and humid. The second effect of this revolution of the blood is to shut again the open valve of the heart making by its primary reflected motion a perfect closure.\n\nGalen's theory required blood to pass through the interventricular septum to be refined into the vital spirit. Leonardo holds that this occurs during diastole of the left ventricle which creates a vacuum enabling\n\n(continued on page 499)\n\n# 113 aortic pulmonary valves\n\nThis page was originally part of a common sheet, the other half being 114.\n\nfig 1. Diagram of the aortic valve and sinuses.\n\nThe diagram is similar to that on 112. The centrally placed triangle a b c, is the aortic aperture. The larger semicircles about its three sides represent the aortic sinuses of Valsalva. Within them, the smaller arcs on the same base indicate the cusps, actually the thin lunules of the cusp, lettered r, r, r. From the center of the triangle d, pass five lines: d b, d c, to the base of the triangle: d e (like D) to the middle of the larger semicircle intersecting the cusp at r: and two other lines not lettered. Beside the figure is N to draw attention to the fact that this figure and note are inserted as a continuation of the discussion labelled N below. From the principles laid down in 112 on the behavior of liquids passing through a pipe, the meaning of the note is clear.\n\nIn the figure N below, placed here once more, is demonstrated how the blood, or the momentum, which moves backwards from the center d, along the line d e, has a much greater revolution than the momentum d b [since the latter is further from the center]. Consequently its reflected motion has to turn further downwards to complete its circular motion than the blood d b.\n\nI doubt that all the principal orifices of animals open themselves because of death, that the orifice m o p h [aortic orifice, lettered in fig. 6] does not open in the triangle a b c [aortic aperture] and whether, in the living, this orifice would close itself without the membranes a b r, a c r, b c r [aortic cusps] and swell like the flesh of the tongue or penis.\n\nIn the above note he has in mind the possible action of the aortic vestibule of the left ventricle assisting as a sphincter (cf. 110) and reminds himself to Draw and define the pyloris of the stomach.\n\nfigs 2-3. Diagrams to illustrate formation of the aortic vortices of blood.\n\nTHE MOTION OF THE IMPETUS.\n\nFrom the principles derived from observations made on the flow of water through a pipe described on 112, the formation of the vortices in the aortic sinuses is analyzed. In the second of the two diagrams, three streams a b c, lying successively nearer to the center of the orifice are shown. From fig. 1 on 112, stream b, intersects stream a, at e, since b, is nearer the center. From fig. 2 of the same page, stream c, rises higher than a or b, being still nearer the center but is deflected at the point d, where it comes in contact with the curved wall of the aortic sinus. This stream in consequence passes lateral to the others until curved upward by the curve of the cusp, thus causing the whole to revolve and form a circular eddy of blood as shown below.\n\nfigs 4-5. Figures of the aortic orifice, valves and sinuses to be made of glass.\n\nOn several occasions Leonardo mentions the making of a glass model of the aortic orifice and valves in order to study the closure of the cusps and the formation of blood eddies. While we do not know if it was ever constructed, these figures suggest such a model. Below the figure is a further note: Make this trial in the glass [model] and move in it... the membranes.\n\nfig 6. Three diagrams of the aortic orifice and valves.\n\nIn O, the valve is shown closed by its three semilunar segments p n o, o n m, m n p. In M, the triangular aperture a b c, is added thus defining the lunules of the cusps a d b, a d c and b d c. The base of each cusp is looked upon as being part of the adjacent aortic sinus, and these are indicated by e f g. In N, the valve is open. Lines are drawn radially from the center of the aperture f, to the walls of the aortic sinus at o n p r t u. These lines intersect the base of the cusp at r o q s, and represent the various lengths of the blood stream which will be reflected from the walls of the sinus to roll back the cusp in closure of the valve. It is possible that these diagrams are in part related to the construction of a valve for the model illustrated above. In the accompanying note the reason for the presence of the thin lunules of the cusps is discussed in terms of Leonardo's law that Nature makes nothing in vain.\n\nHere is replied: closure by means of the entire thickness of the base of the semicircle b g c [in fig. 6, N] as far as the middle d, is not necessary, because Nature, seeking the greatest brevity in her operations, has found shorter expedients by closing the gateways of the heart with the membranes rather than with the substance of the heart which opens at the time that the membranes are closed. And besides, from the compound motion of the first thereof, which causes the revolution of the impetus introduced into the blood which expands and elevates while stretching the said membranes, clashing and opposing them against one another making a perfect closure, we can conclude is an easier way for this closure to occur than to move the aforementioned substance of the heart.\n\nfig 7. The left ventricle and aortic valve during systole.\n\nfig 8. The aortic valve during systole.\n\nThese two figures are complementary. In fig. 7 the left ventricle e f g, is separated from the aortic vestibule c d f e, by the line e f. The aortic sinuses and cusps containing the primary blood eddies are lettered a b, and the rest of the aorta receiving the main stream and secondary eddies is noted by m n. On the ventricle is the statement: The heating of the blood is augmented by the continual revolution which is caused by the momentum introduced into the blood at the base of the artery. Below fig. 8, we are once again informed that The incident motion opens the valves of the heart, and the reflected motion closes them.\n\nThese notes are followed by a lengthy discussion on the formation and function of the vortices of the blood in the aortic sinuses following systole of the heart. The majority of Leonardo's observations on the flow of water are to be found in the Codex Atlanticus with several suggestions as to arrangement. But in the Leicester Codex is one of his latest notes on the\n\n(continued on page 500)\n\n# 114 aortic pulmonary valves\n\nOwing to the number and arrangement of the drawings on this page it is easier to consider them in three groups enumerated in the usual manner from left to right within each group. This page, originally part of a larger sheet, the other half being 112-13, is also the verso although called recto in Q.\n\nGROUP I. UPPER RIGHT CORNER.\n\nfigs 1-3. Diagrams to illustrate a note on the triangular shape of the aortic aperture.\n\nIn fig. 1 the aortic orifice is shown closed by four hypothetical semilunar valves, one of which is lettered eh f, and its base w. In fig. 2 the aortic orifice, the customary three cusps are illustrated, and one is lettered c a b, and its base S. In fig. 3 only two cusps fill the orifice. The accompanying note is explanatory.\n\nNature made 3 valves and not 4, because the pellicles which close such valves make greater angles, being 3 in number, as the angle c a b [fig. 2] shows, [being greater] than the angle formed by e h f [fig. 1], where there are 4 valves. Now for this reason the more obtuse angle is stronger than the right angle of the square [valve], inasmuch as the cathetus [i.e., altitude of a triangle] a s [in fig. 2] is shorter than the cathetus [in fig. 1], and the square aperture is more capacious than the triangular in one and the same circle. Consequently the membranes [lunules] of the 4 valves are weaker than those of the 3 valves because at their angles they are further removed from the base of their triangle than those of the 3 valves.\n\nfig 4. The aortic valve.\n\nThe cusps of the aortic and pulmonary valves were regarded by Leonardo as consisting of two parts. The membranes or pellicles corresponding approximately to the lunules of modern terminology made up one part and were attached, not to what we would regard as the base of the cusp, but to what he regarded as the base or continuation of the aortic sinus. The note below the figure tells us, as explained more fully in 113 that It [aortic valve] opens itself through the incident motion and closes itself by the reflected motion.\n\nGROUP II. UPPER LEFT CORNER.\n\nfigs 1-4, 6. Sketches of the aortic valve and sinuses, many incomplete.\n\nThe largest of these figures shows the aortic vestibule, valve and base of the aorta to illustrate the vortex of blood in the sinus which it was believed closes the cusp. The mechanism is described in the note below and fully on 113.\n\nfig 5. Diagram of aortic valve and sinus to demonstrate the formation of a vortex of blood.\n\nIn this diagram, the lower left member of the group, we are shown how a vortex or eddy of blood forms in the aortic sinus to assist in closure of the cusp. It will be noticed that the aorta is referred to as a conduit, tube or pipe. This suggests that Leonardo may perhaps be describing an observation made on the glass model, and the large fig. 6 may represent this.\n\nWhen the blood n b m o a, revolves with a circular motion around its center of motion r, it wants to maintain its momentum along the line of the beginning of its revolving motion and tends to enlarge following the curvature of the beginning curve n b m. However, by percussion against the wall m o [of the aortic sinus], it becomes of lesser curvature and proceeds to follow the wall until it strikes against a, where is found the simple membrane of the valve a b. This momentum of blood would rupture it [valve] in a very short time, but sagacious Nature provided a very durable resistance at the lowest part of the circle of momentum by thickening the wall of the conduit [aorta] at o, by the mass o a h L. Consequently, when from the motion of this blood its percussion is delivered against a resistant place, the revolving motion is suddenly turned upwards at the end of this wall at the point a, where it encounters the membrane of the valve. The membrane, in order to close its third [of the opening], necessarily must make a compound motion, that is, partly towards the middle of the tube and partly upwards. This compound motion must be created by another compound motion which will be the revolving motion of the blood a b, which according to the 4th [book] \"on revolving motion\"\u2014where it is stated: The weight which moves around the attachment of a string, where it is joined, pulls and stretches this string with great force, and if such a string is severed from its attachment, the weight carries with it the said string along that line into which it was drawn at severance from its attachment. Therefore, the blood which beats against this valve with its momentum, being unable to rupture it, continues its motion upwards, enlarges and expands the fold [lunule] upwards, and drives it against the other two valves which, for similar reasons, advance to meet it. Thus, the 3 valves are joined together at the same time in the center of the aorta.\n\nGROUP III. MIDDLE OF PAGE.\n\nfigs 1-2. Abortive figure of aortic valve.\n\nfig 3. The aortic valve shown fully opened at the beginning of systole.\n\nTo the right of the figure it is stated, The momentum which remains in the blood closes the valve.\n\nfigs 4-5. The aortic valve shown about to close at the end of systole.\n\nThe primary and secondary vortices discussed above are shown developing in the aortic sinuses and root of the aorta. In fig. 4 the aortic orifice is lettered a b, and discussed in the note where reference is again made to the treatise On the nature of water, a b [aortic valve], according to the 6th [book] on the percussion of liquids, where [it is stated] reflected motion: combine to form a common percussion, will be the region of greatest percussion which can take place at the entrance which the blood makes into the aorta. It is this which by its motion beats against the valves and shuts them with perfect closure.\n\n(continued on page 501)\n\n# 115 aortic pulmonary valves\n\nfig 1. The extensor tendons on the dorsum of the foot.\n\nThe tendons of the tibialis anterior, extensor hallucis longus and extensor digitorum longus muscles are clearly defined, as well as the elevation produced by the extensor digitorum brevis. The illustration draws attention to the modelling of the surface produced by the underlying tendons. The accompanying note is likewise concerned with the surface features and calls attention to the gentle concavities of the lateral borders of the phalanges which are believed to exist for the accommodation of the enlargement at the level of the interphalangeal joint.\n\nEach swelling produced at the joints of the digits of the foot and of the hand has in the digits contiguous to them a concavity which receives within it this rounded structure. Nature has done this so as not to deform their width. For if the swellings mentioned were to be in contact between them, the feet would become too great in width. Further, one of two effects would necessarily occur, that is, either the digits would all be of one and the same width or one would have two joints and another one, as will be shown in its place on the bones.\n\nfigs 2-3. The blood vortices and aortic valve of the heart.\n\nThe words above the drawing, It follows here, indicate these figures as a continuation of a series such as those on no and 111. The note refers to the same haemodynamic theory.\n\nThe movement of liquid, made from one direction, proceeds in the original direction as long as the force remains in it which was given to it by its first mover.\n\nThese considerations lead to a lengthy discussion on the function of the blood in the body economy based upon the physiology of Galen.\n\nHOW THE BODY OF THE ANIMAL CONTINUALLY DIES AND IS RENEWED.\n\nThe body of anything whatsoever is nourished, continually dies and is continually renewed, for nourishment cannot enter except into those regions where the preceding nourishment has expired and, if it has expired, it no longer has life. If you do not supply nourishment equal to the nourishment which has been consumed, then life fails in its vigor, and if you deprive it of that nourishment, life is totally destroyed. But if you supply as much as is destroyed daily, then life is renewed by as much as is consumed: just as the flame of a candle\u2014a light which is also continually restored with the speediest of assistance from below by as much as is consumed above in dying, and the brilliant light is converted on dying into murky smoke. Such a death is continuous as long as the smoke continues: and the continuance of the smoke is equal to the continuance of nourishment and in the same instant all the flame is dead and all regenerated simultaneously with the motion of its nourishment. Its life also receives from it its flux and reflux as is shown by the flickering of its tip. The same thing happens in the body of animals by means of the beating of the heart which generates a wave of blood through all the vessels which continually dilate and contract. The dilatation occurs on the reception of superabundant blood, and the contraction is due to the departure of the superabundance of the blood received, and the beating of the pulse teaches this to us when we touch the aforesaid vessels in any part of the living body with the fingers.\n\nBut to return to our purpose, I say that the flesh of animals is made anew by the blood which is continually generated by their nourishment and that this flesh is destroyed and returns through the miseriaec artery [portal vein] and passes into the intestines where it putrefies in foul and fetid death as they show us in their excreta and ashes like the smoke and fire given for comparison.\n\n# 116 cardiovascular system\n\nfig 1. The vascular tree.\n\nTo one side of the figure are the words spiritual parts, i.e., the Galenical vascular system carrying the natural spirits on the venous side and the vital spirit on the arterial. Below this is a reminder to construct a more elaborate picture of the vascular system such as that of 202. Cut through the middle of the heart, liver and lung and the kidneys so that you can represent the vascular tree in its entirety.\n\nOn the ureter is written vena cilis, possibly not in Leonardo's hand, since it is of course not the ureter but the vena cava, and this would be an unusual error for Leonardo judging from his use of the term even in his earliest period. Clark dates the figure as c. 1504-06 on stylistic grounds but admits that the pen and ink work as well as the rather ornamental writing look much earlier. In terms of the anatomical knowledge displayed we date the drawing c.1490-1500.\n\nThe ideas expressed in the figure appear to be based on a reading, possibly of Plato or of one of his commentators, possibly by way of translation from the Arabic version of the Timaeus, to which have been added findings derived from animal dissection and the surface inspection of the body. The caval system is represented as arising in the liver like the sprouting of a seed with roots extending downwards and the stem upwards. This is the Aristotelian conception which Leonardo later discarded in favor of the Galenical view that the venous system had its origin in the heart. No atria are shown, but the heart was regarded as a two-chambered organ consisting of ventricles only\u2014a conception from findings in animals where the cava appears as a continuous vessel passing through the heart. The arch of the aorta and its branches show the ungulate arrangement, not the human. Leonardo had the support of Avicenna for this statement which he did not correct until the dissection of the centenarian, cf. 128. The superficial veins of the extremities show astonishing inaccuracies since they were open to surface inspection whereas the arteries of these members are portrayed in a manner to be expected from the reading of Mundinus and Avicenna. The arrangement of the kidneys is as in animals. Other structures recognizable are the spleen, right spermatic vessels arising from the inferior cava and descending aorta and the left spermatic, origin not shown. The bladder receives cystic branches from the common iliac veins, and the urethra has been laid open.\n\n# 117 cardiovascular system\n\nFrom the note given below, which may refer to the statue of Francesco Sforza, and the style of the writing, Clark dates the drawing as c.1493, which places it among the few of this date. The dating is supported by the fact that the dissection is probably that of a horse, a preparatory measure for the statue.\n\nfig 1. Faint sketch of the vertebral column and testis.\n\nThe testis is shown connected to the spinal column by a structure which Leonardo says is, A nerve having its origin from the spine which joins the vessels of the testicle. The rough figure is accompanied by a memorandum: When you make this spine, first place the bones, then the bones and the loins, then the vessels, then other parts in separate figures.\n\nfig 2. Dissection of the viscera and dorsal vessels of an animal.\n\nThe outline, viscera and arrangement of vessels in the main figure are obviously taken from the dissection of an animal, possibly the horse. Very few of the notes refer to the dissection itself. The right psoas muscle carries the notation, muscle of the omentum, but the connection is not clear. At the level of the knee we are told that the vessel shown, Passes on the other side, i.e., dorsally and consequently the popliteal and posterior tibial vessel, whereas lower down it is said that the vessel, Returns to this side, i.e., anteriorly and therefore the anterior tibial. The remaining notes refer largely to techniques for anatomical studies.\n\nON THE KNOWLEDGE OF THE SINEWS IN THE CONFUSION OF THE SHOULDER.\n\nWhere you find many sinews which are converted into the ligaments of the shoulder or in other osseous joints, you will strip the bones of the said sinews and let them dry or unravel them while fresh. The unravelled bundle will tell you where and what sinews are converted into these [joints], where they are directed and where \"the cartilages\" once again are converted into sinews.\n\nA tendon which widens out into an aponeurosis such as the passage of the palmaris longus into the palmar fascia, is usually called \"cartilage\" by Leonardo.\n\nThe final note is that which has been interpreted as a reference to the statue of Francesco Sforza, but the identification is very uncertain.\n\nWhen you have finished building up [lit., increasing] the man [? in clay], you will make the statue with all its superficial measurements.\n\n# 118 cardiovascular system\n\nfig 1. The great vessels of the thorax and neck.\n\nThe superior vena cava is observed receiving the azygos and innominate veins. The arch of the aorta gives off two vessels as in the dog. The first is probably a brachiocephalic artery since it divides symmetrically into right and left common carotids. The second is doubtless the left brachial artery providing branches which although difficult to identify with certainty, suggest the vertebral, dorsal, cervical and external thoracic. The arrangement is certainly not characteristic of the human subject.\n\nfig 2. Infra-orbital vessels or nerves.\n\nfig 3. The facial or external maxillary vessels.\n\nNote the labial and lateral nasal branches which are clearly shown. The shading of the figures, especially in the region beneath the chin, follows the various contours which, according to Clark, is a later characteristic of Leonardo's style. The drawings are, therefore, dated c.1504-06. If the dating can be accepted, the continued dependence on animal anatomy is interesting since we know that Leonardo was dissecting the human subject in and about this period.\n\nAt the bottom of the page is written, Of the human species, which may have some relation to the remarks above, i.e., his determination to pay greater attention to the anatomy of man.\n\n# 119 cardiovascular system\n\nIn this series of figures Leonardo supports the Aristotelian position that the heart is the origin of the embryo and the source and origin of the vessels. Aristotle's conception, in direct opposition to Galenical views, divided the \"philosophers\" from the physicians. Galen contended that the liver was the first of the principal organs to be formed and was the source and origin of the vessels as well as being the bloodmaking organ. The blood itself was made from the chyle carried from the intestines to the liver by the portal system.\n\nfigs 1-3. The heart and vessels compared to a seed with its roots and branches.\n\nIn fig. 1 the ovoid body is labelled the heart and in fig. 2, the seed. In fig. 3, the heart and vessels are shown from the left side. The analogy is modified from Galen. Galen compared the liver and vessels to a dicotyledonous plant, the seed corresponding to the liver, the roots to the inferior vena cava and the branches below the hepatic veins and the stem to the upper portion of the cava and its branches. The heart was like the fruit of a plant, an appendage to the venous tree. The Aristotelian position is taken in the explanatory notes placed below the figures.\n\nThe plant never arises from the branchings, for the plant first exists before the branches, and the heart exists before the veins.\n\nThe heart is the seed which engenders the tree of the veins. These veins have their roots in the dung, that is, the meseraic [mesenteric-portal] veins which proceed to deposit the acquired blood in the liver from which the upper [hepatic] veins of the liver thereafter receive nourishment.\n\nfig 4. The great vessels: vena caval, aortic and azygos systems.\n\nThe general arrangement of the vessels suggests that the figure is based upon animal dissection, probably the ox. There are numerous errors, the majority of which are identical to those found in similar figures of about the same period. At m, pulmonary veins are observed entering the cava. However, it should not be forgotten that the heart, seen in outline, was regarded as a two-chambered organ and therefore that this region corresponds to the atria. At o, is the entrance of the hepatic veins, called the \"upper veins of the liver\" by Leonardo. The azygos vein is clearly delineated and no equal illustration is to be found until the epochal work of Vesalius in 1543. At n, is the ascending aorta, the arch of which gives off a brachiocephalic trunk as in animals. The left spermatic vein is excellently shown entering the left renal vein. The lengthy note once again defends the Aristotelian view on the origin of the vessels. The argument is very similar to that of Vesalius, who took a like position against Galen.\n\nAll the veins and arteries arise from the heart. The reason for this is that the maximum thickness found in the veins and arteries occurs at the junction which they make with the heart. The more removed they are from the heart, the thinner they become and divide into smaller branches. And if you say that the veins arise from the gibbosity of the liver, because they have their ramifications in that gibbosity, as the roots of plants have in the earth, the reply to this comparison is that plants do not have origin in their roots, but the roots and other branchings have their origin in the lower part of the plant which lies between the air and the earth. And all the lower and upper parts of the plant are always less than this part which borders upon the earth. Therefore it is clear that the whole plant has its origin from this thickness, and, in consequence, the veins have their origin from the heart where their thickness is greatest. Nor does one ever find a plant which has its origin from its roots or other branchings, and one sees an example of this in the sprouting of the peach which arises from its seed as is shown above at a b and a c [in fig. 2].\n\nMemoranda on additional drawings to be made include the coronary vessels (cf. 86) and the relations of the vessels to the bone.\n\nDraw the veins which are in the heart and also the arteries which give it life and nourishment.\n\nFirst draw the branchings of the veins by themselves and then the bones by themselves. Then join the bones and the veins together.\n\n# 120 cardiovascular system\n\nfig 1. The arteries of an old man.\n\nTHE ARTERIAL VESSELS.\n\nThe arch of the aorta and its branches as shown are undoubtedly human, unlike many similar diagrams which are just as evidently drawn from lower animals. The vertebral artery and vein entering and leaving the vertebral canal are clearly defined. The drawing is one of a series based on the dissection of the centenarian, cf. 128.\n\n# 121 cardiovascular system\n\nON THE OLD MAN.\n\nfig 1. The great vessels at the root of the neck.\n\nThe figure is one of the series based on the dissection of the centenarian, cf. 128. It is among the few representing the findings in man. Almost all the others on the vascular system are derived from animals. Above the figure is the reminder: But make this demonstration from three different aspects, that is, from in front, from the side, and from behind.\n\nThe figure is very imperfect. Leonardo provides a guide to the various structures: a [ascending aorta], These are the ramifications of the arteries; b [superior vena cava], This is the ramification of the veins; c, This is the cephalic vein; n, These are the two vessels [vertebral] which enter the vertebrae of the neck to nourish them; o, This is the basilic vein; S, These are the apoplectic [carotid or jugular] vessels.\n\nIn connection with the so-called apoplectic vessels an additional note states:\n\nIf you compress the 4 vessels m [carotids and jugulars] of either side where they are in the throat, he who has been compressed will suddenly fall to the ground asleep as though dead and will never wake of himself; and if he is left in this condition for the hundredth part of an hour, he will never wake, neither of himself nor with the aid of others.\n\nLeonardo uses the word vene to mean either vein or vessels. His apoplectic vein or vessels thus means either the jugulars, the carotids or both. These vessels, especially the carotids, were commonly called the \"sleep-inducing\", \"apoplectic\", or \"lethargicae\" from the notion that compression of these vessels produced insensibility. In fact, the term carotid is derived from the Greek  , to stupefy. The earliest source of this observation appears to have been Aristotle, but Galen, following experiment, denied any such effect. Rufus of Ephesus stated that the insensibility was due to pressure on the vagus nerve. Leonardo is thus echoing traditional information.\n\n# 122 cardiovascular system\n\nON THE OLD MAN.\n\nThe figures belong to the series based on the dissection of the centenarian, cf. 128.\n\nfig 1. The veins at the root of the neck.\n\nThe figure appears to represent the subclavian vein receiving the external jugular passing superficial to the outlined sterno-mastoid muscle, the cephalic and axillary veins.\n\nfig 2. The vessels at the root of the neck.\n\nWhile we are informed that the figure is from the dissection of the old man, nevertheless it is very difficult to interpret. The outlines of the trachea and cervical spine can be recognized. We are told that the vertical structure is a nerve descending to the covering of the heart, between the artery and vein, and that a, is the vein, b, is the artery. This suggests the pericardiaco-phrenic vessels and phrenic or an accessory phrenic nerve as seen in greater detail in 149, of which this figure seems to be a preliminary sketch. On this basis the oblique structure on the right giving origin to the nerve would be the upper trunk of the brachial plexus and so the nerve, an accessory phrenic. However, the pericardiaco-phrenic vessels are usually branches of the internal mammary which seems to be represented on the left. Presumably the other structures are the subclavian vessels, the external and internal jugular veins.\n\nA note on the left and above reads: Note whether the artery is thicker than the vein, or the vein than the artery; and do the same in children, the young and the aged, males and females, and the animals of the earth, of the air and of the water.\n\n# 123 cardiovascular system\n\nfig 1. Diagram of heart, liver and urinary system.\n\nThe purpose of this diagram is to illustrate the extension of a theory expressed on 98 in which Leonardo, following Galen, assumes that the amount of blood manufactured by the liver is equal to that lost by passing through the interventricular septum of the heart into the left ventricle with each systole. Therefore he reasons that there may be some relationship between the urinary output and the amount of new blood so formed.\n\nThe quantity of urine shows the quantity of blood which is produced and goes to the kidneys but first passes through the opening of the heart. However, not all since a large part of the blood is that which descends through the vena chilis [vena cava] and goes to the kidneys, and this does not pass through the heart.\n\nfig 2. Rough diagram of the stomach and intestines.\n\nfig 3. Rough diagram of the lungs and abdominal viscera.\n\nThe note in juxtaposition to figs. 2-3 indicates that Leonardo is thinking of methods to illustrate the distribution of the vessels. \"The instruments of the blood\" are the heart and vessels taken collectively since following the Galenical definition, an instrument is a part of the body capable of performing a complete action.\n\nThe instruments of the blood, that is, the ramification of all the veins seen from 4 aspects, that is, from the front, from behind, from the right and from the left: with all the measurements and made a little opened up, that is, expanded that they may be more intelligible. Then let a single one be made from the front with its proper shape and position, that is, drawn to show opposite which ribs and which vertebrae it is related and what distance it is from the centre of the dorsal spine.\n\nfig 4. Diagram of the liver, umbilical vein and dorsal vessels of a foetus.\n\nThe great vessels are lettered a, and the umbilical vein b, with the notation: The intestines are situated between the larger vessels a, and the vein b, which extends from the umbilicus to the gateway of the liver.\n\nOther notes, written in the same color of ink, occupy the right margin and pertain to embryology.\n\nYou will make the liver in the embryo different from that of a man, that is, with the right part equal in size to the left.\n\nBut first make an anatomy of incubated eggs.\n\nState how in 4 months the infant is half of its length, that is, 8 times less weight than when it is born.\n\nThe thin which is cooled by motion.\n\nfig 5. Rough sketch of heart, lungs and great vessels.\n\nThis figure is undoubtedly an experimental sketch related to the note under fig. 3.\n\nfig 6. The superficial muscles of the neck.\n\nThe mid-line structures are lettered a, b, c, with a note reading: Describe which and how many muscles are the muscles which move the larynx (epiglotto) in the creation of the voice.\n\nThe term epiglotto was the customary mediaeval word for the larynx.\n\n# 124 cardiovascular system\n\nIn the enumeration of the figures on this page the geometrical drawings will be omitted as not germane to the subject.\n\nfig 1. The viscera of the abdomen and thorax viewed from behind.\n\nA rough sketch showing the trachea, bronchi and lungs, the stomach and duodenum, the descending aorta and the large intestines as they would appear if viewed through the torso from behind.\n\nfig 2. Thoracic and abdominal viscera viewed from behind.\n\nA rough sketch similar to the above. The oesophagus and liver are other structures discernible, but the outline of the torso is omitted.\n\nfig 3. The arch of the aorta, trachea and bronchi from behind.\n\nThe aorta is shown emerging from the heart and arching over the more horizontally placed left bronchus.\n\nfig 4. Rough sketch of liver, stomach, heart and aorta viewed from an oblique left lateral position.\n\nfig 5. The trachea, bronchi, lungs and oesophagus viewed from behind.\n\nThe anterior portion of the neck is shown in partial section. Beside the figure are the words, First make the lungs from behind, which have been deleted.\n\nfig 6. The heart, arch of aorta and other viscera from behind.\n\nThe figure is interesting since the branches from the aortic arch are arranged as in man instead of the ungulate pattern used in earlier drawings. Apart from style, this indicates a later period.\n\nThe heterogeneous notes, all of which have been deleted by a stroke of the pen, are concerned with the art of painting and the appearances of drapery. The only note of biological interest is here rendered:\n\nDescribe the nerves from 4 aspects in any member and how they are diffused through the muscles and how the muscles give rise to the tendons and the tendons to the ligaments, etc.\n\nThis note refers to the commonly held Galenical notion that the nerves eventually split up in the substance of the muscles to form fibres which were eventually gathered together to form the tendons and ligaments. For this reason the term nerve long persisted for both nerve and tendon. Gabriel Fallopius was one of the first to challenge this idea and propose a concept of the irritability of muscle.\n\n# 125 cardiovascular system\n\nThese figures belong to Leonardo's early period and by comparison with 5, may be dated 1489 with some accuracy. Clark believes that the writing was added later, c.1500, which is supported by the fact that the notes are quite unrelated and appear to be a continuation of the heterogeneous memoranda on the verso of this leaf.\n\nfig 1. Unfinished or preliminary outline of head and face.\n\nfig 2. Superficial veins of the facial region.\n\nThe frontal, supraorbital and anterior facial (angular) vein with its external nasal branch are clearly shown. Leonardo at this time believed that the anterior facial vein began by emerging from the infraorbital foramen. It is, therefore, not unlikely that the drawing was made from the living subject since the venous pattern illustrated is observable through the skin in some subjects. On the other hand the figure may have developed from the dissection of the head found on 5. The frontal vein was familiar as a common site for venesection in headache and cerebral disorders and was frequently called the \"straight vein of Hippocrates\" from his aphorism of the fifth book, \"For one suffering pain in the back of the head it is helpful to cut the straight vein in the forehead\".\n\nBelow the figure is a deleted note, You will do it in the last part of your book, which possibly refers to the unfinished drawing, fig. 1. Above the figures is the observation, I find that the veins [or vessels] perform no other office than to heat, just as the nerves and things are to give sensibility. The note is a reflection of Galenical concepts on the natural heat being conveyed by the blood vessels.\n\nfig 3. Surface anatomy of the torso: lateral view.\n\nThe remaining notes are unrelated to the drawings and outline future projects, partially fulfilled. The tabulation of projects suggests a continuation of those appearing on the verso of the leaf.\n\nOn the sinews which elevate the shoulders.\n\nAnd those which elevate the head.\n\nAnd those which depress it.\n\nAnd those which rotate it.\n\nAnd those which flex it transversely.\n\nTo incline the spine.\n\nTo flex it.\n\nTo rotate it.\n\nTo elevate it.\n\nYou will write on physiognomy.\n\n# 126 cardiovascular system\n\nfig 1. Veins of the scalp.\n\nThe pattern produced by the anastamosis of superficial temporal, posterior auricular and occipital veins is clearly recognizable. The figure may have been sketched from appearances in a bald-headed subject or from the dissection of the head shown. During this period the venous system occupied a position of first importance in relationship to Galen's physiological notions and the practice of venesection.\n\nThe notes, in the Galenical tradition then current, group together what were called the natural sections of the body. An action or function was defined as the active motion proceeding from a faculty. Actions were of two types, natural or voluntary. Natural actions are called so because they are performed of their own accord and not by will, hence are the equivalent of involuntary functions as exemplified in the list.\n\nThe causes of respiration.\n\nThe cause of the movement of the heart.\n\nThe cause of vomiting.\n\nThe cause of the descent of food into the stomach.\n\nThe cause of the evacuation of the intestines.\n\nThe cause of the movement of superfluities through the intestines.\n\nThe cause of deglutition.\n\nThe cause of coughing.\n\nThe cause of yawning.\n\nThe cause of sneezing.\n\nThe cause of numbness of different members.\n\nThe cause of the loss of sensation in some members.\n\nThe cause of tickling.\n\nThe cause of sensuality and other necessities of the body.\n\nThe cause of urination.\n\nAnd so all the natural actions of the body.\n\n# 127 cardiovascular system\n\nfig 1. The superficial vessels of the upper extremity.\n\nThe superficial veins of the arm are repeatedly represented by Leonardo. The best of these figures from an anatomical point of view is that of 45 which was undoubtedly based upon dissection. The remainder suggest studies on the arms of the living but are somewhat stereotyped. Accompanying the basilic vein is nearly always represented a vessel which we suppose is intended to represent in its upper part the brachial artery but which is shown, as in the figure above, running beside the superficial ulnar vein and its branches. This fanciful vessel is to be found in many drawings dating from Leonardo's early and middle period of anatomical studies. Above the figure is a note: Represent the arm of Francesco the miniaturist, which shows many veins, and the drawing is possibly that of this fellow artist. In connection with the figure Leonardo makes a memorandum on the principles to be followed.\n\nIn demonstrations of this kind you will draw accurate outlines of the members with a single line, and in the middle place the bones with the exact distances from their skin, that is, from the skin of the arm. Then you will do the veins which may be in full on a clear ground. Thus will be given a clear notion of the position of the bones, veins and nerves.\n\nfigs 2-3. Veins in old age and in youth.\n\nAbove the figures are the words old man and youth, respectively. The sketches and text, as well as the style, suggest that they belong to the series based on the dissection of the centenarian at Florence, cf. 128.\n\nNATURE OF THE VEINS IN YOUTH AND IN OLD AGE.\n\nWhen the veins become old they lose the straightness of their branchings and become more folded or tortuous and the covering thicker as old age increases with the years.\n\nThis note is followed by generalizations on the distribution of the vessels and nerves.\n\nYou will find almost universally that the course of the veins and the course of the nerves occupy a common path, are directed to the same muscles and ramify in the same manner in each of these muscles, and that each vein and nerve pass with the artery between one or other muscle and ramify in them with equal branchings.\n\nIn the final note he discusses a case of traumatic aneurysm or possibly a haematoma. In addition, the dissection of the centenarian at Florence is specifically mentioned.\n\nThe veins are extensible and dilatable. On this evidence will be given because I have seen an individual in whom the vena commune [median vein of forearm] was accidentally wounded, and being immediately bound up with a tight bandage, in the space of a few days a bloody aposteme was produced as large as a goose egg, full of blood and so remained for several years. I have also found in a decrepit man the mesaraic [mesenteric-portal] vein constricting the passage of the blood and doubled in length [cf. 128].\n\n# 128 cardiovascular system\n\nON THE VESSELS OF THE AGED AND ARTERIOSCLEROSIS.\n\nfig 1. The portal vessels in old age.\n\nIn his search for the secrets of life and death, Leonardo reports his observations on the autopsy of a centenarian and vividly describes the condition now termed arteriosclerosis. For other drawings and memoranda based on the findings in this subject, cf. 120-2, 127-9, 131-2, 149, 156, 183, etc.\n\nGreat attention is here paid to the portal and hepatic vessels (following the translators of Avicenna called the meseraic vessels) which were believed, according to Galenical physiology, to carry chyle from the intestines to the liver where it was converted into blood. However, Leonardo is very confused as to the arrangement of the portal system which he usually represents as running from the spleen to the liver alone. He differs from Galenical teaching in that he regards the heart and not the liver to be the origin of the vessels, although he accepts the idea of the liver being the blood-making organ.\n\nIn his remarkable description of arteriosclerosis, he observes not only the tortuosity of the vessels, but calcification of the great vessels, aneurysm and thickening of the vascular walls. Coronary occlusion is mentioned perhaps for the first time in the history of pathology. In addition, he employs the term \"capillary vessels\" which is an exceedingly early use of the term. Cirrhosis of the liver, so clearly described, was no doubt responsible for the enlargement of the umbilical veins since they were noted. But let us allow Leonardo to describe his findings in his own words:\n\nThe artery and the vein which in the aged extend between the spleen and the liver, acquire so thick a covering that it contracts the passage of the blood which comes from the meseraic [mesenteric-portal] veins. By means of these veins the blood runs through the liver to the heart and the two major veins [cava] and consequently through the entire body. These veins, apart from the thickening of their covering, grow in length and twist like a snake, and the liver loses the sanguineous humor which was carried there by this vein. Thus the liver becomes desiccated and like congealed bran both in color and in substance, so that when it is subjected to the slightest friction, its substance falls away in small particles like sawdust and leaves behind the veins and arteries. The veins of the gall bladder and of the umbilicus which enter the liver through the porta hepatis remain entirely deprived of liver substance, like millet or sorghum when their grains have been separated.\n\nThe colon and the other intestines become greatly contracted in the aged, and I have found there stones in the vessels which pass beneath the clavicles of the chest. These were as large as chestnuts, of the color and shape of truffles or of dross or clinkers of iron. These stones were extremely hard, like these clinkers, and had formed sacs attached to the said vessels, in the manner of goiters.\n\nAnd this old man, a few hours before his death, told me that he had passed one hundred years, and that he was conscious of no failure of body, except feebleness. And thus sitting upon a bed in the hospital of Santa Maria Nuova at Florence, without any untoward movement or sign, he passed from this life.\n\nAnd I made an anatomy to see the cause of a death so sweet, which I found to proceed from debility through lack of blood and deficiency of the artery [aorta] which nourishes the heart and the other lower members. I found this artery very desiccated, shrunken and withered. This anatomy I described very carefully and with great ease owing to the absence of fat and humor which rather hinder recognition of the parts. The other anatomy was that of a child of 2 years in which I found everything to be the opposite to that of the old man.\n\nLeonardo continues in the margin:\n\nThe aged who enjoy good health die through lack of nourishment. This happens because the lumen of the meseraic [mesenteric-portal] veins is constantly constricted by the thickening of the coverings of these vessels; a process which progresses as far as the capillary vessels (vene chapillari) which are the first to close up entirely. As a consequence of this, the old dread the cold more than the young and those who are extremely old have a skin the color of wood or of dry chestnut because the skin is almost completely deprived of nourishment.\n\nThe tunics of the vessels behave in man as in oranges, in which the peel thickens and the pulp diminishes the older they become. And if you say that it is the thickened blood which does not flow through the vessels, this is not true, for the blood does not thicken in the vessels because it continually dies and is renewed.\n\n# 129 cardiovascular system\n\nThis page deals chiefly with questions raised following Leonardo's autopsy on the centenarian, cf. 128. He was greatly impressed not only by the arteriosclerosis but also by the changes in the liver. Since the liver was regarded as the organ which converted the chyle from the intestines into blood, he here gives special attention to the portal system of vessels in arteriosclerosis.\n\nfig 1. The portal and coeliac vessels.\n\nA very poor and confused diagram. The vertical vessels represent the inferior vena cava on the left, and the abdominal aorta on the right. The aorta is observed giving off the coeliac artery which in turn is shown dividing into the splenic, a, and the hepatic artery, b. The hepatic provides what is presumably the gastroduodenal artery. Below the coeliac is a vessel arising from the aorta opposite which is written, It nourishes the base of the omentum (zirbo), and which must, therefore, be the superior mesenteric artery. The term zirbus, a corruption of the Arabic tsarb, was long standard for omentum. Below the superior mesenteric artery the renal arteries are easily recognized. The structure lying below and parallel to the splenic and hepatic branches of the coeliac artery is the splenic vein continued on the left into the stem of the portal vein which is shown receiving a branch, probably the superior mesenteric vein. The renal veins are evident below. Leonardo writes:\n\nThe vessels (vene) a b, are so constricted in the aged that the motion of the blood through them is lost and so usually becomes foul. For it can no longer, as formerly, enter into the new blood which carries it away, as it comes from the gate of the stomach. Hence the good blood is corrupted on leaving the bowels, and so the old fail without fever when they are of great age.\n\nfig 2. Small figure (buried in text) showing tortuous portal vessels.\n\nThe tortuosity of the portal vessels associated with the arteriosclerotic cirrhosis of the liver as found at the autopsy of the centenarian is explained in terms of Galenical physiology.\n\nOne asks why the veins in the aged acquire great length and those which were formerly straight become folded and their covering becomes so thick that they occlude and prevent the motion of the blood. From this arises the death of the old without disease.\n\nI judge that a structure which is nearer to its source of nourishment, grows the more; and for this reason these veins being the sheath for the blood which nourishes the body, it nourishes the veins in proportion to their proximity to the blood.\n\nfig 3. The portal, coeliac and renal vessels.\n\nA diagram essentially the same as that of fig. 1, except that the kidneys themselves are illustrated. Leonardo noted in the centenarian that the intestines were small and constricted. That he was seeking an explanation of this finding in terms of the mesenteric vascular supply is indicated by a note placed on the right of the figure: And why the bowels are greatly constricted in the aged.\n\nfig 4. The portal circulation.\n\nThe vessels are similar to those shown in fig. 1. The inferior mesenteric vein is illustrated passing to its junction with the splenic vein. The hepatic veins lead from what was known as the gibbosity of the liver to the inferior vena cava. Gastric veins are observed passing directly to the upper pole of the spleen. These hypothetical vessels were considered by Galen to empty the black bile directly into the stomach in order to whet the appetite by the sharpness and acridity of this humor. For this reason Leonardo contends that splenectomy will cause death. He probably refers to the belief that the Greeks carried out excision of the spleen in athletes to prevent the stitch. Experimental splenectomies were carried out in the dog by Florian Matthis (Master Florian) in 1602 and by Paul Barbette in 1672. Splenectomy in the human subject was not attempted until 1857 by Gustav Simon.\n\nHere it is shown that it is impossible to remove the spleen from man, contrary to the belief of those who were ignorant of its essence, because as is here demonstrated it cannot be excised from the body without death. And this occurs because of the veins through which it nourishes the stomach.\n\nIn his description of the illustration Leonardo follows Galen in ascribing five lobes to the liver, thus once again emphasizing his dependence upon animal anatomy.\n\nThe vein [portal] which extends from the porta of the liver to the porta of the spleen has its roots in the 5 branchings which ramify in the 5 lobes of the liver. At the middle of its trunk there arises a branch [superior mesenteric] which branches in the nourishment of the base of the omentum and extends to all its parts. A little further away, a branch [inferior mesenteric] ascends upwards and joins its left portion below the stomach and then terminates somewhat further on in 2 branches [splenic] at the junction of the spleen and proceeds to ramify through its entire substance.\n\nfig 5. The portal and coeliac vessels in arteriosclerosis.\n\nA sketch of the tortuous vessels found in the dissection of the centenarian.\n\nVessels which (in the elderly) through the thickening of their tunics, restrict the transit of the blood and, owing to this lack of nourishment, the aged failing little by little, destroy their life with a slow death without any fever.\n\nAnd this occurs through lack of exercise since the blood is not warmed.\n\nAn unrelated note on mensuration of the body in terms of finger breadth reads: Give the measurements in fingers of man, anatomized in every member and their positions.\n\n# 130 cardiovascular system\n\nThese are by far the best of Leonardo's illustrations of the portal and hepatic vessels, cf. 129. They are based on the dissection of the centenarian as indicated by the notation above each of the figures of the old man, cf. 128.\n\nfig 1. The portal and coeliac vessels, of the old man.\n\nThe oesophagus is cut short. Behind it the abdominal aorta is shown providing the coeliac artery from which the splenic, hepatic, left gastric, with oesophageal branches, and possibly the inferior phrenic arteries are given off. The hepatic artery provides the gastro-duodenal which is observed terminating in the superior pancreatico-duodenal at m, the right gastro-epiploic at p, and the right gastric at o. These vessels are accompanied by corresponding veins. However, Leonardo was somewhat confused as to the venous tributaries of the portal system. Below the branching coeliac artery is the splenic vein continuing as the portal to the liver. Leonardo regarded this as a single straight vessel. The vein n, must be intended as the superior mesenteric but he is very uncertain of this vessel. Concerning them he says: n m, are the vessels which ramify through the mesentery, c p, through the omentum.\n\nThe hepatic artery and portal vein after dividing into right and left branches are seen dissected out of the liver substance. He tells us (128) that the liver in this specimen was so desiccated as to crumble away exposing the ramifications of the vessels. Opposite these branches he writes: Ramification which the artery and vein make in the porta of the liver.\n\nfig 2. The portal, hepatic and biliary vessels of the liver, of the old man.\n\nThe figure is in part the same as that above. The outlines of the liver and stomach are given. In addition, the gall bladder, cystic duct, hepatic ducts and common bile duct passing to the duodenum are amazingly portrayed. The third vessel, passing into the porta hepatis with the hepatic artery and portal vein, is presumably the umbilical vein enlarged owing to the cirrhosis of the liver. This is indicated in the legend: Ramification which the umbilical makes, and the vein and the artery in the porta of the liver.\n\nFuture illustrations to be made are mentioned in a further memorandum: Represent first of all the ramifications of the vessels which arrive at the porta of the liver, all together, and then each by itself in 3, or if you prefer, 4 demonstrations. I said 3 because the vein and artery take the same course.\n\nfig 3. The hepatic veins and the vena cava, of the old man.\n\nOn the right the cava is shown opening into the base of the heart. The atrium is a part of the caval system since the heart was regarded as consisting of the ventricles only. In the note above the drawing, Leonardo opposes the Galenical view that the liver is the source of the vessels and argues with Aristotle that the origin is the heart.\n\nThe root of all the veins is in the gibbous part of the heart, that is, the covering of the blood. And this is clear because it [i.e., the covering] is thicker there than elsewhere and goes on to ramify infinitely through every member of the animal.\n\nAgain the anti-Galenical position is indicated by the statement referring to the illustration of the hepatic veins: How this vein [the cava] passes away and does not arise in the liver as many say. In Mundinus, one of Leonardo's sources, the cava is called the vena chilis, meaning \"belly-vein\". Thus the second legend to the figure reads: Ramification which the vena chyli [cava] makes in the liver.\n\nIt was long held that the excess of black bile from the spleen was excreted into the bowel by way of portal radicles. This idea is expressed in the note below the figure.\n\nOf the two thick vessels [splenic] which go from the liver to the spleen [and] which come from the larger veins of the spine, I consider to be those which collect the superfluous blood. This, being evacuated every day by the mesaraic [mesenteric-portal], is deposited in the bowels causing the same stench when it has reached there as arises from all the dead in the sepulchres, and this is the stench of the faeces.\n\n# 131 cardiovascular system\n\nFor other members of this series on the dissection of the centenarian, cf. 128.\n\nfig 1. Schematic drawing of upper portion of the thorax, clavicles and cervical spine.\n\nThe cervical spine is shown in coronal section to reveal the medullary and vertebral canals. Above the drawing is the numeral 4, indicating that the figure is the fourth of the series of which the other three members are found on the verso of the sheet. The figure may be earlier in date than the remainder.\n\nfig 2. The umbilical vessels.\n\nOpposite the umbilicus is written The umbilicus of the old man. Four vessels are shown converging on the umbilicus. These are derived in figs. 3-4 from the hypogastric vessels and therefore represent the obliterated umbilical artery and an imaginary accompanying vein which was perhaps introduced on the supposition that all arteries are accompanied by corresponding veins, cf. 127. The upper portion of the umbilical artery is reduced to a fibrous cord, the lateral umbilical ligament, which obviously puzzled Leonardo who notes below the figure:\n\nI believe that these 4 sinews (nervi) are those of the kidneys (reni [i.e., loins]) or of the arteries, and again: J have found that they are the larger vessels (vene) of the kidneys [i.e., loins].\n\nPassing from the umbilicus to the liver is the round ligament of the liver or obliterated umbilical vein. Since the subject suffered from cirrhosis of the liver, the accompanying para-umbilical veins may have been greatly enlarged, giving rise to the appearances displayed. Beside the figure Leonardo concludes with a generalization: The umbilicus is the gateway from which our body is composed by means of the umbilical vein, etc.\n\nfig 3. The hypogastric and umbilical vessels: diagrammatic.\n\nBeside the figure appear the words of the old man, i.e., centenarian. The lettered structures are n, the aorta giving off hypogastric arteries d, p. The inferior vena cava dividing into hypogastric veins q, v. The left umbilical artery and imaginary vein accompanying it are given off at a and d, but also noted by c, f. The corresponding right vessels are labelled S,t. The umbilicus extends from x to v, and the round ligament of the liver or umbilical vein v, y. For the significance of the latter structures, cf. fig. 2 above. Leonardo remarks that the interval between the great vessels and the umbilicus, i.e., m to v, is occupied by the peritoneal cavity.\n\nThe sifac [peritoneal cavity] is entirely contained between m v. He further asks whether the obliterated umbilical vessels are the same in both male and female and are four in number as shown: Note if the umbilical vessels are 4, that is, in the male as in the female. Finally, he again generalizes on the umbilicus.\n\nThrough x y, the umbilical vein, is composed the life and body of every animal with 4 feet which is not born of the egg, such as frogs, tortoises, chameleons, lizards and the like.\n\nfig 4. The hypogastric and umbilical vessels.\n\nThis figure is essentially the same as that above except for the anterior projection and slight differences in the lettering. The aorta and inferior vena cava are again indicated by n and m respectively; the hypogastric arteries by b and q; the hypogastric veins by p and r. The origin of the obliterated umbilical arteries and accompanying imaginary veins carry the letters a b o p, and the vessels themselves are c d e f. The umbilicus is v, and the umbilical vein of the foetus extends from v to S.\n\nn b q [aorta with right and left hypogastrics] is the artery, m p r [vena cava and both hypogastrics] is the vein, and r e f o p [for c d e f] are the umbilical veins mixed with the artery, which run together to the umbilicus and are joined to the womb of the mother through the veins v S.\n\n# 132 cardiovascular system\n\nWith the exception of the first three figures, the remaining illustrations are part of the series based on the dissection of the centenarian, cf. 128.\n\nfigs 1-3. Diagrams of the cervical spine and skull to illustrate the action of the lateral flexor muscles.\n\nIn the second and third figures the spheres representing the skull each carries the word anterior. In the third figure the spine is labelled n m, and the lateral muscles a b and a c. The significance of these figures is explained in the note.\n\nIf nature had added the muscle a c to bend the head towards the shoulder, it would have been necessary for the cervical spine to bend as a bow is bent by means of its cord: hence nature, to avoid such an inconvenience made the muscle a b which draws the side of the skull a, downwards with little bending of the bone of the neck. Since a b, the muscle, draws the side of the skull a, towards b, the root of the cervical spine, and as the skull is placed on a small axis upon the front of the bone of the neck, it bends itself very easily to right and left without too much curvature of the bone of the neck, etc.\n\nfig 4. Scapula and long head of the biceps muscle.\n\nAbove the figure is written, Of the old man. The accompanying note reads: a is the biceps (pesce) of the arm from the elbow upwards, b, is the body of the scapula (paletta della spalla), c [glenoid] is where the bone of the arm is joined to the shoulder.\n\nThe labrum glenoidale is clearly shown. For the use of the word pesce for the biceps muscle, cf. 45.\n\nfig 5. The iliac and hypogastric vessels.\n\nAs in the figure above, this illustration is stated to have been derived from the dissection of the old man.\n\nThe marginal notation indicates, a, the artery, and b, the vein. The illustration is obviously very diagrammatic, and the third branch of the common iliac is possibly the ilio-lumbar.\n\n# 133 cardiovascular system\n\nfig 1. The common iliac vein and its branches.\n\nThe sagittal section of the pelvis allows demonstration of the veins on its lateral wall. The lower end of the inferior vena cava, the common iliac veins, one of which is cut short, the external iliac, hypogastric and obturator veins are illustrated with some accuracy. Sections of this type are very necessary for the dissection of pelvic structures and Leonardo reminds himself to use them for a demonstration of the haemorrhoidal veins.\n\nCut the subject through the middle of the spine, but first tie off the [vena] chilis [cava] and the artery so that [the blood] may not pour out, and thus you will be able to see the haemorrhoidal veins in halves, that is, in each segment of the subject.\n\nThe real purpose of the drawing, however, is to demonstrate a point in the Galenical physiology. It was believed that the chyle was carried from the alimentary by way of the portal system to the liver for the making of the blood. Some of this blood then passed to the spleen where it was refined by the natural heat to provide the melancholic juice or black bile which was carried to the stomach to excite the appetite. The crude portion or any excess of black bile returned to the intestines for evacuation. The haemorrhoidal veins played an important role, especially in the evacuation of an excess of black bile, and so frequently became enlarged producing haemorrhoids. Owing to an anatomical error, the haemorrhoidal veins were thought to be exclusively branches of the caval system. Vesalius, in one of his early contributions, the Venesection Letter of 1539, destroyed this notion by demonstrating that the superior haemorrhoidal veins communicate with the portal and not with the caval system.\n\nElsewhere Leonardo indicates that he accepts the Galenical opinion and here expounds upon it with some modifications.\n\nON THE NOURISHMENT WHICH CAUSES PUTREFACTION.\n\nI say that the termination of the mesaraic [mesenteric-portal] veins which attract to themselves the substance of the food contained in the intestines, are enlarged by the natural heat of man, because heat separates and enlarges, but cold aggregates and constricts. But this would be insufficient if to this heat were not added the fetor which is formed by the corruption of the blood and returned by the arteries to the intestines; which blood acts in the intestines not otherwise than in those buried in tombs. This fetor enlarges the viscera and penetrates into all the porosities and swells and inflates the bodies into the shape of casks. And if you were to say that this fetor was caused by the heat in the bodies, this would not be supported in the case of inflated bodies covered by snow. The power of the fetor is much more active and multiplies more than the heat.\n\nfig 2. The figure accompanying the above passage is so badly rubbed that it cannot be deciphered. However, the faint outlines examined with the text in mind, suggest a sketch of the rectum with the haemorrhoidal veins. These veins would be shown as branches of the caval and not the portal system.\n\n# 134 cardiovascular system\n\nfig 1. Terminal branches of the abdominal aorta and inferior vena cava.\n\na [aorta] is the branching of the arteries.\n\nb [inferior vena cava] is the branching of the veins.\n\nThe aorta and inferior vena cava are shown dividing into common iliac vessels which in turn give off external iliac and hypogastric branches. The vessels ascending on either side are undoubtedly the ilio-lumbar. It would be too hazardous to attempt identification of the other minor branches. The pattern strongly suggests the arrangement found in animals.\n\nfig 2. The common iliac vein or artery and its branches.\n\nA preliminary outline possibly for the drawing above.\n\nfig 3. The right common iliac artery and vein and their branches.\n\nAn enlargement of the vessels as observed in fig. 1.\n\na [common iliac artery] artery.\n\nb [common iliac vein] vein of the groin to the haunches.\n\n# 135 cardiovascular system\n\nfig 1. Subcostal veins and the formation of the azygos system.\n\nfig 2. The iliac vein and its branches.\n\nThe left common iliac is shown passing from the right side of the vertebral column and extending as the external iliac over the brim of the pelvis to the thigh. An opening is present in the vessel wall corresponding to the position of the hypogastric vein and which, therefore, probably represents the point where this vein was cut off. If the specimen were very fresh the margins of the severed vein would retract giving rise to the appearances illustrated. Two ascending branches are shown. The more medial is doubtless the ilio-lumbar vein which gives off lumbar branches, and the more lateral is the circumflex iliac which in turn divides into two branches as in the horse or cow. The two descending branches are the lateral sacral vein which receives obturator veins as in the horse, and what appears to be a posterior gluteal vein. It will be noted that there are six lumbar vertebrae. All these features make it certain that the drawing was made from a dissection of some animal, possibly the cow. As though to point up anatomical differences in man or perhaps to draw attention to the error of showing six lumbar vertebrae, Leonardo notes: There are 5 vertebrae of the back, behind the kidneys.\n\nTo the left of the figure Leonardo provides a list of drawings of the entire body which were apparently to be shown in anterior, lateral and posterior projections as mentioned elsewhere. However, there is no evidence that these figures were ever completed.\n\n3 complete men.\n\n3 with bones and veins.\n\n3 with the bones and nerves [possibly tendons].\n\n3 with the bones alone.\n\nThese are the 12 demonstrations of the entire figure.\n\n# 136 cardiovascular system\n\nfig 1. The veins of the femoral triangle.\n\nThe femoral vein and artery have been exposed in the femoral triangle and upper portion of the thigh. The great saphenous vein is illustrated receiving as tributaries, superficial circumflex iliac, superficial epigastric and superficial external pudendal veins. Branches of the superficial epigastric anastamose by a branch n, with suprapubic veins m and o, which in turn pass to the dorsal vein of the penis p, the last being an unusual course for this vessel. The drawing is evidently based on a dissection. The note placed above the figure reads: From the soft parts of the arms and of the thighs go veins which ramify from their main stems and run through the body between the skin and the flesh.\n\nAnd remember to note where the arteries leave the company of the veins and the nerves.\n\nReferring to the figure, Leonardo attempts to classify the veins into anastamotic and terminal vessels:\n\nThe branchings of the veins are of two kinds, that is, simple and compound. The simple is that which goes on ramifying infinitely; the compound occurs when a single vein is formed from two ramifications, as you see n m [branch of superficial epigastric] and m o [suprapubic vein], branches of two veins which join at m, and establish the vein m p [dorsal vein of penis] which goes to the penis.\n\nfig 2. Sketch of lower abdomen illustrating course of the superficial epigastric veins.\n\nAn unrelated memorandum is jotted down at the foot of the page. The figures on 139 and 140 may be the outcome of the reminder: When you represent the vessels (vene) upon the bones, demonstrate which vessels lie on either side of these bones.\n\n# 137 cardiovascular system\n\nfig 1. Outline of surface features of the lower extremity: anterior view.\n\nThe series of outlines of the lower extremity presents the limb from the anterior, medial and posterior aspects. One of these, fig. 4, includes the course of the great saphenous vein. It was Leonardo's plan to present an object from several projections cf. 182, so that we assume these outlines to be unfinished drawings intended for this purpose.\n\nfig 2. Fanciful distortion of a man's head.\n\nIt was a conceit of the times to produce drawings or models of monstrous and fantastic creatures for decorative purposes. However, the classical writings on poetry, painting and sculpture, while recognizing the rights of fiction and imagination, required that such imaginary scenes or figures seem credible in the sense that they should be conceivable as occurring in actual physical life. In general, Renaissance writers and artists accepted this classical view. Here Leonardo presents a formula whereby these aims may be accomplished in the graphic arts, and his imaginary monsters conform to these tenets. In the Ashburnham Mss. he writes:\n\nHOW ONE MAY MAKE AN IMAGINARY ANIMAL APPEAR NATURAL.\n\nYou know that you cannot make any animal without its having its own members such that each of itself has a resemblance to that of one of some other animal. Hence if you wish to make an imaginary animal appear natural\u2014let us say a dragon\u2014take for its head that of a mastiff or hound, for eyes those of a cat, the ears of a porcupine, the nose of a greyhound, the eyebrows of a lion, the temples of an old cock with the neck of a turtle.\n\nIn the present figure verisimilitude is preserved by exaggeration and elongation of natural features as the dew laps, the upper lip and cheeks and the eyebrows.\n\nfig 3. Outline of surface features of lower extremity: medial aspect.\n\nfig 4. The great saphenous vein.\n\nThe great saphenous vein is viewed in its entirety. It will be noted that apart from the error of transposing the vein to the femoral artery, the vessel is accompanied by what is intended to be a saphenous artery as in ungulates. This error introduced from animal anatomy is frequent, cf. 139, 140. It is probable that the figure was derived in part from surface inspection of the vein and in part from dissections made on the ox.\n\nfig 5. Outline of surface features of lower extremity: posterior aspect.\n\nAt the top of the page are notes on possible titles for the projected book;\n\nON THE HUMAN BODY.\n\nON THE HUMAN BODY AND FIGURE.\n\n# 138 cardiovascular system\n\nfigs 1-2. The great saphenous vein.\n\nThe lower portion of the great saphenous vein is illustrated, thus completing the views of this structure in its entire extent, cf. 136, 139.\n\nThe saphenous vein was not only of importance to the artist because of surface appearances but also to the physician since it was one of the vessels most frequently employed in venesection for diseases affecting the pelvic organs. For the origin and meaning of the word saphenous as used by Leonardo, cf. 139.\n\n# 139 cardiovascular system\n\nfig 1. The femoral artery and vein.\n\nThe femoral vessels and their main branches are shown with reasonable accuracy for ungulates but not for man. The superficial circumflex iliac, circumflex femoral, profunda and perforating arteries can be identified. The arteria genu suprema and perhaps the lateral geniculates may be recognized. However, it will be noted that an artery is shown accompanying the great saphenous vein which immediately identifies the source as being the horse or cow. Leonardo notes:\n\nThis saphenous vein (vena safena) with its other collaterals and adherents which serve the nutrition of the thigh, should be enclosed by the lines forming the boundaries of the entire body.\n\nThe vena saphena is one of the two or three vessels of the lower extremity to carry a name in mediaeval times. The term was adopted from Avicenna and appears in the work of Mundinus. It was derived from the Arabic al-safin, said to mean \"concealed\" or \"hidden\", but the significance of the term is as hidden as its meaning. Charles Singer and C. Rabin believe it to come from the word safana, to stand with the heels raised above the ground, applied especially to horses, but what this posture has to do with the vein is unclear. In any case the term vena saphena was very loosely applied and refers not only to the saphenous vein of our terminology but also to the femoral vein. Leonardo obviously used it to mean femoral vein in the thigh and saphenous vein in the leg and regarded the one as a continuation of the other. It is therefore possible that the name \"hidden\" was used in reference to the femoral portion of the vein. The vessel was very important to early physicians as a site for venesection since it was thought to draw in the pelvic structures through its branches. Disorders of the uterus were so treated, and hence it was also called the vena matricis.\n\n# 140 cardiovascular system\n\nfig 1. The femoral vessels and their branches in relationship to the femur.\n\nThis figure seems to be a more finished version of that appearing on 139, and similarities in style suggest that they were done during the same period, c.1504. The arrangement of the branches is not quite identical. Again a saphenous artery arising high up in the femoral triangle from the femoral artery is seen to accompany the great saphenous vein. This, as well as other features, makes it almost certain that the vascular pattern is taken from the cow where the saphenous artery is large and prominent. It will also be observed that the lesser saphenous vein is shown as a main continuation of the femoral.\n\nThe accompanying notes are unrelated to the figure and take up questions of body proportions:\n\nThe knee does not increase or decrease on flexion or extension.\n\nThe knee-cap has a breadth made up by three-fifths of the breadth of the whole knee.\n\nThe breadth of the entire knee includes towards the outer (silvestra) side the three-fifths of the width of its cap.\n\nFor the use of the term silvestra, cf. 74.\n\nThe final note, written in black chalk, has become too illegible to make coherent translation possible.\n\n# 141 cardiovascular system\n\nfig 1. Schematic diagram of the popliteal vessels and tibial nerve.\n\nOn the right of the figure is the popliteal artery a, and on the left the vein c. Between them is the tibial nerve b. The vessels are shown dividing at m and n, into two branches which seem to represent the posterior tibial and peroneal arteries and veins. The two branches on either side suggest medial and lateral, superior and inferior geniculate arteries and veins, but may be muscular branches only since they are given off below the bifurcation of the popliteals. On the drawing Leonardo writes:\n\nThe nerve b f [tibial n.] which is behind the knee has on the right [for left] the vein c h, which bifurcates and throws a branch to the left [for right] at m e. On the left [for right] it has the artery a d, which also bifurcates and throws a branch to the right [for left] at n h. Such a bifurcation was necessary because no other way was shorter than this if it was desired that each side of the calf of such a leg possess a vein and an artery, that is, nourishment and life.\n\nfig 2. The popliteal vessels and tibial nerve: diagrammatic.\n\nThe drawing is essentially the same as in fig. 1, except that the popliteal vessels show their true obliquity above.\n\nfig 3. The popliteal vessels and tibial nerve.\n\nA more realistic representation of these vessels and the nerve in relation to the leg as a whole. The drawing is evidently based upon a dissection.\n\nfig 4. The common peroneal nerve and its branches.\n\nThe significance of this figure is at first sight difficult to determine. The upper tend of the tibia is represented above and the lateral malleolus of the fibula below. The key to the identification of the common peroneal nerve is the note on the left indicating the terminal branch of the structure shown, which reads, In the muscle [extensor digitorum brevis] of the instep of the foot. Therefore, we conclude that the deep or anterior tibial and the superficial or musculo-cutaneous branches of the common peroneal are those illustrated. The remaining structures are undoubtedly the popliteal vessels and perhaps the tibial nerve.\n\n# NERVOUS SYSTEM\n\n# 142 central nervous system and cranial nerves\n\nThe diagrams on this page are an attempt to translate into drawings the descriptions of the brain given by Avicenna and therefore belong to a relatively early period in Leonardo's development. On stylistic grounds Clark believes that the drawings are typical of the period c.1500, but the internal evidence suggest a somewhat earlier date, c.1490.\n\nfig 1. Longitudinal section of an onion.\n\nA diagram explanatory of the sort of appearances to be expected in sections, as in the sagittal section of the head.\n\nIf you should cut an onion through the middle, you could see and enumerate all the coats or skins which circularly clothe the center of this onion.\n\nLikewise if you should cut the human head through the middle, you would first cut the hair, then the scalp, the muscular flesh [galea aponeurotica] and the pericranium, then the cranium and, in the interior, the dura mater, the pia mater and the brain, then again the pia, the dura mater, the rete mirabile and their foundation, the bone.\n\nThese various layers are illustrated in figs. 2 and 4. Avicenna, misunderstanding Galen, believed the galea aponeurotica to be entirely muscular. The rete mirabile, introduced into human anatomy by Galen from his dissection of cattle, was to elaborate the animal spirits or psychic pneuma from the vital spirits in the arteries. It is portrayed by Leonardo in 147.\n\nfig 2. Diagrammatic sagittal section of the head.\n\nThe various layers are indicated by leaders reading from above downwards, hair; scalp (codiga); muscular flesh; pericranium arises from the dura mater; cranium, that is, bone; dura mater; pia mater; brain. The leaders cross the cranial cavity to point to similar layers at the skull base and are overwritten with the letters a, b, c, d, corresponding to the pia, dura, bone and skin from within outwards. As though experimenting with methods of labelling the various layers Leonardo indicates some of them again by the terms above the vertex, hair, scalp, flesh or skin and by the letters f, e, d, b, r, e, f, in red chalk overwritten by the terms in ink. A further such experiment is observed in fig. 4 below.\n\nExtending from the eye is the optic nerve which enters the anterior of three cavities or ventricles labelled O,M,N. The tripartite division of the brain with a corresponding division of the mental functions was familiar to all mediaeval philosophers. Galen had attempted to differentiate sensory and motor nerves by their relative consistency. He held that the softer sensory nerves sprang from the softer anterior portion of the brain and therefore localized the sensory centre, or sensus communis, in the frontal lobes where also lay the imaginative faculty which combined the sensations. The harder motor nerves were connected with the posterior part of the brain, cerebellum, which became the centre of voluntary control and the seat of memory. The functional centres were transferred to the ventricles themselves, various arrangements and elaborations being introduced by the Arabs. These ideas were popularized by Albertus Magnus (1206-1280) who drew chiefly from al-Ghazali (1053-1111). Generally the anterior vesicle contained the sensus communis with which was associated fantasia and imaginatio, the middle vesicle with cogitatio and related powers of estimatio or judgment, and the posterior vesicle with memoria and the control of voluntary motion. Judging from fig. 6 below, we believe that this is the arrangement accepted by Leonardo at this time, but later he gradually altered his opinion following further investigation (cf. 72, 145, 147) and placed the sensus communis in the middle vesicle. He likewise attempted to localize the position of the sensus communis relative to the body as a whole and placed it immediately above the pituitary fossa but only after this function had been transferred to the middle ventricle, cf. 145.\n\nfig 3. Diagrammatic section of the eye and orbit.\n\nThe figure is a detail from the drawing above. At this time Leonardo was fully aware of the existence of the frontal sinus since a skull was available to him for study, cf. 7. The diagram is derived from Avicenna. The membranes of the brain were supposed to form the sheath of the optic nerve and thereafter expanded as the coats of the eyeball called the secundina (the choroid) from the pia and the tunica dura (sclera) from the dura. The optic nerve expands to form a netlike membrane called the retina which lines the interior of the eyeball and extends forward to form a septum, the tela aranea (iris), separating the anterior from the posterior chamber as in fig. 2. The iris is perforated by a canal leading to the centrally placed crystalline humor or lens which in mediaeval physiology was the actual site of visual sensation. It was Realdus Columbus, Vesalius' pupil and successor at Padua, who displaced the lens from the center of the eyeball, c.1559, although this honor is more frequently accorded to Felix Plater (1536-1614) who not only recognized the true position of the lens but also appreciated the real nature of the retina in his work of 1583.\n\nfig 4. Diagram of the layers on section of the head.\n\nAnother experiment on the use of leaders to designate the various layers is shown in the sagittal section of fig. 1. The layers read, hair; scalp; lacertous flesh [falea aponeurotica]; pericranium; cranium; pia mater; dura mater; brain. The terms pia mater and dura mater have been inadvertently transposed.\n\nfig 5. Diagram of level of horizontal section shown in\n\nfig. 6.\n\nfig 6. Diagrammatic horizontal section of the head.\n\nThe three vesicles or ventricles described under fig. 1, are again shown by means of a hypothetical horizontal section of which the upper half has been folded back. The optic nerves lead to the anterior vesicle which also receives on either side the acoustic nerves, thus clearly indicating in terms of then current theory that this vesicle is the site of the sensus communis.\n\n# 143 central nervous system and cranial nerves\n\nThe drawings on this page are of interest only in their demonstration of some of the methods employed by Leonardo in the construction of his illustrations.\n\nfig 1. Sketch of an old man's head: full face.\n\nfigs 2-4. Rough diagrams to illustrate appearances in horizontal sections through the head.\n\nLeonardo seems to be experimenting with methods of portraying appearances on cross-section. The head has been diagrammatically sectioned in the horizontal plane just above the level of the orbits, leaving the upper half of the head in situ. On the sectioned surfaces the optic and acoustic nerves are seen converging towards the so-called sensus communis or hypothetical centre for sensory impressions. The figures are similar to fig. 6 on 142, except for the anterior projection. In fig. 4 the positions of the cerebral vessels are also indicated. For the significance of these figures, cf. 142.\n\nfigs 5-7. Diagrams on technique of cross-sectional representations of the head.\n\nIt may be judged from these figures that Leonardo contemplated the construction of a series of drawings of the head in cross-section as viewed from above, from the side and anteriorly. However, these diagrams are important for another reason since they demonstrate the technique of \"transformation\" or parallel projection whereby any required diagram can be developed from any two others provided that the latter occupy planes perpendicular to one another. Thus in the figures the construction line passes from the vertex of the anterior projection to the vertex of the lateral projection through the center of the figure representing the head as seen from above. This method of construzione legittima had already been employed by mediaeval architects but was restricted to buildings and architectural details. Its application to the human figure developed into a special branch of renaissance art-theory and, according to Giovanni Paolo Lomazzo (1584) it became almost a speciality of the Milanese such as Vincenzo Foppa and Bramantino. Panofsky (1940) points out that the first known parallel projection of an inclined head is found in a drawing by Leonardo (Windsor, 12605r belonging to his Milanese period and that it is probable that Albrecht D\u00fcrer, although he greatly advanced and extended the technique, derived it from his north Italian colleagues. The present figures provide some insight into Leonardo's methods and explain many of the puzzling features in his early anatomical drawings.\n\nfig 8. Profile lying at right angles to the rest of the page.\n\nThe poor profile is not by Leonardo.\n\n# 144 central nervous system and cranial nerves\n\nAt the top of the page is a note by Leonardo on the development of the nervous system in which he expresses the Aristotelian theory on the primacy of the heart.\n\nThe entire body has its origin from the heart insofar as the first creation is concerned. Therefore the blood, the veins and the nerves do likewise although these nerves are clearly seen to arise entirely from the medulla (nucha), remote from the heart, and that substance of the medulla is the same as that of the brain from which it is derived.\n\nThe term nucha, meaning spinal medulla or, more literally, marrow, is of Arabic origin and was apparently introduced into mediaeval Latin by the great translator Constantine the African at Monte Cassino and became the standard term until eventually displaced by the medical humanists in favor of medulla spinalis, first used by Alessandro Benedetti (1460-1525), author of an anatomy (1497) and Leonardo's contemporary.\n\nfigs 1-2. The brain, spinal cord and peripheral nerves in lateral and anterior projections.\n\nLeonardo describes these figures of the general arrangement of the nervous system:\n\nTree of all the nerves; and it is shown how all these have their origin from the medulla and the medulla from the brain.\n\nThe pair of nerves descending vertically from the brain are the vagi.\n\nfig 3. Small diagram of a projected illustration on the nervous system.\n\nThe significance of this small diagram is made clear by the appended note. In each demonstration [above] draw the entire extent of the nerves; the external outlines [of] which [will] denote the shape of the body.\n\n# 145 central nervous system and cranial nerves\n\nOn the basis of style and other grounds Clark dates these drawings c.1504, but the anatomical content suggests a somewhat earlier date, c.1490-1500.\n\nfigs 1-3. The brain and cerebral nerves.\n\nThe three figures are closely allied to one another, the first showing the cranial nerves springing from the base of the brain; the second, the cranial nerves in relationship to the ventricular system; and the third, the cranial nerves and their distribution to the head and neck. It is evident that Leonardo's knowledge of these nerves was extremely defective at this stage in his anatomical development. Later as he became more familiar with the works of Galen, who had described seven pairs of cranial nerves, his observations become more accurate, cf. 148.\n\nIn the illustrations we find the paired olfactory tracts clearly shown. These were not counted, according to Galen, among the cranial nerves. Then come the optic nerves. The optic chiasma is well portrayed, and these are probably the earliest figures in existence of this important structure. The earliest published figure of the chiasma is to be found in a fugitive sheet dated 1517 and bound up in the Spiegel der Artzney (1518) of Laurentius Frisius and believed to have been cut by Johann Waechtelin, a pupil of the elder Holbein. Below the optic nerves are two pairs of nerves which from their distribution appear to represent divisions of the trigeminal nerve. Galen had counted the trigeminal as two separate pairs. Behind these are the vagi, usually called the reversive nerves by Leonardo, following the custom of mediaeval anatomists. Finally, there is the spinal cord flanked on either side by parallel channels connecting them to the brachial plexus below. These channels require special comment.\n\nLeonardo, owing to some faulty observation on the vertebral vessels, held that a spinal channel occupied the vertebral canals of the cervical region. He believed that these channels carried the animal spirit to the brachial plexus and through this medium conveyed the sense of touch to the brain and motor power to the nerves. They are illustrated and described on 131, 154, and 155, which bring these illustrations into relationship with the present and indicate that they all belong to approximately the same period.\n\nIn the central picture three ventricles are shown which differ in shape and relationship from those of 72, 142, and 159. Presumably the upper ventricle represents the lateral ventricle, but there is no indication, as in 147, that it is a paired structure. Below the lateral is the third ventricle which exhibits an infundibular recess, a detail which makes it certain that Leonardo had viewed a preparation of the parts at this time. Finally comes the fourth ventricle connected presumably by the aqueductus cerebri of Sylvius to the third. It will be noted that Leonardo shows these various nerves aggregated in the region of the middle ventricle which doubtless causes him to transfer the sensus communis to it from the anterior ventricle and thus break with tradition, cf. 72, 142, 159, and also 147, where touch is localized in the posterior ventricle.\n\nThe notes and diagram above the figures show through from the verso owing to a large grease spot. They concern certain principles of proportional weight and are not germane to the present subject.\n\n# 146 central nervous system and cranial nerves\n\nThe page is filled with a heterogeneous group of notes, the majority of which are unrelated to figures but concern Leonardo's biological studies. A few notes are of the nature of personal memoranda or reflections and, since they add nothing to the subject at hand, will be omitted.\n\nfig 1. The brain and the cranial nerves.\n\nThis figure of the cranial nerves is closely allied to that found on 145 and was doubtless drawn about the same time. The olfactory nerves are shown at a and n. Below them are the eyeballs, f m, optic nerves and optic chiasma. Then come the mandibular branches of the trigeminal g, h, i, and the vagus nerves of either side. Behind is the spinal cord and on either side of it parallel vertebral ducts which Leonardo believed to carry the sense of touch to the brain, cf. 145. At this period he was changing his opinion on cerebral localization and, contrary to tradition, held that the common sensory centre or sensus communis lay in the middle or third ventricle of the brain owing to its close relationship to the points of attachment of the cranial nerves. He reminds himself to examine the \"porosities\" of the brain by which he presumably means the hypothetical channels which were supposed to convey the animal spirit or psychic pneuma throughout the central and peripheral nervous system.\n\nExamine the porosities of the substance of the brain where there is more or less of them. Do this from 3 aspects on one and the same surface.\n\nHis explanation of the recurrent course of the recurrent branch of the vagus is mechanical.\n\nThe reversive nerves are bent upwards solely because they would be broken in the extensive motion which the neck has in bending forwards, and further because it [the neck] partly carries with it the trachea by means of these nerves.\n\nfig 2. Sketch of the skull.\n\nThis sketch is more in the nature of a graphic reminder related to a note on personal needs, such as spectacles, cardboard, drawing materials, penknife, etc., among which is the statement, Try to get a skull. This should remind us of the great difficulty of acquiring osteological specimens for study in the fourteenth and fifteenth centuries. The preparation of human skeletal material by maceration was prohibited \"because of the sin involved\", says Mundinus.\n\nfig 3. An abortive sketch.\n\nfig 4. The cerebral ventricles and cranial nerves.\n\nAs in the wax injections of 147, the ventricular system is shown but in relationship to the cranial nerves. The olfactory nerves connect with the lateral ventricles. The optic and part of trigeminal are placed nearer the middle or third ventricle which also receives the vagi. The posterior or fourth ventricle is connected to the spinal cord and by means of lateral channels to the brachial plexus, cf. 145. For these reasons Leonardo modified traditional views on cerebral localization, placing the sensus communis in the third ventricle and memoria with voluntary motion in the fourth. The vagus nerve is brought into relationship with the vena meserica or mesenteric vein which is shown with its branches below. Perhaps Leonardo has confused the vagus and the splanchnic nerves of the sympathetic chain: an association which is commonly found well into the sixteenth century. Even Eustachius (1524-1574) who published by far the best illustration of the sympathetic system makes this error.\n\nIn attempting to establish the centres for sensory perception Leonardo is led to reflect in terms of the materialistic psychology of the time on the difference between objective and speculative reasoning.\n\nMental matters which have not passed through the sense [sensus communis] are vain, and they give birth to no other truth than what is harmful. And because such discourses spring from poverty of intellect, their authors are always poor and, if they were born rich, they will die poor in their old age. For it seems that Nature revenges herself on those who desire to work miracles, and they come to have less than other less ambitious men. And those who wish to grow rich in a single day will live for a long time in great poverty, as happens and will happen for all time to the alchemists, would-be creators of gold and silver, to the engineers who would have dead water give to itself motive life with perpetual motion, and to those supreme fools, the necromancers and the enchanters.\n\nfig 5. Rough sketch of the heart and vascular tree.\n\nfig 6. The pelvic and umbilical vessels of a mother and child.\n\nAbove the drawing is the cryptic statement, Give the measurements of the dead [subject] in fingers. The figure of the pelvic vessels on the left is labelled, mother, and that on the right, child. The umbilical vessels of both appear to pass to a common umbilicus as though Leonardo believed that the foetus in utero was supplied by a junction of these vessels. However, he was very confused and represents various possible modes of foetal attachment to the maternal circulation.\n\nfig 7. The iliac and hypogastric vessels.\n\nAs a sort of afterthought Leonardo squeezes into the page some random notes on the protection of the lung from the pressures developed with great exertion. Much of the note will remain obscure unless it is recalled that the inspired air carries with it the pneuma or spirit which is the basic principle of life. This pneuma passes from the lungs to the heart to be transferred into vital spirits and thence to the brain to become the animal spirits which is the motive force for muscle contraction. Therefore, in extreme exertion it is necessary to retain in the lung a supply of pneuma to give rise to an adequate amount of animal spirit requisite for the maintenance of the muscular effort. This explains why the breath is held on lifting heavy weights.\n\nThe muscles which compress the ribs are made so that in establishing the force for the lifting of weights, the wind (vento [i.e., pneuma]) which thickens the muscles to shorten them and which arises from the lung that drives the vital spirits [for animal spirits] that command the nerves, may be very securely re-\n\n(continued on page 501)\n\n# 147 central nervous system and cranial nerves\n\nThe illustrations and notes of this page contain some of the most important observations made by Leonardo on the central nervous system and its ventricles. Here, for the first time in the history of biology clear mention is made of the use of a solidifying injection mass to determine the shape and extent of a body cavity, cf. also Leonardo's remarks on wax injections of the heart, no. The history of anatomical injections has been traced in some detail by F. J. Cole (1921) who curiously omits Leonardo's contribution. Galen in his De anatomicis administrationibus, IX:ii, studied the distribution of the cerebral vessels by inflating them with air, and Alessandro Giliani of Persiceto (d.1326) is said, without confirmation, to have used solidifying injections of different colors to fill the blood vessels. However, it was not until the seventeenth century that the method came into general use and reached its apogee with Fredrick Ruysch (1638-1731) whose contributions were deemed, with perverse judgment, by the French Academy of Science to be of such merit as to warrant his being the worthy successor of Isaac Newton.\n\nfig 1. Wax injection of the cerebral ventricles: lateral view.\n\nThe vent-holes for the injection are observed at the base of the third ventricle. The method of injection and the figure are described thus:\n\nDRAWING OF THE SENSUS COMMUNIS.\n\nCast in wax through the hole n, at the bottom of the base of the cranium before the cranium is sawn through.\n\nThe lateral ventricles carry the word imprensiva, the perceptual centre. The third ventricle is labelled sensus communis or general centre for the special senses, and the fourth ventricle, memoria. For the origin of these notions of cerebral localization, cf. 142.\n\nfig 2. Wax injection of the ventricular system as viewed from the base.\n\nThe brain, undoubtedly that of an ox, after injection of the ventricular system has been laid open thus exposing the connections of the lateral to the third ventricle by way of the interventricular foramina eponymously named for Alexander Monro primus (1697-1767) who minutely described them although they were well-known by Galen, Vesalius, Varolio and many others before him. The aqueductus cerebri is divided in two as it runs back to connect with the fourth ventricle, and named after Jacobus Sylvius (1478-1555) although it, too, was described long before his time. At m, the region of the infundibulum of the third ventricle, is the site of the injection described as follows:\n\nMake 2 vents in the horns of the great ventricles and inject melted wax with a syringe, making a hole in the ventricle of the memoria [IVth ventricle] and through such a hole fill the 3 ventricles of the brain. Then, when the wax has set, take away the brain [substance] and you will see the shape of the ventricles perfectly. But first put narrow tubes into the vents so that the air which is in these ventricles can escape and make room for the wax which enters into the ventricles.\n\nThe distortion of the ventricles as evident in the figures is to be anticipated in ventricular injections of the unfixed brain.\n\nfig 3. Dorsal view of the cerebral hemispheres.\n\nThis small pencil sketch shows the brain viewed from above. The longitudinal figure, sulci and gyri are indicated by scattered wavy outlines. On the assumption that the figure represents the human brain, McMurrich (1930) states that the sulci of the surface give the general effect but not the actual arrangement. However, closer examination of the drawing reveals that, like the rest of the figures of the page, the brain of the ox is represented, and it is possible to define the coronal, transverse, marginal, entomarginal, ecto-marginal, supra-sylvian and lateral sulci or fissures of the brain of that animal.\n\nfig 4. Outline sketch suggestive of the base of the brain.\n\nfig 5. The base of the brain and the rete mirabile.\n\nThe rete mirabile, a plexus of vessels at the base of the brain, is found in ruminants and is prominent in calves. It played an important role in the Galenical physiology since it is the apparatus which was supposed to distil the animal spirit or psychic pneuma from the vital spirit contained in the arteries. The animal spirits are distributed throughout the nervous system as the motive force of \"sensibility\", both motor and sensory, and the nerves were therefore held to be hollow for this purpose. In the figure the frontal, temporal and occipital poles of the cerebrum, as well as the cerebellum, are distinctly shown, but there are no details of structure.\n\nfig 6. Figure of unknown significance.\n\nThis curious figure may possibly represent the vermis of the cerebellum. In common with most mediaeval writers, Leonardo elsewhere regards the choroid plexus as the vermis which was supposed to move within the ventricular system acting as a valve to permit or interrupt the flow of thought and sense impressions within the system. This idea was derived through a misunderstanding from Galen and elaborated by the Arabs. However, anatomists of the period were beginning to recognize that the vermis of the cerebellum more closely resembled a segmented worm and thus altered their interpretation of Galen's opinion.\n\nfig 7. Wax injection of the cerebral ventricles, viewed laterally.\n\nThe fourth, third and lateral ventricles are lettered a, b, c, respectively. The site of the injection, as in fig. 1, has been the third ventricle from the base. In the accompanying note Leonardo localizes the sense of touch to the fourth ventricle which he holds to be in close communication with the brachial plexus as well as with the spinal medulla, cf. 131, 145, 155.\n\nSince we have clearly seen that the ventricle a [IVth ventricle] is at the end of the medulla where all the nerves which provide the sense of touch come to-\n\n(continued on page 502)\n\n# 148 central nervous system and cranial nerves\n\nfig 1. The optic and related cranial nerves.\n\nAbove the optic chiasma are the olfactory tracts indicated by the statement that, a b c d are the nerves which carry the odors. The optic nerves, optic chiasma and optic tracts are labelled e n. The remaining nerves can only be identified by reference to fig. 2 and appear to be from lateral to medial side, the oculomotor, abducens, and ophthalmic division of the trigeminal nerve. Below the figure is the statement that, The nerves arise from the last membrane [pia] which clothes the brain and medulla.\n\nfig 2. The base of the skull to show the optic and related cranial nerves.\n\nIn this very remarkable figure the olfactory and all the cranial nerves except the trochlear, passing to the eye, are represented for the human subject, although their relative sizes are poorly shown. It should be recalled that Galen and almost all mediaeval anatomists recognized only the optic, the oculomotor and the ophthalmic division of the trigeminal, so that Leonardo had little assistance from traditional sources. The olfactory nerves were not classified among the cranial series of nerves. The olfactory nerves are lettered a b. Between their anterior extremities lies the cribriform plate of the ethmoid, c, through which the odors passed upwards to the brain. The optic tracts carry the letters e n. Of these nerves Leonardo writes:\n\ne n, nerves, are the optic nerves which are situated below the nerves [olfactory] called the caruncular, but the optic nerve the visual faculty and the caruncular, the olfactory faculty.\n\nThe term caruncular nerves, referring to the olfactory bulbs which are very large in animals, was apparently borrowed from Mundinus, who states that at the fore-end of the brain \"At once will be seen two carunculae, like nipples\".\n\nThe anatomist will have little difficulty in recognizing the oculomotor nerve, lateral to which is the abducens. Still further laterally is the root of the trigeminal providing its ophthalmic division. Leonardo was rightly dissatisfied with the then current description of the arrangement of the cranial nerves and therefore proposes a plan whereby he might unravel this difficult matter and determine variations if any.\n\nYou will take away the substance of the brain as far as the confines of the dura mater which is interposed between the os basilare [skull base] and the brain substance. Then note all the places where the dura mater penetrates the os basilare together with the nerves clothed by it and at the same time by the pia mater. This knowledge you will obtain with exactness when you carefully elevate the pia mater little by little, commencing at the extremities and noting bit by bit the position of the aforementioned perforations, beginning first on the right or left side and sketching this in its entirety. Then you will follow the opposite part which will give you information as to whether the foregoing is correctly placed or not, and it will also enable you to determine whether the right side is similar to the left, and, if you find it to differ, you will look again in other anatomies whether such a variation is universal in all men and women, etc.\n\nThe term os basilare is derived from Mundinus where it means the entire base of the skull.\n\nfig 3. The uterus and its blood supply.\n\nThe womb is so named and is shown receiving two branches on either side, the uterine and vaginal vessels possibly, from the hypogastric artery. However, one of these vessels may represent a uterine vein. The hypogastric is also shown providing the umbilical arteries which are carried to the upper circle, named the umbilicus, but the drawing has been corrected, and the umbilicus lowered to a point opposite the bifurcation of the great vessel. A further vessel, the umbilical vein, is shown passing to the left to the position of the porta hepatis. A note reads: Note where the external parts come in contact with the inferior parts.\n\n# 149 central nervous system and cranial nerves\n\nAt the top of the page we encounter the words, On the old man, indicating that the drawings were made from the dissection of the centenarian, cf. 128.\n\nfig 1. The course and distribution of the vagus nerve.\n\nThe vagus nerve, called the reversive nerve by mediaeval anatomists because of its recurrent branch, is here shown on the right side in its course and distribution to the larynx, trachea, oesophagus and stomach. Leonardo believes that the left vagus supplies the heart, but seems to be uncertain of its relations. The recurrent branch of the right vagus is clearly shown, but it passes around what is presumably the subclavian vein in the wrong direction. Behind the vagus is the brachial plexus giving off the phrenic nerve n m, which is accompanied by the pericardiophrenic vessels in the lower part of its course. The internal jugular vein and common carotid artery parallel the vagus on its lateral side. The vessel extending to the subclavian from near the point b, is presumably the external jugular vein. Leonardo describes the vagus nerve as follows:\n\nThe reversive [vagus] nerves arise at a b, and b f [right vagus] is the reversive nerve descending to the pylorus of the stomach. And the left nerve, its companion, descends to the covering of the heart, and I believe that it may be the nerve which enters the heart.\n\nThe above passage immediately turns his mind to the nature of the heart in which he breaks with tradition and arrives at the important conclusion that the heart is a muscle. Moreover, Leonardo reverses his initial Aristotelian position that the heart is the beginning of life. In order to appreciate fully the meaning of the note, it should be recalled that the venous blood carries the natural spirits providing nourishment for the tissues. The heat of the heart subtilizes or distils some of this blood in the left ventricle into a higher form of spirit, the vital spirits, which is the essence of life carried by the arterial system.\n\nThe heart of itself is not the beginning of life but is a vessel made of dense muscle vivified and nourished by an artery and a vein as are the other muscles. It is true that the blood and the artery which purges itself in it are the life and nourishment of the other muscles. The heart is of such density that fire can scarcely damage it. This is seen in the case of men who have been burnt, in whom after their bones are in ashes the heart is still bloody internally. Nature has made this great resistance to heat so that it can resist the great heat which is generated in the left side of the heart by means of the arterial blood which is subtilized in this ventricle.\n\nLeonardo reminds himself to make further investigations on the distribution and function especially of the left vagus nerve. He is aware from his Galenical sources that the recurrent branch of the vagus supplies the muscles of the larynx which produce the voice but would like to examine the theory that pitch is due to the narrowing of the trachea. Further, Galen held that the sensory portion of the brain and sensory nerves were soft whereas the motor region and its nerves were hard so that he must examine the texture of the brain to determine function. Thus he says:\n\nNote in what part the left reversive nerve [i.e., its recurrent branch] turns and what office it serves.\n\nAnd note the substance of the brain whether it is softer or denser above the origin of the nerve than in other parts. Observe in what way the reversive nerves give sensation to the rings of the trachea and what are the muscles which give movement to these rings to produce a deep, medium or shrill voice.\n\nfig 2. The trachea and its rings.\n\nIn connection with the examination of the vagus nerve and its recurrent branch in supplying the larynx, Leonardo proceeds to an examination of the trachea itself to see what influence it may have on the production of the voice. Around the figure he writes:\n\nHow the rings of the trachea are not united for two reasons: the one is because of the voice, and the other is to provide space for the food [passage] between them and the bone of the neck.\n\nHe reminds himself to, Count the rings of the trachea, and answers in part the question raised in a note above as to how the trachea may influence the pitch of the voice.\n\nDifferences of voice arise from the dilatation and contraction of the rings of which the trachea is composed. The dilatation is produced by the muscles which are attached to these rings, and the contraction, I believe, is produced by itself because it is made of cartilage which bends of its own accord in order to return to the original shape given it, etc.\n\n# 150 peripheral nerves: intercostal\n\nANATOMY  \nON THE NERVES WHICH GIVE SENSIBILITY  \nTO THE MESOPLEURI [INTERCOSTAL MUSCLES].\n\nfig 1. The intercostal nerves.\n\nThe small muscles placed obliquely, descending from the upper part of the spine and terminating towards the xiphoid process (porno granato), are called the pleuri. They are interposed between one and the other rib for the sole purpose of contracting the intervals between them. The nerves which give sensibility to these muscles have their origin from the medulla which passes through the dorsal spine. Their lowest origin from the medulla is where the back borders upon the kidneys.\n\nThe term mesopleuri for intercostal muscle is derived from Galen, intercostal being almost a literal translation of the original Greek word. For the use of the term pomo granato for xiphoid process as well as for the Adam's apple, cf. 23.\n\n# 151 peripheral nerves: upper extremity\n\nThis rather heterogeneous group of figures is believed by Clark to belong to Leonardo's earliest anatomies and to pre-date the 1489 drawings. The content certainly substantiates this belief. By comparison with similar drawings on 152, 153, and 160, we are led to the conclusion that most of these studies were based on the dissection of monkeys and the findings projected onto human outlines. Since most of the drawings on this page are concerned with the distribution of the peripheral nerves, the plate is placed under that system. In considering the figures the architectural plans of a courtyard are omitted.\n\nfig 1. The brachial plexus.\n\nThe plexus is very roughly indicated and arises from six roots. The only nerves which may be identified with any certainty are the median and ulnar. The outlines of the surface muscles are well defined.\n\nfig 2. The distribution of the femoral and sciatic nerves and their branches.\n\nIn the right leg the sciatic nerve may be followed into its two major terminal divisions, the tibial and common peroneal nerves. In the left leg, the femoral nerve is also shown. A branch of the femoral, presumably the saphenous nerve, appears to join the common peroneal, but this is a fault of draughtsmanship since the latter nerve is shown shining through from the lateral side. Selected positions for cross-sections of this leg are inked in over the original silver-point drawing.\n\nfig 3. Cross-section of the middle of the leg.\n\nNo key to the reference letters is provided. The arrangement of structures in the section appear to be based on guess-work from the superficial appearances. The tibia is not lettered, o, is the fibula; b a, a part of soleus which is not shown extending to the lateral side; c and d, the medial and lateral heads of gastrocnemius; f a, the deeper structures of the calf; h g, probably the peroneal muscles; h i, probably the extensors; m l, probably the tibialis anterior.\n\nfig 4. The ventral aspect of the trunk, probably of an animal.\n\nThe oblique and rectus muscles of the abdomen are roughly indicated as cords. In the axillary region a nerve or vessel is outlined.\n\nfig 5. The lower abdomen, scrotum and penis.\n\nThe illustration shows the spermatic cords on either side passing to the scrotum. These structures were regarded as part of the nervous system since the semen was thought to come from the spinal cord, cf. 153.\n\nfig 6. The upper extremity and its peripheral nerves.\n\nThe median, ulnar and radial nerves may be identified passing distally to the forearm. The outlines of the bones suggest the monkey as the source.\n\nfigs 7-8. The lower extremity and the femoral nerve.\n\nIn the first of these figures the sartorius muscle has been severed and turned back. The femoral nerve is shown providing a branch, the saphenous nerve, accompanying the saphenous vein.\n\n# 152 peripheral nerves: upper extremity\n\nLike most of the dissections of this early period, these were carried out almost exclusively on the monkey or other animal forms. Owing to the scattering of the drawings, they have been enumerated in three groups lying on the left, center and right of the page.\n\nGROUP I, ON LEFT OF PAGE.\n\nfig 1. The brachial plexus and its branches in relation to the skeleton.\n\nAgain the shape of the humerus clearly shows that the dissection is that of a monkey. The arrangement of the brachial plexus is shown in very approximate fashion. However, the position of the median, radial and ulnar nerves is demonstrated with considerable accuracy. The other peripheral nerves in the axilla are presumably the subscapular. A portion of the serratus anterior muscle is clearly outlined. The accompanying note is so faded as to be almost illegible. It is also unusual in that although undoubtedly in Leonardo's hand, it is written from left to right.\n\nIn this manner originate the nerves of motion above [...] of the spine.\n\nfig 2. The median and ulnar nerves in relation to the soft parts.\n\nA companion sketch to fig. 1 and like it doubtless from the monkey. The median and ulnar nerves are shown correctly related to the surrounding muscles.\n\nfig 3. Detail of the brachial plexus.\n\nLike most of Leonardo's illustrations of the plexus, there is considerable confusion as to the arrangement of this difficult piece of anatomy.\n\nfig 4.Rough sketch of spinal cord entering the neural canal of a few vertebrae.\n\nThe figure is badly faded. Two spinal nerves are shown emerging from an intervertebral interval. The note indicates that the sketch is based upon a dissection of the frog, cf. notes on 153.\n\nWhichever of these [spinal cord or nerve] be picked, is lost in the frog.\n\nA longer note at the top center of the page, written at some other time also discusses some remarkable observations on the pithing of frogs.\n\nThe frog immediately dies when its spinal medulla [midolla della sciena] is perforated. And previously it lived without head, without heart or any entrails or intestines, or skin. It thus seems that here lies the foundation of motion and life.\n\nGROUP II, CENTER OF PAGE.\n\nfig 1. Outline of thoracic and abdominal viscera of an animal.\n\nfig 2. Faded drawing of unknown significance.\n\nGROUP III, RIGHT OF PAGE.\n\nfig 1. Hand of a monkey.\n\nThe presence of epiphyses at the end of the radius, ulna, metacarpals and phalanges indicates that the specimen came from a young animal. However, it should be noted that there is no great pretence to accuracy in defining the position and number of these epiphyses nor in the arrangement and number of the carpal bones.\n\nfig 2. The peripheral nerves in relationship to the bones of the upper extremity in the monkey.\n\nThe shape and curvatures of the bones clearly identify the monkey as the source of the material for the study. The median, radial and ulnar nerves are shown in approximately their correct relationships to the bones.\n\n# 153 peripheral nerves: upper extremity\n\nfig 1. Diagram of the spinal cord and vertebral canals.\n\nThis curious diagram represents the spinal cord and its dural sheath issuing from the foramen magnum to enter the neural canal of highly schematized vertebrae. On the cord are written the words Generative power, which has reference to the ancient theory that the spinal medulla was concerned in the formation of sperm. Leonardo may have obtained this idea directly or indirectly from the Hippocratic treatise On generation, the fourth book of On diseases, where it is stated that \"the most active and thickest part\" of the semen comes from the spinal cord and passes by means of vessels from the lumbar region to the testes. Leonardo later gave up this notion and accepted the Galenical thesis that the sperm was concocted from the blood in the testes.\n\nOn either side of the spinal cord, occupying the position of the vertebral vessels, is a hypothetical tube of dura which was supposed by Leonardo to carry animal spirits from the brain to the spinal nerves, one of which is shown on the right. This tube is said to convey the sense of touch, and to be the cause of motion, the origin of the nerves, and the passage for the animal powers. It acts as a sort of reservoir for the ebb and flow of animal spirits into the presumed hollow peripheral nerves. This canal and its relations to the brachial plexus are best seen in 154 and 155. Other notes describe the effects in the procedure of pithing a frog.\n\nThe frog retains life for some hours when deprived of its head, heart and all its intestines. And if you prick the said nerve [spinal medulla] it suddenly twitches and dies.\n\nAll the nerves of animals derive from here [spinal medulla]. When this is pricked, it immediately dies.\n\nfigs 2-3. Surface features of the lower extremities and the nerves of the thigh.\n\nThese are doubtless companion figures. Fig. 3 shows the distribution of the femoral and sciatic nerves. It is interesting to note that the principal figures on this page and 152 were the only anatomical illustrations known to have been copied by Albrecht D\u00fcrer. They are to be found in his Dresden Sketch Book.\n\nfigs 4-5. The surface features of the upper extremity and its nerves.\n\nThese figures are also companions and illustrate the position of the nerves in relation to the bones in pronation. The median, ulnar and radial nerves are easily identified. The appearance of the humerus demonstrates beyond question that the dissection was made on the monkey and applied to man.\n\n# 154 peripheral nerves: upper extremity\n\nfig 1. The brachial plexus.\n\nThis figure should be compared with the much more accurate sketch of the brachial plexus based on an actual dissection, 156. Here the plexus arises from only four roots which very inaccurately form possibly the three trunks, but these are evidently confused with the cords. We suspect that the diagram is based on a reading of Galen. The figure is indicated as being the first of a series and Leonardo says of it:\n\nIn this demonstration it is sufficient to represent only 9 vertebrae, of which 7 go to form the neck.\n\nfig 2. A diagram of what appears to be the vertebral vessels but regarded as a dural canal.\n\nThe base of the skull, the dural coverings of the brain and spinal cord and a cervical vertebra are shown to illustrate the course of a hypothetical canal conveying the motor spirit to the brachial plexus. For a fuller discussion of this hypothetical passage, cf. 155.\n\nfig 3. Diagram of the course of a hypothetical canal.\n\nThe figure, similar to fig. 2 above, is perhaps even more schematically shown. The accompanying note suggests that the diagrams were intended for the use of artists and may be related to some contemplated discussion on the movements of the head and neck.\n\nThis demonstration is as necessary for good draughtsmen as the derivation of Latin words is for good grammarians, for he will needs draw badly the muscles of figures in the movements and actions of those figures, if he does not know what are the muscles which are the cause of their movements.\n\n# 155 peripheral nerves: upper extremity\n\nThese figures are evidently related to those on 154 and would therefore date from an early period, c.1490. They are arranged by Leonardo to read from right to left so that this order will be followed in their enumeration.\n\nfig 1. The segment of the spinal cord, its coverings and a nerve root.\n\nOn the figure is written Medulla and a nerve which has arisen from it. It will be noted that the spinal nerve appears to have been represented as arising by means of two roots from the spinal cord. However, careful inspection of the figure reveals that these are not nerve roots but the extension of the pia-arachnoid as is made clear in the note below. The nerve roots were not recognized for several centuries. Attention is called to the coverings of the cord and their extension along the nerve root with the note:\n\nThese two coats which envelop the medulla are the same as those which cover the brain, that is, the pia and the dura mater.\n\nfig 2. Second [demonstration]. A diagram of the spinal cord and brachial plexus.\n\nThe accompanying legend reads: Spondyles [vertebrae] of the neck, sawn through and removed from the middle in front, and the position of the medulla revealed and how it inhabits and ramifies outside these spondyles.\n\nOn the manubrium sterni is written the word thorax. The figure and arrangement of the brachial plexus is almost identical with that on 154. The vertebral canal is exposed and its content shown as though an integral part of the plexus and spinal cord. It is evident that these structures are not regarded as being the vertebral arteries. McMurrich (1930) suggests that they may represent ganglionated cords, probably a part of the sympathetic trunk which has been confused with memories of the vertebral arteries in a diagrammatic figure. Holl (1917) and Hopstock (1919) agree that they are not the vertebral arteries; the former suggesting that they have been borrowed from some ancient unknown work and the latter, that they are purely products of Leonardo's imagination. They are again shown in 145 and 153 where they are obviously regarded as tubes of dura extending from the cranial cavity through the vertebral canal. They are said to transmit the animal (i.e., nervous) powers of touch and motion whereas the spinal cord is for the generative power. We may therefore be fairly certain that Leonardo has misinterpreted certain statements made by Galen in the difficult ninth book of his De usu partium and applied these to the vertebral canal and its vessels.\n\nGalenical theory required the nerves to be hollow for the passage of animal spirits conveying motor \"sensibility\" to the muscles. Leonardo apparently believed that the vertebral canal allowed the ebb and flow of this spirit. The note describes this theory, cf. 156.\n\nThe substance of the medulla enters for some distance into the origins of the nerves and then follows the hollow nerve as far as its terminal ramifications. Through this perforation sensibility is carried into each muscle. The muscle is composed of as many other minute muscles as there are fibres into which this muscle can be resolved, and each of the smallest of these muscles [i.e., fibres] is covered by an almost imperceptible membrane into which the terminal ramifications of the aforementioned nerves are converted. These obey in order to shorten the muscle with their withdrawal and to expand it again at each demand of the sensibility which passes through the hollow cavity of the nerve. But to return to the medulla, this is enveloped by 2 membranes of which only one [pia mater] clothes the marrow-like substance of the medulla itself and on issuing from the hollow cavity of the spondyles [vertebrae], is transformed into nerve. The other [dura mater] clothes the nerve together with its principal branches and ramifies together with each branch of the nerve and thus forms the second investment of the medulla interposing itself between the bone of the spondyles and the first membrane of the medulla.\n\nfig 3. Third [demonstration]. A diagram of the spinal cord, brachial plexus and their dural coverings.\n\nThe legend written on the dural covering of the brain reads, source of the nerves. From the brain descends the spinal cord sheathed in dura and the vertebral canals conveying animal spirits to the nerves as discussed above. The brachial plexus is represented in very primitive fashion.\n\nThe medulla is the source of the nerves which give voluntary motion to the members.\n\nWe are again informed that, The pia and the dura mater clothe all the nerves which proceed from the medulla.\n\n# 156 peripheral nerves: upper extremity\n\nThe figures and notes on this page are based upon the dissection of the centenarian (cf. 128) who died while conversing with Leonardo from a bed in the Hospital of Santa Maria Nuova at Florence. The page opens with a note on the problem of how the nerves produce muscle contraction. According to Galen, the motor nerves, believed to be formed of minute hollow tubes, enter a muscle near its origin which was consequently nervous, i.e., sinewy, and thereafter spread, throughout the body of the muscle, the interstices between the nerve fibres being filled with flesh. These nerve fibres once again aggregate to form the tendon which is consequently called a cord or nerve. The animal spirits distilled in the brain from the vital spirits of the arteries flowed through the hollow nerves to the periphery providing sensibility, both motor and sensory, to the muscles. This spirit gives rise to the contraction and is the muscular force.\n\nON THE FORCE OF MUSCLES.\n\nIf any muscle be pulled out lengthwise, a slight force ruptures its flesh, and if the nerves of sensibility should be drawn out lengthwise, little power tears them from the muscles in which their branches are interwoven, spread out and consume themselves. The same thing is seen to occur in the nervous (sinewy) coat of the veins and arteries which are intermingled with the muscles. What then is the cause of the great force in the arms and legs such as one sees in the actions of any animal? One can say only that it is the membrane investing them, which when the nerves of sensibility thicken the muscles, these muscles shorten themselves and draw after themselves the cords into which their extremities are converted. In the process of thickening they fill out the membrane and cause it to draw and become hard. They cannot lengthen unless the muscles become thinner, and by not becoming thinner they are the cause of resistance and of giving strength to the aforesaid membrane within which the swollen muscles perform the function of a wedge.\n\nfig 1. The brachial plexus.\n\nAt the head of the figure are the words, Of the old man, indicating that the figure is one of the series on the dissection of the centenarian, and like most of the figures from this source, it is by far the most accurate representation of the findings in man.\n\nThe jugular veins and carotid arteries are identified by the letters a b c d. The brachial plexus is correctly shown as arising from the anterior rami of C 5 6 7 8 and T 1, labelled a b c d e, uniting to form the upper, middle and lower trunks. The trunks divide into their divisions and reunite to form the cords, but this region and the branches of the cords are somewhat confused. Nonetheless this difficult region is remarkably well portrayed. Other structures indicated by Leonardo and identifiable are:\n\ne is said to lie under the axilla, and these nerves are probably the upper and lower subscapular and nerve to latissimus dorsi displaced upwards and laterally from behind the plexus. Above them, arising from the upper trunk and lateral cord are the suprascapular and lateral anterior thoracic nerves.\n\na has written above it the word behind, i.e., the humerus, and is the radial nerve, with a branch, the dorsal interosseous, to the two fociles (radius and ulna). Below the radial is a nerve, possibly the musculocutaneous with the lateral cutaneous nerve of the forearm which are said to pass to the flexure of the elbow.\n\nb, the median nerve, is indicated by the word elbow. Its two heads of origin from the lateral and medial cords may be observed, and it gives off a branch in an unusual position as well as being drawn out of proportion. The words b, flexure of the arm, have been deleted.\n\nr, the ulnar nerve, is said to be passing to the elbow. Above, also from the medial cord, the medial cutaneous nerve of the forearm is shown.\n\nPlaced on the plexus, over the root of C 8, is a second letter I which leads to a statement referring to the five roots of the plexus and reading: Any one of the 5 branches which is preserved from the cut of a sword suffices for the sensibility of the arm.\n\nBelow the plexus within the thoracic cavity, the upper intercostal nerves are illustrated. From them and crossing the necks of the ribs is a series of nerves labelled s which are undoubtedly meant to represent the sympathetic chain and formation of the splanchnic nerves. If this is so, this illustration is the earliest representation of this important system known. The figure appears to be only a rough sketch preparatory to a more finished drawing since accompanying memoranda read:\n\nIn this demonstration represent only the first upper rib and this will be quite sufficient to show where the neck is separated from the trunk.\n\nRepresent the proportional length and thickness which the nerves of the arm and leg have to each other.\n\nfig 2. Rough sketch of the root of the neck and superior aperture of the thorax: anterior view.\n\nThe figure carries the legend, Neck with the oesophagus (meri). In the mid-line the oesophagus and spinal column are represented. On either side are the common carotid artery, the internal jugular vein and the vagus nerve.\n\nfig 3. Rough sketch of the root of the neck and superior aperture of the thorax: posterior view.\n\nThe legend to this figure reads, the neck and spine. The laterally placed structures are as in fig. 2 above.\n\nfig 4. The superior aperture of the thorax: diagrammatic cross-section.\n\nBelow the figure Leonardo writes, the neck foreshortened, and on the figure below the central structure the word, oesophagus. The other structures are presumably the vessels and related muscles. On the above figures (2-4) Leonardo makes a comment:\n\n(continued on page 502)\n\n# 157 peripheral nerves: upper extremity\n\nThe style and content of this page strongly suggest that this is another of the series of dissections made on the body of the centenarian, cf. 128.\n\nfig 1. The brachial plexus and its branches.\n\nAlthough the plexus itself is shown with no great accuracy, many of the nerves illustrated are easily recognized. Only four roots establish the three trunks which confusedly subdivide into divisions to form the cords. The sensory distribution of the ulnar and radial nerves to the dorsum of the hand is illustrated with extraordinary accuracy. By careful study and reference to the companion figures the following nerves may be identified: medial cutaneous of arm, ulnar, median, radial with its dorsal interosseous branch, musculocutaneous, axillary and suprascapular.\n\nfig 2. The brachial plexus and some of its motor branches.\n\nThe figure is identical to a portion of fig. 3. The muscle shown are, from above downwards, the supraspinatus, part of deltoid and biceps brachii. The notes lying to the right of this figure read:\n\nHere each nerve of the arm is joined with all four nerves which issue from the medulla.\n\nThe significance of the above note is explained by reference to 156. Leonardo holds that owing to the apparent intermingling of the nerves at the plexus, in wounds of the plexus the preservation of a single root is sufficient to preserve the \"sensibility\" of the arm. Here will be shown all the muscles of the arm with the nerves and vessels.\n\nfig 3. The brachial plexus and its muscular branches.\n\nThe muscles shown are labelled from above downwards as follows: Shoulder muscle, i.e., supraspinatus; Humerus muscle, the deltoid: the word humerus also means the shoulder region; Pesce del braccio muscle, the biceps brachii of fish-like shape: for the use of this term, cf. 45; Muscle of the elbow, the triceps muscle.\n\nThe few muscles of the forearm shown are not identified. Further illustrations contemplated are described in the following words:\n\nYou will make a ramification of the nerves with all their muscles attached. And then you will make this ramification with the muscles attached to the nerves and to the bones which constitute the entire arm.\n\nThe final note and list of projects is probably a part of 181, where Leonardo gives another of his several outlines on the order and arrangement of his contemplated anatomical work.\n\nMake the man with arms open and with all his nerves and their purposes according to the list [below]. You should employ the very greatest diligence for the reversive [vagus] nerves in all their ramifications.\n\nA demonstration of the omentum (zirbo) without the bowels.\n\nA demonstration of the bones sectioned.\n\nA demonstration of simple bones.\n\nA demonstration of bones and sinews.\n\nA demonstration of bones and vessels.\n\nA demonstration of nerves and muscles.\n\nA demonstration of vessels and muscles.\n\nA demonstration of bones and of intestines.\n\nA demonstration of the mesentery.\n\nA demonstration of the members and spiritual muscles [for members, i.e., thoracic contents].\n\nA demonstration of woman.\n\nA demonstration of the bones, nerves, and vessels.\n\nA demonstration of the nerves alone.\n\nA demonstration of the bones alone.\n\nA demonstration of the sinews (nervi) in sectioned bones.\n\nA demonstration of sinews in unopened bones.\n\nA demonstration of bones and sinews which join one another together, which sinews are very short and especially those which join the vertebrae within.\n\n# 158 peripheral nerves: upper extremity\n\nfig 1.Outline of the pelvis and pelvic vessels.\n\nIn this rough figure, now badly faded and rubbed, the outline of the pelvis and terminal branches of the aorta and accompanying branches of the inferior vena cava may be traced. The common iliac, hypogastric and external iliac vessels are shown in relatively correct relationship to one another. The accompanying note emphasizes the difficulties found by Leonardo in examining the pelvic viscera.\n\nAt about the middle of the height, width and thickness of man, there is more artifice than in any other of his parts, and it is greater in the female who has in the same place the bladder, womb, testes [ovaries], rectum, haemorrhoidal veins, nerves, muscles and the like.\n\nfig 2. The sensory distribution of the median and ulnar nerves to the palmar aspect of the hand.\n\nThe peripheral distribution of the digital branches of the median and ulnar nerves is shown with remarkable accuracy. The ulnar artery may be followed into the formation of the superficial palmar arch with its digital branch. The relationship of these structures to one another is considered in the notes:\n\nThe vessels are uncovered before the nerves of sensation, and the nerves of sensation are found before the cords of power of the muscles.\n\na b, are the nerves of the inner [palmar] aspect of the hand, of which a [ulnar n.] comes from the fork [ulnar groove] of the elbow, b [median n.] comes from the inner aspect of the bend of the arm and c [ulnar artery] is a vessel.\n\n# 159 peripheral nerves: lower extremity\n\nfig 1. Posterior aspect of thigh and leg showing distribution of the sciatic nerve.\n\nThe sciatic nerve is shown dividing at the customary level into its terminal branches, the common peroneal and tibial nerves. The tibial nerve looks as though it continued into the leg superficial to the gastrocnemius muscle but close inspection reveals that this structure is the lesser saphenous vein which is accompanied by the sural nerve branching from the tibial.\n\nfigs 2-8. Series of incomplete sketches of the lateral and posterior aspects of the thigh and leg.\n\nIn some of these sketches the sciatic nerve or its branches are outlined.\n\nfig 9. Dissection of the anterior aspect of the thigh to reveal the femoral nerve.\n\nThe sartorius muscle has been resected leaving its upper and lower ends in positions marked a and r. The vastus lateralis muscle is lettered m n, and the tensor fasciae latae, f f. The femoral nerve, lying lateral to the artery, is shown dividing into two main divisions. The lateral is lettered r, and its intermediate cutaneous branches pass superficial to the rectus femoris muscle. The motor branch to vastus lateralis is observable. The medial division passes into the adductor canal and is doubtless the saphenous nerve. The drawings are probably based on dissection of the monkey, cf. 151-3. The accompanying note reads:\n\nI have removed the muscle a n [sartorius] which is half a braccio in length, and have uncovered r t [?femoral nerve]. Now attend to what lies beneath m 0 [vastus lateralis].\n\nfig 10. Sketch of a domed edifice.\n\nfig 11. Sketch of the posterior aspect of the head and neck.\n\nThe muscle shown is possibly a portion of the trapezius. Leonardo frequently divides the flat muscles into a series of slips.\n\nfig 12. Diagrammatic cross-section of the head to demonstrate cerebral localization.\n\nThe three vesicles or ventricles shown on 142 are again demonstrated but with certain differences\u2014the outcome of greater knowledge of the attachment of the cranial nerves, cf. 145. The optic nerves pass from the globe to the anterior vesicle. The bilateral ink lines represent the olfactory nerves which are attached to the middle vesicle. Likewise, the acoustic nerves now pass to the middle ventricle. Consequently this ventricle now becomes the sensus communis or common center for sensation. The motor cranial nerves are also regarded as being attached to the middle instead of the posterior ventricle since it is also labelled volonta, i.e., the center for voluntary motion. The function of the other ventricles is therefore modified, the anterior carrying the center for the intellect and imprensiva, in place of fantasy, doubtless to emphasize its receptive function. The posterior ventricle remains as the seat of memory. The drawing should be compared with 145 to follow the manner by which these changes have come about. Furthermore, these modifications make it certain that the drawings are later than those on 142.\n\nfig 13. Lateral aspect of head and neck illustrating facial and neck muscles.\n\nThe facial muscles are represented as cords as was Leonardo's common practice. The temporal, sternomastoid and a portion of trapezius muscles are readily recognized.\n\nfig 14. Rough sketch of the bones of the lower extremity with the sciatic nerve and popliteal vessels.\n\n# 160 peripheral nerves: lower extremity\n\nfigs 1-3. Posterior, medial and anterior aspects of lower extremity.\n\nThe only figure in this group of immediate interest is the second demonstrating the course of the great saphenous vein and the saphenous nerve. The various structures are labelled from left to right: lacertus, nerve, vein, muscle. For the use of the term lacertus, cf. 43.\n\nfig 4.The lumbo-sacral plexus and sciatic nerve in relationship to the bones of the lower extremity.\n\nThe figure is in many respects similar to that on 162 and, like it, is probably based on animal anatomy. The plexus and nerves are very approximately shown. The sciatic nerve divides within the pelvis into its terminal divisions and of these the common peroneal appears to pass around the medial instead of the lateral aspect of the leg.\n\nfig 5. Outline of the viscera of an animal.\n\nThe outline suggests a sketch of appearances in the ox. Below is the thoracic cavity which was apparently full of blood since on either side we have the word blood. In the middle is a multiple lobed liver and so labelled. Above is the stomach.\n\nfig 6. Diagram of the respiratory and alimentary systems.\n\nThe figure is clearly indebted to animal anatomy as indicated by the shape and lobes of the liver. The various structures named are from above downwards on the left of the figure: channel for food, air passage, lung situs spiritualis, heart, liver, stomach, belly, umbilicus, bladder, and on the right from above downwards, spleen, kidneys. The thorax was called the site of the spiritual members, situs spiritualis, since here was supposedly distilled from the blood by the action of the heart and lungs, the vital spirits carried by the arteries to all the parts of the body.\n\nfig 7. Diagram on cerebral localization.\n\nThe diagram represents a cross-section of the head and brain to show the supposed vesicles which contain the psychic faculties. The optic nerves pass from the eyes to the anterior vesicle said to contain the imprensiva or perceptual center. The middle vesicle receives the olfactory nerves anteriorly and the acoustic nerves laterally and so is regarded as the sensus communis but is labelled comocio which is probably a misspelling of conoscio indicating the center for thought. The posterior ventricle is said to contain the memoria. The diagram follows the traditional beliefs of the tripartite division of cerebral function described on 142, but the arrangement is an advance corresponding to that found on 159.\n\n# 161 peripheral nerves: lower extremity\n\nThe representation of the peripheral nerves to the lower extremity probably dates from c.1490-92 with the figures and notes in the right-hand margin added somewhat later.\n\nfig 1. The sacral plexus and the sciatic nerve.\n\nThe arrangement is very similar to that found on 166. The representation of the plexus is not even approximately correct, and the sciatic nerve is shown making a high division which is more commonly found in animals such as the horse and cow. Of the figure Leonardo notes:\n\nAt f g h [sacral plexus] arise the nerves the branches of which are parcelled out (fasciare) among the muscles of the hams behind the leg, under the knee at a b, and lower down are parcelled among the second [group of] muscles at c d. Finally, they bend behind the malleoli (noci) of the foot at e f and then pass beneath the foot.\n\nThe expression noci de' piedi is the vernacular term for the ankle-bones. However, literally it refers to the \"knobs or bolts\" of the foot and therefore the equivalent of malleoli or little hammers introduced by Vesalius in 1543. The use of the verb fasciare, literally \"to swathe\" from the Latin equivalent, giving fascia and fascis, a bundle or parcel, reminds us that Leonardo is thinking in terms of the theory that the nerve breaks up in the muscle to give rise to what we would call the connective tissue elements. These, in turn, constitute the tendon which is therefore also called a nerve.\n\nfig 2. The relationships of the femoral nerve in the thigh.\n\nThe sartorius muscle has been resected leaving its proximal portion a, and its distal tendon b b, in position to expose the femoral nerve, chiefly its saphenous branch, and one of the femoral vessels. The rectus femoris muscle is also indicated by the letter a, vastus medialis by c (g deleted), and the insertion of the strap-like muscles at the pes anserina, by e.\n\nfigs 3-4. Diagrams of the lower extremity to illustrate the note below.\n\nRemember never to alter the outline of any limb by [the removal of] any muscle which you have lifted away in order to uncover another. Even if you remove muscles of which one of the borders forms the boundary of a part of the limb from which you have detached it, then you must mark with numerous dots the border of that limb which was removed by the separation of some muscle. You will do this so that the shape of the limb which you describe will not remain a monstrous thing from having had its parts taken away. In addition to this, there follows a greater knowledge of the whole, because after the part is removed, you will see in the whole [outline] the true shape of the part whence it was taken.\n\n# 162 peripheral nerves: lower extremity\n\nThe style suggests an early period, c.1495-99, but the similarity of these studies to those on 165 makes a later date a strong possibility.\n\nfig 1. An abortive figure of the lumbo-sacral plexus.\n\nThe outline suggests an animal form which is confirmed by the figure below.\n\nfig 2. The lumbo-sacral plexus and its peripheral branches.\n\nThe figure carries the words, Tree of the cords or nerves. The shape and appearance of the vertebral segments make it almost certain that the sketch is based on the dissection of some animal. The femoral and sciatic nerves and their branches are very roughly indicated.\n\n# 163 peripheral nerves: lower extremity\n\nThe anatomical figures were evidently drawn at the same time as those on the recto, 162.\n\nfig 1. The common peroneal and tibial nerves in relationship to the bones of the lower extremity.\n\nNumerous muscular branches are shown being given off by the nerves just below the knee-joint. Superficial and deep branches of the common peroneal nerve are indicated and the superficial (musculocutaneous) is carried to the dorsum of the foot. The figure is probably based on animal dissection.\n\nfig 2. The lumbar-sacral plexus.\n\nThe pencil drawing is almost obliterated, but its outlines correspond closely to the upper portion of fig. 2 on 162.\n\nfig 3. A series of geometrical figures of unknown significance.\n\nSome of these figures, especially the last on the right, relate to the note on balance.\n\nThe end of the beam consisting of 2 parts placed in balance against its other end of 3 parts, will be found   of the entire beam nearer to the axis.\n\n# 164 peripheral nerves: lower extremity\n\nThese studies appear to belong to the same series as those on 162 and 163.\n\nfig 1. The femoral nerve in the thigh.\n\nThe femoral nerve is shown dividing into two branches, one of which passes to the rectus femoris muscle and the other is the saphenous nerve exposed by reflection of the sartorius.\n\nfig 2. Abortive sketch of the femoral nerve.\n\nThe outline suggests a preliminary or abortive sketch similar to fig. 1 above.\n\nfig 3. The sciatic and femoral nerves in the thigh from the lateral aspect.\n\nAlthough badly faded, the outlines of the thigh as viewed from the lateral aspect may be traced. The upper portion of the femur intervenes between the sciatic and femoral nerves.\n\n# 165 peripheral nerves: lower extremity\n\nfig 1. The lumbar plexus.\n\nThe lumbar plexus formed by the anterior primary rami of 1, 2, 3 and 4, is shown with some accuracy. The femoral obturator and genitofemoral nerves are easily identified. The lateral cutaneous nerve of the thigh is a notable omission, and the general appearances suggest that the illustration is based on the dissection of some animal form. The note is a reminder for another dissection, while the use of the word tail (corda) again suggests animal dissection.\n\nCut this tail (corda) through the middle as you have done for the neck so that one can see how the nerves of the medulla arise.\n\nfig 2. The lumbar plexus and its peripheral distribution.\n\nAs in the figure above, the femoral, obturator and genito-femoral nerves are identifiable. It is observed that, The nerves in some parts of man are round and in other parts, flat; and that in the case of the lumbar plexus, The nerves originate at a lower level than the vessels of the kidneys. The femoral nerve, at its point of division into multiple branches, carries the numerals 3,3,7, from medial to lateral side which doubtless is concerned with the note which reads, There are as many nerves as there are muscles in the thigh. The radicles of the femoral nerve corresponding to lateral, intermediate and medial divisions, are lettered, a,b,c. The saphenous branch is indicated by the letter e, and the knee, by d. The obturator nerve divides into its anterior and posterior branches as in man, but again we suspect that the dissection has been made on some animal forms and projected onto the outline of the human leg.\n\n# 166 peripheral nerves: lower extremity\n\nOn the left of the page may be seen the marks where 136, a sketch of the superficial vessels of the inguinal region, was formerly pasted on. The drawing has been presumptively dated c.1490 by Clark, but the content makes this date highly unlikely. The study is later and may possibly be related even to those conducted at Florence as late as the period 1504 and after; there is support for this from the figure formerly pasted to it which shows an arrangement of superficial inguinal vessels identical to that of the present figure but of different projection.\n\nfig 1. Sagittal section of the body demonstrating the spinal cord, pelvic vessels and nerves, and the intercostal muscles.\n\nThe spinal cord is carried the entire length of the neural canal instead of terminating at its customary level at the lower border of the first lumbar vertebra. In addition, there is an excessive number of pre-sacral vertebrae. The abdominal aorta and inferior vena cava provide the common iliac vessels which are shown dividing into branches, all of which are easily identified except for the branch of the hypogastric passing through the perineum into the posterior aspect of the thigh. The large size of the middle sacral artery is noticeable. Like the branches of the hypogastric artery, the arrangement of the sacral plexus is only approximate. From it springs the sciatic nerve which divides into its terminal divisions high within the pelvis. Between the ribs the internal intercostal muscles are shown and the direction of their fibres indicated by the oblique line a b. The line c d, corresponds to the obliquity of the fibres of the external intercostal muscles. The function of these muscles in respiration is described at length in the notes below.\n\nThe drawing is undoubtedly a composite figure. The more superficial structures are derived from human appearances, and the deeper are more suggestive of animal anatomy. The automaticity of respiration is explained by an interesting hypothesis, which contains the germ of the idea of reflex action, as being due to the stretching of the intercostal nerves.\n\nThe fibres of the [internal intercostal] muscles interposed between the ribs of the breast are disposed on the inner side of the chest solely to constrict the ribs about the lung in order to drive the contained air out of it. Similar fibres [external intercostal] are placed on the external side of the ribs at an obliquity along the line c d, opposite to that of the internal fibres so that they can dilate the previously constricted ribs to open the lung and take in new air. Through these spaces interposed between the ribs, the nerves of sensibility are stretched in order to move the muscles interposed between them for the contraction and dilatation of the aforesaid ribs. Between these ribs are the veins and arteries which puts the nerve in the middle.\n\nThe alternate actions assigned to the intercostal muscles in elevating and depressing the ribs during inspiration and expiration were clearly recognized from classical times. However, the subject had great fascination for Leonardo, and he discusses it on several occasions. Here he notes that elevation of the upper ribs tends to raise all those below successively, and he comments upon the factors of leverage.\n\nON THE STRONG SITUATION OF THE MUSCLES WHICH OPEN THE RIBS.\n\nOf extraordinary power is the upper situation of the small muscles [external intercostal] interposed between the ribs on the external aspect and lying in the obliquity c d. This obliquity experiencing greater fatigue at its superior part where the entire force of the lower muscles is concentrated, is for this reason close to the origin of the upper ribs, towards c, because if such a force were situated at a, the ribs at a, could not draw the lower ribs upwards but the lower would draw the upper behind them [i.e., downwards]. Consequently, they [i.e., intercostal muscles] were well placed along the line c d, since when the first fibres above contract, they draw all the lower ribs behind them, and each muscle below as far as the penultimate does likewise; every force concentrating upon the first, etc.\n\n# 167 peripheral nerves: lower extremity\n\nThese studies are part of the series continued on 168.\n\nfig 1. The terminal branches of the sciatic nerve.\n\nThe sciatic nerve is shown dividing into its two terminal divisions, the common peroneal and tibial nerves. The common peroneal nerve gives off its two motor branches to the tibialis anterior before dividing into its superficial (musculocutaneous) and deep (anterior tibial) divisions. The tibial nerve is illustrated providing motor branches of which those to the triceps surae are evident. At the lower end of this nerve the words more underneath direct Leonardo to a revision to be made in the final drawing.\n\nfig 2. The sciatic nerve and its terminal branches.\n\nThe origin of the sciatic nerve from the sacral plexus is roughly indicated. It is shown dividing at the usual level in the middle of the thigh into the common peroneal and tibial nerves. On the lateral aspect of the thigh is represented what appears to be the terminal portion of the lateral cutaneous nerve of the thigh. A posterior branch of this nerve is shown joining the anastamotic branch of the common peroneal to form the sural nerve, which must be an error of observation since the sural branch is correctly shown arising from the tibial nerve. The superficial peroneal nerve may be followed all the way to the dorsum of the foot.\n\nfig 3. The popliteal vessels and tibial nerve.\n\nThe popliteal vein and artery are shown in the popliteal fossa correctly related to one another and providing branches passing dorsally to the heads of the gastrocnemius muscle. The other structure running obliquely and in a dorsal direction is possibly the branch of the lateral cutaneous nerve of the thigh discussed under fig. 2.\n\nfig 4. Sketch of the lateral aspect of the foot to show the termination of the superficial peroneal nerve.\n\nThe superficial peroneal nerve is illustrated from the point where it pierces the deep fascia to break up into its dorsal digit branches.\n\nfig 5. Detail of posterior tibial artery or vein and tibial nerve.\n\nThe structures are labelled vessel (or vein) and nerve. The vessel is probably the posterior tibial artery or vein giving off its peroneal branch which is said to lie under the accompanying branch of the tibial nerve.\n\n# 168 peripheral nerves: lower extremity\n\nThese studies are a continuation of the series found on 167 and date from Leonardo's intermediate period.\n\nfig 1. The popliteal vessels and their terminal branches.\n\nThe figure is a companion to fig. 2 illustrating the more deeply placed vessels. The caption reads: The vessels of the medial aspect, and from the knee down they go laterally.\n\nThe popliteal vein is shown receiving the lesser saphenous vein accompanied by a disproportionately large superficial sural artery. The fibula has been divided to expose the anterior tibial vessels, and the anterior tibial recurrent artery is readily recognized. Behind the posterior tibial artery and vein is observed the tibial nerve. Attention is drawn to the more protected position of the vessels in the note on the right.\n\nNature has placed the major vessels of the leg at the middle of the thickness of the knee-joint, because on flexing that joint the vessels are less compressed than if they passed in front of or posterior to the knee.\n\nfig 2. The distribution of the common peroneal and tibial nerves.\n\nThe figure is intended to represent a slightly more superficial view than that of its companion. The legend reads, Nerve of the lateral aspect, and the fibula is indicated by the word focile, i.e., lesser focile.\n\nThe common peroneal nerve passes around the neck of the fibula and having given off muscular branches is seen to divide eventually into its superficial (musculocutaneous) and deep (anterior tibial) divisions. The tibial nerve is shown providing a number of muscular twigs, and on these Leonardo comments:\n\nThere are as many branchings of the nerves as there are muscles, and there cannot be more nor less since these muscles are shortened or enlarged only because of the nerves from which the muscles receive their sensibility. And there are as many cords, the movers of the limbs, as there are muscles.\n\nfig 3. Detail of the contents of the popliteal space.\n\nThe common peroneal nerve, labelled nerve, passes obliquely around the neck of the fibula, called the focile. The popliteal vessels are observed dividing into anterior and posterior tibial vessels of which the latter are observed supplying the peroneal vessels. The lesser saphenous vein and a rather large sural vessel are shown closely related to the tibial nerve which has been displaced.\n\n# RESPIRATORY SYSTEM\n\n# 169 respiratory system\n\nIn order to facilitate description of a page crowded with figures, they will be enumerated in order following their vertical arrangement in four groups occupying the left margin, left center, right center, and right margin.\n\nGROUP I, LEFT MARGIN.\n\nfig 1. The tongue, fauces, larynx and pharynx: lateral aspect.\n\nThe figure is a composite one. Overlapping the main figure and in continuity with it is an inset showing the uvula, oropharyngeal isthmus and thyroid eminence, the purpose of which is apparently to show the vertical relationship of the uvula to the larynx, since it was then thought that the function of the uvula was to allow the phlegm to drip into the larynx to lubricate the voice and lungs, although Leonardo himself discards this notion in the following statement:\n\nThe uvula is the drip-stone whence drips the humor which descends from above and which falls by way of the oesophagus into the stomach. It has no occasion to go by way of the trachea to descend to the spiritual regions [i.e., thoracic contents].\n\nIn mediaeval physiology the phlegm or pituita was believed to be secreted by the brain, thence passing through the infundibulum to the pituitary gland. The excess reached the nose through the cribriform plate of the ethmoid and thence to the lungs. Thus if the humor were altered in quantity or quality it caused pulmonary diseases. The contents of the thorax were referred to as the spiritual members since they were the seat of the pneuma and vital spirits. The main portion of the figure is probably derived from animal anatomy. The hyoid, thyroid, cricoid cartilages and upper end of the epiglottis may be identified, and below the cricoid is a very small thyroid gland suggestive of the dog or pig. The cords or tendons cannot be identified with any certainty, but may represent the stylo-hyoid ligament and stylo-pharangeus muscle, cf. fig. 3 below. Other surrounding notes read:\n\nBreak the jaw from the side so that you see the uvula lying in position, to what it attaches and how it is related to the mouth of the trachea.\n\nOne cannot swallow and breathe or emit sound at the same time.\n\nOne cannot breathe through the nose and through the mouth at the same time; and this is proved if one should attempt to play a whistle or a flute with the nose and another with the mouth at the same time.\n\nWhy does the voice become thin in old age?\n\nThe voice becomes thin in old age because all the passages of the trachea are contracted, as occurs in the other entrails.\n\nfig 2. The hyoid bone and laryngeal aperture from above.\n\nOn the right side behind the epiglottis and resting upon the upper border of the cricoid lamina, the arytenoid cartilage is clearly portrayed. These cartilages are said to have been described first by the famous Bolognese physician and anatomist, Berengario da Carpi (1470-1530) in his Commentaria, 1521, but this illustration shows that they were known to Leonardo. Below the figure Leonardo writes: Write on the cause of the voice without sound as do those who whisper.\n\nfig. 3. The tongue, larynx, pharynx, trachea and oesophagus.\n\nThe figure is very similar to fig. 1 above, but the epiglottis is more clearly shown. Above the drawing is the single word epiglotto which was the common term for the larynx as a whole and not for the epiglottis. The thyroid cartile is called scutale, a literal translation of thyroid, meaning shield-like. Its shape clearly indicates that the drawing is based on the dissection of some animal. The thyroid gland is noted with the statement, These glands are made to fill in the interval where the muscles are lacking and hold the trachea away from the sternal notch (forcula), as though they were a cushion. The size of the glands suggests animal material. For forcula, cf. 1.\n\nThe tendons or cords, a b c d, possibly the stylo-hyoid ligament and glossopharyngeal muscle, may have been thought of as nerves, especially since Leonardo in the accompanying note mentions their arising from the ventricles which would be the 3rd ventricle, or site of the common sense center. The term os basile is from Mundinus.\n\nAnd attach the whole [drawing to the skull]. At the same time note the nerves or cords a b c d, arising from the os basilare [base of the skull] and from that ventricle.\n\nAnd employ the greatest diligence to demonstrate the process of deglutition and also of a high and a deep voice.\n\nOther surrounding notes are: When one swallows or gulps down a mouthful, one cannot breathe. You will show what are the muscles which thrust the tongue so far out of the mouth and in what way, cf. 39.\n\nFirst you will make each part of the instruments which move and define them separately, and then join them together bit by bit so that one can reconstitute the whole with clear knowledge.\n\nIn the terminology of the times an instrument was almost but not quite the equivalent of an organ since it had to be a part of the body capable of performing a complete action.\n\nfig 4. The larynx and upper portion of the oesophagus: posterolateral aspect.\n\nAccompanying notes read: Draw this trachea and oesophagus sectioned through the middle so as to be able to show the shape of their cavities.\n\nAnd again demonstrate how control of the tongue has been placed in it.\n\nWrite on the cause of a high and of a deep voice.\n\nGROUP II, LEFT CENTER.\n\nfig 6. The hyoid bone and larynx: lateral view.\n\nThe cartilages resemble more closely the human shape than those in figs. 1 and 3. Below the drawing is the\n\n(continued on page 502)\n\n# 170 respiratory system\n\nAt this period Leonardo believed that the pleural cavities were filled with air. Since neither of his usual sources, Avicenna or Mundinus, mentions this idea, it is possible that the opinion was derived from Galen who states that on inspiration a small quantity of air seeps through the lungs into the pleural cavities. Leonardo, having accepted this opinion, is obviously puzzled and asks such pertinent questions as where this air comes from and where does it go to allow of the expansion of the lungs. He proceeds to theorize and thus arrives at the conclusion that the lungs enlarge laterally, but not downwards, so as to leave a space for the accumulation of this pleural air, which, in turn, causes the downward thrust of the diaphragm. This view is illustrated in the figure. Later, 179, he begins to doubt the existence of this air and definitely states, 31, that expansion of the lungs occurs in all directions and chiefly downwards.\n\nWhen the lung has driven out the wind and so is diminished in size by an amount equal to the wind which has left it, one ought then to consider from where the space of the capsule [pleura] of the diminished lung attracts to itself the air which fills it on its enlargement, since in nature there is no vacuum.\n\nFurthermore, on enlargement of the lung, one asks whither does it drive out the air of its receptacle [pleural cavity], by what route does this air escape, and, after it has escaped, where is it received?\n\nThe lung always remains filled with a quantity of air, even when it has forced out that air which is required for expiration. And when it refreshes itself with new air, it presses upon the ribs of the chest, expands them a little, and forces them outwards, as one sees and feels on holding the hand on the chest while breathing, that the chest expands and contracts, and even more so when one heaves a big sigh. Nature has caused this force to fall upon the ribs of the chest and not on the [pleural] membrane which bounds the substance of the lung, in order that through an extraordinary inspiration of air to create some excessive sigh, the membrane may not happen to rupture or burst.\n\nThe diaphragm or thick membrane which lies below the poles of the lung is neither displaced nor pressed upon in any part by the enlargement of the lung, because the lung increases in width and not in length unless the diaphragm were to be driven down by the wind, or rather air, which makes room for the enlargement of the lung. It would then be possible for the diaphragm, driven by the air, to make room for its enlargement. The air would push upon the liver and the liver, the stomach which is covered by it, and so the pressure upon all the intestines would follow. This continuous motion would cause the evacuation of the intestines and with as much more rapidity as the exercise of man is performed with greater vigor.\n\nOf the wind which is generated in the intestines, we shall say that it is caused by the superfluity which collects in the straight intestine [rectum]. The more this becomes dessicated, the more its moisture vaporizes. This vapor, in the form of air, distends the viscera and produces pains when it is restrained within the colon.\n\nfig 1. The pleural cavities and lungs.\n\nThe pleural cavities a and b, are shown filled with air to illustrate the theory propounded in the notes above. The displacement of this air within the pleural cavity by the expanding lung was presumed to be the cause of the descent of the diaphragm which in turn drives on the content of the alimentary tract. The theory is further elaborated in the note below in which the curious conclusion is reached that the pleural air by pressing upon the pericardium serves to lubricate the heart by displacing the pericardial fluid.\n\nThe enlargement of the lung when it is filled with air occurs in width and not in its length, as can be seen by inflating the lung of a pig. The air which is interposed between the deflated lung and the ribs which surround it, with the enlargement of the lung, escapes into the part below, between the lung and the diaphragm. It causes the diaphragm to expand downwards against the stomach, whereas the stomach being compressed sends its contents into the intestines.\n\nFurthermore, this air compressed between the lung and the diaphragm, presses upon the capsule which covers the heart and the small quantity of humor which lies in the base of that capsule is lifted up and bathes the entire heart. And so the heated heart is continually moistened by this bath which prevents its becoming dessicated by its very great motion.\n\n# 171 respirotory system\n\nfig 1. The trachea, bronchi and lungs.\n\nThe primary purpose of the figure is to show the structure of the lung. The position of the heart, the presence of cardiac and intermediate lobes all point to the animal source of the specimen, probably the pig. The three structures observed at the diaphragmatic surface are presumably from left to right, the inferior (posterior) vena cava, the oesophagus and the aorta. On the substance of the parenchyma of the lung, Leonardo writes:\n\nThe substance of the lung is dilatable and extensible. It lies between the ramifications of the trachea [i.e., bronchi] in order that those ramifications may not be displaced from their position, and this substance is interposed between these ramifications and the ribs of the chest to act as a soft covering.\n\nSince Leonardo assumed that the total cross-sectional area of the terminal bronchi was equal to the cross-sectional area of the trachea (cf. 177), he considered the tidal and complemental air but not the residual air. Thus the parenchyma plays a passive role in respiration as related above. However, elsewhere the residual air is recognized. Proposed methods of illustration follow in the notes:\n\nRemember to represent the mediastinum with the capsule of the heart in 4 demonstrations from 4 aspects in the manner which is described below.\n\nFirst make the ramification of the lung and then make the ramification of the heart, that is, of its veins and arteries. Afterwards make the third ramification of the combination of one ramification with the other. You will make these combinations from 4 aspects and you will do the same for the said ramification [as in the figure], so that there will be 12. Then make a view of each from above and one from below that there will be in all 18 demonstrations.\n\nYou will first draw this lung intact, seen in 4 aspects, in its entire perfection. Then you will represent it as seen permeated by the ramification of its trachea only, from 4 aspects. Having done this, do the same in the demonstration of the heart: first intact, and then with the ramifications of its veins and arteries.\n\nAfterwards you will do it from 4 aspects to show how the veins and arteries of the heart intermingle with the ramification of the trachea. Then make a ramification of the nerves alone from 4 aspects, and then interweave them in 4 other views of the heart and lung combined together. Observe the same rule with the liver, spleen, kidneys, womb, testicles [ie., gonads], brain, bladder and stomach.\n\nfig 2. The lungs, diaphragm and subdiaphragmatic viscera in relationship to the spinal column.\n\nThe following structures are named: lung, liver, stomach, spleen, diaphragm, spine, from above downwards. Animal features are again in evidence as in the lobulation of the lung and liver. Above the figure is written, You will make this demonstration. The key to the lettered structures is given as follows:\n\na, trachea whence the voice passes.\n\nb, oesophagus whence the food passes.\n\nc, apoplectic arteries [carotid] whence the vital spirits pass.\n\nd, dorsal spine whence the ribs arise.\n\ne, spondyles [vertebrae] whence the muscles arise which end in the nape of the neck (nucha) and elevate the face towards the sky.\n\nThe arteriae apoplecticae, or as Leonardo calls them ipopletiche, is the old term for the carotid arteries as employed by Mundinus and so named as the cause of apoplexy. The carotid arteries, of Greek origin, meaning sleep-inducing, were sometimes translated as arteriae somni, or arteriae soporales.\n\nAlways interested in the relative proportions of the human body, Leonardo proposes to give the sizes of the viscera in terms of the length of a finger.\n\nDescribe all the heights and widths of the entrails and measure them by fingers, and by halves and thirds of a finger of the dead mans hand. In all these, put down the distance which they have from the umbilicus, or the nipples of the flanks of the deceased.\n\n# 172 respiratory system\n\nThe figures on this page will be enumerated from right to left in the intended sequence. In general the illustrations are typical of the period when Leonardo was attempting to fit the findings of animal dissection both to traditional theory and to the body of man.\n\nfig 1. The great vessels of the heart and lung.\n\nThe purpose of the figure is to illustrate the supposed pathways for the passage of air to the heart. In Galenical physiology the basic principle of life, the pneuma, is drawn into the lungs with air. It then passes by way of the vein-like artery, arteria venalis, or our pulmonary vein to the left ventricle where, together with the blood which sweats through the interventricular septum, it forms the vital spirits for distribution by way of the arterial system. From the heart, impurities or so-called \"sooty vapors\" are carried back to the lung by way of the artery-like vein, vena arterialis, or our pulmonary artery, to be exhaled to the outer air. In order to fit the theory to anatomical structure, Leonardo shows the heart, considered to be a two-chambered organ, providing a pulmonary artery above and a pulmonary vein below on either side to the hilus of the lung. On the left side these vessels are lettered m and n, respectively. Not only is his anatomy in error, but his knowledge of Galenical theory is at fault since Galen and his mediaeval followers have the pulmonary artery correctly passing from the right ventricle and the pulmonary vein to the left ventricle. Above the heart we observe a common brachiocephalic trunk arising from the arch of the aorta, which reminds us how great was Leonardo's dependence upon animal anatomy for his knowledge of the distribution of the vessels. The vena cava, hepatic vein, and other structures are easily identified. However, two vessels are shown passing from the spleen. One of these is undoubtedly the splenic vein regarded as the portal vein, and the other represents perhaps the splenic and hepatic arteries in continuity. At any rate, these vessels are shown very diagrammatically.\n\nBelow the figure is a note, much of which is lost, but in which the physiological theory discussed above is presented, although later Leonardo discards the notion that air can pass directly to the lung. Above the figure is a brief remark, Dust causes damage, doubtless with reference to the lung.\n\nThe air sent back from the lung to the heart cannot enter the heart if it has no opening. Therefore it is necessary that there be two passages. When the lung sends forth the air through the trachea, at the same time it must also send air through one of these passages into the cavity of the heart, and through a second passage the air must escape from the heart and return, together with the other air which leaves through the aforesaid trachea, the passage of the lung. Necessity causes the air to be distributed through the spongy entrails of the lung [and], on being pressed out, every vesicle to be closed in that region.... When joined together [presumably the passages to the heart], they are much narrower than the trachea [and], thus it happens that when one and the same quantity of air is forced at the same time through a narrower passage than it enters, it moves more speedily the narrower the passage, and, consequently, the more... the speedier it is.\n\nfig 2. General schema of the cardiovascular system as seen from behind.\n\nThe arrangement of the vessels in the upper part of the figure is essentially the same as that of fig. 1, except that the structures are viewed from behind. Below, the inferior vena cava, descending aorta and their branches are shown. It will be noted that the right kidney lies at a higher level than the left, as in animals. The bladder, seminal vesicle, ductus deferens, epididymis, testis, ejaculatory duct and urethra are all evident, but the prostate, relatively inconspicuous in animals, is lacking. Written on the testis is the remark, Here the sperm is concocted and it was first blood, which again reflects Leonardo's acceptance of Galenical theory and change from his earlier quasi-Aristotelian opinions. Arteries were distinguished by their possession of two tunics, and veins only one. The second coat is regarded as supplying a suspensory apparatus for the cardiovascular system.\n\nOwing to its being double [coated], the artery by its sinewyness (nervosit\u00e0) performs in many places the office of simple sinews.\n\nIt is observed further that, The heart is exactly in the middle between the brain and the testicles.\n\nfig 3. The heart and the pulmonary vessels.\n\nThe figure is complementary to fig. 1. The right and left ventricular cavities are shown separated by the interventricular septum containing the mythical pores through which the blood sweats in the creation of the vital spirits. From each cavity a pulmonary artery and a pulmonary vein pass to and from the lung as required by Leonardo's incorrect interpretation of Galenical theory. In the right ventricular cavity three moderator bands, Leonardo's unique discovery, are illustrated.\n\nfig 4. The trachea and ramifications of the bronchi.\n\nAbove and to the right Leonardo reminds himself to draw a figure such as this.\n\nFirst draw the entire ramification which the trachea makes in the lung and then the ramification of the veins and arteries separately. Next draw everything together, but follow the method of Ptolemy in his geography in reverse. Then you will better understand the whole put together.\n\nIn his proposed \"order of the book\" on anatomy Leonardo states that it is his intention to adopt the plan used in Ptolemy's cosmography, from which Leonardo quotes almost verbatim. The Ptolemy Cosmography was first printed in 1462 and thereafter there were numerous editions, the later ones containing the maps to which Leonardo refers.\n\nAt the top of the page is a note, probably written at a much earlier date, on a plan of illustration. First place the bones, next put upon them successively [the structures] further removed from the bones.\n\n# 173 respirotory system\n\nIn this, among the latest of Leonardo's anatomical studies, we find far less reliance upon written traditional authority and greater dependence upon direct observation. This is expressed in a marginal note on the superiority of the illustration, and especially composite illustration, over the written word in biological investigation.\n\nWith what words, O Writer, will you describe with like perfection the entire configuration which the drawing here does? Lacking knowledge, this you describe confusedly and leave little conception of the true shape of things which you, in self-deception, make believe that you can fully satisfy your auditors when you must speak of the configuration of some bodily structure bounded by surfaces. But I counsel you not to encumber yourself with words unless you are speaking to the blind. If, however, you wish to demonstrate in words to the ears and not to the eyes of men, speak of substantial or natural things and do not meddle with things appertaining to the eyes by making them enter through the ears, for you will be far surpassed by the work of the painter.\n\nWith what words will you describe this heart so as not to fill a book? The longer you write on the details, the more you will confuse the mind of the auditor. You will always be in need of commentators or be required to return to experience, which in your case is very brief, and gives knowledge of but few things concerning the whole subject of which you desire an entire knowledge.\n\nfig 1. The heart, trachea and bronchial tree: posterior aspect.\n\nThe notes pertaining to the figure are scattered irregularly and are here rearranged in some degree of logical sequence. The figure is based upon the findings in the ox. The posterior aspect of the heart is shown as noted by the words, Seen from behind, and right and left placed upon the respective ventricles. The great and lesser cardiac veins and the inferior interventricular and circumflex branches of the right coronary artery are shown ramifying on its surface. Leonardo makes a number of notes on the coronary vessels.\n\nON THE VESSELS WHICH NOURISH THE HEART.\n\nThey always lie naked upon the heart and their lateral portions are surrounded by suet-like fat, that is, dense fat.\n\nHere he follows the traditional classifications of fat into hard and soft. He reminds himself that, There is the vein and the artery of the heart, and then draw them in position.\n\nThe atria are not shown. Arising from the base of the heart are presumably the pulmonary artery on the left and the superior (anterior) vena cava on the right. Bronchial arteries, n m, spring from the pulmonary to pass to the bifurcation of the trachea, and branches follow the ramifications of the bronchi. To distinguish the bronchial arteries from branches of the pulmonary vessels, they are called vessels of the first order. The first [i.e., bronchial] artery divides at its point of contact with the first division of the trachea....\n\nA dual blood supply to the lung by way of the bronchial as well as pulmonary vessels was a source of puzzlement. Leonardo correctly concludes that the bronchial vessels supply the parenchyma. On reading his note it should be remembered that the term trachea is applied to the entire bronchial tree.\n\nA REMINDER.\n\nYou have to consider the second order [i.e., pulmonary] of veins and arteries which cover the first [i.e., bronchial] veins and arteries which nourish and vivify the trachea, what material is it that interposes itself between the first and second [order of] veins and arteries, and why in such an instrument did Nature duplicate artery and vein, one upon the other, finding themselves for the nourishment of one and the same member. You could say that the trachea and the lung had to be nourished, and if you had to do this with a single large vein-like artery (venarteria [=pulmonary vein]), this [vessel] could not remain attached to the trachea without great hindrance to the motion which occurs with the expansion and contraction of the trachea in length as well as in width. Consequently, for this reason she [i.e., Nature] gave such [bronchial] veins and arteries to the trachea as were needed for its life and nourishment, and separated a little from the trachea the other large [pulmonary] branches to nourish the substance of the lung with greater convenience.\n\nFurther details on the arrangement of the pulmonary vessels within the substance of the lung are described.\n\nThe [pulmonary] veins and arteries, which are united, have a membrane which clothes them. If this membrane finds such a vein and artery applied to some other flesh, it clothes half their width and the other half will be clothed by the flesh to which they are applied. But if they are not applied to this flesh, then the membrane surrounds them or in addition to this is continued into the space interposed between the bifurcation of these vessels, and especially in the substance of the lung.\n\nThe [pulmonary] artery lies somewhat below the vein, although some of its ramifications sometimes lie above the vein.\n\nBy the above statement Leonardo means that the artery is more closely related to its bronchus. We learn elsewhere that this arrangement is needed since the artery conveying heat requires to be cooled by the incoming air more than the vein.\n\nThe bronchial tree and parenchyma of the lung are described:\n\nThese [bronchial] ramifications are interwoven with the substance of the lung. This substance is in itself dilatable and extensible like the tinder made from a fungus. But it is spongy and if you press it, it yields to the force which compresses it, and if the force is removed, it increases again to its original size. This substance is clothed by a very thin membrane [pleura] which is opposed to the rib space. When it [i.e., lung] enlarges, it never ruptures becauses it is never entirely filled with air.\n\nAlong the right margin of the lung the pennate appearance of the first, second and third orders of\n\n(continued on page 503)\n\n# 174 respiratory system\n\nThis series of sketches of segments of the minor bronchi are details closely related to the more general illustration of the bronchial tree found on 173, and of approximately the same date. It should be noted that the term trachea is applied to the entire respiratory tract.\n\nfig 1. A bronchial segment and its nerves.\n\nBelow the figure is the legend Ramification of the nerves upon the ramification of the trachea [bronchus]. The difficulty of demonstrating the fine nerve bundles accompanying the bronchial tree from the pulmonary plexuses, and the fact that connective tissue strands were classified as nerves, makes their identification dubious.\n\nfig 2. A bronchial segment and accompanying pulmonary vessels.\n\nThe close relationship of the pulmonary artery to the bronchus is explained:\n\nThe vein always lies upon the artery, and the artery is refreshed by the air of the trachea [bronchus] more than the vein, because the artery being warmer has greater need for this.\n\nLeonardo was willing to accept the Galenical teaching that the lungs cooled or \"refreshed\" the arterial blood, but at this period he denied the existence of any free communication of air with the vessels, cf. 173.\n\nfig 3. Rough sketch of the bronchial tree and related vessels.\n\nMake 3 figures of the trachea, that is, first of the simple trachea from behind and in front, and from the right and the left side: then one with the nerves and one with the veins and arteries.\n\nfig 4. A bronchus.\n\nThe figure carries the legend, The simple trachea.\n\nfigs 5-6. A bronchial segment and bronchial artery.\n\nThe legend reads, Trachea and artery; reference to 173, identifies the vessel as a bronchial artery.\n\nfigs 7-8. A bronchus in inspiration and expiration.\n\nThe trachea a b, is full of air, and the trachea b c, is empty of air.\n\n# 175 respiratory system\n\nIt is necessary, owing to Leonardo's arrangement, to follow the columns vertically from right to left in the enumeration of the figures.\n\nLeonardo was greatly interested in the mechanics of respiration and in his earlier studies for the most part followed and elaborated upon the Galenical conception that the external intercostal muscles act on inspiration, and the internal on expiration. Here in his latest writing he modifies and extends his views on the action of these muscles in forced respiration. The intercostal muscles are now regarded as acting in opposition to the transverse muscles of the anterior abdominal wall. But first of all he considers the action of the abdominal muscles in forced expiration.\n\nON FORCED RESPIRATION.\n\nWhen the lung is contracted beyond the ordinary, this contraction is not caused by it but by the abdominal wall (mirac) which with its transverse muscles compresses and elevates the intestines beneath the diaphragm. The diaphragm forces the lung against the concavity of the chest, compresses it, drives a large quantity of air from it and causes it to decrease in size by an amount proportional to the air which is removed from the lung.\n\nThe term mirac, from the Arabic maraqq, most commonly meant the anterior abdominal wall or simply the abdomen, although it was sometimes applied more specifically, but variously, to the epigastrium, the hypogastrium or to the umbilicus. It is employed by Avicenna and Mundinus.\n\nfig 1. Diagram of internal intercostal muscles.\n\nfig 2. Serratus posterior inferior muscles or serratus anterior, labelled a n m.\n\nfig 3. Opening of the contra-lateral intercostal spaces on lateral bending.\n\nThe above three figures illustrate the argument of the note below in which forced inspiration is discussed.\n\nON THE MAXIMUM EXPANSION OF THE LUNG.\n\nThe maximum expansion of the lung is caused by the greatest shortening of the diaphragm and by the greatest tension of the transverse muscles of the abdominal wall.\n\nBut at this time the [intercostal] muscles [cf. fig. 1] interposed between the ribs of the chest are expanded, and the [serratus posterior inferior] muscles [fig. 2] which clothe the ribs below the nipples towards the flanks are shortened and draw the ribs behind them in such a way that they expand them. But, as for me, I judge that the maximum expansion of the ribs is caused by the transverse muscles of the abdominal wall, because if you hold your breath, you will observe that it is impossible for you to increase and enlarge the chest, and if you appear to enlarge it, it is because you force your shoulders backwards and increase the extent of the chest interposed between the shoulders, and, besides, you arch and bend in the spinal column. However, if you would observe the expansion of the chest by the aid of its muscles, attempt to expand it by force, and hold the thumbs along the borders of the flanks against the transverse muscles, and you will feel that the force of the expansion of the chest is caused by the force of these transverse muscles and not by the [intercostal] muscles of the chest. The latter [intercostal muscles] are made solely so that the ribs may not expand more than they should in the transverse [i.e., lateral] motions made to the right and left, in which the ribs, while restrained on one side, are strongly expanded on the other, and they would open up the chest if it were not for the muscles [as in fig. 3].\n\nAt this point is interposed a note, possibly of earlier date, on the motion of water, but omitted here for lack of concern with the present subject.\n\nfig 4. Diagram of the external and internal intercostal muscles.\n\nThe diagram is to illustrate the accompanying note in which it is contended that the intercostal muscles oppose rotatory motions of the body but assist these motions when the body rotates freely.\n\nThese [intercostal] muscles between the ribs are in a position to oppose the transverse [rotatory] motions, that is, if you jump upwards and spin round with the aid of the motion of the arms made in the same direction, the force of these [muscles] draws the body behind them on turning around.\n\nfig 5. Sketch of a figure in a squatting position for defecation.\n\nfigs 6-7. Diagrams of torso in flexion to show shortening of ventral muscles.\n\nThese diagrams illustrate the accompanying note in which Leonardo attempts to show that defecation is not due to the action of the abdominal muscles but, by inference, to the diaphragm. An important physiological observation is made on the length-tension relationship of muscle as it was eventually to be established by Blix in 1895.\n\nThe [anterior] longitudinal muscles do not act on evacuation of the intestines, because the more a man flexes himself, the more these muscles relax in such a way that they diminish by half their length, as you may observe is done by those who desire to generate great force in this evacuation. These muscles having been shortened by half, are compelled to relax and without any strength remain useless. Therefore these muscles do not act on such exertion.\n\nfig 8. The quadratus lumborum muscle.\n\nThis sketch shows the attachments of the quadratus lumborum muscle which are called the muscle of the lonbi, that is, the lumbar muscles. Its purpose is to illustrate the note discussing antagonistic and synergistic (adeventi) muscles. Having discussed the action of the transverse muscles of the abdomen, Leonardo now proceeds to a consideration of the longitudinal.\n\nFOR WHAT SERVICE WERE THE LONGITUDINAL MUSCLES OF THE BODY MADE.\n\nThe longitudinal muscles of the body were made to flex the body forwards with unvarying power and an-\n\n(continued on page 504)\n\n# 176 respiratory system\n\nThe figures on this page are to illustrate various statements on the function of the diaphragm discussed in the notes. However, they are very haphazard in arrangement, and in order to bring them into relationship with the appropriate note, although they will be numbered from left to right in the customary manner, they will not be discussed sequentially. At the top of the page is a remark on the heart written as though Leonardo had intended to continue his discussion on this subject in uniformity with a previous page, 93-4, but failing to do so, has filled the rest of the page with observations on the diaphragm. These remarks on the heart are very tantalizing for the question asked, but not answered, carries one to the threshold of a discussion on the pulmonary circuit or lesser circulation of the blood. It should be remembered that the air was supposed in the Galenical system to pass to the left side of the heart.\n\nON THE HEART.\n\nWhether the veins of the lung do not return the blood to the heart when it contracts after driving out the air.\n\nfigs 5-8. The diaphragm, to show its spoon or ladle-like shape.\n\nThe diaphragm has a shape similar to a very hollow spoon.\n\nIn fig. 7, not only is the diaphragm shown but also some of the other respiratory muscles. Extending from the cervical spine to the thorax are the scalene muscles, and it will be noted that the scalenus anterior muscle is shown inserting at the level of approximately the sixth or seventh rib, an arrangement found in animals but not in man. Attached to the lower rib are, presumably, digitations of the serratus anterior muscle with which Leonardo apparently includes the serratus posterior inferior. He invariably fails to realize that the serratus anterior is inserted into the vertebral border of the scapula but believes it to be attached to the vertebral column. Consequently, he maintains that this muscle with its fellow compresses the lower ribs and thus relaxes the diaphragm, aiding in its ascent as described in the related note. However, he immediately discards this notion and contends that these muscles stabilize the lower ribs as described a little further on.\n\nWhen the [serratus anterior] muscles which lie below the nipples and are attached to the ribs, compress these ribs, then the diaphragm becomes highly concave and contracts at its borders which exist at the cartilage or tips of the ribs, etc.\n\nfigs 3-4, 9. Diagrams on the action of the scalene and serratus muscles in respiration.\n\nThese diagrams are to illustrate the lengthy note below in which Leonardo reverses the opinion stated above on the action of the scalene and serratus muscles. In fig. 3, are shown the scalene muscles. Fig. 4, represents an articulated pair of ribs in which o p, and n m, indicate the anterior scalene muscles, and m r, and f g, behind and above, the serratus anterior. It is now held that these muscles prevent the collapse of the lower ribs on contraction of the diaphragm, and so they are regarded as stabilizing muscles. It should be remembered that the scalenus anterior is visualized as extending to insert at the level of the costal margin as in animals. These views are more clearly illustrated in fig. 9. The diaphragm h a b, is attached to the costal margins at h and b. The vertebral column is lettered r m a. The thoracic walls are shown in two positions, m c b, and m f h, on expiration, and expanded to m c n, and m f g, on inspiration through the action of the scalene muscles, r c, and r f. In this way the fulcrum is stabilized to resist the contraction of the diaphragm. Below is the alimentary tract, the contents of which are forced on in spurts, analogous to peristalsis, by the rhythmic descent of the diaphragm.\n\nI have found why necessity strengthens the cartilages where the anterior borders of the diaphragm are attached. When this [diaphragm] expands and drives the gibbosity of the intestines downwards to increase the space in the chest for the lung, so that the lung can retain in this space the air taken in by it, the diaphragm could not do this if the internal muscles of the chest did not contract simultaneously with those in front of and behind the ribs [Quaderni incorrectly transcribes collo for costo], as is seen [fig. 4] in the muscles in front n m, o p [scalenus anterior], and those behind f g, m r [serratus anterior and posterior]. Since the muscle called the diaphragm would contract from the middle towards its circumferential borders, [and] it could not do so unless these borders were well stabilized, because if this stability did not occur there, the borders of the diaphragm would proceed towards its middle and so would pull after it the cartilages and, successively, the tips of the ribs and the thorax to which they are united. Consequently the chest would be contracted instead of its necessary dilatation. Hence Nature provides it with the above mentioned 4 groups of lacerti [strap-like muscles] and muscles to prevent the chest from being contracted and drawn inwards by the contraction of the diaphragm and that it may be opened and expanded with ample enlargement by the aforementioned muscles and lacerti.\n\nIn the 5th [book] \"On forces\" is proved what is contained above, that is, if the force of the diaphragmatic membrane is unable to drive the intestines downwards by its contraction, the diaphragm will then pull towards itself the sides where it is attached by its borders. Let the diaphragm be h a c [in fig. 9] which is attached by its borders to the ends of the ribs m c b, and m f h. I state that if this diaphragm contracts in itself with its own force to obliterate its curvature h a b, and to straighten out, and if this were prevented by the gibbosity of the intestines on which it rests and which it presses down, then the diaphragm in the process of its advancing contraction will draw towards itself the ends h b, of the ribs m f h, and m c b, and draw them along the line a b, and a h, and so contract the space h b. But Nature has provided against this by means of the [scalene] muscles r f, and r c, which bend and elevate these ribs from m c b, to m c n, and from m f h, to m f g. In this way the pulmonary cage is dilated and its capacity increased together with the lung which increases with it. As there is no vacuum\n\n(continued on page 504)\n\n# 177 respiratory system\n\nfig 1. Diagram on the functional relationship of the diaphragm to the stomach.\n\nThe figure is purely diagrammatic to illustrate Leonardo's discussion. The oesophagus is lettered a d, the stomach and duodenum, b, and the spinal column, f. The notes are devoted not only to the function of the diaphragm but also to its presumed effect on the stomach. The descent of the diaphragm is held to be an active process due to the contraction of its muscles. Ascent of the diaphragm is a passive recoil produced by expansion of the gases within the intestines previously compressed by diaphragmatic descent and by the active contraction of the anterior abdominal wall. The rhythmic ascent and descent compress the stomach and cause rhythmic expulsion of the chyle. The terms, spiritual and natural members, are those customarily employed by mediaeval anatomists for the contents of the thorax and abdomen; in the Galenical physiology the lung and the heart are responsible for the formation of the vital spirits, and the alimentary tract for the chyle which is elaborated by the liver into venous blood charged with the natural spirits. The ideas expressed are taken almost wholly from Mundinus.\n\nON THE MUSCLE CALLED THE DIAPHRAGM AND ITS FUNCTION.\n\nThe uses of the diaphragm are four. The first, that it be the source of the dilatation of the lung by which the air is attracted. The 2nd, that it compress the stomach which is covered by it and expel from it the digested food into the intestines. The 3rd, that it constrict and help to compress, with the aid of the abdominal wall, the intestines to drive out the superfluities. The 4th, that it separate the spiritual [thoracic] members from the natural [alimentary].\n\nThe above-mentioned four uses exercised by the diaphragm are achieved by it through one and the same cause, which is solely by its expulsion [i.e., ascent] and attraction [i.e., descent]. By its expulsion the air is driven out of the lung. This expulsion is not caused by the diaphragm but by the rarefaction [expansion] of the air which was previously condensed in the intestines when the diaphragm retracted and increased the capacity of the lung, drawing in the air behind it. When the diaphragm relaxes it is not in itself capable of curving and forming a large hollow if the compressed intestines did not dilate and enlarge under the diaphragm. At this time the intestines press the stomach from below upwards against the diaphragm and compel it to expel part of the chyle which is generated in it. Then when the diaphragm retracts, it presses the stomach from above downwards and again compels it to expel a part of this chyle. If you were to say that it is not possible for the air to be condensed in the intestines by the pressure of the diaphragm, because if an intestine is compressed from above it dilates transversely, and hence the air is not condensed, to this it is replied that dilatation is prevented by the walls of the intestine which, even if they are dilated, are compressed inwards by the contraction made by the abdominal wall. Hence, although the intestines have been stretched, the air in them is condensed.\n\nBut the compression of the stomach from below upwards against the diaphragm whieh forms a cover for it is not as great as the force which presses from above downwards, because on being pressed from below upwards the diaphragm is relaxed and allows itself to be forced to enlarge by the air of the bowels. It does not find any obstruction above because the lung itself is composed of a very light substance and its passages remain continually open, hence air escapes from the lung with ease.\n\nLeonardo next discusses the tidal air, ignoring the residual air which remains in the lungs after expiration, although he was aware of its presence, cf. 170. He erroneously assumes that the total, cross-sectional area of the ultimate branches of the bronchi is equal to the cross-sectional area of the trachea to allow for the free flow of air. However, he believes that the respiratory tree is constricted at the larynx to permit the development of the pressure needed not only for the production of the voice but also, as was the common notion, to fill the ventricles of the brain.\n\nWHETHER THE AIR WHICH ESCAPES FROM THE TRACHEA IS CONDENSED DURING ITS TRANSIT OR NOT.\n\nThe total amount of air which enters the trachea is equal to the total number of stages [i.e., divisions] which are generated from its ramification, like the branches produced in the annual rings of a plant in which each year the total estimated size of its branches, when added together, is equal to the size of the trunk of the plant.\n\nHowever, the trachea is constricted at the larynx (epigloto) to condense the air which appears to come from the lung for the creation of various types of voices and also to compress and dilate the diverse passages and ventricles of the brain. Consequently, if the trachea were to be enlarged at its upper end, as it is in the throat, the air could not condense and perform the uses or offices essential to life and to man, that is, in speaking, singing and the like. The gust of wind driven out of the lung in the generation of a large breath comes from the aid of the abdominal wall which compresses the intestines, and they elevate the diaphragm which compresses the lungs.\n\nIn the final note Leonardo returns to the question of the influence exercised by the diaphragm on the motions of the stomach. Unless one is familiar with the ramifications of the humoral doctrine the meaning of this note will remain obscure. Leonardo is commenting upon, only to discard, a fundamental theory on what was called \"natural action and motion\". The ideas were derived from Aristotle and Galen. An action or function proceeds from one or other of the three principal faculties, animal, vital or natural related to the nervous, cardio-vascular or alimentary systems. These actions are further classified as either voluntary or natural, that is, involuntary. Natural or involuntary motions include the motions of the heart as well as of generation, growth and nutrition, called the powers. The alimentary tract has therefore the specific power of nutrition which depends upon the ability of its tissues to attract, retain and expel food and its products. These functions are supposedly effected respectively\n\n(continued on page 505)\n\n# 178 respiratory system\n\nLeonardo continues in greater detail the argument presented in 177, on the influence of the respiratory movements of the diaphragm in the emptying of the stomach, and he offers a mechanical explanation in opposition to the Galenical theory.\n\nfigs 1-2. Diagrams to illustrate the interaction of the diaphragm and anterior abdominal wall in respiration, and on the alimentary canal.\n\nIn the upper or inset figure the diaphragm, the boundaries of which are lettered a b c d, is viewed from below to demonstrate its cupola o. The lower figure shows the body in diagrammatic, sagittal section to illustrate the changes in abdominal capacity on ascent and descent of the diaphragm. The figure is fully described in his note which follows:\n\nANATOMY.  \nHOW THE NUTRIMENT OF MAN LEAVES THE STOMACH, ITS DISPENSOR, IN SPURTS.\n\nThe nutriment of the body of animals escapes or is expelled from the stomach, its dispensor, in spurts or, let us say, by impulses separated by intervals of quiet. This is caused by the motion of descent of the diaphragm and by the return motion of the abdominal wall. It is proved thus:\n\nHOW THE DIAPHRAGM OF ITSELF HAS NO OTHER THAN A SINGLE MOTION.\n\nThe diaphragm of itself has only a single motion which is that which causes it to leave the lung as the lung follows behind it. The second motion is produced by other structures and is that which as it retreats causes the lung to return. The force which causes the retreat is produced by the abdominal wall. Thus the natural motion which is generated by the diaphragm n m f, is demonstrated by [the movement of] n m f, to n g f. This would leave vacant behind it the space a, were the lung not to occupy it by its enlargement as it fills with air. At the same time the abdominal wall f h s, retreats to f c s, and the intestines b, which are expelled from the space a, are withdrawn into the space c, that is, when the intestines at a, descend to b, those at b, descend into the space c. Now the small curvature n g f, of the diaphragm cannot of its own accord increase [i.e., re-establish] its former large curvature, that is, n m f, because the function of muscles is to pull and not to push. Hence, if it is to occupy the position n m f, it is necessary that its incurving be assisted by another incurving that it may withdraw and distend with a smaller [for larger] curvature. This the abdominal wall will do, and when it has been pushed forwards from f h s, to f c s, by the descent [Leonardo has astenstione, ascent, for attensione, descent] of the diaphragm, will return presently back to f h s, by its ascent. This will drive the diaphragm n g f, into the position n m f. And so these two opposite motions acting like a flux and reflux, are made by the diaphragm against the abdominal wall and then by the abdominal wall against the diaphragm.\n\nLeonardo concludes that the primary movement of respiration is diaphragmatic contraction and its secondary movement is relaxation since at death the diaphragm is always found relaxed.\n\nWhich was the first to extend into the human body\u2014the inward curvature of the diaphragm or the inward curvature of the abdominal wall, and which was the last?\n\nOf the two motors of the food and of the air within the human body, the diaphragm was the first on straightening out to draw the air behind it by means of the enlargement of the lung and to compress the intestines against the abdominal wall. At the same time the abdominal wall was compelled to curve [out-Wards] and, on the second occasion, straightens and restores the previous roundness of the diaphragm. And so it will act successively throughout life with this successive flux and reflux. The final motor will be the abdominal wall which by discarding its accidental curvature, first given it by the diaphragm, will at last straighten and return to the diaphragm its previous natural curvature for ever, etc.\n\nThe ascent and descent of the diaphragm compresses the stomach rhythmically forcing its contents onwards. The food cannot return by what we would call reverse peristalsis owing to the action of the pylorus and flexures of the duodenum.\n\nfig 3. The stomach and duodenum.\n\nThe flexures of the duodenum are lettered a b. They are present to prevent the return of chyle into the stomach. Expiration causes the gases within the intestines to expand, and this expansion constricts the duodenal flexures.\n\nA CONCLUSION FROM WHAT HAS BEEN STATED, HOW THE FOOD ESCAPES FROM THE STOMACH BY IMPULSES.\n\nFrom what has been stated it can be concluded with certainty that the flux and reflux of the 2 powers created by the diaphragm and abdominal wall are those which compress the stomach and produce interrupted expulsion, that is, impulses separated by periods of quiet with short intervals of time during which the food is [alternately] expelled and retained by the stomach. It cannot return to the stomach because the pylorus (portinaro) shuts at the time of the flux made on the re-acquisition of the power of the diaphragm [i.e., during diaphragmatic ascent].\n\nI shall also say of the abdominal wall that it drives the wind from below upwards, because the abdominal wall first contracts from below where it possesses a smaller space between the pubis (pettine) and the loins (reni) than exists above at the level opposite the stomach. Therefore the twistings of the duodenum are placed at the fundus of the stomach and constrict one another in such a way as to close against the pylorus.\n\nThese motions [of the stomach] are simultaneous and cease simultaneously. The first natural motion begins at the diaphragm, and the second natural motion terminates in the abdominal wall. But they cease at the same time, that is, the abdominal wall terminates its natural motion on retraction when the diaphragm relaxes from its contraction.\n\nOn the significance of the term \"natural motion\", cf. 177.\n\n# 179 respiratory system\n\nThis sheet is of the greatest importance for the chronology of Leonardo's studies since it carries at the top of the page the date, On the 9th day of January 1513. This is the last date found on any of his drawings. At the end of the year he was in Rome where he continued his anatomical studies although frustrated by the complaints of the German mirror-maker. Thereafter Leonardo's anatomical investigations appear to have ceased. In addition to the anatomical drawings there are various architectural studies including the plan of a fortress on the bend of a river. These will not be considered.\n\nfigs 1-3. Diagrams of the diaphragm in expiration and inspiration.\n\nThe first of these figures shows the diaphragm in full expiration. The zig-zag slips or origin of the diaphragm from the ribs suggest an animal source, possibly the dog, as implied below. The method of illustrating the diaphragmatic origin is very similar to that on 30 and 31, of the same date. In the second figure the diaphragm is shown in inspiration and in the third in some intermediate position. At this period Leonardo had begun to modify and correct earlier views on the action of the diaphragm in respiration. He formerly believed, in accordance with Galen, that the pleural cavities contained air (cf. 170) which led to erroneous conclusions. He now doubts that this is so with the statement: Whether any quantity of air is interposed in any part between the lung and the chest or not.\n\nfigs 4-5. The diaphragm and its relations to the alimentary tract.\n\nThese rough diagrams relate to Leonardo's theory on the mechanism of diaphragmatic ascent and descent. He saw that descent of the diaphragm was due to its contraction, but how to explain its ascent? He offers the opinion that since diaphragmatic descent caused a compression of the gases within the intestines and protrusion of the anterior abdominal wall, its ascent must be due to the expansion of the intestinal gases assisted by the elastic rebound and active contraction of the belly wall. This is shown in fig. 7 below. However, he was becoming dissatisfied with this explanation as may be seen from 31, and is apparently looking for some other mechanism. Thus he remarks:\n\nThe ureters and the kidneys, the spermatic vessels [ductus deferens] and the diaphragm are outside the peritoneum, and so are the greater and emulgent [renal] vessels. The intestines are within the peritoneum.\n\nThe term emulgent vessels, or veins (venae emul-gentes), for renal vein is from Mundinus, and derived from the same root as the word \"milk\" since these veins were believed to milk off the watery element of the blood, containing impurities such as the yellow bile, through the kidneys to form the urine.\n\nfig 6. Posterior wall of thorax.\n\nWe have been unable to determine what the structures lying parallel to the spinal column are intended to represent. They may be the levatores costarum muscles or perhaps the crura of the diaphragm or even the psoas muscles, of which Leonardo was uncertain of the position for he says below the figure: See the dead dog, its loins and diaphragm and the motion of the ribs.\n\nfig 7. The diaphragm and subdiaphragmatic organs in expiration.\n\nThe diagram shows the ascent of the abdominal organs in full expiration. The action of these organs in the production of the diaphragmatic ascent is discussed above. Leonardo realizes that the respiratory movements of the diaphragm are enhanced by those of the ribs.\n\nThe compound motion which the diaphragm possesses is the reason why the lung gathers into itself more air than the dilatation of the ribs gives off, and that the dilatation of the ribs gives more air to the lung than the dilatation of the diaphragm gives it.\n\n# ALIMENTARY SYSTEM\n\n# 180 alimentary system\n\nTHE MUSCLES WHICH MOVE THE LIPS OF THE MOUTH.\n\nfig 1. The lips pursed.\n\nThe lateral angles of the lips are lettered n m, and the middle, o p. In juxtaposition to the region of the orbicularis oris, shown pursing the lips, is the remark, Here the lips become muscular moving with them the lateral muscles, and on the cheek, lateral to the angle of the mouth and drawing attention to the antagonists of the orbicularis oris, is written, And then the lateral [muscles] move the lips. This is illustrated in the next figure.\n\nfig 2. The lips stretched by retraction of the angles.\n\nThe figure complements that above. The angles are lettered c b, and the middle or median tubercle by a. The action of the antagonists to the orbicularis is illustrated. Below the figure Leonardo writes:\n\nIt must first be noted on the bones of the face in which part they arise and whence the sinews go which first open and then close the lips of the mouth and where the muscles penetrated by these sinews are attached.\n\nfig 3. Diagrammatic sagittal section through the lips to show the position of the orbicularis oris muscles.\n\nA lengthier note discusses the matter illustrated in the above three figures.\n\nThe muscles [orbicularis oris] called the lips of the mouth, on contraction towards their middle, draw behind them the lateral muscles. When the lateral muscles retract towards themselves on shortening, then they draw behind them the lips of the mouth, and so the mouth is stretched, etc.\n\nThe maximum shortening of which the mouth is capable is equal to half of its greatest extension and is equal to the greatest length of the nostrils of the nose and of the interval interposed between the lacrimators [naso-lacrimal ducts] of the eyes.\n\nfigs 4-5. The lips retracted to expose the teeth in anterior and lateral views.\n\nThe frenulum of the upper and of the lower lips are lettered o p, and n m, respectively, and these folds of mucous membrane are considered to be the tendons of muscles which close the lips against the teeth.\n\nThe sinew n m [frenulum] in the lower lips and the sinew o p [frenulum] of the upper lip are the cause of the closure of the mouth with the aid of the muscles of which the lips of the mouth are composed.\n\nfig 6. The womb of the cow.\n\nIn this slight sketch of the uterus and vagina of a pregnant cow the outline of a foetus in the interior may be observed. The bicornuate nature of the uterus in this animal is not indicated. The vessels are presumably the uterine.\n\nfig 7. The lips retracted between the teeth.\n\nThe sketch shows the lips g h, retracted into the oral cavity and lying between the teeth. Laterally at r, is presumably the buccinator muscle which is supposed in part to effect this action.\n\nON THE SINEWS WHICH CLOSE THE LIPS.\n\nThere are two motions which effect the closure of the lips. One of these is that which closes and compresses one lip against the other. The 2nd motion is that which constricts or shortens the length of the mouth. But that [muscle] which compresses one lip against the other, lies upon the last molar of the mouth. When these contract they have such power that on holding the teeth a little open, they draw the lips of the mouth within the teeth, as is shown in the mouth g h [fig. 7], being drawn by the [buccinator] muscles r, at its sides.\n\nfig 8. The presumed action of the buccinator and orbicularis oris muscles in retracting the lips.\n\nThe sketch shows what is probably the buccinator muscle t r, extending into the orbicularis oris of the upper, m o n, and lower lip, d c s. Their conjoint action is believed to retract the lips from the teeth as shown.\n\nfig 9. The lips constricted or pursed.\n\nfig 10. The buccinator and orbicularis oris muscles.\n\nThe muscles are lettered as in fig. 9 above, t v, is presumably the buccinator, m o n, and d c s, the orbicularis oris. A note on the action of the buccal muscles provides rules for the determination of the action of these muscles and refers principally to fig. 9.\n\nWHAT ARE THE MUSCLES WHICH CONSTRICT THE WIDTH OF THE MOUTH.\n\nThe muscles which constrict the mouth along its width as is shown above [fig. 9] are the lips themselves which draw the sides of the mouth towards its centre. This is shown by the 4th [rule] on this subject which states: The skin, the covering of the muscles which contract, always points by means of its wrinkles to the place where the cause of the motion exists; and by the 5th [rule] no muscle employs its power to push but always to pull towards itself the structures which are connected to it. Therefore the centre of the muscles called the lips of the mouth pulls towards itself the extremities of the mouth with a part of the cheeks, and for this reason the mouth in this function is always filled with wrinkles.\n\n# 181 alimentary system\n\nAlthough the page opens up with a note on proposed methods of illustrating the structure of the upper extremity, it has been classified with the alimentary system since more than half is devoted to the function of the teeth. In the note on methods of illustration Leonardo employs the curious but descriptive term \"motors\" for the muscles and their tendons as the engines of motion. He also uses the word \"lines\" of attachment which was a favorite technique of representing the muscle by a cord so as not to obscure underlying structures and to provide a clearer conception of the action of the muscle. Numerous examples of the technique are to be found in his words such as those seen in 18, 73, etc.\n\nORDER OF ANATOMY.\n\nFirst make the bones, that is, the arms, and the place the motors from the shoulder to the elbow with all of their lines [of attachment]; next, from the elbow to the arm; then from the arm to the hand and from the hand to the fingers.\n\nIn the arm you place the motors which open the fingers, and you will place these in their demonstration alone. In the 2nd demonstration you will clothe these muscles with the second motors of the fingers and you will do this step by step so as not to confuse. But first place upon the bones the muscles which unite the bones without further confusion by other muscles. With these you will place the nerves and vessels which nourish them, having first made the vascular and nervous tree upon the simple bones.\n\nfig 1. Diagram of the leverage of the front and back teeth.\n\nThe lines a d, and a c, represent the upper and lower jaws with the axis at a, and teeth at the points d e, and b c. Unfortunately, from the point of view of the proportional leverage exerted, the position of the power is not indicated. He employs mechanical principles to explain the morphology of the teeth, elaborating upon a Galenical description of their function.\n\nON THE NATURE OF THE TEETH AND THEIR POSITION AND DISTANCE FROM THE AXIS OF THEIR MOTION.\n\nA tooth has less power to bite off the further it is removed from the centre of its motion. Thus if the centre of motion of the teeth is at a, the axis of the jaw, I say that the more distant these teeth are from the centre a, the less powerful the bite. Therefore the bite at d c, is less powerful than that of the teeth b c. From this follows the corollary which states: that tooth is more powerful the nearer it is to the centre of its motion or axis of its motion, that is, the bite of the teeth b c, is more powerful than that of the teeth d e. (Nature makes the teeth less able to penetrate the food and with blunter cusps, the more powerful they are). Therefore the teeth b c, will proportionately possess more obtuse cusps as they are moved by a greater power. For this reason, the teeth b c, will be more obtuse in proportion to the teeth d e, as they are nearer to the axis a, of the jaws, a d, and a c. Consequently Nature has made the molars with large crowns, suitable for mastication and not to penetrate or cut the food. She has made the teeth in front for cutting and penetrating and unsuitable for mastication of the food, and she has made the canines (maestre) between the molars and the incisor teeth.\n\n# 182 alimentary system\n\nThe figures and notes on this page date from an early period, c.1489, but to them has been added a note, c.1504-06, \"on the erection of the penis.\"\n\nfigs 1-2. Sketches of the intestinal coils.\n\nThese slight and inconsequential sketches of the intestines exhibit only the slightest acquaintance with the arrangement of the alimentary tract even if judged as no more than graphic reminders. However, they should be examined since they are among the very few studies of the alimentary system dating from this early period. The note is a reminder to make other studies.\n\nAs to these [intestines], you will better understand their windings if you inflate them. Remember that after you have drawn them from 4 aspects as arranged [in the figures], then draw them from 4 aspects when extended, in such a way that you can understand the whole, that is, the differences in their size, their segments and openings.\n\nBrief notes, derived from Mundinus, mention the supposed function of the liver and the gall-bladder. The liver manufactures the blood from the chyle absorbed from the intestines and thus carries the nourishment to the tissues. The excrements are collected and discharged by the gall bladder.\n\nThe liver is the distributor and dispenser of nourishment vital to man. The gall bladder is the familiar or servant of the liver which sweeps up and carries off all the filth and superfluities remaining after the nourishment has been distributed to all the members by the liver.\n\nFrom the early period come some brief notes on the nervous system: How the nerves sometimes act of themselves without the command of other functions or of the mind.\n\nThis is clearly apparent for you will see paralytics, cowards and the benumbed move their trembling members, such as the head or the hands, without permission of the mind. The mind with all its powers cannot prevent these members from trembling. This also happens in epilepsy and in members which have been severed, as in the tails of lizards.\n\nThe idea or the imagination (imaginativa) is the helm or bridle of the senses, for the thing imagined moves the senses.\n\nTo pre-imagine is to imagine things which will be.\n\nTo post-imagine is to imagine things past.\n\nOn reading the above notes it should be remembered that in the materialistic psychology of the times the imagination or imaginativa was usually localized in the middle ventricle of the brain and closely related to the sensus communis which not only received sense impressions but also initiated motor action, cf. 142.\n\nThe final note on erection of the penis was added at a later date, c. 1504-06, when Leonardo had access to Galen's De usu partium and was critical of mediaeval authorities. The opinion expressed is in contradiction of a statement of Mundinus that \"the penis is quite hollow and these hollows are filled with wind formed in the above-mentioned [penile] arteries and when they are filled with wind the penis is erected\". Leonardo had witnessed several hangings, and his sketch of the death of Bandino Baroncelli from hanging survives in the collection of the Mus\u00e9e Bonnat, Bayonne.\n\nOf the virile member when it is hard, it is thick and long, dense and heavy, and when it is limp, it is thin, short and soft, that is, limp and weak. This should not be adjudged as due to the addition of flesh or wind, but to arterial blood. I have seen this in the dead who have this member rigid. For many die thus, especially those hanged of whom I have seen an anatomy, having great density and hardness, and these are full of a large quantity of blood which has made the flesh very red within, and in others, without as well as within. And if an opponent contends that this large amount of flesh has grown through wind which causes the enlargement and hardness as in a ball with which we play, this wind provides neither weight nor density but makes the flesh light and rarefied. And again, one observes that the rigid penis has a red glans (testa) which is a sign of an abundance of blood, and when it is not rigid, it has a whitish appearance.\n\n# 183 alimentary system\n\nThe drawings are probably based upon the dissection of the centenarian, as indicated by the notes, the style of the drawings and the obvious fact that the human subject is illustrated, cf. 128.\n\nfig 1. The superior epigastric vessels.\n\nThe xiphoid process is marked with the words pomo granato, for which cf. 23. Likewise the umbilicus is indicated. Of these vessels, possibly the arteries, although they may be the veins since the subject suffered from cirrhosis of the liver, Leonardo writes: Vein, placed upon the peritoneum (sifac) and interposed between the abdominal wall and the peritoneum.\n\nfig 2. The greater omentum and abdominal viscera.\n\nThe structures labelled are the liver, stomach and spleen. The ligamentum teres passing from the umbilicus to the liver is disproportionately long and the doubling of the umbilical vessels a fanciful addition. The notes read:\n\nMEMORANDUM.\n\nRemember to indicate how high the stomach lies above the umbilicus and with the xiphoid process, how the spleen and heart stand in relation to the left breast, how the kidneys or reins are related to the flanks, the colon, bladder and other intestines and how far they are, more or less, from the spine than from the longitudinal [rectus] muscles, and so describe the entire body with the vessels and nerves, etc.\n\nIn the aged the colon becomes as thin as the middle finger of the hand, and in the young it is equal to the greatest width of the arm.\n\nThe net [greater omentum] which lies between the peritoneum and the intestines in the aged uncovers all the intestines and withdraws between the fundus of the stomach and the upper part of the bowel [transverse colon].\n\n# 184 alimentary system\n\nOf the several geometrical diagrams and figures on this page, there is only one which need be considered directly as pertaining to Leonardo's anatomical studies. However, among the other figures is a small half-effaced study believed by Clark to represent Leonardo's first idea of a Leda and which is connected with a similar study found in the Codex Atlanticus, f.156r. From these Clark deduces that the page is datable c.1504. This provides an important clue to the dating of the drawings of the alimentary system, not only of 183, 188, but also of 185, 192, since they are in the same style as the anatomical figure found here. Clark's opinion is confirmed by the internal evidence that the figures of Fogli B mentioned are based upon the dissection of the centenarian at Florence. Therefore we may assume that the anatomical studies mentioned were made no earlier than 1504 and probably 1504-06.\n\nfig 1. Rough sketch of the alimentary tract in situ.\n\nThe rounded structure in the pubic region is labelled, bladder. The figure is undoubtedly a preliminary to that worked up in greater detail on 185, and it will be observed that the intestines are similarly arranged. The preliminary nature of the sketch is indicated by the note which points to the completed drawings not only of 183, 188, and 185, 192, but also to that of the mesentery on 189 and possibly 186.\n\nSketch the bowels in their position and [then] detach them cubit by cubit, having first ligated the ends of the detached and remaining portions. When you have removed them, draw the margins of the mesentery from which you have detached this part of the intestines. Having drawn the mesentery in position, sketch the ramification of its vessels and so continue successively to the end. You will begin at the rectum and enter on the left side at the colon, but first elevate the bone of the pubis and of the flanks [ilium] with a chisel the better to observe the position of the intestines.\n\nAbove the figure is a quotation based on Horace's lines, Nil sine magno\/ vita labore dedit mortalibus (Saturnalia, I:ix).\n\nORACLE\n\nGod sells all good things at the price of labor.\n\n# 185 alimentary system\n\nThe drawings on this page are part of the series continued on 192, and appear by style and content to be based on the dissection of the centenarian, cf. 156.\n\nfig 1. The alimentary tract.\n\nThe oesophagus (meri) is so indicated. Other organs identified are: a b, the straight intestine [rectum]; a c, colon; d o, ileum; o n, on right, jejunum [so-called] because it is empty; n r, duodenum; d c, caecum (monoculus).\n\nThe jejunum, as Leonardo remarks, was so called because it is often found empty. The monoculus or one-eyed gut was the old term for caecum but sometimes means appendix. Leonardo compares the alimentary tract of reptiles with that of man and concludes that the human intestines, because of the upright position of man, are highly coiled to delay the descent of their contents.\n\nAnimals without legs have a straight bowel, and this is because they always remain horizontal and because an animal which has no feet cannot raise itself upright and, even if it did, it immediately returns to the horizontal. But in man this would not be the case since he stands quite vertically, for the stomach would immediately empty itself if the tortuosities of the intestines did not retard the descent of the food. And if the bowel were straight, each part of the food would not come in contact with the bowel as occurs in a tortuous bowel. And much of the nutritive substance would remain in the superfluities, which would not be sucked up by the substance of the bowels and transported in the portal (miseraice) veins.\n\nfig 2. The subdiaphragmatic organs: liver, stomach and spleen.\n\nThe hepatic and portal or miseriaic veins are especially well shown because of their importance to then current theory. Galen held that the chyle or intestinal juice was sucked up by the portal vein to be transported to the liver where it was transformed into blood to renew the continual metabolic loss. The figure is to be supplemented by others.\n\nI wish to cut the liver which covers the stomach in that part which covers the stomach as far as the [portal] vein which enters and then emerges from the liver [as the hepatic vein] and to see how this vein ramifies in the liver. But first I will illustrate how the intact liver lies and how it clothes the stomach.\n\nThese ideas are carried out in part in 130. Peristalsis and evacuation are due, according to Leonardo, to the compressive action of the diaphragm and anterior abdominal wall on the stomach and intestines in the movements of respiration, cf. 178, 187. This theory is referred to in the accompanying note.\n\nAs the superfluities are forced out of the intestines by means of the transverse muscles of the body, these muscles would not fulfill their office well or with power if the lung were not filled with air. Since, if the lung were not filled with air it would not occupy in its entirety the diaphragm. Hence the diaphragm would remain relaxed and the intestines, compressed by the said transverse muscles, would bend outwards the region which gives way to them. This would be the diaphragm. But if the lung remains entirely full of air which you do not allow to escape above by expiration, then the diaphragm remains taut and hard, and resists the upward ascent of the intestines compressed by the transverse muscles. Thus of necessity the intestines rid themselves of a great part of the superfluities which are contained within them by way of the rectum.\n\nfig 3. The caecum and vermiform appendix.\n\nThe auricle [appendix] n, of the colon n m, is a part of the monoculus [caecum] and is capable of contracting and dilating so that excessive wind does not rupture the monoculus.\n\nOwing to the assumption that the anatomy of certain animals, especially the pig, was identical to that of man, there was great confusion among mediaeval anatomists as to the distinction between the appendix and the caecum. The above illustration is one of the earliest representations of the human appendix known. The earliest published figure of this organ appears in the Anatomica mundini, Marburg, 1541, of Johann Dryander.\n\n# 186 alimentary system\n\nfig 1. The abdominal viscera in situ.\n\nThis study in black chalk of the intestines shows the haustrations of the large bowel and the appendix very well. It probably belongs to the series of dissections made upon the centenarian, cf. 128.\n\n# 187 alimentary system\n\nfigs 1-2. Diagrams on the functional relationship of the diaphragm to the alimentary tract as viewed from in front and behind.\n\nPeristalsis and evacuation of the intestines were believed by Leonardo to be due to the alternate contraction of the diaphragm and anterior abdominal wall during respiration which by compression of the stomach forces its contents on by spurts, cf. 178. Simultaneous contraction of these structures occurs in evacuation which explains why the breath is held during the process, cf. 185. He is now concerned with the question of what we would term reverse peristalsis. The flexures of the duodenum are believed in part to prevent regurgitation, cf. 178, and he now considers that it is perhaps the collapse of the duodenum and jejunum which rapidly empty.\n\nINTESTINES.\n\nWhat is the cause which prevents the food from returning through the pylorus (portinaro) backwards into the stomach when expulsion of the superfluities contained in the intestines occurs?\n\nWhen the intestines are constricted and compressed from above by the diaphragm and from the sides and in front by the transverse [abdominal] muscles, it is necessary that the material which is contained in them escape through those regions which are provided as exits, that is, by the anus. But what prevents some of the material from returning upwards into the stomach, finding there an exit provided for its convenient passage?\n\nIt is replied that the upper and neighboring entrails, as the duodenum and jejunum, being the first occupied by the softer material are the first emptied since they are near the stomach which is forced against them by the diaphragm. At this time the stomach cannot empty itself because its pylorus is enclosed below between the stomach and the intestines or between the former and the duodenum. Owing to the pressure, the more the duodenum is compressed, the more the stomach presses against it (and the more it empties).\n\nWHY THE INTESTINE CALLED THE JEJUNUM IS ALWAYS FULL OF WIND.\n\nFrom what has been said above, it follows that the intestine suddenly empties itself of its material and sends it into the other intestines after the escape of other superfluities in order to refill in part the regions from which these superfluities have been removed. This is the real cause of the evacuation of the jejunum.\n\n# 188 alimentary system\n\nAt the top of the page are the words, On the old man, which refer to the dissection of the centenarian at Florence, cf. 128. The relationship of these figures to the statement on 181 has already been discussed and shows that almost the entire series on the alimentary tract having human characteristics is based upon this single dissection. Furthermore, the plate is important as revealing that Leonardo employed the technique of maceration to unravel the vascular tree and so had great difficulty in distinguishing arteries from veins in the abdomen.\n\nfig 1. The gall bladder and related vessels.\n\nThe caption to the figure reads: The vessels which here and there outline the fundus of the stomach and proceed to ramify through the omentum (rete) which covers the intestines.\n\nIt is sometimes difficult to determine whether Leonardo means actually a vein or a vessel by the word vena since the term is used indiscriminately for both. Here, however, he seems at times to confuse arteries with veins. The vessel lettered a b c, is obviously the splenic and hepatic arteries in continuity. The cystic artery passing to the gall bladder (so labelled) is easily recognized. From the hepatic artery the gastroduode-nal and its right gastro-epiploic branch passing to the region of the greater curvature of the stomach and giving off omental twigs are clearly identified. Leonardo recognizes that these vessels lie in the attachment of the greater omentum. The splenic and portal veins are shown lying deep to the arteries, and this relationship is remarked upon with the statement, Below [i.e., posterior] lies the vein and above [i.e., anterior] this lies the artery. Deep to and parallel to the right gastro-epiploic artery is a vein which at first sight might be thought to be a companion vein. However, from the note below, this vessel is probably the middle colic vein since it is described as lying in the mesocolon which is regarded as being a part of and in continuity with the posterior layers of the greater omentum as shown in figs. 2-3.\n\na b c [hepatic and splenic arteries in continuity] is the vessel (vena) which extends from the spleen to the porta hepatis and passes behind the stomach. From a, separate the vein and the artery which ramify through the omentum covering the intestines; that is, from a, separate two vessels which pass below the fundus of the stomach, one behind, between the ribs and the stomach, and the other, in front. They proceed as has been said, to ramify through the omentum (zirbo) behind [the mesocolon] and through the omentum in front [greater omentum], for it is double as the figure shows [figs. 2-3]; and that which the veins do is found to be done by the artery.\n\nfigs 2-3. The stomach, illustrating the greater omentum and mesocolon.\n\nIt will be noted that the peritoneum extending from the posterior aspect of the stomach passes anterior to the duodenum which identifies it as the mesocolon. Dissection of the mesocolon and peritoneum of the posterior wall of the omental bursa permits exposure of the splenic vessels and their passage to the porta hepatis. The tortuosity of the splenic artery with or without arteriosclerosis is always a striking phenomenon which gives rise to the outburst.\n\nI have found in the decrepit [Leonardo's centenarian] how the vessel (vene) which leaves the porta hepatis and crosses behind the stomach to ramify in the spleen\u2014that these ramifications, the vessels in the young being straight and full of blood, in the aged are tortuous, flattened, folded and devoid of blood.\n\nDissection of the centenarian revealed a cirrhotic liver (cf. 128) which readily disintegrated. Since the liver was regarded as the blood-making organ, the finding was regarded as of enormous significance in explaining death from old age. Moreover, the friability of the liver permitted maceration, exposing the intrahepatic course of the vessels and formed the basis of the figures on 130. Leonardo continues:\n\nAnd so the liver which in youth is usually colored and of equal consistency, in the aged is pale without any of the ruddiness of blood, and the vessels remain empty amidst the substance of the liver. This substance can be compared in its looseness to bran steeped in a little water. Thus it readily disintegrates on being washed, leaving the vessels which ramify within it freed... from the entire substance of the liver.\n\n# 189 alimentary system\n\nThese figures are evidently a continuation of the series shown on 188, etc., as outlined in the note on 184.\n\nfig 1. The mesenteries and the portal vein.\n\nThe colon and small intestine have been resected leaving a pattern of mesenteric attachment corresponding exactly to the arrangement of the intestines found on 185, 192. The mesenteries are, therefore, those of the small and large intestines somewhat artificially represented as though derived from some animal in which an unfixed dorsal mesentery of the colon exists. The superior mesenteric vein is observed receiving as tributary a gastro-epiploic or colic vein and joining the splenic to form the portal vein. The arrangement again suggests animal anatomy. The portal vein and its tributaries are regarded as a continuation of the hepatic vein and thus of the vena chilis or vena cava.\n\nThrough the ramification of the vena chilis [vena cava] in the mesentery the nourishment from the corruption of the food in the intestine is drawn. Finally, it returns through the terminal ramifications of the artery to the intestines where this blood, now having been mortified, is corrupted and acquires that foetor which is given off by the faeces.\n\nfig 2. The portal vein and its tributaries.\n\nThe splenic vein is represented as joining the superior mesenteric at a, to form the portal vein. The superior mesenteric receives the vein b c, which from Leonardo's description, is the right gastro-epiploic, although it may be the middle colic.\n\na [superior mesenteric vein], is the ramification of the mesentery. It is united with all parts of the intestines, returning to them the blood which dies and receiving from them the new nourishment, similar to the roots of every herb and plant mingled with the earth covering them, by which they suck up the humor which nourishes them.\n\nb c [right gastro-epiploic vein] is the vein which nourishes the greater omentum (zirbo). It lies in front of the vein a n [superior mesenteric] which is that which nourishes the mesentery. The intestines are contained between the mesentery' and the greater omentum.\n\nAnd b c [right gastro-epiploic vein] is joined to the outer border of the stomach and descends by means of its ramifications to nourish the greater omentum which covers the intestines and the spleen.\n\nDetails of the distribution of the mesenteric vessels are to be added later: Make this vein with its terminal extremities in every member.\n\nThe common term for the greater omentum was zirbo or zirbus which is a corruption of the Arabic tsarb, a rete or network, introduced by the translators. In Albertus Magnus it is almost unrecognizable as girbum.\n\nfig 3. The mesentery.\n\nThe pattern of arrangement of the mesentery is similar to fig. 1 above. It is further described:\n\nThe mesentery is a thick, sinewy and fatty membrane in which ramify 12 master veins and which is united to the inferior part of the diaphragm.\n\nIn this mesentery are planted the roots of all the veins which unite at the porta hepatis and purge the blood from the liver. It [portal and hepatic veins] then enters the vena chilis [vena cava] and the later vein goes to the heart which makes more noble the blood which passes through the arteries as spirituous blood.\n\nLeonardo in following the pathway of the portal blood according to Galenical ideas, is apparently uncertain as to whether the mesentery contains arteries or not, for he adds, See whether the mesentery has arteries or not.\n\nfig 4. Diagram of the greater omentum and its venous drainage.\n\nIn the upper border of the greater omentum labelled zirbo the right gastro-epiploic or possibly the middle colic vein is shown to amplify the description given in fig. 2. The diagram is a reminder to draw a more detailed figure. Try to delineate the whole omentum, that is, the net, having shown the veins there.\n\nAt the top of the page Leonardo introduces a note on the social significance of long nails in the Far East: Among Europeans long nails are regarded as shameful. Among Indians [Chinese] they are held in great veneration, and they have them painted with penetrating fluids and decorate them with various tattoos. They say that they are a mark of gentlefolk and that short nails are a mark of laborers and mechanics in various trades.\n\n# GENITO-URINARY SYSTEM\n\n# 190 genito-urinary system\n\nDEMONSTRATION OF THE BLADDER OF MAN.\n\nfig 1. The kidneys, bladder and urinary tract.\n\nThe key to the lettering is as follows: c, right kidney; L p, and h b, the ureters; d, the apex of the bladder or median umbilical ligament; n f, the points corresponding to the internal openings of the ureters; a g, the urethra.\n\nThe oblique course of the ureter within the bladder wall was fully appreciated and is represented by the interval p n, and b f, as well as in the inset diagram, cf. fig. 4 below. However, this was not an original observation, cf. 192. Leonardo provides a full description of these figures which he calls demonstrations.\n\nFIRST DEMONSTRATION.\n\nOf these three demonstrations of the bladder, in the first is represented the ureters (pori ortidi), in what way they depart from the kidneys L h, and unite with the bladder two fingers higher than the origin of the neck of the bladder. A little internal to this point of union, from p, and b, to n, and f, the ureters discharge the urine into the bladder in the manner partly represented by the channel S [fig. 4], from where it is then discharged through the conduit of the penis a g [urethra]. It remains for me in this instance to represent and describe the position of the muscles [sphincters] which open and close the urinary passage at the mouth of the bladder neck.\n\nfig 2. The blood supply of the bladder.\n\nThe arteries a b, and the veins m n, are shown running parallel to the urethra to ramify on the surface of the bladder. Apparently Leonardo did not see the vesicle and understandably confused them with the penile vessels in the region of the prostatic flexes. His description of the second demonstration follows:\n\nSECOND DEMONSTRATION.\n\nIn the second demonstration are represented 4 ramifications, that is, of the right and left veins which nourish the bladder and the right and left arteries which give it life, that is, spirit. The vein is always above [i.e., superficial to] the artery.\n\nfig 3. Urinary tract: lateral view.\n\nThe right ureter m n, is shown entering the bladder at n, to show its vascular encirclement. The error in origin of the cystic vessels is again apparent.\n\nTHIRD DEMONSTRATION.\n\nIn the third demonstration is represented how the vein and the artery surround the origin of the ureter m n, at the position n, and the interweaving of the ramification of the vein with the ramification of the artery is shown.\n\nfig 4. Diagram of the intramural course of the ureter.\n\nThe oblique course of the ureter through the vesicle wall is demonstrated and its possible valvular action discussed. The conclusions are supported with reference to his proposed work \"On the nature of water\", cf. 113. The conclusions reached agree with modern opinion that the valvular nature of the openings has been greatly exaggerated. For another discussion, cf. 192.\n\nENTRANCE OF THE URINE INTO THE BLADDER.\n\nThe urine, having left the kidneys, enters the ureters and from there passes into the bladder near the middle of its height. It enters the bladder through minute perforations made transversely between tunic and tunic. This oblique perforation was not made because Nature doubted that the urine could return to the kidneys, for that is impossible from the 4th [book] on conduits where it is stated: water which descends from above through a narrow vessel and enters under the bottom of a pool, cannot be opposed by reflux movement if the magnitude of the water in the pool is not as great as the magnitude of the vessel which descends, or the height of the water greater than the depth of the pool. If you were to say that the more the bladder is filled the more it closes, to this I should reply that these perforations being compressed by the urine which closes the wall, would prevent the entrance of other urine which descends. This cannot be according to the 4th [book] mentioned above which states that the narrow and elevated [stream of] urine is more powerful than the low and wide which lies in the bladder.\n\nFinally, in the margin is a reminder to discuss the comparative anatomy of the alimentary tract: Describe the differences in the intestines of man, of monkey and similar species. Then how the leonine species differs, next the bovine, and finally birds, and make this description in the form of a discourse.\n\n# 191 genito-urinary system\n\nfig 1. The left kidney and its vessels.\n\nThe shape and dimensions of the kidney suggest an animal source. The renal vein, artery and ureter are shown in correct relationships to one another. The left kidney was apparently chosen for the illustration to show the left spermatic vein entering the renal, an arrangement claimed as a new discovery by several sixteenth century anatomists but previously known to Galen. The small vessel ascending from the renal vein is presumably the left supra-renal vein. Inscribed on the body of the kidney is the reminder: Cut it through the middle and depict how the passages for the urine are closed and how they distil it [i.e., urine].\n\nThe papillae of the kidney were commonly thought to resemble minute alembics for the distillation of the urine. However, a filtration theory introduced by the Paduan physician Gabriele Zerbi (d.1506) was gaining wide acceptance at this time. Below the figure Leonardo writes: Describe at what distance the kidney lies from the flanks and the false ribs. A note in the margin is a continuation from 192, and will be considered there. The rest of the page is devoted to a series of notes on the special senses of vision and olfaction in which man is compared to certain animals.\n\nI have found that in the composition of the human body as compared to the compositions of all animals, it is of duller and blunter sensibility as it is composed of less ingenious instruments and of regions less capacious for the reception of the faculties of the senses. I have observed in the Leonine species that the sense of smell, which forms a part of the brain substance, descends to a very capacious receptacle [ethmoid] to make contact with the sense of smell. This enters among a large number of cartilaginous vesicles [ethmoid air cells] with many pathways leading to the afore-mentioned extension of the brain.\n\nThe eyes of the Leonine species acquire a large part of the head for their receptacles [orbits], and the optic nerves unite directly with the brain. In man the opposite is seen because the orbital cavities are only a small part of the head and the optic nerves are thin, long and weak. As a result of their weakness of action we see by day but poorly at night, and the aforesaid animals see as well at night as by day. An indication of this is observed by the fact that they prey at night and sleep by day, as nocturnal birds also do.\n\nIn order to appreciate the note below on the reaction of the pupil to light, the reader should be aware of the so-called emanation theory on the nature of vision, prevalent at that time and accepted by Leonardo. According to this view, popularized through the Timaeus of Plato, the eye projects from its interior the visual spirit or power which collides with the species or impalpable shells given off by all visible objects. The collision returns the emanation back to the eye as the visual image. Thus in nocturnal animals relatively larger \"instruments\" are required to provide the necessary visual power or emanation as mentioned in the note above.\n\nThe light, or pupil of the human eye, on its expansion and contraction, increases and decreases by half its size. In nocturnal animals it increases and decreases more than a hundred fold in size. This may be seen in the eye of an owl, a nocturnal bird, by bringing a lighted torch near its eye, and more so if you make it look at the sun. Then you will observe the pupil which previously occupied the whole eye, diminished to the size of a grain of millet. With this reduction it compares to the pupil of man, and the clarity and brightness of objects appear to it of the same intensity since at this time they appear to man in the same proportion because the brain of this animal is smaller than the brain of man. Hence it happens that the pupil in the night time increases a hundred times more than that of man, and it sees a hundred times more light than man in such a way that its visual power is not then overcome by the nocturnal darkness. The pupil of man which only doubles its size, sees little light, almost like the bat which does not fly at times of too great darkness.\n\nThe final note brings forward the \"Ladder of Nature\" or \"Chain of Being\" idea which, originating with Plato's Timaeus, and developed by Aristotle, was spread by the neo-Platonists and had acceptance from the middle ages to the eighteenth century. In this primitive evolutional theory the top of an inferior class touches upon the bottom of a superior and so extending to man who by touching the next class above occupies the lowest rank in the spiritual order. Likewise, there is a progression in the way that the alimental or natural elements nourish plants, plants beasts, and the flesh of beasts, man. Further, the faculties advance in order from the inanimate to the first creatures possessing touch and so on to those with touch, movement, hearing and vision, as in the higher animals. But man has not only all these faculties of sensibility but also understanding and the creative spirit.\n\nIn fact, man does not differ from animals except in what is accidental, and in this he shows that he is a thing divine. For where Nature finishes the production of her species, there man begins with natural things to make, with the assistance of Nature, an infinity of species which not being necessary to those who govern themselves perfectly as do animals, it is not in the habit of these animals to seek after.\n\n# 192 genito-urinary system\n\nfig 1. The abdominal cavity to demonstrate relationships of the kidneys to the alimentary tract.\n\nThe figure is primarily to demonstrate the relative position of the kidneys, the outlines of which are observable in the background. We are told that the distance a b [colon] is three braccia, c b [small intestine] is 13 braccia, that is approximately six and twenty-six feet respectively. The appendices epiploicae are prominently shown, but the appendix is not.\n\nfigs 2-3. Diagrams of the course of the ureters in the wall of the bladder.\n\nThe diagrams purport to show the oblique intramural course of the ureter, the interior of the bladder, and the ureter being indicated on the diagram. The drawing is similar to that on 190.\n\nfigs 4-7. Diagrams of the relationship of the ureteric orifices to the urine of the bladder in various positions of the body.\n\nThese small figures are related to the discussion on the question of the valvular action exercised on the lower end of the ureter by its oblique entry. Above the figures is the remark, When man lies upside down, the entrance for the urine is closed. Below each figure, from above downwards, is indicated the corresponding position of the body. Upside down. Erect. On the side. On the belly; thus demonstrating a changing relationship of the fluid content of the bladder. Leonardo's arguments are not very good, and he ignores the fact that the bladder is a contractile organ.\n\nThe authorities say that the ureters in carrying urine to the bladder do not enter it directly but enter between layer and layer in such a way that they are not opposed, and that the more the bladder is filled, the more they are closed. They say that Nature has done this solely because when the bladder is full, it would return the urine back whence it came. Hence on finding its way between membrane and membrane to enter the interior [of the bladder] through a narrow passage not corresponding to [the point of entry in] the first membrane, the more the bladder is filled, the more it forces one membrane against the other, and thus has no cause to reverse and turn back. This proof is not true for the reason that if the urine in the bladder were to rise higher than its entrance, which is near the middle of its height, it would follow that this entrance would be closed immediately, and it would be impossible for more urine to enter the bladder, and it would never exceed half the capacity of the bladder. Therefore, the rest of the bladder would be superfluous, and Nature makes nothing superfluous. Consequently we shall state, according to the 5th [section] of the 6th [book] \"On water\", how the urine enters through a long and tortuous passage into the bladder and then when the bladder is full, the ureters remain full of urine. The urine of the bladder cannot rise higher than their surfaces [of the intramural portion of the ureters] when man is standing erect. But if he remains lying down, it can return back through the ureters and even more so, if he places himself upside down, which occurs infrequently, although recumbency is common. Whereas if a man lies upon his side, one of the ureters remains above, the other below, and the entrance of that above opens and discharges the urine into the bladder. The other duct below closes because of the weight of the urine. Hence a single duct gives its urine to the bladder, and it is sufficient that one of the emulgent [renal] veins purifies the blood of the urinary chyle mixed with it, since the emulgent veins are opposite one another and do not proceed entirely from the vena chilis [vena cava]. And if a man lies with his back to the sky, the 2 [the note continues in the margin of 191] ureters pour urine into the bladder. They enter through the upper part of the bladder [when prone], since the ducts are attached to the posterior part of the bladder, the part which when the body is lying downwards, remains above. Thus the urinary entrances can remain open and contribute to the bladder as much urine as required to fill it.\n\nOn the \"emulgent\" vein, cf. 179. It is sufficient to say that this vessel was supposed to drain off the watery element of the blood mixed with the choler or yellow bile, which gives to urine its color, and not chyle as Leonardo has it. Further, Leonardo seems to think that the vena cava was called the vena chilis because the contained blood was mixed with chyle. Actually the term vena chilis is derived from the Greek  , the exact equivalent of the Latin vena cava, i.e., hollow vein. Thus the term   came to be applied to the hollow belly or abdomen giving rise to our terms coeliac and coelum and therefore vena cava or chilis is the equivalent of abdominal or belly vein. Leonardo constantly uses the phrase li pori uritidi, or simply pori (lit., ureteric ducts) for the ureters. This term is also found in the works of Nicolo Massa [c.1480-1569] but not in Mundinus, Leonardo's favorite source. For the projected work \"On water\", cf. 113.\n\n# 193 genito-urinary system\n\nfig 1. The genito-urinary system of the male.\n\nThis figure bears all the earmarks of being derived from traditional sources and therefore possibly dates from a relatively early period. This is indicated by the symmetrical arrangement of the spermatic veins which pass to both right and left renal veins. Both Mundinus and Avicenna recognized the asymmetry of these vessels. Mundinus quotes Avicenna as his source, and Avicenna doubtless derived his knowledge of the arrangement from a passage in Galen's De venarum et arteriarium dissectione. However, almost all the contemporary diagrams, including those in the printed editions of Mundinus, show the spermatic or ovarian veins symmetrically attached to the renal veins. In later figures Leonardo himself illustrates the correct arrangement.\n\nThe key to the lettering is as follows: a p, the inferior vena cava; b m, the aorta giving off at b, the spermatic arteries; s and t, the ureters; n and e, the spermatic veins entering the renal veins symmetrically.\n\nThe passage of the spermatic vessels through the inguinal canal is indicated diagrammatically by a mark. From the testis and epididymis a line representing the ductus deferens may be traced bilaterally to a pisiform structure indicating the seminal vesicle which, in turn, is shown opening as the ejaculatory duct into the urethra.\n\n# 194 genito-urinary system\n\nfig 1. The lungs and heart.\n\nEmploying the usual term, spiritual members, for the contents of the thorax as the site for the formation of the vital spirits, Leonardo appends the reminder: Let these lungs together with all the spiritual members be shown from four aspects.\n\nfig 2. The pelvic vessels.\n\nThe common iliac vessels and their branches are outlined with approximate accuracy. It will be noted that a large artery is shown arising from the ventral surface of the aorta just above its terminal bifurcation. Since this vessel passes on to the posterior surface of the rectum, it may represent the inferior mesenteric artery. However, there are features which suggest animal anatomy.\n\nfig 3. The spermatic vessels and ductus deferentes.\n\nThe course of the constituents of the spermatic cord are displayed including the seminal vesicles and testes, but these are better shown in the figures below. The accompanying memorandum reads:\n\nNote well the spermatic vessels [ductus deferentes] from their origin to their termination, that is, from the artery and vein [spermatic vessels] as far as the mouth of the penis, how near they are to the anus and how nothing is lacking for their motion and requirements, and for how many coitions their store of sperm is sufficient.\n\nfig 4. The pelvic viscera and genito-urinary tracts of the male.\n\nAll the structures represented are easily identified and require no discussion. Two important notes relate to the figure, one of which considers the pathway of the inguinal hernia and the other, the differences in the dimensions of the male and female pelvis.\n\nRepresent here the abdominal wall and peritoneal membranes (sifac panniculi) which separate the intestines from the bladder, and demonstrate by what way the intestines descend into the sac of the testicles and how the gateway of the bladder is closed.\n\nMeasure how much less the pubis of the female is than the pubis of the male, that is, because of the space which exists from the lower part of the pubis to the tip of the   because of parturition.\n\nfig 5. The genito-urinary tract of the male.\n\nThe figure is very similar to fig. 4 above. There are many errors of detail. One is struck by the relatively large size of the bladder, even if full, its curious shape, more animal than human, the mis-relationship of the ductus deferens to the ureter and the absence of the prostate. These figures are of a type typically found in the works of Leonardo. They do not ring true. From the errors of detail it is obvious that he is not drawing from the specimens themselves but from a conception which is often an admixture of human and animal appearances. Doubtless this is due to his desire to illustrate functional concepts rather than purely anatomical structure and the paucity of human material in a day when fixatives were unknown. Functional considerations are uppermost in the note.\n\nOne cannot expel the urine and the residue of the food at one and the same time, because the more powerful passage restrains and occupies the less powerful which is in contact with it.\n\nfig 6. Small sketch of the genito-urinary tract of the male.\n\nThe sketch is a graphic memorandum for some future illustration as indicated by the remains of the note: First represent... of the bladder...\n\nfig 7. Rough sketch of the pelvic bone in sagittal section.\n\nThe shape of the innominate bone, granting that the sketch is very rough, is nonetheless reminiscent of that of an animal. Future illustrations are projected in notes.\n\nFirst make half of the sacral bone from within and then give it the bladder and other parts.\n\nMake this case of bone [i.e., pelvis] without the bladder.\n\nThe term pelvis was not introduced by Realdus Columbus (1510-C.1559) and Gabriel Fallopius until the mid-sixteenth century. The lack of a suitable term gave rise to a great deal of confusion since the whole may be called by one of its several parts. No name having been given to the pelvic bone by Galen it came to be called the innominate.\n\n# 195 genito-urinary system\n\nfig 1. The genito-urinary system of the male.\n\nThe illustration is part of the same series represented on 194 and 196. The bladder and urethra are shown in coronal section in order to demonstrate the termination of the ductus deferentes as ejaculatory ducts in the posterior portion of the urethra. The drawing is also of interest as one of the few in which the right kidney is shown occupying a lower level than the left as in man. It will be noted that the splenic vessels pass straight to the liver as is customary in most of Leonardo's figures of this region.\n\nfig 2. An abortive pencil sketch of the testicle and spermatic cord.\n\nThis figure has been variously interpreted as a representation of the inguinal canal or an hernial sac. However, it seems to be purely semi-diagrammatic to explain the physiology of fertilization. The ductus deferens is again shown incorrectly related to the ureter.\n\n# 196 genito-urinary system\n\nfig 1. The genito-urinary system of the male.\n\nThese figures are part of the series which includes 194 and 195. The bladder is represented as full of urine in contrast to fig. 2 below. The scrotum is lettered a, the testis and epididymis m, and the spermatic vessels n. The seminal vesicle and course of the ductus deferens are clearly shown although incorrectly related to the ureter. The internal sphincter of the bladder also seems to be represented. The prostate is always a notable omission in Leonardo's studies.\n\nfig 2. Rough sketch of the bladder while empty.\n\nfigs 3-4. Details of the testis and epididymis.\n\n# 197 genito-urinary system\n\nThe notes on geometry with illustrative diagrams are concerned with problems on surfaces of equal area but unequal shape and proportion.\n\nfigs 1-4, 6. The genito-urinary system of the male.\n\nThese several sketches present the ductus deferens, seminal vesicles and ejaculatory ducts and their relationships to the urinary bladder and urethra. Their primary purpose is to illustrate diagrammatically the position of the internal sphincter of the bladder which is represented in some of the figures by a circle placed below the neck of the bladder. Attention is drawn to the sphincter by a note reading, Where the neck of the bladder shuts and why. The why reminds us that it was the common belief that the bladder must possess a sphincteric mechanism above the point of entry of the ejaculatory ducts into the urethra to prevent contamination of the \"seed\". The external sphincter remained undiscovered for centuries since the finding of an internal sphincter fulfilled all theoretical requirements.\n\nfig 5. Cross-section of the penis disclosing the corpora cavernosa.\n\n# 198 genito-urinary system\n\nThis page is of the very greatest interest in that it contains in the top left-hand corner the famous remark, The sun does not move, which has been interpreted and accepted by some as an anticipation of the Copernican theory. Such an assumption is scarcely tenable. According to Clark, the words are contradicted by the drawings of the solar system in Windsor, 12326V and Ms.F (Institut de France), 64r-v, where the sun is clearly shown moving around the earth as a center. Since Leonardo was in the habit of working on his observations repeatedly, it is almost inconceivable that he should never again have mentioned such a momentous conception. Possibly the words represent a quotation or possibly a note for a pageant. Since Ms.F is datable 1508-10, and the present page is earlier, it cannot be argued that the words represent a later contradictory opinion. However, Clark dates the present sheet c.1496-98, which in view of the anatomical figures is obviously too early. These figures, undoubtedly related to those on the injection of cerebral ventricles and on the genitourinary system of the male, are c. 1504-07.\n\nfig 1. The cerebral ventricles.\n\nThe lateral, third and fourth cerebral ventricles are roughly shown but evidently based upon the knowledge gained from injection as described in 147, since unlike earlier and somewhat similar diagrams the lateral ventricle is shown as a bilateral structure. For the significance of these ventricles, cf. 101, 112.\n\nfig 2. Rough diagram of the genito-urinary system of the male.\n\nThe diagram illustrates the urinary tract and its relationship to the testis, epididymis, ductus deferens, seminal vesicle and ejaculatory ducts. The handling of the details is identical to those of 194-6, and consequently must date from approximately the same period.\n\n# 199 genito-urinary system\n\nfig 1. Diagrammatic sketch of the urinary system.\n\nOn stylistic grounds the figure is believed to date from a late period. It is obviously very rough and as an anatomical drawing far inferior to similar figures of the middle period of Leonardo's studies. We have been unable to determine the significance of the encircled area but presume that this represents the heart, in which case the diagram may have been intended as illustrative of some theory of the physiology of urinary excretion. The various structures portrayed are readily identified except for the urethra extending from the bladder.\n\n# 200 genito-urinary system\n\nfig 1. The external genitalia of the female.\n\nAlthough the vestibule and external urethral orifices are clearly depicted, the labia minora and clitoris are not represented, cf. 213. An adequate description of the last structures had to await the publication of the Observationes anatomicae of Gabriello Fallopius in 1561. The accompanying notes reflect beliefs of the bagnio rather than scientific information.\n\nLet the cause be defined why in the female the labia of the vulva open on the closing of the anus, and in the male, in similar case, the penis becomes erect and ejects the urine or the sperm with force or, as you may say, in spurts.\n\nLeonardo states on more than one occasion that the existence of sphincter-like muscles about the orifices of the body may be determined by the puckering of the skin. In this case he employs the term portinario, i.e., door-keeper, and the same term is used to designate the pylorus. The puckering of the skin or mucous membrane is to be used to define a sphincter.\n\nON THE VULVA.\n\nThe wrinkles or folds of the vulva have indicated to us the position of the gate-keeper (portinario [i.e., muscular sphincter]) of the castle which is always found where the meeting of the longitudinal wrinkles occurs. However, this rule is not observed in the case of all these wrinkles but only in those which are large at one end and narrow at the other, that is, pyramidal in shape.\n\nDefinition of a sphincter (riferramento) by puckering of the skin, that is, the eyes, nares, mouth, vulva, penis and anus\u2014and the heart although it is not made of skin.\n\nFinally observations are to be made on the genitalia at different age periods.\n\nDESCRIBE THE GENITALIA OF THE OLD, YOUNG AND MIDDLE-AGED.\n\nfigs 2-3. The sphincteric mechanism of the anus, closed and open.\n\nApparently based upon the appearances of the skin creases about the anal orifice, as described above, the sphincteric muscle is presumed to be arranged in the form of a series of petals as illustrated. Above the figure is the word anus and the action of this hypothetical sphincter is described as follows:\n\nDEFINITION OF THE ACTION OF THE MUSCLES OF THE ANUS.\n\nThe five muscles which shut the anus are a d f m n. When they shorten, they draw behind themselves the part which lies in common contact with the circumference, that is, the part o c [wall of the anal canal] which forms the thickness of the anus. Then, by pulling on the thickness [of the wall] which is equal to the distance o c, it comes to shorten and thicken and the thickening increases towards the center of the circumference of these muscles. It increases to such an extent that it closes the anus with considerable force when it has been dilated. All animals employ just such an instrument. When the muscle a, thickens, it pulls behind it the internal part o c. Thus when it shortens internally, it necessarily distends the external part which is made to project with a convex gibbosity as is shown in the margin [figs. 5-6].\n\nfig 4. The sphincter ani.\n\nHaving sketched a presumptive arrangement of the sphincter of the anus, Leonardo apparently decided that it could not be so since he has written next to the word false. Perhaps he is commenting upon an arrangement suggested by others.\n\nfigs 5-6. The sphincter ani open and closed.\n\nThese figures show the action of a purely fanciful sphincter ani opening and closing the orifice as described above under figs. 2-3. The legends to these figures read:\n\nAnus dilated at a b.\n\nAnus contracted at d f.\n\n# 201 genito-urinary system\n\nThe purpose of the illustrations on this sheet is chiefly to attempt to establish homologies between the two sexes. Such attempts extend back to the time of Galen, with many erroneous parallelisms, chief of which was the idea that the bladder and urethra of the male corresponded to the uterus and vagina of the female. However, before considering the homologies as represented in the illustrations, it is necessary to consider briefly the conflicting opinions on the subject of generation which established the basic theories from which such parallelisms were sought.\n\nIn the Aristotelian view, as promulgated by interpreters such as Averroes, the female played a purely passive role as the soil in which the seed, a product of the male alone, was planted. Consequently to this group the ovary was of little importance and is totally ignored by Albertus Magnus in his popular work on generation. Opposed to this opinion was the view, held from the time of Diocles of Carystos, c.350 B.C., to that of Haly Abbas and especially Avicenna, that both male and female contributed equally to the formation of the future individual. Both groups called upon Galen for support of their conflicting teachings, while the opinion of Avicenna received added support from the discovery of a manuscript of the De rerum natura of Lucretius by the Italian humanist Poggio in 1417. We have the evidence of Leonardo's own writings that he too had studied the epicurean and was influenced by the statement that the foetus \"is always fashioned out of the two seeds\" (IV: 1229).\n\nfigs 1-2. The homologies of the male and female generative organs.\n\nThe first of these figures represents the vagina and uterus. On either side is the ovary\u2014or testicle of then current terminology, the upper pole of which receives the spermatic vessels. At the lower pole is a hypothetical duct, the vas seminarium and evidently what we now call the suspensory ligament of the ovary, which was supposed to convey the sperm to the uterus and is regarded as the homologue of the ductus deferens.\n\nWith the aid of the second figure the following homologies may be established: male urethra and vagina, seminal vesicles and uterus, testis and ovary, ductus deferens and vas seminarium (suspensory ligament of ovary), spermatic vessels and ovarian vessels. It should be remembered that there was great confusion on the function of the various female adnexa so that opinion fluctuated from time to time. Of the penis, Leonardo remarks:\n\nThe origin of the penis is situated upon the pubic bone so that it can resist its active force on coition. If this bone did not exist, the penis in meeting resistance would turn backwards and would often enter more into the body of the operator than into that of the operated.\n\nfig 3. The uterus and adnexa.\n\nThis figure of the uterus is not easy to interpret. It has undoubtedly some objective basis which is, however, overlaid by traditional notions. The body of the uterus and the cervix with its os are easily recognized. Three paired structures extend to the lateral border of the uterus. The most inferior of these is the vas seminarium which carries sperm from the ovary to which it is attached. Entering the upper pole of the ovary are the ovarian vessels which carry blood and vital spirit to the ovary to be transformed into sperm. The intermediate structure which might be regarded as corresponding to the round ligament of modern terminology extends upwards to the region of the kidney and might be mistaken for the ureter. It is a hypothetical vessel which extends to the anterior abdominal wall as shown in fig. 8 below, and passes as the equivalent of the superior epigastric vein to the mammary gland. The blood of the retained menses during conception passed by way of this vessel to be converted by the breasts into milk. The third pair of structures are undoubtedly the uterine tubes giving to the uterus its bicornuate appearance as required by a tradition which had based its opinions on animal appearances. Nonetheless, the figure is far and away the best representation of the human uterus although distorted somewhat to fit the current physiological theory.\n\nfig 4. The urethra, seminal vesicles and ejaculatory ducts.\n\nLeonardo makes a note to determine the point of entry of the ejaculatory ducts in relationship to the bladder. This question is correctly decided at a later date, cf. 197.\n\nSee which is the first in the urinary canal [urethra], either the mouths of the spermatic vessels [ejaculatory ducts] or the mouth of the urinary vessel [bladder]. But I believe that that of the urine is first so that it can then clean and wash out the sperm which makes the urinary canal sticky.\n\nfig 5. Diagram of the vulva, vagina, uterus and so-called seminal vessels.\n\nThe figure carries the legend, The womb which is seen from without. For a description of the structures, cf. fig. 1 above.\n\nfig 6. Diagram of the vagina, uterus and adnexa.\n\nThe legend reads: The womb looking into the interior. The structures are as in fig. 1.\n\nfig 7. The male generative organs.\n\nThe structures are as in fig. 2 above. Attention is drawn to the fancied homology between the seminal vesicles, labelled a b, and the uterine cavity.\n\nThe female has her 2 spermatic vessels in the shape of the testicles [equivalent of ovaries with suspensory ligaments, cf. above] and her sperm is at first blood like that of the male. But when one inseminates the other, the testicles receive the generative faculty but not one without the other. Neither one [sperm] nor the other is preserved in the testicles but one in the womb and the other, that of the male, is preserved in the two ventricles a b [seminal vesicles] which are attached behind the bladder.\n\nfig 8. The genito-urinary system of the female.\n\n(continued on page 505)\n\n# 202 genito-urinary system\n\nThis, the most famous of the Leonardine anatomical illustrations, belongs to the period when Leonardo was coming more decidedly under the influence of Galenical teachings. It will be noted that the outlines of the figure have been pricked for transfer, giving rise to the incomplete copy on 203.\n\nThe illustration is a unique attempt to represent in graphic form both anatomical detail and certain of the principles of the Galenical physiological system. In this respect it fore-shadows the method adopted by Vesalius in the first three of his Tabulae anatomicae of 1538. The representational aspects are, however, to receive fuller treatment as evidenced by the note at the top of the page.\n\nAlso make this demonstration as seen from the side so that knowledge may be given how far one part lies behind the other. Then make one from behind that knowledge may be given of the veins possessed by the spine and by the heart, and of the greater vessels.\n\nThese figures illustrating the general physiology and anatomy of the female were perhaps to constitute an introduction to the embryological section of his proposed work. This is suggested by an accompanying note which points to figures of somewhat later date such as 210, 213-14, of the foetus in utero.\n\nYour series shall be with the beginning of the formation of the child in the womb, stating which part of it is formed first, and so successively putting in its parts according to the periods of pregnancy until birth and how it is nourished, learning partly from the eggs laid by hens.\n\nSeveral features of the illustration should not be overlooked. In the first place it should be recognized that the anatomical details are drawn for the most part from dissections made on animals. This will become apparent as the figure is discussed from above downwards in association with Leonardo s marginal memoranda. The trachea and bronchi remind us that Leonardo is thinking of the pneuma or world-spirit drawn in with the inspired air to be carried to the left ventricle for the formation of the vital spirit. The heart is characteristically represented as a two-chambered and solely ventricular organ containing, as in the ox, moderator bands in both ventricles, and the interventricular septum shown prominently since through its supposed pores blood sweats to the left side for the completion of the vital spirits. The atria exist as auricular appendages only to participate in a complicated way in the formation of the natural heat as described.\n\nThe vena cava opens directly into the right ventricle and is associated with the ebb and flow movement of the blood containing the nutritive natural spirits. It receives the azygos vein thought to nourish the thoracic walls, but the arrangement of this and other branches reflect animal anatomy. The blood is drawn by the hepatic veins from the liver, the blood-making organ, which has received the chyle by way of the portal system for elaboration into blood and natural spirits. The relations of these systems is to be elucidated in further detail. Represent how and what ramification of the vessels of the liver enters one beneath the other [i.e., relations of hepatic artery to portal vein].\n\nThe gall bladder and the spleen are shown since they form the yellow and black bile respectively, as well as remove the so-called excrements or waste products of metabolism. The yellow bile is filtered out by the kidneys, thus coloring the urine. The kidneys occupy the relative positions found in animals. Their ureters pass to the bladder which is indicated as a circle lying anterior to the uterus. The black bile or melancholia is discharged in part through a hypothetical vein to the stomach to whet the appetite, but the most part is eliminated by way of haemorrhoidal veins into the rectum upon which Leonardo remarks: The fullness of the rectum, being dense, is expelled entirely by the wind contained in the colon. All the faeces of which the intestines empty themselves, are almost entirely driven out by this wind. This causes a noise when it is in excess following the filling up of the vacuum left by the aforementioned superfluities.\n\nLike the vena cava, the branchings of the aorta are of the ungulate type. Not only does a typical brachiocephalic trunk spring from the aortic arch, but the pattern of arrangement of the external iliac vessels is also derived probably from the ox. The major vessels are to be represented from behind. The vena chilis [cava] and arteries: it is necessary with respect to that part where they follow the spine to represent them from the reverse, that is, make them visible from the side where they touch the spine because the smaller veins which nourish the bones of the spine cannot be shown in the figure demonstrated.\n\nThe representation of the uterus is a curious admixture of traditional notions and accurate observation. It is a globular or pisiform structure of exaggerated size possibly to indicate the organ in pregnancy. From the fundus extend on either side two structures which may be interpreted as the uterine tubes and round ligaments but certainly not recognized as such. It is more than probable that these structures derive from some confused prototype and are the so-called cornua of earlier authorities. The ovarian or spermatic arteries and veins may be traced to the ovaries or \"testicles\". These vessels carry blood and vital spirit to the organ which is converted into semen. The semen leaves the ovary by way of a short passage also called the \"spermatic or seminal vessel\" to enter the uterus in the region of the cervix. Elsewhere (201) Leonardo shows this passage entering at a higher level in approximately the position of the suspensory ligament of the ovary. Leonardo now discards the Aristotelian view on generation as reflected by Mundinus that the seed is from the male alone, the female acting only as the soil, and adopts the teaching of the Arabic writers that both sexes contribute in equal part. It is you, Mundinus, who states that the \"spermatic vessels' or testicles [ovaries] do not excrete real semen but only a certain saliva-like humor which Nature has ordained for the delectation of women in coition, in which case, if it were so, it would not be necessary that origin of the spermatic vessels derive in the same way in the female as in the male.\n\nOn the right side, a vein in part corresponding to\n\n(continued on page 505)\n\n# 203 genito-urinary system\n\nThis outline is the tracing made from 202. It should be examined in conjunction with the more detailed illustration since the origin and source of some of the vessels can be viewed more clearly here.\n\n# 204 genito-urinary system\n\nFrom a note on the recto of this folio which may refer to the statue of Francesco Sforza, Clark dates the drawings as probably c.1493, in which case they are among the very few anatomical studies from this period. This interpretation of the note is open to question although it must be conceded that the anatomical content of the plate suggests a relatively early date, possibly c.1500. The plate is of further interest since it is one of the earliest of the anatomical series to be reproduced in facsimile. Engraved by Bartolozzi for John Chamberlaine, the print was in circulation for some years prior to its inclusion in the Imitations of original designs by Leonardo da Vinci, 1796, as may be gathered from a note in Johann Friedrich Blumenbach's De generis humani varietate nativa, 1795\n\nfig 1. The alimentary tract.\n\nA very crude diagram of the alimentary tract, no doubt inspired by appearances in animal dissections. The structures labelled are the umbilicus connected to an unknown structure, possibly the abdomasum or true stomach of ruminants, and a structure called the matron, of unknown significance.\n\nfig 2. Figures in coition.\n\nI display to men the origin of their second\u2014first or perhaps second cause of existence.\n\nBelow the figure is the legend, Here two creatures are cut through the middle and the remains are described.\n\nThe figure expresses almost entirely traditional notions on the generative act in an attempt to harmonize opinions derived in part from Avicenna and in part from Galen. From Galen would come the belief that the sperm is derived from the testes, the \"first cause\", and from Hippocrates by way of Avicenna, the idea that the soul, the \"second cause\" is infused from the spinal cord, the site of the generative faculty, cf. 153. Thus we observe that the penis contains two canals, better seen in figs. 4-5 below. To the upper of these canals passes a nerve conducting the animal spirit or soul to the future embryo, and the lower canal is that related to the passage of the sperm as well as of the urine. These notions are later to be discarded. The corrugated appearance of the uterus reflects the mediaeval idea that its cavity was divided into seven cells. This extraordinary idea came doubtless from Mundinus who, in turn, obtained it from the works of Michael Scot (d.c.1235). The uterus itself was supposed to expand during coition as shown, and the cervix opened, according to some of the Arabs, to embrace the glans penis. On conception the blood of the retained menses is carried by way of the epigastric veins, as illustrated, to the breasts for the formation of milk. That Leonardo is somewhat uncertain as to the truth of these physiological beliefs is indicated in the note.\n\nNote what the testicles have to do with coition and the sperm. And how the infant breathes and how it is nourished through the umbilicus. And why one soul governs two bodies as you see the mother desiring a food and the infant remaining marked by it.\n\nAnd why an infant of eight months does not live.\n\nHere Avicenna supposes that the soul begets the soul and the body, the body and every member, per errata.\n\nHow the testicles are the cause of ardor.\n\nWhich animal [parts, i.e., nervous system] give rise to what parts of the members of man\u2014simple or mixed?\n\nWith reference to the male figure, Leonardo points to the diaphragm with the notation that this is the, division of the spiritual parts [i.e., thoracic contents] from the material [i.e., alimentary].\n\nA final note is of considerable importance since it recognizes the venereal source of disease. It will be recalled that syphilis began to assume epidemic proportions following the conquest of Naples in 1495, initiating the great unsettled controversy on the Columbian versus European origin of the disease. The reader should remember that the word ulcers (serite) here used may not necessarily refer to syphilis and that dating of this folio as 1493 is very uncertain.\n\nThrough these figures will be demonstrated the cause of many dangers of ulcers and diseases.\n\nfig 3. Sketch of torso, squared for enlargement.\n\nfigs 4-5. Longitudinal and transverse section of penis.\n\nThese sections are quite fanciful and present a traditional view that there are two penile passages, one above for the transmission of animal spirit from the spinal cord (see above) and the other below for the urine and sperm. The notion is derived from Avicenna.\n\n# 205 genito-urinary system\n\nThe mechanical drawings and calculations will not be discussed except to draw attention to the now familiar device of a chain of buckets used for elevating water, dredging, etc.\n\nfigs 1-3. Coition figures in sagittal section.\n\nThese figures are variants of that found on 204, and doubtless are preliminary to it since there is less detail. Again it will be observed that the penis is shown as containing two passages: an upper for the infusion of animal spirit or the soul from the spinal cord and the lower, for the emission of semen or urine. For the source and explanation of this curious notion, cf. 204. The uterus is poorly represented, and the intromittent organ is shown depositing the sperm directly into its cavity through the opened cervix, an idea derived from Arabic sources. At the upper end of the uterus three of the seven ovoid cells are represented. These are better seen in 204 and 206. The division of the uterus into seven cells was a popular notion gained from Mundinus and Michael Scot, cf. 206.\n\n# 206 genito-urinary system\n\nThe mechanical drawings of cranes, pulleys, etc., are not discussed.\n\nfig 1. Rough sketch of the uterus.\n\nfig 2. The male and female generative organs in coition.\n\nThese drawings are similar in content to those of 204 and 205. Their special interest lies in the representation of a number of cells at the upper end of the uterus. It was a common notion of mediaeval times that the uterus was subdivided into seven cells. The idea was popularized by the widely read Liber physiognomiae or De secretis naturae of Michael Scot, one of the founders of Latin Averroism. It is repeated in Mundinus, whence no doubt Leonardo picked it up, and figures in the Anatomia of Gui de Vigevano (1345) and in the works of Magnus Hundt (1501). The doctrine led to the idea that there were as many cells in the uterus as there were mammary glands and was used to support the statement of Avicenna that the uterus was a bilocular organ in man since there are but two mammary glands. The latter notion continued late into the sixteenth century and gave rise to a theory of sex determination in which the left cell came to be regarded as giving rise to a female infant and the right to a male. Although Leonardo later figures the human uterus as containing a single chamber (cf. 201), it must not be forgotten that the upper angles of this chamber in relationship to the uterine tubes came to be regarded as representing in fact a bilocular arrangement.\n\n# 207 genito-urinary system\n\nThe dating of this page is problematical. It is not unlikely that the various sketches and notes were made at slightly different periods. However, all the anatomical sketches bear an affinity to 201 and suggest a date of c.1503. Several of the notes and diagrams are studies on wave formation. Another is the ground-plan of a house. These will not be discussed.\n\nThe anatomical sketches, although important from the point of view of Leonardo's developing knowledge on generation, are so slight as scarcely to warrant individual description. They will therefore be divided into two general groups.\n\ngroup I. Sketches of the stomach and duodenum from anterior, posterior, right and left aspects.\n\nThese sketches occupy the upper left-hand corner of the page, and nothing remarkable is exhibited except as indications of how Leonardo intended to represent this organ.\n\ngroup II. Sketches of the male and female organs of generation.\n\nThis scattered series of sketches show the sexual organs either separately or in coition. Their importance lies in the advance shown over traditional mediaeval concepts represented in 204, 205, 206. That Leonardo was dissatisfied with earlier notions is suggested by a note which from a deletion refers to generation, I have wasted my hours. The uterus is no longer shown as a multilocular organ, but the Arabic notion persists that the glans penis passes through the os of the cervix into the body of the uterus and that this organ enlarges on coition. The figures are in some respects similar to those of 201 and seem to be preliminary to them.\n\n# EMBRYOLOGY\n\n# 208 embryology\n\nfig 1. Diagram of the umbilical vessels in the ox or sheep.\n\nThe figure is difficult to interpret unless it is realized that both the extra and intra-foetal course of the umbilical and allantoic vessels of the ox or sheep are diagrammatically illustrated, cf. 211. The horizontal, paired, umbilical and allantoic vessels are shown passing from the foetal membranes. From them extend a number of branchings, some placed vertically and said to come from the chorion, and others placed obliquely or horizontally and stated to be from the amnion. The two pairs of umbilical vessels pass to the umbilicus to terminate in a single umbilical vein shown passing upwards to end in the liver. Descending from the umbilicus are a pair of vessels on either side which correspond to the umbilical arteries in their intra-foetal course, the vein being entirely imaginary. These vessels reach horizontal segments which represent iliac vessels. It is not always clear whether Leonardo was able or not to distinguish the allantois, which makes precise identification of structures more difficult. The appearance of the umbilical arteries after birth is doubtless responsible for his calling them sinews or nerves. Leonardo would be especially interested, as mentioned in the notes, in cases where the membranes remained unruptured at birth since he himself is said to have been born with an intact caul.\n\nThese four sinews [?umbilical arteries] do not themselves contain any part of the blood, but when they enter the umbilicus, they are converted into a large vein [umbilical vein] which then extends to the gateway of the liver and proceeds to ramify through its inferior part. Each of its terminal ramifications ends in this part [of the liver] and does not extend higher.\n\nOf the above-mentioned four umbilical vessels, the 2 on the outside [infra-foetal umbilical vessel] lie upon the peritoneum, the membrane contiguous to the omentum. They then turn downwards and end in the first ramification [iliac vessels] of the great vein and artery which lie upon the dorsal spine.\n\nThe external ramification of the umbilical vessels [extra-foetal] is enclosed between the first [chorion] and second membrane [?amnion] with which the infant is frequently born.\n\nThis umbilical vein is the origin of all the veins of the animal which is engendered in the womb. It does not have its origin in any vein of the gravid female because each of these vessels is entirely separate and divided from the vessels of the gravid woman. These are the veins and arteries placed together in pairs, and it is very rare to find one without the other in company. Almost always the artery is found above the vein because the blood of the artery is the passage of the vital spirits, and the blood of the vein is that which nourishes the animals. Of these ramifications represented, those which extend upwards are arranged for the nourishment of the 3rd thin membrane [chorion] of the womb, and the vessels lower down, placed obliquely, are those which nourish the final membrane [?amnion ?allantois] which is in contact with the animal and which clothes it. One or other of these membranes frequently emerges together with the creature out of the womb of the mother. This happens when the animal cannot rupture them so that it then emerges clothed by them. This easily occurs because these 2 very thin membranes, as has been said above, are nowhere united to the said womb which, in turn, is composed of 2 membranes [uterine wall and maternal placenta] which are very thick, fleshy and sinewy.\n\nfig 2. Diagram of a cotyledon.\n\nDiagram showing the villi and sinuses of the maternal placenta a, and the foetal placenta n; probably the cotyledonous placenta of the ox. Leonardo clearly perceived that half of each cotyledon remains with the foetus.\n\nThe cotyledon a, is female and it remains with the uterus. The cotyledon n, has male elements which enter into the concavities of the cotyledon which remains attached to the uterus. There is no other attachment.\n\nThe little sponges [cotyledons] which unite the uterus of the woman to the secundines [chorion] of the infant are divided through the middle of their thickness, and half remains with the uterus and the other half remains with the 2nd [membrane-chorion] which covers the infant. Here one must note whether the half which remains has the teeth or the sockets of these teeth in it, as [in fig. 2, where are] a, the sockets, and n, the denticulations.\n\n# 209 embryology\n\nfig 1. The relationship of maternal to the foetal vessels.\n\nHere Leonardo asserts that no continuity exists between the vascular systems of foetus and mother. This fact was again put forward by Arantius (1564) but denied by Laurentius (1598) and Fabricius (1600), reaffirmed by William Harvey (1651) and Walter Needham (1667) and not fully established until proved by the injection experiments of Hoffmann (1681), confirmed by Ruysch (1701), Monro primus (1734) and William Hunter.\n\nThe portion of the figure to the right is stated to show, The vene massime [i.e., caval system] of the woman, and that on the left, The vene massime of the child in the uterus. Note that the umbilical arteries within the subject are accompanied by corresponding veins and that these vessels terminate in a single umbilical vein passing upwards to the liver, cf. 208. The umbilical cord appears to be represented by a single vessel, but judging from other illustrations of the period we must assume that this is not a vessel but the cord itself. In any case Leonardo's views were colored by his dependence on the foetal anatomy of animals, especially the ox, as the note indicates.\n\nThe uterine veins and arteries of the woman have the same intermingling by contact with the terminal vessels of the umbilical cord of her child at a b, as the miseriaic [portal] veins ramifying in the liver have with the ramifications of [hepatic] veins descending from the heart into the same liver, and as the ramification of the pulmonary vessels have with the ramification of the trachea [bronchi] which refresh them. But the vessels of the infant do not ramify in the substance of the uterus of its mother but in the secundines which take the place of a shirt in the interior of the uterus which it coats, and to which it is connected (but not united) by means of the cotyledons, etc.\n\nfig 2. Sketch of the uterus and uterine vessels.\n\nThe sketch is in the nature of a reminder to: Provide information how the uterine vessels ramify in the uterus and of what sort and number they are, and which enter the secundines and which of them are ruptured at the separation of the child from the uterus.\n\nThe following passage seems to be a continuation of the lengthy statement given on 74 on the order to be adopted for the arrangement of the contemplated book on anatomy and jotted down on this page as an after-thought. Mechanical and physical principles such as potential and kinetic energy in the operation of the economy of the body are to be discussed but in the terms of Aristotle's De physica such as accidental quality, local motion, the action of contraries which Leonardo calls percussion, etc.\n\nON MACHINES.\n\nWhy Nature cannot give motion to animals without mechanical instruments is shown by me in this book On Motive Agents Made by Nature in Animals. For this reason I have laid down the rules of the 4 powers of Nature without which nothing through her can give local motion to these animals. Therefore we shall first describe this local motion and how it produces and is produced by each of the other three powers. Then, we shall describe natural weight, although no weight can be said to be other than accidental, but it has pleased us so to call it, in order to distinguish it from the force which in all its operations is of the nature of weight, and for this reason termed accidental weight. This force is produced by the 3rd power of Nature or is natural. The fourth and last power will be called percussion, that is, the termination or opposition to motion. We shall begin by stating that every involuntary local motion is generated by a voluntary motion, just as in a clock the counterpoise is lifted up its motor, man. Furthermore, the elements repel or attract one another as one sees water expelling air from itself and fire entering as heat at the bottom of the kettle and escaping through the bubbles on the surface of the boiling water. And again, a flame attracts air to itself, and the heat of the sun draws water upwards in the form of moist vapor which then falls as scattered heavy rain. But percussion is the immense power of things which is generated within the elements.\n\n# 210 embryology\n\nfig 1. The foetus in utero.\n\nThis large drawing of the foetus in utero is the first of the series as indicated by the asterisk. Two features of the illustration require comment. First, Leonardo had no knowledge of the coverings of the human foetus and therefore illustrates their attachment by a stylized cotyledonous placenta of ungulates shown in detail in figs. 2-5, and more realistically in 211. Second, the ovary is connected to the uterus by a so-called spermatic duct implanted immediately above the cervix but in other drawings corresponding to the suspensory ligament of the ovary, cf. 201 and 202. The accompanying note is unusual in its denial of the presence of the foetal heart beat, but subscribes to a common mediaeval notion on the transmission of the soul to transform the animal body into man.\n\nThe heart of this child does not beat nor does it breathe because it continually lies in water. If it breathed it would drown and breathing is not necessary because vivified and nourished by the life and food of the mother. This food nourishes this creature not otherwise than it does with other members of the mother, that is, the hands, feet and other members. One and the same soul governs these two bodies, and the desires, fears and pains are common to this creature as are all other animal [nervous] members. From this it occurs that the thing desired by the mother is often found impressed upon those members of the infant which the mother herself holds at the time of the desire, and a sudden fright kills both mother and child. Therefore, one concludes that one and the same soul governs the bodies and one and the same nourishes both.\n\nOn the connection between the maternal and foetal circulation, a question which was to take some centuries to answer, Leonardo is at this stage uncertain.\n\nSee how the great vessels of the mother pass into the uterus, then to the secundines and then to the umbilical cord.\n\nfigs 2-5. Details of the ungulate placenta.\n\nAs previously mentioned, Leonardo knew little or nothing of the discoidal placenta of man, cf. 173. Here he illustrates the details of a cotyledonary arrangement as in the ungulates. The first of the smaller illustrations is quaintly called, The mother of the cotyledons, that is, female cotyledons. The second and fourth figures of the group show, The male cotyledons, and in the larger or third figure we are shown, How the three membranes of the uterus tie themselves together by means of the cotyledons.\n\nLeonardo was greatly interested in what happened to the cotyledons at parturitions and raises the question whether the maternal or foetal cotyledon remains attached to the uterus. The cotyledons have male and female [parts]. You will now note whether the male or female remains attached to the uterus of the woman or not. An answer is sought from the conceptus of a calf, Obtain the secundine of calves when they are born and note the shape of the cotyledons and if they keep the male or female cotyledons. The question is finally resolved on 211.\n\nfig 6. An unrelated diagram and note on the behavior of an eccentrically weighted sphere.\n\nfig 7. Minute sketch of uterus, ovaries, and indications of cotyledons.\n\nfig 8. Preliminary sketch of foetus in utero to show successive coverings.\n\nfig 9. Uterus laid open to expose the conceptus.\n\nThe so-called \"male and female\" cotyledons are shown. On either side are the ovaries and the presumed \"spermatic duct\" extending to the interior of the uterus, cf. 202. Note how the testicles [ovaries] pass their faculty into the uterus. In answer to the question raised under figs. 2-5, Leonardo states, I note how the secundines are united to the uterus and how they separate from it [on parturition].\n\nfig 10. Diagram of the interdigitating cotyledons.\n\nOn the figure is written the word, cotyledons.\n\nfigs 11-13. Diagrams of the uterus and foetal membranes laid open.\n\nThese preliminary sketches are to show the membranes by laying each open successively. In the first, fig. 11, the uterine wall and chorion have been split to expose the amnion with the foetus shining through. Leonardo's intention is expressed thus: Make it so that the uterus has as many demonstrations as there are membranes of which it is composed.\n\nfig 14. Diagram on binocular vision.\n\nWhy a picture seen with one eye will not demonstrate such relief as the relief [customarily] seen with both eyes. This is because the picture seen with one eye will have the degree of relief, as a relief proper having the same amount of light and shade. Let the relief c, be seen with both eyes [m and n]. If you were to observe the object with the right eye m, keeping the left eye n, closed, the object would appear to the eye in, or would occupy, the space a. If you were to close the right eye and open the left, the object would occupy the space b. And if you were to open completely both eyes, the object would no longer occupy a and b, but the space e r.\n\nOther memoranda: Place in every member what is closer to the surface of the member, either the nerves, the cords, the vessels or the muscles and how far. This will serve for [the appreciation of] the depth of wounds.\n\nThe book \"On water\" to Messer Marco Antonio.\n\nFor Leonardo's book on water, cf. 113. This may or may not be a reference to Marcantonio della Torre, the anatomist whom Leonardo presumably met at Pavia. However, the name Marcantonio was a very common one.\n\n# 211 embryology\n\nThe figures are enumerated from right to left.\n\nfig 1. The gravid uterus of a cow.\n\nThis excellent drawing illustrates the vagina and bi-cornuate uterus of a gravid cow. The uterine and ovarian vessels are labelled a b c d, and the suspensory ligament of the ovary, believed to be a seminal duct, is clearly shown.\n\nTHE UTERUS OF THE COW.\n\nThe testicles [ovaries] are not attached to the vascular part but to its covering [peritoneal] which does not show vessels. The former together with its covering mentioned, constitutes the true womb.\n\nThe 4 vessels, a b c d, are two arteries and two of blood [i.e., veins] and are those which carry the menstrua to the uterus. They are enclosed between the first membrane [peritoneal tunic] and that which is the second [uterine wall]. The testicles are attached to the first membrane.\n\nfig 2. Diagram of the uterine cotyledons on uterine contraction.\n\nLeonardo states that these hexagonals, c b a d, f e g, h i, k, show, The manner in which the rosettes or little sponges [cotyledons] of the uterus are joined together when it is contracted after birth. However, the figure suggests the spongy appearance due to the numerous crypts which receive the villi of the chorion. A reminder to show the interdigitation of villi and crypts is appended: Note what part of the little sponge is that which enters by means of its teeth into the other part.\n\nfig 3. Outline sketch of the umbilical vessels of the calf in their extra-foetal course.\n\nfig 4. The foetal calf and its membranes.\n\nTo find the equal of this superb illustration of the cotyledonary placenta of the ruminant we must go to the De formato foetu (1604) of Fabricus ab Aqua-pendente, the father of modern embryology. For detail of the umbilical vessels shown, cf. 208. Of the cotyledons and membranes Leonardo says:\n\nThis [figure] below contains the 3rd [chorion] and 4th [? amnion or allantois] coverings of the animal enclosed with the uterus. These coverings are united, that is, are in contact and that which is above [i.e., more superficial] unites with that [uterus] by means of these fleshy rosettes [cotyledons] which interlock and are attached as do burrs among each other. At birth the foetus carries with it these 2 coverings together with half the thickness of these roses, the other half remaining in the uterus of the mother. Then when the uterus contracts, they are compressed together and attached by their sides to one another [fig. 2] in such a way that they appear never to have been separated. The covering which is in contact with the animal at birth has none of these fleshy roses.\n\nfig 5. Diagram of the maternal and foetal elements of a cotyledon.\n\nLeonardo's description of the interdigitation of the cotyledonary villi of the ruminant is fully explanatory.\n\nHow the little sponges which unite the middle membranes to the two outermost are going to separate one half from the other. One half goes with the foetus when it is born with its coverings, that is, the part which is below [in the figure]. The other half, which lies above, remains with the uterus; these being distributed 6 to 6. When the uterus contracts, all these small fleshy sponges come in contact at their margins and finally are joined together by hexagonal sides [fig. 2] and are united and reduced to a single piece of flesh. These then separate again and spread out with the following impregnation.\n\nJust as the fingers of the hand are interwoven, one in the interval of the other, lying straight and facing, so the fleshy villi of these little sponges [cotyledons] are interwoven like burrs, one half with the other.\n\n# 212 embryology\n\nON ALL THE FORCES AND ACTION OF THE MUSCLES OF THE [FORE-] ARM, THAT IS TO SAY, WHICH MUSCLE ROTATES IT, WHICH FLEXES IT.\n\nAlthough containing illustrations and notes on myology, this folio is primarily concerned with the embryology. Differences in handwriting and subject matter suggest that the studies on the arm are of earlier origin and completed around 1505. To these were added at a later date the sketches and notes on the foetus and its coverings corresponding with the series on 210, which are similar in style and were executed around 1511. Therefore the notes and annotations deal with the upper extremity, figs. 1-2, followed by the figures of the foetus and uterus.\n\nfig 1. The bones of the upper extremity illustrating the action of the brachialis, biceps and pronator teres muscles.\n\nLet this demonstration be made from 4 aspects, in extension as well as in flexion.\n\nDraw the very same arm when the hand shows its palmar (domesticha) surface [supination] and likewise its dorsal (silvestra) surface [pronation] maintaining the humerus without any degree of rotation.\n\nThe terms domesticha and silvestra are taken over from the Latin of Mundinus and were common terms derived from Arabic words. They correspond to inner and outer respectively, especially in connection with the surfaces of the limbs, but if rendered \"smooth\" and \"hairy\", perhaps the word imagery would be better preserved.\n\nON THE INSTRUMENTAL USE OF THE MEMBERS.\n\nThe muscle a b c [biceps brachii] serves to rotate the bone m f [radius] through a half revolution; and it was made double at its upper origin for the reason that if there should be a failure of one, the other would supply the said motion of the arm.\n\nAnd the 2nd muscle r p [brachialis] is made to bend the arm into any degree of angle. It is attached to the humerus b n, and to the non-revolving fucile of the arm, that is, the fucile maggiore [ulna]. It is very strong because it has to support a very large weight; and it cannot rotate the arm like the muscle a b c [biceps] and the muscle d e [pronator teres] in opposite motion [acting] like the cords of a trephine, an instrument for drilling.\n\nWhen the muscle r K L [for r K, brachialis] elevates the fucile h g [ulna], it is supported, owing to its tortuosity, upon the humerus at the part K. Hence this muscle, because of such support, is relieved of much of the stress at the attachment of the muscle, the other half of which arises directly from the said humerus.\n\nIt is evident from the statement that the ulna is supported directly by the humerus in flexion, that Leonardo's opinions on the action of these muscles were derived from an examination of the bony specimen and appreciation of the attachments of these muscles rather than by reference to the dissection itself.\n\nc [tendon of biceps] is twisted around [the radius], as shown in the figure. Other structures indicated are o, the head of the humerus; d (like the numeral 4), the medial epicondyle of the humerus; n, the lateral epicondyle of the humerus; h g, the ulna; m f, the radius; b, long head of biceps; a (like the letter p), short head of biceps; f L e (e, like the letter D, pronator teres.\n\nfig 2. Illustration of the action of the biceps brachii and pronator teres muscles.\n\nThe two muscles a b [long and short heads of biceps] which join at d [tendon of biceps] and unite with the bone h f [radius], are made to rotate the bone h f, with a half turn, turning it in the concavity [radial fossa] of the bone b h [humerus], placed near its head h. But if the muscle c e [pronator teres] holds with its own power, then this cord or muscle [biceps] is unable to rotate the bone: and if this muscle a b d [biceps] has already rotated the bone h f [radius] from within outwards, then the muscle c e [pronator teres] will perchance rotate it from without inwards. These two said muscles are arranged by their Author that they may turn the hand to the front and to the back without having to rotate the elbow of the arm.\n\nThe two muscles a b d [biceps] and c e [pronator teres] are wrapped around the bone h f [radius] in opposite directions, of which when one pulls and unwraps itself, the other wraps itself around the bone like the ropes which revolve a trephine.\n\nThe antagonistic action of biceps and pronator teres in supination and pronation is clearly described and illustrated. The mechanism of these motions must have greatly interested Leonardo since he discusses these movements on numerous occasions.\n\nAdded at a later date is the following general note on the functional advantages of antagonistic muscles and of these which possess two heads of origin. It is clear that Leonardo has chiefly the biceps brachii muscle in mind.\n\nMany are the members which are moved by two muscles arising from different sites. They unite at the side of the bone which is to be moved by these muscles and on which both muscles are attached by one and the same cord. This occurs because the same site where the cord attaches itself has to be moved by two almost similar motions; secondly, because if one of them were to be cut, the other would substitute since such rotary motion is especially necessary in eating as the fingers which pick up the food turn their dorsal surface towards the mouth and when they put the food into the mouth, they rotate in the opposite direction in the manner in which their tips, together with the food, is directed to the mouth of the person.\n\nfigs 3-4. Two outline sketches of cotyledonary placenta.\n\nLeonardo like his contemporaries derived his ideas on human placentation from his investigations of animal forms, especially the calf. Hence he assumes that the human placenta is of the cotyledonary type as in ungulates. It has already been mentioned that the embryological series shown here are of the same period as 210, where this subject was discussed more fully.\n\nfig 5. Foetus in utero.\n\n(continued on page 505)\n\n# 213 embryology\n\nfig 1. The external genitalia of the female.\n\nThe vulva and labia minora, omitted in 200, are now shown with greater accuracy of detail. The surface outlines of the adductor longus muscles are a prominent feature of the drawing, and their action is discussed in the adjoining figure. A note discusses the comparative size of the female organ in relationship to other animals and the infant at birth.\n\nThe woman commonly has a desire quite the opposite of that of man. This is, that the woman likes the size of the genital member of the man to be as large as possible, and the man desires the opposite in the genital member of the woman, so that neither one nor the other ever attains his interest because Nature, who cannot be blamed, has so provided because of parturition. Woman has in proportion to her belly a larger genital member than any other species of animal. It [the belly] is generally in a straight line from the fontanelle of the [... ? costal angle] to the anus, one braccio [2 ft.] in length. The bovine species has a belly three times longer than that of woman so that by multiplying cubically one body by the other you would have to say that 3 times [3 makes 9], and 3 times 9 makes 27. But such a multiplication has no place here as a cow would have this member 7 times larger. Experience in the dead shows that it is a quarter of a braccio in its greatest length in a woman as well as in the ox and horse species, these being the largest animals in Europe. Still, you can say by the rule of three: if one braccio of the belly of a woman gives me   of a braccio of member, how much will 3 braccia of the belly of a cow give me? You will say that if 4 quarters, that is, one braccio, give one quarter of member in a woman, how much will 12 quarters in the cow give me? They will give me three-quarters of a braccio. Thus, such an animal would have a member of [three-quarters] of a braccio in proportion to a woman who has one quarter. The significance of these dimensions is apparent when applied to the foetus.\n\nThe length of a child when it is born is usually one braccio, and it commonly grows 3 braccia, that is, in the medium size of the human species.\n\nfig 2. The muscles attached to the pubic bone.\n\nThe illustration is a companion to fig. 1, showing the surface features. Its purpose is to establish the supposed synergistic action of the adductor longus muscles, m t and n S, and the recti abdominales, n f and m g, in preventing the displacement of the pubic bone on elevation of the leg. Leonardo is obviously confused as to the attachment of the recti muscles which are shown to cross above the pubis in a manner not infrequently illustrated in early anatomical diagrams, so that the figure may have a traditional basis. The external oblique, internal oblique and transversus abdominis muscles are shown on either side.\n\nIf it were not for the muscle n f [rectus abdominis] which is attached to the chest and to the pubis at n, the weight of the thigh with the leg which is supported at n, by means of the muscle n S, would draw the pubis downwards. And likewise the muscle S n [adductor longus] supports the pubis when the spine is bent [backwards] in an arch, because the muscle f n [rectus abdominis] draws the pubis upwards, etc.\n\nIn what appears to be a later addition, Leonardo decides to put this theory of muscle action to a test.\n\nAnd concerning this question, you will make an experiment by arching the spine backwards and throwing the chest forwards.\n\nfig 3. The foetal position in utero: anterior aspect.\n\nLeonardo depended entirely upon animals for his knowledge of the foetal coverings. Thus he describes the allantois and urachus.\n\nON THE PISSING OF THE CHILD.\n\nDuring a great part of the time [of conception] of the child, its pissing is done through the umbilical cord. This happens because the heel of the right foot lies between the anus and the virile member and completely closes the urinary passage. Nature has provided for this state by making a channel [urachus] at the fundus of the bladder through which the urine goes from the bladder to the umbilical cord and from the umbilical cord to the mouth of the womb.\n\nfigs 4-5. The foetus in utero: anterior aspect.\n\nObservations are made on the length of the umbilical cord: The length of the umbilical cord is equal to the length of the child in every stage of its age, but not to that of other animals.\n\nfigs 6-7. The foetus in utero: right and left lateral aspects.\n\nLeonardo comments on the question of foetal respiration. It is only very recently that foetal respiratory movements have been shown to occur.\n\nThe infant does not respire in the body of its mother, because it lies in water, and he who breathes in water is immediately drowned.\n\nAnd as a corollary, the question of phonation arises.\n\nWhether an infant in the body of its mother can weep or produce any sort of voice or not.\n\nThe reply is no, because it does not breathe nor is there any kind of respiration and where there is no respiration there is no voice.\n\nIn order to understand the process of development, Leonardo contemplates turning to the incubation of the egg, but there is no evidence that he ever found time for such a study. Ask the wife of Biagino Crivelli how the capon rears and hatches the eggs of hens when he is unplucked (inbricato). The question was apparently asked and the reply noted. Their chickens are given in care of a capon which has been plucked on the under side of the body and then urticated with nettles and placed under the basket [i.e., on a nest]. And then the chickens go under it, and it experiences pleasure and is pacified by the heat. Thereafter it leads them about and fights for them, jumping into the air against the hawk in ferocious defence.\n\nBiagino Crivelli was a favorite of the Duke Lodovico Sforza and head of his crossbowmen. Leonardo is reputed to have painted a portrait of Lucrezia Crivelli, perhaps his wife. He continues with a practical suggestion for his I study. Chickens are hatched by means of\n\n(continued on page 506)\n\n# 214 embryology\n\nThis page is the protocol of one of the few human dissections carried out by Leonardo. The subject was apparently that of a foetus of six to seven months (Leonardo says four months). The dissection enabled him to correct certain erroneous conclusions on the arrangement of the umbilical vessels and to make some quantitative observations on foetal growth.\n\nfigs 1-3. Segments of the umbilical cord.\n\nThe diagrams are labelled umbilical cord. It contains only a single vessel, and the representation suggests the presence of air-bubbles in the umbilical vein. Among the scattered notes it is stated that The umbilical vein is always as long as the length of the child.\n\nfig 4. Sketch of human foetus.\n\nThis is probably a sketch of the specimen dissected.\n\nfigs 5-6. Sketches on the action of the biceps brachii and brachialis muscles.\n\nLeonardo was fascinated by the mechanics of pronation and supination. Here he distinguishes between the action of the brachialis, a, as a pure flexor and the biceps, b, as a supinator.\n\nThe muscle a [brachialis] holds the arm in flexion only.\n\nRepresent here only the [brachialis] muscles which serve flexion of the [fore-] arm and reduce it to a right angle, and likewise the [biceps] muscles which cause the hand to revolve forwards and backwards. Do not encumber the above but simply represent the uses which the muscles arising between the shoulder and the elbow and those arising from the humerus alone have.\n\nThis intention has been carried out in 212.\n\nfig 7. The umbilical cord, umbilical and iliac vessels.\n\nIn all earlier illustrations Leonardo shows imaginary umbilical veins accompanying the umbilical arteries from the umbilicus to the iliac vessels. The opportunity of dissecting a human foetus enabled him to correct the error in this and the succeeding figures. However, the umbilical cord is now envisioned as containing the umbilical vein only. This vein is shown extending to the liver to carry, according to Leonardo, nutritive products derived from the menstrual fluids of the mother. Unable to find, as in animals, an extension of the urachus to an allantois, he now believes that the urachus empties the urine into the umbilical vein of the cord which therefore serves a dual function, cf. below.\n\nfig 8. Sketch of the umbilical vessels.\n\nA dual function of the umbilical vein as a passage for nutritive products and urine is suggested in the accompanying note.\n\nLet a b [umbilical vein] be the channel for the food and the passage for the urine, and it acquires two opposite motions but not at one and the same time.\n\nfig 9. The umbilical vessels and cord.\n\nThe notes read: This figure goes in the embryo, and do not make it elsewhere.\n\nNote well the umbilical vein, where it ends in the uterus.\n\nfig 10. The umbilical vessels and cord.\n\nIn this figure Leonardo grafts his findings in the human foetus onto the placenta of an ox. The umbilical cord is shown terminating in ovoid bodies which are labelled cotyledons. Notes on the findings at dissection and conclusions reached surround the figure.\n\nLarge is the liver, and the kidneys.\n\nWe found that the chyle and the stomach of this child did not differ from that of a man. The child was less than half a braccio [under 1 ft.] and was nearly four months. I judged that this chyle was made from the menstrual blood which it took from the liver, which was given it by the umbilical vein.\n\nTherefore the miseriaic [portal] veins are those which give through their ramification what they first received through these ramifications, and the arteries receive through the ramifications what customarily they first pour out.\n\nfig 11. The umbilical and iliac vessels.\n\nSimilar to the other sketches of the series, the figure shows in addition the testes with spermatic veins extending erroneously to both renal veins. Leonardo reminds himself to illustrate the ductus deferens and seminal vesicles as seen on 202.\n\nLet there be seen from the posterior aspect, the bladder with the spermatic vessels [ductus deferentes] in order that the position of these vessels may be observed. Give the dimensions of, and how far removed these vessels are from the anus.\n\nIn addition, Leonardo comments on the arrangement of the iliac vessels.\n\nThe first branching of the great vessels below the emulgents [renal vessels] is where the spine is joined to the sacrum. The second are the branches which divide to nourish the caudal spine. The third is into the menstrual of the woman and the uterus, and the fourth into the bladder. The 4, one and a half fingers further on, go to the testicles. The 4 which arise one and a third fingers more distant to these escape out of the peritoneal cavity and divide into two, one forming the saphenous and the other to the [...].\n\nfigs 12-13. The umbilical vessels and urachus.\n\nIn the note Leonardo returns to the idea that the umbilical vein carries menstrual blood to the liver which then passes by way of the portal system to the stomach to be converted into chyle.\n\nThe child forms excrements which arise from the blood which enters through the umbilical cord. The blood enters the liver and escapes from there through the gateway of the liver to enter the miseriaic [portal] veins and is converted into excrements [in the alimentary tract]. The... [hepatic] veins take some of it and carry the nourishment to the heart which at this time does not beat. And so when the child is in the uterus, the nutriment enters in a direction op.\n\n(continued on page 506)\n\n# 215 embryology\n\nThis page appears to be a continuation of the protocol, 214, on the dissection of the human foetus. Two notes, one at the top and the other at the bottom of the page, have been added and are not in Leonardo's hand. The second of these, in a hand thought to be that of Francesco Melzi, is given below.\n\nfig 1. Sketch of a foetus in utero.\n\nA nearby note states that, When they are small, the centre of the liver in children in the uterus lies below the centre of the heart and above the umbilicus, and when they are born, the liver withdraws to the right side.\n\nfig 2. The umbilical vessels, umbilical cord and iliac vessels.\n\nThe figure is identical in style to those on 214; Leonardo reminds himself to describe the uterine and umbilical vessels. For his theory, cf. 214.\n\nDescribe which branch of the great vessels is that with which the mother nourishes the child through the umbilical vein.\n\nfigs 3-5. The liver and distribution of the umbilical, portal and hepatic veins.\n\nThese figures illustrate the theory that menstrual blood is carried to the foetal liver by the umbilical vein, a portion passing to the heart by way of hepatic veins and another portion going via the portal system to the stomach to be converted into chyle, cf. 214. In the third of these figures the heart, liver, stomach, and duodenum are so labelled. The first group of related notes deals with morphological details.\n\nON THE BOWELS.\n\nI have found that the infant has 20 braccia [i.e., cubits] of bowel, that is to say, 20 braccia of this child.\n\nThe liver is lacking, or is diminished, on the left side when it [the foetus] is full-grown, because the spleen and stomach increase on this side and not on the left [for right] side. Furthermore, it is to give room for the heart.\n\nThe relative change in position of the liver from foetal to adult life is explained as being due to obliteration of the umbilical vein and the development of the spleen.\n\nWhen the umbilical vein is in operation for what it was created, it occupies the principal position in man, that is, the middle of the belly, of the length as well as of the breadth. But when this vein was later deprived of its office, it was drawn to one side together with the liver, which was created and then nourished by it. This upper part of the umbilical vein was displaced from the middle by the change in position of the liver. Owing to the growth of the spleen created on the left side, the liver was driven into the right side and carried with it the upper part of the umbilical vein which was united to it.\n\nThe spleen which at first was a viscous watery organ, flexible and compressible, giving way to anything which pushed it out of position, later began to contract and condense and form its necessary shape. It needs must enter the place occupied by the left part of the liver when having filled... it withdraws to the right side, compresses and condenses the right part of the liver uniting with it [?umbilical vein]. Thus the liver lacks   of its left part and retreats with its middle to the right side concentrating in this position.\n\nA further note elaborates on the theory of foetal nutrition, mentioned above. The theory required a two-way flow in the portal system between the liver and intestines. Leonardo calls upon his knowledge of back eddies in the flow of rivers to explain how this could occur. The bile duct was long unknown.\n\nFirst cite a known comparison with the water of rivers and then with the choler [yellow bile] which, when it wishes to enter the stomach, goes to the stomach against the course of the food which comes from the stomach. There are two opposite motions which do not penetrate but give way to one another as do rivers in their opposed currents. Thus does the choler which enters against the outlet of the chyle from the stomach.\n\nfig 6. Diagram of the embryo and its coverings.\n\nThis rough diagram has been interpreted from its shape as showing the development of the chick, but this is clearly not so as evidenced by the human figure below and the line indicating its relationship. The various coverings are labelled from without inwards, uterus, secundines [chorion], allantois, amnion. Pointing to the allantoic or amniotic fluid are the words, Yellowish crystalline [i.e., clear fluid] in great quantity. To this is added the note, probably in the handwriting of Melzi:\n\n\"The child in the uterus has three membranes which surround it. Of these, the first is called the amnion, the second the allantois, the third the sec-undine [chorion]. The uterus is united to this sec-undine by means of the cotyledons, and all join in the umbilical cord which is composed of vessels\".\n\nNotes on embryology, but unrelated to the figure; the first takes up the concept of the pneuma or world spirit, and the second shows Leonardo's retreat from the Aristotelian position on generation, cf. 201.\n\nAs one mind governs two bodies, inasmuch as the desires and the fears and the pains of the mother are common with the pains, that is, the bodily pains and desires of the infant lying in the body of the mother, likewise the nourishment of the food serves the child, and it is nourished from the same cause as the other members of the mother and the spirits, which are taken from the air\u2014the common soul of the human race and other living things.\n\nThe negroes in Ethiopia are not caused by the sun, because if a negro impregnates a negress in Scythia, she gives birth to a negro, and if a negro impregnates a white, she gives birth to a grey. This shows that the semen of the mother has power in the embryo equal to the semen of the father.\n\n# continued text\n\nTHE SKELETON\n\nossicle. However, in view of the other features in the present figure, it is more likely that Leonardo is carrying over mediaeval conceptions.\n\nLeonardo employs the word forcula, forchula, or furchola for the clavicle. This term, properly furcula, is the diminutive of furca, a fork. In the Latin edition of Avicenna and in the work of Guy de Chauliac (1300-1370), Leonardo's sources, the word furcula is used to represent both clavicles diverging from the sternum like the two prongs of a fork. Such an appearance is more evident in birds where the clavicles are united by the interclavicle to form the \"merrythought\" which deservedly retains the name furcula. However, furcula for clavicle was the common term of mediaeval anatomists and surgeons. On the other hand, Mundinus (1275-1326), another of Leonardo's sources, specifically uses the word to indicate the fork-like appearance produced at the lower end of the sternum by division of the xiphoid process or diversion of the costal cartilages. The word has also been used to designate the suprasternal notch usually as furcula superior to distinguish it from the xiphoid called furcula inferior.\n\n2\n\nTHE VERTEBRAL COLUMN\n\nand all the other vertebrae of the neck, which are seven, do the same.\n\nThese three vertebrae must be designed in three aspects, as has been done in the three spines.\n\nYou will design these bones of the neck from 3 aspects, united, and 3 aspects, disunited; and then you will do the same for the two other aspects, that is: seen from below and from above, and thus you will give a true knowledge of their shapes, knowledge that neither ancient writers nor the moderns would ever have been able to give without an immense, tiresome and confused amount of writing and time. But in this very swift way of representing them in different aspects, one will give full and true knowledge of them, and for the sake of this benefit which I give to men, I teach the manner of reproducing it with order, and I pray you, you other successors, that avarice does not oblige you to make editions in [...]\n\nIn these two illustrations Leonardo portrays the cervical spine with wonderful accuracy. In the case of the first three cervical vertebrae shown separated from one another, he graphically illustrates the manner of their articulation and has designated the various elements entering into the construction of the joints by means of letters. However, nowhere does he provide a guide to his interpretation of the designated parts. Nonetheless, it is easy to supply the missing names in modern terminology owing to the accuracy of the drawings. It is rather amazing that Leonardo with his flair for mechanics failed to comment upon the movements of the atlantoid and epistropheal joints, since the statements of Galen and his Arabic interpreters on their functions are highly inaccurate and quite absurd. This was a subject to which Andreas Vesalius devoted a great deal of attention. His investigations on the mechanics of the movements of the head and neck enabled him to expose the falsity of Galen's teachings, and he regarded his discoveries as one of his greatest triumphs.\n\n8\n\nTHE UPPER EXTREMITY\n\nnardo employed a specimen in which ossification was incomplete, it is highly unlikely that the line apparently separating the process from the rest of the scapula is intended to represent an independent bone, as evidenced by other drawings in the series. The last portion of Leonardo's statement on pronation accompanying fig. 4, is similar in phraseology to the description given by Avicenna.\n\nfig 6. Anterior view of the bones of the upper extremity to illustrate pronation.\n\nYou will make each of these 4 demonstrations twice, and of this duplication you will make one for each sort in which the heads of the bones will be joined with their fellows as nature made them, and the other demonstration you will make with the bones separated; and in this way you will see the true shape of the heads of the bones which are joined together.\n\nThe arm is composed of 30 bony segments, for there are 3 in the arm itself and 27 in the hand.\n\nThe ordinary position of the palm of the hand is to be turned toward the horizon, and its ordinary extreme positions are to be turned toward the sky or toward the earth, that is to say, toward the head or the feet of the individual.\n\nA further illustration of the mechanism of pronation in which the action of pronator teres is nicely demonstrated. The biceps brachii muscle and the collateral ligaments of the wrist joint are also exhibited.\n\nThe degree of accuracy of delineation of the bones appearing in this series of drawings is worthy of comment. For details of the carpal, metacarpal and phalangeal bones, cf. the figures on 10.\n\n10\n\nREPRESENTATION OF THE HAND\n\nin a work to be entitled Libro del moto actionale. Erwin Panofsky in his study of the Codex Huygens shows how these ideas of Leonardo were eventually expressed in graphic form.\n\nNo explanation of the letters on the accompanying figure are given. b d, is undoubtedly the flexor carpi radialis muscle, and a c, palmaris longus. Laterally and medially the shading suggests that the ulnar and radial flexors of the wrist are also indicated. We assume, therefore, that the diagram is to illustrate the muscles producing the four primary movements discussed in Leonardo's note.\n\n12\n\nTHE LOWER EXTREMITY\n\nto these are the 6 demonstrations of the bones separated from one another; and there are the hones sawn lengthwise in two ways, that is, sawn from the side and straight, to demonstrate the entire thickness of the bones.\n\nfig 8. Small inset drawing of lateral aspect of foot.\n\nAt the end of each figure of the foot you will give the measurements of the thickness and length of each of the bones and its position.\n\n16\n\nMYOLOGY OF TRUNK\n\ncapitis, splenius capitis, longissimus cervicis and ilio costalis are shown.\n\nfig 5. The fifth demonstration of the deep muscles of the back.\n\nThe vertebrae which form the dorsal spine in the 5th demonstration possess muscles which pull them in a motion opposite to that made by the muscles of the 4th demonstration; and this occurs because these vertebrae would break asunder when the head is bent if the muscles below did not exercise a force in the opposite direction.\n\nYou will observe whether the muscles [intercostal] which tie the ribs together and occupy their intervals are directed in their length towards the neck or not.\n\nThe muscles shown in this figure are held by Leonardo to be the antagonists of those in his fourth demonstration. The reasoning is a little difficult to follow unless Leonardo is thinking of the muscles in the fourth figure acting as an anti-gravity group opposed by those shown here to prevent separation of the vertebrae or of the group on one side opposing those of the opposite side in lateral movements. Again, it is difficult to identify with certainty the muscles illustrated, but from their direction and apparent attachments it is suggested that semispinalis capitis and spinalis thoracis are chiefly represented. The obliquity of the intercostal muscles is discussed more fully in other figures relating to respiration.\n\nfig 6. Line diagram of back muscles.\n\nThe letters c d, point to the spine of the scapula and its vertebral border respectively. The spines of the lower cervical and upper thoracic vertebrae are noted by n m o p q r S t u, from above downwards. The lines indicate the direction of action of the trapezius, splenius capitis and spinalis thoracis, and the diagram is apparently a preliminary sketch for the development of the next figure.\n\nfig 7. Cord diagram of the back muscles.\n\nMake a similar figure of the internal [anterior] aspect of the bone of the neck and of the shoulder.\n\nMake for each cord, the bones where they arise and where they terminate.\n\nEach vertebra is the point of departure of 10 cords, that is, five on each side.\n\nIt will be recalled that in the general notes Leonardo stated that each muscle acts in the line of its fibres. The cord diagram graphically serves to demonstrate these lines of action and the mechanics of antagonistic groups of muscles. The trapezius, levator scapulae and other muscles of the back are represented. It will be observed that the spine of the seventh cervical vertebra is shown \"stabilized\" in all directions by the attachment of ten cords radiating from this point. This number he believed to be characteristic for each vertebra as will again be illustrated in the next figure.\n\nfig 8. Cord diagram of muscles attached to the vertebral spine.\n\nEach vertebra has 10 cords attached, that is, 5 on one side and 5 on the other.\n\nab, cd, fg, are the muscles which [...]\n\nLeonardo, like all early anatomists, was greatly handicapped by not having a formal and systematic nomenclature for the many muscles of the body. Galen had introduced a clumsy system of numbering the muscles in groups according to their action, but it is to Jacobus Sylvius (1478-1555) that we owe the beginnings of the modern nomenclature which so greatly simplified the terminology of muscles. The ten cords are lettered in pairs aa, bb, cc, dd, ee, and shown radiating from the spine of the vertebra which Leonardo believed was thus dynamically stabilized as it were, by guy ropes. The second incomplete note given above relates to no figure in this series and is placed here quite arbitrarily.\n\n17\n\nMYOLOGY OF TRUNK\n\nmast, to the extremities of which they are attached, the greater the angle at which they run to their attachment to this mast.\n\nAnd this cord has less power of preventing the fall of the mast, the more unequal are the angles at which it attaches itself to this mast.\n\nConsideration of the action of these spinal muscles and their effects on stability of the spine and on respiration prompted the following general note which is found sandwiched between the above observations but directly related to them.\n\nON THE METHOD OF REPRESENTING THE CAUSES OF THE MOVEMENTS OF ANY MEMBER.\n\nFirst draw the motor muscles of the bone called the humerus; then make on the humerus the motor muscles of the [fore-] arm which cause its extension or flexion; then show separately the muscles arising on the humerus which serve solely to rotate the [fore-] arm when it turns the [palm of the] hand upwards or downwards; then in the arm draw only the muscles which move only the fingers in flexion, extension, abduction and adduction; but first represent the whole as is done in cosmography, and then divide it into the previously mentioned parts, and do the same for the thigh, leg and the feet.\n\nHowever, faced by the complexity of the human body Leonardo was uncertain whether to present the subject regionally or by systems, although he seems to have favored the latter. The term \"instrumental\" corresponds to the modern \"system\". Hence Leonardo asks the question Whether one treats of man according to the instrumental method or not, and illustrates the difficulties of the regional versus the \"system\" methods when considering the function of muscles by the statement:\n\nIt happens almost universally that muscles do not move the member where they are fixed but move the member where the sinew which leaves the muscle, is attached, except that which elevates and moves the thorax (costato) in serving respiration.\n\n20\n\nMYOLOGY OF TRUNK\n\nof the posterior surface of the tensor is shown, and in the second (similar to fig. 3) the muscle has been sectioned at its middle to show its triangular shape. The sectioned surface is indicated by the letter a. The captions read: Reverse of this muscle [i.e., tensor fasciae latae], in the case of fig. 7, and, a, figure of the thickness, for fig. 8.\n\nfig 9. Superficial muscles of thigh: anterior aspect.\n\nNo notes accompany this drawing of the muscles of the thigh. The outline is almost identical with that of the right leg of the figure in 60, suggesting that both are related studies developed in connection with the Anghiari cartoon. The muscles lettered are a, adductor longus; b, pectineus; c, sartorius; d, tensor fasciae latae; e, gluteus medius.\n\nfigs 10-11. Illustrations of the action of the subcostal muscles (?) in respiration.\n\nFig. 11 replaces fig. 10 since in relation to the first we have the statement, True position of the muscles, and to the second, These muscles are badly placed. It is difficult to determine what muscles are illustrated, but the figures and the description below suggest the sub-costals. However, Leonardo was greatly impressed by the serratus posterior superior as respiratory muscles and nearly always indicates them by the letters n, m, o, as in 16, fig. 3, so that this muscle must be considered. However, the statement that there are seven such muscles favors the identification of the subcostals.\n\nThe muscles n, m, o [?subcostals] are 7 which bind the ribs a, b, c, attached to the thorax.\n\nThese muscles have a voluntary and an involuntary motion for they are those which open and close the lung. They open when they suspend their function, that is, of shortening, for meanwhile the ribs, which were first drawn up and compressed together by the shortening of these muscles, then remain free and return to their natural distance as the chest expands. And since no vacuum can occur in nature, the lung, which is in contact with the ribs internally, must follow their dilatation, and so the lung, in opening like a bellows, draws in the air which fills the space created for it\n\nfig 12. Diagram of the thoracic and abdominal cavities separated by the diaphragm to show the influence of the respiratory movements on the intestinal contents.\n\nThe shortening and lengthening of the [respiratory] muscles mentioned above are the cause which gives continual movement to the faeces of the intestines. This is proved: a b c d, is the space occupied by the lung in the chest; b a, and b c, are the ribs of the chest which expand and contract the interval a c. As was said above, on expansion of this interval a c, the diaphragm, a thick membrane which is interposed between the intestine and the lung, comes to be stretched by the expansion of the ribs and because of its stretching, it decreases the [abdominal] space a d c e, in which the said intestines are confined. And so, by the decrease and increase of the said space, the intestines themselves are expanded and then contracted when they are compressed; and this effect continues as long as life.\n\nAt the top of the page on the left-hand side is a note, probably written at an earlier date, on the origin of the sounds made by insects: That flies have their voice in their wings, you will observe by cutting them a little, or better still, by daubing them with a little honey in such a way that they are not entirely prevented from flying. And you will observe that the sound made by the movement of the wings will become harsh and the note will change from high to low in proportion to the degree that their wings are impeded.\n\nLeonardo examined the fly very closely in the course of his studies on flight (Mss. G, 92r, Institut de France).\n\n31\n\nMYOLOGY OF TRUNK\n\nThe muscles a b c, at the sides, motors of the diaphragm, extend more towards the middle of the diaphragm, the fatter the animal is; and this they do in all the rest of the body.\n\nfigs 6-9. Details of the costal origin of the diaphragm.\n\nThese illustrations are much more accurate and may well represent human findings. In the first of the series the structure passing through the diaphragm is the oesophagus, very inaccurately placed. Of it, Leonardo says: Opening, giving transit to the oesophagus (meri). Describe how it joins and unites with the diaphragm.\n\nThe third figure of the series, fig. 8, demonstrates the lung occupying the costo-phrenic sinus, and the final figure, fig. 9, the phrenic vessels.\n\n39\n\nMYOLOGY OF HEAD AND NECK\n\nturnings of the masticated food and consequently in the cleansing of the inside of the mouth together with the teeth. Its principal movements are 7, that is, extension, narrowing, retraction, thickening, shortening, expansion and straightening. Of these 7 motions, 3 are compound because one cannot be produced without the other being generated and of necessity conjoined to the first. This is the case with the first and second, which is its extension and narrowing, because you cannot distend an extensible material without its narrowing and straightening on all sides. The same occurs in the 3rd and 4th movements, opposite to the two first: that is, the thickening and shortening of the tongue. Following these are the 5th and 6th motions which make its 3rd compound motion consisting of 3 motions; that is, expansion, straightening and shortening. But here you could, perhaps, argue with the definition of the penis which receives in itself so much natural heat that, besides thickening, it lengthens itself considerably, etc.\n\nLeonardo was a very accomplished musician and, says Lomazzo, \"he surpassed all musicians of his time\". Vasari suggests that it was this accomplishment which gained him the summons to Milan from Lodovico Sforza, and he won wide recognition not only as a performer but also for his ability in the construction and design of musical instruments, some of which may be seen in the form of sketches. He compared the passage of sound waves to the circular ripples caused by stones dropped into a pond of water. It was this simile which Helmholtz (1821-1894), the great physicist and physiologist, developed centuries later in his classic On the physiological principles of musical harmony. Consequently the digression in the above discussion is understandable. The treatise on musical instruments to which Leonardo refers is now lost, but we know from other sources that it once existed. Numerous other discussions, especially on the human voice as a musical instrument, have survived in his notes. For his opinion on the mechanism of erection of the penis, cf. 182.\n\nOvercome by the contemplation of these various mechanisms, Leonardo breaks into a panegyric.\n\nAthough human ingenuity in various inventions corresponds with various instruments to the same end, it will never find an invention more beautiful, more simple or more direct than does nature, because in her inventions nothing is lacking and nothing is superfluous. She needs no counterpoise when she makes the members adapted for motion in the bodies of animals, but places within the soul, the formative agent of the body, that is, the soul of the mother which first constructs in the womb the shape of man and in due time awakens the soul which is to be its inhabitant, and which first remains asleep under the guardianship of the soul of the mother who nourishes and vitalizes it through the umbilical vein with all her spiritual members. And so it will continue as long as the umbilical cord is joined to it by the secundines [chorion] and the cotyledons through which the foetus is united with the mother. This is the reason why any wish, any extreme desire, any fright which the mother has, or any other mental suffering, more powerfully influences the child than the mother, for there are many instances in which the child thereby loses its life, etc.\n\nThis discussion does not belong here but is required in treating of the composition of the animal body\u2014and the rest of the definition of the soul I leave to the consideration of the friars, the fathers of the people, who by inspiration know all the mysteries. Let be the sacred writings, for they are supreme truth.\n\nLeonardo recognized the foetal membranes as they occur in lower animals, but not in man, cf. 210, 211. So it is that he mentions the cotyledons as found in ungulates in the above note. The idea of a formative soul is undoubtedly of Aristotelian origin to which Galenical views are added, implying a recognition of the distinction between growth and differentiation. The \"spiritual members\" are the cardiovascular system providing Galen's natural spirit for nutrition through the veins, and vital spirits through the arteries.\n\nfigs 6-8. Three geometric figures on perspective.\n\nThe accompanying note fully explains the meaning of these figures.\n\nAmong equal things the more distant appears to be smaller, and the diminution will be proportional to the distance.\n\n43\n\nMYOLOGY OF SHOULDER REGION\n\nupside down and even then, from Leonardo's description, the identification would be highly questionable. There can be little doubt that the structure is a portion of the interclavicular ligament which has been mistaken for a \"small sinewy muscle\". Leonardo's description substantiates this view.\n\nfig 11. Sketch of the cephalic vein in the delto-pectoral interval.\n\na b, a vein [cephalic] which has arisen from behind the external conjunction of the muscle of the shoulder [deltoid] with the sinew of the breast [tendon of pectoralis major].\n\nMOVEMENTS OF THE NECK.\n\nThe extensive note occupying the left-hand margin is concerned with the movements of the neck and the value of such information for diagnosis of injury. The note reads as follows:\n\nThe neck has 4 movements of which the first is to elevate, the 2nd to depress the face, the 3rd to turn to the right and left, the 4th to bend the head to the right and left. The [?others] are compound motions, that is, to elevate or to depress the face with one ear near the shoulder, and likewise to elevate or to depress the face when turned to one of the shoulders with one eye lower or higher than the other, and this is called distorted motion.\n\nAnd to such movements should be assigned the cords and muscles which are the cause of these motions, and so, if a man through some injury should lack one of these movements, one can diagnose with certainty which cord or muscle is damaged.\n\n49\n\nMYOLOGY OF SHOULDER REGION\n\nattached to the point [coracoid] of the scapula o, a point which projects above the front of the humerus h; and the humerus itself is supported by the shield c [ligaments and capsule or separate acromion, summus humerus], and c is connected to the clavicle n d, and this bone, at its extremity n, is supported by the sinews or muscles a n [portions of trapezius] which arise from the last vertebrae of the neck.\n\nThe diagram and accompanying note largely repeat the ideas expressed in fig. 4. The identification of the shield c, is very uncertain. In fig. 4, the ligaments and capsule of the acromio-clavicular region seem to be meant, but here the use of the term shield suggests a separate acromion process or summus humerus as mentioned in connection with fig. 1.\n\nfig 6. Deep dissection of the muscles of the shoulder region: anterior aspect; the third demonstration, cf. figs. 1 and 4.\n\nThis illustration is almost identical with fig. 4 except that the pectoralis major muscle has now been reflected to reveal the entire course of the long head of the biceps and the pectoralis minor, labelled S t, as in fig. 4. The tendon of latissimus dorsi indicated by the letters g r, is clearly shown and discussed in the following note.\n\ng r [latissimus dorsi] rotates the arm with a circular motion in such a way that where the arm is carried backwards, the hand turns the palm from the front to the back.\n\nJust anterior to the lower portion of the latissimus dorsi muscle and written on the drawing is the simple word spatola, indicating the axillary border of the scapula.\n\nApparently it was Leonardo's intention to add a fourth figure to the series on the deep dissection of the shoulder region and, in addition, a figure or figures illustrating the relationships of the vessels and nerves to the muscles, as the following notes will show.\n\nIn the 4th demonstration elevate the biceps muscle of the arm (pesce del braccio) and describe what remains.\n\nDraw here, always together, the veins and the nerves together with the muscles so that it is possible to see how the muscles are interwoven with these veins and nerves, and elevate the ribs so that one can better observe how the largest muscle [serratus anterior?] is connected to the scalp.\n\nfig 7. The bones of the ankle and foot.\n\nDraw above this foot, the right foot and one will see the inner and outer aspects without turning the ends.\n\nThis figure seems to belong to the series shown on 12 which suggests that the isolated drawing of some of the deep muscles of the shoulder region found on that page is a member of the group illustrated here. The note indicates that Leonardo was in some instances willing to abandon his more ambitious and laborious plan of illustrating every part of the body by turning it practically through a circle and showing step by step every aspect of the specimen.\n\n50\n\nMYOLOGY OF SHOULDER REGION\n\nlateral divided tendon is the coraco-brachialis; supraspinatus and the two heads of the biceps brachii are very evident. The muscles shown in outline suggest teres major, latissimus dorsi and the long head of triceps. Note the clear rendering of the suprascapular foreman.\n\nfig 6. Cord diagram of the shoulder muscles.\n\nDemonstration of the position and attachment's of the muscles of the shoulder; but first sketch the bones and then these muscles.\n\nAnd with these one will discuss the strength of the muscles.\n\nAs is often the case, Leonardo provides no guide to the lettering of the figure, a b c, deltoid, shown as four fasciculi; d (like the numeral 4) and r, two fasciculi representing the upper portion of the trapezius; q, levator scapulae; p, supraspinatus; o, and m, two bands indicating the infraspinatus; n, teres minor; h, teres major; g, latissimus dorsi; f (placed at lateral condyle of humerus), long head of triceps shown incorrectly arising from the spine of the scapula; e (like the letter D), lateral head of triceps; S (in shadow), medial head of triceps.\n\nfig 7. Dissection of the shoulder joint viewed from above.\n\nLeonardo provides the following key to the lettering of the figure:\n\na [subscapularis], the largest muscle of the shoulder, passes between o [glenoid] and b [coracoid] and occupies all the space S c [subscapular fossa] attaching only to the borders of the scapula of the shoulder.\n\nThe muscle n [supraspinatus] passes between d [supraglenoid tubercle] and n [acromion] and occupies the space f g [supraspinous fossa] being attached by its extremities to the borders of the space which receives it.\n\nThe above mentioned muscles are not attached except at the borders of their receptacles [the fossae] and at the terminations of their cords; and the Master has done this so that the muscles might be free and unfastened so they can grow thicker and shorter or thinner and longer according to the needs of the lever (mobile) which they move.\n\nOther structures lettered but not noted are p, the head of the humerus, and the long head of biceps, also p. The remaining tendons identifiable are the infraspinatus and teres minor joining the other short rotators to form the musculo-tendinous cuff of Cod-man. Attached to the coracoid are the short head of biceps and coraco-brachialis together with pectoralis minor shown as two tendons. Passing to the spine of the scapula is the long head of triceps which Leonardo nearly always shows incorrectly attached as in most of the figures of this plate.\n\nFurther drawings in the series were contemplated as outlined in the final note.\n\nYou will make the scapula denuded of its muscles, and then clothed, showing the naked head of the humerus which, on the opposite side, one should clothe with these same muscles of the scapula; then show the head of the humerus.\n\n56\n\nMYOLOGY OF UPPER EXTREMITY\n\nfig 7. The superficial palmar arterial arch.\n\nThe inset, a o b c d, shows the branching of the terminal portion of the ulnar artery in diagram which is described thus.\n\nThe arrangement of the vessel a b e d [ulnar artery] is such that c and d, go within the hand as far as the clefts of the fingers, that is, a o [ulnar artery] then divides at o and form three branches of which the branch o b, passes to the outer [medial] side of the hand and two branches o c, and o d, proceed along the length of the digits within.\n\nLeonardo calls attention to the position of the digital vessels and nerves.\n\nHave you observed here with what precaution Nature has placed the nerves, arteries and veins on the sides of the fingers and not in the mid-line, so that in the operations of the fingers they do not happen in some manner or other to be pierced or cut?\n\nfig 8. A profile.\n\nThe portrait may be that of the subject dissected, but the features are those of a type which often appears in Leonardine drawings.\n\n57\n\nMYOLOGY OF UPPER EXTREMITY\n\nDemonstrate what muscle is the cause of the contraction of the base p q, of the palm of the hand and likewise, of its separation.\n\nfig 4. Digital bones to illustrate abduction and adduction of the fingers.\n\nThis sketch is to illustrate the movements of abduction and adduction at the metacarpo-phalangeal joints m n, by the digits a b, and c d. With reference to the movements of the fingers in flexion, extension, abduction and adduction, Leonardo notes at the top of the page:\n\nEach digit is capable of circular movement at its tip, that is, when the hand is held in the air supported by the thumb on a flat surface, you may describe a circle with the tip of each finger because there are 4 cords in them. Below the figure he writes:\n\nRemember to represent the cause of the movement of separation of the digits a b, and b c.\n\nAnd by the same rule, describe the separation of all the other digits and other members; and remember that the demonstrations of the interior of the hand must be 10.\n\nfigs 5-6. Cord diagrams to illustrate the action of the first dorsal interosseous and adductor pollicis muscles.\n\nIn these diagrams the first dorsal interosseous muscle is shown as two cords intersecting with the deeper lying adductor pollicis, also shown as two cords representing either the two heads of the adductor or the adductor and deep head of flexor pollicis brevis. The purpose of the diagram is to illustrate the scissors-like movements of thumb and index fingers. These figures represent the cord or wire diagrams corresponding to the dissection in fig. 9.\n\nfig 7. First demonstration. Bones of the hand and wrist illustrating adductor pollicis.\n\nThe figure is labelled in writing which is both reversed and upside down: The hand seen from the internal aspect.\n\nThe sketch was to have been the first in the series of ten representing the anatomy of the palm of the hand. A cord p q, demonstrates the position of the transverse head of the adductor pollicis muscle passing from the palmar surface of the third metacarpal to the first phalanx of the thumb. Calling attention to this muscle, Leonardo quaintly observes, The middle digit has in custody the largest digit through the muscle p q [adductor pollicis].\n\nLeonardo apparently intended to use the figure as the base for a cord or wire diagram of the muscles and tendons. In addition to the adductor pollicis he shows the radial collateral ligament but did not finish the sketch as shown by his note: make it so that the muscles of this hand are first represented by the use of wires, in order that one may easily see where each takes origin and terminates without the interference of one another.\n\nfig 8. Second demonstration. Deep dissection of palm of the hand.\n\na [pronator quadratus] is a strong, fleshy muscle which arises from one of the bones of the [fore-] arm within and terminates on the other bone within, and it is created for the sole purpose of preventing the separation of the 2 bones b c [radius and ulna].\n\nApart from pronator quadratus, the deep dissection reveals the short muscles of the thenar and hypothe-nar eminences, the two heads of the adductor pollicis, the interossei and the volar interosseous artery. The structure crossing the metacarpo-phalangeal joints transversely is presumably the transverse metacarpal ligament.\n\nAgain Leonardo suggests his favorite device of a cord diagram to show the position of the intrinsic muscles of the hand. In the note below he uses the term pettine for the metacarpus. This term, the equivalent of pecten, a comb, was commonly used for the metacarpus and metatarsus in the sense of the \"rays\" of the hand or foot and thus came to be applied to the palm of the hand or the sole of the foot.\n\nLet these muscles of the hand be made first of threads and then according to their true shape.\n\nAnd these are the muscles which move the entire metacarpus (pettine) of the hand.\n\nWhen you have drawn the bones of the hand and wish to represent above this the muscles which are attached to these bones, make threads in place of muscles. I say threads and not lines in order to know what muscle passes below or above the other muscle, a thing which cannot be done with simple lines; and having done this, then make another hand at its side where there may be the true shape of these muscles as is shown here above.\n\nfig 9. The muscles of the first interosseous interval of the hand.\n\nThis figure of the first interosseous interval from the dorsal aspect corresponds to the cord diagrams of figs. 5-6 above and was apparently drawn first as may be gathered from the note: To demonstrate better where the muscles of the palm of the hand are attached to the bones, make them with threads.\n\nLeonardo was unhappy respecting his description of the muscles moving the first phalanges of the fingers (his third segment) and their correspondence with those of the thumb. It should be remembered that in the Galenical anatomy there are only four metacarpals. The first metacarpal is regarded as the first phalanx of the thumb, hence Leonardo's difficulty in finding any correspondence in the arrangement of the muscles. Furthermore, in reading the note below it should be borne in mind that fig. 10, illustrating the action of the long flexors and extensors of the fingers, was drawn before the note was written.\n\nI have represented here [fig. 10] the cause of the motion of the first [phalanx III] and 2nd segments of the digital bones; there remains the representation of the motion of the larger 3rd bone [phalanx I] which makes up half the length of the fingers, for, in truth, it could not have been shown here how this bone is moved if there had not already been the 2nd figure [fig. 8] of the 2nd hand.\n\nBut this only makes me doubt that these muscles have no cords and that they are not in correspondence with the digits of the hand as may be seen here, and, in this case the foot has shown them exceptionally well.\n\nfig 10. The action of the long flexors and extensors on the digital bones.\n\nIf the bone a b [phalanx III] is drawn and flexed by the sinew or cord a g [for a f, flexor d. profundus], and the bone b c [phalanx II] is flexed by the cord h f [for h g, flexor d. sublimis], what is it that flexes the bone c d [phalanx I]?\n\nThis question is partially answered by showing the interossei in fig. 8, but Leonardo is uncertain as to the action of the muscles in the metacarpo-phalangeal joints as discussed above under fig. 9.\n\nfig 11. Diagram of the action of the lumbrical and interosseous muscles.\n\nLeonardo inquires as to what flexes at the metacarpophalangeal joint and maintains the interphalangeal joints in extension\u2014the classical action of the lumbricles and interossei. He gives no answer.\n\nWhat flexes the finger, remaining extended at its three bones, in the angle m n o?\n\n74\n\nMYOLOGY OF LOWER EXTREMITY\n\nDraw first the bones separated and displaced a little so that it may be possible to distinguish better the shape of each piece of bone by itself. Then join them together in such a way that they do not differ from the first demonstration except in that part which is occupied by their contact. Having done this, make the 3rd demonstration of those muscles which bind the bones together. Then make the 4th, of the nerves which carry sensibility. And continue with the 5th, of the nerves which cause movement or give sense to the first joints of the digits. And for the sixth, make the muscles which are upon [the dorsum] of the foot where these sensory nerves are distributed. And the 7th will be that of the veins which nourish these muscles of the foot. The 8th will be that of the sinews which move the tips of the toes. The 9th, of the veins and arteries which are placed between the flesh and the skin. The 10th and last will be the finished foot with all its sensibility. You can make the 11th in the form of a transparent foot where it is possible to see all the above-mentioned things.\n\nBut first make the demonstration of the sensory nerves of the leg and their ramification from 4 aspects so that one can see exactly whence these nerves are derived; and then make a drawing of a young and perfect foot with few muscles.\n\nA portion of the above plan has been executed in 12 where the tibia and fibula are shown separated from the talus with guide lines to indicate the corresponding articular surfaces.\n\nTO BE NOTED.\n\nWhen you have made your demonstrations of the bones from various aspects, then make the membranes which are interposed between the bones and the muscles: and in addition to this, when you have sketched the first [layer of] muscles and have described and shown their action, make the 2nd demonstration upon these first muscles and the 3rd demonstration upon the second, and so on in succession.\n\nMake here first the simple bones and then clothe them successively step by step in the same way that nature clothes them.\n\nWhen defining the foot it must necessarily be joined to the leg as far as the knee, because the muscles which move the tips of the toes, that is, the terminal bones, arise in the leg.\n\nIn the 1st demonstration the bones should be separated somewhat from one another, so that their true shape may be known. In the 2nd the bones should be shown sawn in order to see which is hollow and which is solid. In the 3rd demonstration these bones should be joined together. In the 4th the bones should be tied together with one another. In the 5th should be the muscles which strengthen these bones. 6th, the muscles with their cords, 7th, the muscles of the leg with the cords which go to the toes. 8th, the sensory nerves, 9th, the arteries and veins. 10th, the muscular skin [deep fascia], 11th, the foot in its final beauty. And each of the 4 aspects should have these 11 demonstrations.\n\nThe muscular skin may be variously interpreted. The panniculus carnosus of animals described by Aristotle had been ascribed to man by Galen who also used the equivalent term to mean the fascial covering of the muscles. This caused great confusion among mediaeval anatomists, a confusion compounded by Mundinus who states that beneath the skin and fat is the fleshy layer which \"is not sinewy nor fleshy after the manner of muscles, but mixed of flesh and membrane\". Around Leonardo's time it was coming to be recognized that the panniculus carnosus existed in animals only. However, the equivalent form was retained, even by Vesalius, to describe the deep fascia since it was believed that the confusion was perhaps due to semantic difficulties.\n\nUse the same rule for the foot as employed for the hand, that is, represent first the bones from 6 aspects as posterior, anterior, inferior, superior, internal and external. The figures on 12 and 49 approximately carry this out.\n\nI have stripped the skin from one who owing to an illness was so emaciated that the muscles were consumed and reduced to the state of a thin membrane so that the cords, instead of being transformed into muscle were converted into a wide sheet; and when the bones were clothed by the skin, they possessed little more than their natural size.\n\nWhat is it that increases the size of the muscles so rapidly? It is said that it is air [pneuma]\u2014and where does it go when the muscle diminishes with such rapidity? Into the nerves of sensibility which are hollow? Indeed, that would be a vast amount of air, that which enlarges and elongates the penis and makes it as dense as wood, so that the whole great quantity of air [in the nerves] would not be sufficient for reduction to such a density; not only the air of the nerves, but if the body were filled with it, it would not suffice. If you will have it that it is the air of these nerves, what air is it that courses through the muscles and reduces them to such hardness and power at the time of the carnal act? For I once saw a mule which was almost unable to move owing to the fatigue of a long journey under a heavy burden, and which, on seeing a mare, suddenly its penis and all its muscles became so turgid that it multiplied its forces as to acquire such speed that it overtook the course of the mare which fled before it and which was obliged to obey the desires of the mule.\n\nIn the above passage Leonardo attempts to discredit some debased materialistic version of the pneumatic theory current in his day and possibly derived from the pseudo-Aristotelian treatise On the pneuma where the pneuma is regarded as a fifth element. Leonardo does not use the word pneuma itself but variously vento, aria, spirito, and these with little consistency. However, from the earliest times the Ionians used air, pneuma and wind synonymously, and the practice was continued by the pneumatist sect.\n\nThere is no need to trace the pneumatic theory through its many vicissitudes. The original idea of the relationship of air to some dimly perceived process of combustion was lost. In the Galenical physiology air was taken into the lungs during respiration whence it passed by the pulmonary vein to the left ventricle. Here a fraction of it was refined to form the \"vital spirit\" which was distributed together with the blood by the arterial system. That portion carried by the vessels to the brain was transformed into a higher or more ethereal substance called the \"animal spirits\" which flowed through minute channels believed to exist in the nerves to the various organs of the body. The animal spirit through its faculty was responsible for nervous action and could be regarded as the sensitive soul carrying out motor and sensory nerve functions. The theory was completely misunderstood by mediaeval physicians. Galen recognized that it was not air in the sense of its volume but some quality in it which constituted the spirit or pneuma. Aristotle had provided no precise definition of his terms and made no clear distinction between the pneuma, soul and energy, which added to the confusion. The above passage must be read with these conceptions in mind, and thus it is not difficult to understand the relationships discussed between the sexual act and muscular activity. It is interesting to note Leonardo's challenge is based not upon speculation but on the physical properties of air.\n\n76\n\nMYOLOGY OF LOWER EXTREMITY\n\nc [in fig. 4] being the vertebra, n being the extremity of the spinous process, I say that nature has attached these sinews or cords to the ends of the spines of the vertebrae of the neck because if the cord were placed at m n, it would turn the vertebra more easily than if placed at b a, since m n, is attached to a longer lever than b a, and has more power proportionate to the greater length, as is proved in the 5th [proposition] of the 4th [book] on the elements of mechanics.\n\nAt the bottom of the page is a later addition of the name Leoni, which can only be Pompeo Leoni, the sculptor who obtained, between 1588 and 1591, the greater part of Leonardo's manuscripts from Francesco Melzi's heir.\n\n86\n\nHEART: SUPERFICIAL VIEW\n\nOn the figure, below the pulmonary artery, is written, right ventricle. In the interval between the two drawings, Leonardo notes that the right ventricle is less extensive than the left. The right ventricle extends to a depth of three-quarters of the length of the heart. He also notes the difference in thickness of the infundibulum of the right ventricle. The right wall of the right ventricle is that much thinner at the base than at the apex as to be equal to a 4th of the thickness at the apex.\n\nOther structures identifiable are the brachiocephalic trunk from the aorta, the anterior and posterior vena cava, and the right auricle.\n\nfig 6. Sketch of a coronary artery.\n\nOne of the coronary arteries, probably the right, is sketched to show the reduction in calibre of the vessel with each succeeding branch. The reduction in size is very evident in the case of these vessels as indicated in the note: The vessels are always larger internal [i.e., proximal] to the bifurcation of their trunks than outside [distal to] these trunks.\n\n87\n\nHEART: SUPERFICIAL VIEW\n\no p [ventricular branch of right coronary artery] to nourish the wall a b c, which forms the entire covering of the right ventricle.\n\nb S, is the vena nera [middle cardiac vein] which issues from the right auricle and is accompanied by a branch f b c [i.e., 0 b c, circumflex and interventricular branch of right coronary artery] of the vena arteriole of the right ventricle [pulmonary artery, in reality aorta], progressing and increasing opposite to one another.\n\nfig 11. The heart viewed posteriorly to show the coronary sinus and right coronary artery.\n\nThe heart is again that of an ox. The stems of the great vessels are from left to right of the figure, the posterior vena cava, the anterior vena cava and the aorta. The auricles are labelled respectively left auricle and right auricle. The great cardiac vein and coronary sinus have been freed and elevated with the notation, Vena nera [great cardiac vein] of the right ventricle. The right coronary artery is shown arising from the aorta, mistakenly called the pulmonary artery, and passing on the right side of the pulmonary orifice exposed by removal of the stem of the pulmonary artery. At f, is seen the stem of the left coronary artery. At the bottom of the figure Leonardo indicates the confusion resulting from his calling the aorta the pulmonary artery.\n\nI lack the vena nera [small cardiac vein] to this vena arteriale which I believe arises from the branch of the left vena nera [great cardiac vein or coronary sinus].\n\nfigs 12-15. The pulmonary and tricuspid valves viewed from above.\n\nThe tricuspid valve is shown closed and open.\n\n89\n\nVENTRICLES OF THE HEART\n\nby means of its diastolic vacuum sucks blood from it to make good that fraction supposedly expended in vital functions. And it [the heart] draws to itself the blood sucked from the upper veins [hepatic] of the liver.\n\nThe final note records an observation on the motions of a bird's wing in flight. The manuscript on the Flight of Birds is dated March-April 1505 which, with the internal evidence of the stage of his anatomical development, confirms the date of this study as c.1505. Between 1513-14 he again took up the study of flight, but the style and content of the present writing makes such a date out of the question.\n\n91\n\nVENTRICLES OF THE HEART\n\nlikewise when it returns the blood to the ventricle from which it was thrust, assisting the natural reflux somewhat with its contraction. The motion takes place more swiftly at the reflux of the blood in returning to the ventricle of the heart whence it was first expelled.\n\nThe descent of the heart makes the same impulse as that created by the impetus of the motion which beats against the bottom of the lower ventricle. From here, during the time that it rebounds from the bottom, the heart contracts which increases the motion made by the blood at the second beat against the covering of the upper ventricle. If you should say that the beat made by the descent of the blood to the bottom of the lower ventricle is greater than that which beats against the covering of the upper ventricle [auricle], since one of these motions is natural and the other not, I shall here reply that a liquid in a liquid has no weight (except for the amount which the beat generates).\n\nWe are told to turn the page, which leads to a further discussion on the heart found on 92.\n\n93\n\nVENTRICLES OF THE HEART\n\nliver which is without motion and receives a small quantity of this warm blood with which it is heated. The liver cannot retain as much heat as the hearty being of a less dense substance than the heart, and the spleen is less dense than the liver, and the lung less dense than the spleen.\n\nThe discourse on the heart continues on 94.\n\n94\n\nVENTRICLES OF THE HEART\n\nThe final note is a carry-over from the discussion of the diaphragm on 176.\n\nON THE DIAPHRAGMATIC CURVATURE, WHETHER IT IS NATURAL OR NOT.\n\nIf the diaphragm were not curved in such a way that its concave part is able to receive the stomach and other intestines, it would then not be able to retract, distend and forcibly compress the intestines and drive the food from the stomach into the said intestines (here continues [in the margin] that lacking below), and it could not assist the muscles of the body to squeeze and press the intestines for the expulsion of their contained superfluities. It could not by its distension increase the space where the lung is situated and compel its dilatation which occurs so it can draw in the air with which the veins distributed in it by the heart are refreshed.\n\n95\n\nVENTRICLES OF THE HEART\n\nalternately at the upper and lower part of the wound. This stretching and compression of the heart readily occurs when it is warm because it is then less dense [fig. 3]\n\nfig 3. Diagram to illustrate what happens on complete transfixion of the living heart as described above.\n\nc o, is the rib cage, b m an, is the heart.\n\nHere [in fig. 3] if the heart moves upwards and downwards, the wound p [in the posterior wall] does not move away from the fulcrum of the point of the iron at the wound 0 [in the thoracic wall], but the wound m [in the anterior cardiac wall] moves together with the iron. And if the handle of the iron e, moves it, the heart will move [the position of] the wound\u2014p will be moved and also the wound m, but p, more than m, because it is further from o, the immovable point, etc.\n\n96\n\nVENTRICLES OF THE HEART\n\ntime, succeeding the first, by the reflux of the upper ventricles arising above the root of the heart.\n\nfig 5. Mechanical diagram to illustrate the effect of the cardiac impulse.\n\nA rod a b, is balanced at the point c, on a circular object with center at d. The cardiac impulse upsets the balance as shown by producing in Aristotelian terminology so-called accidental lightness. Presumably this is the mediaeval explanation of the alternate action of the ventricles and auricles in the flux and reflux of the blood as described: The impulse causes accidental lightness and weight. Accidental lightness.\n\n98\n\nVENTRICLES OF THE HEART\n\nin the right margin reading 24 \u00d7 12 = 200 [approx.], 7 ounces per hour, but how the amount is arrived at cannot be explained. The last sentence of the above passage is interesting. By a \"great weight\" was Leonardo thinking of the ventricular output? It will be remembered that a similiar line of reasoning became a crucial point in Harvey's argument and that it was the great weight of blood forced into the arteries every half hour which demonstrated the truth of his reasoning.\n\n100\n\nVENTRICLES OF THE HEART\n\nwhere its walls are very thick than in the thin-walled right ventricle. This heat subtilizes and vaporizes the blood and converts some of it into air [gas or the sooty vapor of Galen, i.e., CO2] and would convert it into elementary fire if the lung with the coolness of its air did not aid at such excess.\n\nHowever, the lung cannot send into the heart, nor is it necessary because, as stated, air is generated in the heart which, being mixed with heat and inspissated moisture, evaporates through the terminations of the capillary vessels on the surface of the skin in the form of sweat. Furthermore, the air which is inspired by the lung constantly enters dry and cool, and leaves moist and hot. But the arteries, which are joined in continuous contact with the ramifications of the trachea dispersed through the lung, are those which pick up the freshness of the air which enters the lung.\n\nThe note on the motions of the heart continues with a discussion of the age-old question of the origin of innate heat, for which a mechanical explanation is offered. The greater part of the passage on the dissipation of heat is no more than a paraphrase of Galen except that Leonardo clearly recognizes that air cannot directly enter the heart but participates in a gaseous exchange. In his discussion of the heart rate there is something wrong with the mathematics. The three motions of the cycle are explained above where the interval between beats is said to occupy half of a musical tempo. Now it will be stated that the three motions of a cycle occur in one tempo of which there are 1080 per hour. Leonardo then concludes that the heart moves 3540 times per hour, but 3 \u00d7 1080 = 3240. From the first statement this should be 6480 since there would be six motions during this time. In any case, whichever calculation is taken, the result must be divided by three. The number is far too low. In extenuation it should be recalled that there were no time-pieces to allow of accurate counting of the pulse.\n\nThe question of foetal respiration and cardiac motion in utero is raised to be answered in the negative. This opinion is derived from Galen's De usu partium, where it is pointed out that the heart action is unnecessary without respiration since the pneuma is derived from the mother through the umbilical veins.\n\nWhy the heart does not beat nor the lungs respire at the time when the foetus is in the womb filled with water: because if it breathed this, it would immediately be drowned. But the breathing and the beating of the heart of its mother operate during the life of the foetus united to her (by means of the umbilicus) as they operate in other members.\n\n105\n\nVENTRICLES OF THE HEART\n\nventricle, the protective coat or support of the membrane should be on the outside, that is, on the front [atrial surface] of this membrane, at the proper place for the blow, and not on back.\n\nBut as it [the valve] endures a greater blow on its front than on its back [ventricular surface], Nature has placed them [chordae and their membrane] on the back and not on the front. The greater blow arises because the blood which turns back gives a greater blow to the membranes at their reopening than at their closing. The cause of this blow is that, apart from the reflux motion which the blood makes on being beaten back in the cavity of the auricles of the heart, the closing of the said auricles is added and, furthermore, the beginning of the reopening of the heart which draws this blood into itself. Therefore a single force drives the blood from the heart and three forces return it. For this reason it was necessary to place the cords as a protection of the valves on the inside and not on the outside.\n\nfig 11. The chordae tendinae and the formation of a valve.\n\nThe chordae tendinae form, in Leonardo's opinion, the ventricular surface of the valve by the expansion of the tendons as shown here. In the note below the figure he attempts to explain the mechanism of the flux and reflux of the blood through the valves as required in the Galenical physiology. Traditional views were that the valves leaked a portion of the blood during systole whereas Leonardo holds that the reflux occurs with the closure of the valves and involves that portion of the blood lying between them.\n\nAnd if it appears necessary to you that these valves should not close completely because of this blood [the reflux], if it is to escape to be given to the lungs, in this case the blood is provided for [by that] which escapes from the ventricle before it is entirely closed. This is proved since the blood which gives origin to the escape finds the valve barred, that which does not touch the cusps of the valves has free passage, and that which beats against the lips of the cusps is that which closes the valve with the cusps.\n\n106\n\nVENTRICLES OF THE HEART\n\nbranes make a greater motion than the lower since on stretching they in large part cover the inferior cords before their membrane is formed. The Creator did this for the reason shown in the above illustration [fig. 8] which demonstrates that the Almighty makes nothing superfluous or imperfect. In order that the entire membrane remain double and not quadruple in thickness where it is not required, the [papillary] muscle or the inferior cords, pulls its membrane (when the gateway of the heart is shut) from r to o, and the strong membrane [i.e., consisting of both the fleshy and tendinous layers] remains from h to o. Thus a r [margin of cusps on overlapping] remains a double membrane and likewise does the entire interval r o, because from a to s, there is a simple cord [i.e., single tendinous layer].\n\nfig 11. Detail of interventricular septum.\n\nThe septal wall of the heart\u2014and thus it must be represented to make it understood.\n\nThe diagram shows the trabeculae carnae of the septal wall of the ventricles and supposed perforations in it through which the blood supposedly passed from right to left.\n\n112\n\nAORTIC PULMONARY VALVES\n\nthe blood to be drawn through the septum aided by the systole of the right ventricle which alternates with that of the left. Closure of the valves is essential for the development of this vacuum, but Leonardo wonders whether the cusps themselves are necessary for this closure at the aortic orifice since he believes (110) that the sphincteric action of the walls of the aortic vestibule at the entrance to the aortic orifice together with the bulging of the aortic sinuses may be sufficient for closure alone. He therefore concludes that the cusps make for a better, final closure as would be required to maintain a vacuum and to continue the vacuum when the vestibule is relaxed on diastole.\n\nHere it is doubted whether the membranes which shut out the blood in the antechamber of the heart, that is, at the base of the aorta, could have been dispensed with by Nature or not, since one may clearly see how the 3 walls or hinges where the membranous valves of the heart are supported, are those which shut out the blood from the heart by their swelling when the heart reopens on the side below this valve. Nature makes this final closure [of the cusps] in order that the great forces which the heart develops in the left ventricle on its opening to attract into it the blood distilled through the minute channels of the wall, which separates it from the right ventricle, might not, through restoration of the vacuum, draw inwards the very thin membranes of the aforesaid valve of the heart.\n\nAs mentioned, this sheet is a portion of a larger sheet containing observations on the eye. These are continued in part on this page. The first part of the note is difficult to understand unless the reader is familiar with the anatomy of Galen. Leonardo believes that the eye is controlled by four muscles, and that combinations of their actions will account for all the movements of the eyes. This would perhaps require four motor nerves, but tradition had ascribed the motion of the eyes to Galen's second pair of cranial nerves, that is, the oculomotor. Leonardo speculates that this is too great an influence to be expected from a single nerve.\n\nThe note continues with an outline of subjects to be taken up in his projected work. Among them mention is made of the vermis or worm. A belief adapted from Galen divided the brain into three ventricles or cells containing the corresponding mental functions of the sensus communis, memoria and cognition. These cells communicated with one another but control was exercised by the vermis, probably choroid plexus, which opened and closed the intervening passage. The vermis of Galen was in fact the vermis of the cerebellum as in modern terminology, but early anatomists were too uninformed on the structure of the brain to perceive that the passage in Galen was at the apex of the tentorium cerebelli which is closely related to the true vermis. For further discussion cf. 101.\n\nLook for the motor nerves of the eyes from all aspects, and consider whether there are 4 principal ones, or more or less, because in all its infinite motions 4 nerves may accomplish all, [and] because as soon as you omit the control of one of these 4 nerves, you add to the influence and assistance of the 2nd nerve. So it [the book] continues:\n\nOn the motor nerves [sinews] of the voice and how they work in high, low and medium voices.\n\nOn the nerves which open and close the vessels or openings of the spermatic ventricles [seminal vesicles?].\n\nOn the nerves or, you might say, muscles which close the gateway of the bladder.\n\nOn the nerves and muscles which eject the sperm of the penis with such violence.\n\nOn the muscles which close the anus.\n\nOn the muscle called the vermis which lies in one of the ventricles of the brain. This lengthens and shortens to open and close the passage of the impressiva or sensus communis to the memoria.\n\nAll the sphincters mentioned are opened by the thing which leaves the place shut by them, as the anus by the superfluities of the food, and are then closed by the actions of the muscles. The openings of the spermatic ventricles do likewise. These are opened by the momentum of the compressed sperm and then closed again by their muscles. Furthermore, the urine does the same thing at the gateway of the bladder, that is, the force of the compressed urine opens this gateway and its own muscles are those which shut it again. The same will be found at the mouth of the penis, of the vulva and of the womb, and of all structures which receive necessary things and expel the superfluous.\n\nThere are many portions of passages which remain open at death, but which formerly remained closed, that is, the anus, the vulva, the lips and the antechambers of the heart. But that which shuts itself at death is the mouth of the womb.\n\n113\n\nAORTIC PULMONARY VALVES\n\norder of the book, and therefore closely related in time to the present writing. Here (Leicester 15V) we learn that the third book carried the title libro 3\u00b0 delle vene, that is, on the passage of water through pipes, which must be the work to which reference is made.\n\nWhen the heart contracts, the left ventricle c d e f g [fig. 7], sends out its blood through the opening c d, into the tube a b n m [aorta] which has 3 semi-ventricles [aortic sinuses] at its base as will be demonstrated in its place. However, the velocity of the blood at the entrance to these semiventricles has its motion varied owing to the fact that the proportional velocity of this blood in equal time will be equal to the proportions of the various dimensions of this tube [cf. fig. 6,N], but they will be inverse, that is, the greater velocity in the greater dimension as is proved in the 3rd [book] of the treatise on water.\n\nTherefore having proved the different velocities of this blood in its antechamber [aortic sinuses], it is necessary to prove the velocity which follows upon the expansion of this blood toward the 3 walls of these semiventricles. Thus, when the highest velocity of this blood has issued from the narrows [aortic vestibule], it beats against and opens the valve. The dilated and lowered valve gives way to the expansion of the blood which follows the momentum of its rising velocity and beats against the blood which lies above it. This percussion throbs all the arteries and pulses distributed throughout man. It then turns to the lateral percussion of the semicircles of the ventricles and, having beaten against them, turns downwards with a circular motion. The other part [of the blood] revolves above, dividing the upper circular motion from the lower at the upper limit of the semicircle. But the circular motion which revolves below beats against the base of the semicircle and returns to the valve of its first entrance. It strikes the valve with a compound motion and distends its membrane, raising it and shutting it against its opponents, which at the same time with the same order are driven against it. Immediately the circular motions expend their momentum towards the centre of their circumvolution: the momentum slowing by successive steps. The upper revolution in opposite motion does likewise, giving birth to many other revolutions, opposed to one another, in succession one above the other, the velocity continuously slowing until the momentum expends itself.\n\nThe statements in the final note are pure Galenism, and since the note was composed in his latest period, they completely destroy the fanciful notions of many that Leonardo possessed a knowledge of the circulation of the blood. Here we meet with the age-old theory of the passage of blood through the interventricular wall to form the vital spirit.\n\nThe manner of closure of the left ventricle of the heart having been described, there follows the manner of its reopening. This occurs immediately afterwards in two-thirds of a harmonic tempo and [the left ventricle] not being able to draw any blood from the already closed [mitral] valves, which do [not] shut with their fronts like other valves, but with their sides by extensive contact and force, the blood is then sweated from the right ventricle as is here demonstrated.\n\nDuring the time which follows the 3 revolutions of the blood in the 3 semicircles [aortic sinuses] and that the 3 valves maintain and strengthen their closure by these 3 revolutions, the heart is dilated and acquires capacity. The blood having already surged above the aforementioned valves and not being able to return into it [left ventricle], it is provided of necessity by the extraction of blood from the right ventricle. This penetrates through lengthy porosities the wall interposed between the right and left ventricles. These porosities proceed from contracting pyramidal cavities until they pass into imperceptible passages through which the viscous blood penetrates becoming subtilized to very great thinness.\n\n114\n\nAORTIC PULMONARY VALVES\n\nfig 6. The aortic valve open at the beginning of systole.\n\nThe letter S on the right marks the figure as one of a series beginning with the diagram on the extreme right lettered O.\n\nfig 7. The aortic valve closed during diastole.\n\nThe legend reads: When it [antechamber or aortic sinuses] is full and the reflected percussion has been received by the membranous valves.\n\nfig 8. The aortic valve to show the fitting together of the lunules of the cusps.\n\nfig 9. An aortic cusp showing the lunule of its free border.\n\nfig 10 (below 9). The aortic cusps in closure.\n\nThis is figure U of the series.\n\nfig 11. Diagram on circular motion.\n\nThis is figure O and the first of the series. The diagram illustrates the manner of formation of the blood vortex and is similar to figs. 2-3 on 113. The blood stream is marked by the letters b d c, d being the point of reflection from the wall of the aortic sinus. Compare the accompanying statement to Newton's first law of motion.\n\nEverything movable desires to expend its momentum along a straight line. And for this reason the percussion [of the blood] delivered against the semicircular wall [of the aortic sinus], on leaving this wall, directs its first curved course in a straight line.\n\nfig 12 (below 11). A diagram; significance unknown.\n\nfig 13. Diagram of aortic valve and sinuses demonstrating the formation of a vortex of blood.\n\nThe lettering is difficult to read. Aortic orifice, f g; the blood stream at r, parts at e, to describe a circular eddy e a c, about a, center at b, in the aortic sinus n o p.\n\nWhen the momentum of blood is directed through the left ventricle to the aorta through the orifice f g, it beats against and dilates the membranous valves and ascends with the momentum created by the percussion occurring at the junction r. The momentum separates from the site of the percussion in the narrows r, and revolves backwards along the curve e n, and beats against the wall of channel n o p [aortic sinus]. It then continues this circular motion imparted to it by the wall which yields, and beats against the membrane of the valve with the front of the impetus b. Having received this percussion, the membranous valve immediately expands its folds and is dilated until it abuts against the opposite valve which through the opposed momentum advances to meet it and abuts against it. And so in a similar manner do the 3 said valves which shut together in close contact until the momentum, converted into a cochleariform motion, expends itself. In a healthy individual the time occupied is about half of a harmonic tempor. And then the heart is dilated, and since a vacuum cannot exist, this left ventricle attracts the blood from the right ventricle.\n\n146\n\nCENTRAL NERVOUS SYSTEM & CRANIAL NERVES\n\ntained in the lung. It is necessary that the lung be supported in a stable place and that the air which is enclosed in the lung may be compressed, restrained and condensed. The lung having no muscles itself is unable to do so, hence it is necessary that it should be done by others. Consequently the longitudinal and transverse muscles of the body compress the intestines. The wind which is confined in these intestines is condensed and forces the diaphragm against the lung. The muscles of the ribs, behind and in front, draw the ribs together on which the lung is supported. And therefore the lung is secured against bursting by the great violence of the air condensed within it.\n\nFinally the lung remains protected by the ribs which compress it, owing to the contraction of the muscles, 5 of which are placed behind on the right below the right scapula and 5 on the left. There are also opposite them 5 placed below the right nipple and 5 on the left. In all there are twenty very strong muscles and cords. The curvature is on the dorsal aspect.\n\nLeonardo's sources are mentioned in the scattered memoranda with the statement:\n\nHave Avicenna translated \"On the utilities\".\n\nThe book on the science of machines precedes the book \"On the utilities\".\n\nHe reminds himself to, Describe the tongue of the woodpecker and the jaw of the crocodile. The crocodile would be of great interest since the literature of the times stated that this was the only animal which moved its upper jaw. Finally, Leonardo defends the use of anatomical illustration, condemned by Galen, and discusses the difficulties encountered in the study of anatomy.\n\nAnd you who say that it is better to witness an anatomy made than to see these drawings would be right if it were possible to see all these things which are shown in such drawings in a single figure. In an anatomy, with all your ability, you will not see and will not obtain knowledge except of a few vessels, to acquire a true and full knowledge of which I have dissected more than ten human bodies, destroying every other member and removing in very minute particles all the flesh which surrounded these vessels without causing them to bleed except for the insensible bleeding of the capillary vessels. A single body was insufficient for so long a time, so that it was necessary to proceed by degrees with as many bodies as would give me complete knowledge. This I repeated twice in order to see the differences.\n\nAnd if you have a love for such things, you will perhaps be hindered by your stomach, and if this does not prevent you, you may perhaps be deterred by the fear of living during the night in the company of quartered and flayed corpses, horrible to see. If this does not deter you, perhaps you lack the good draughtsmanship which appertains to such demonstrations, and if you have the draughtsmanship, it will not be accompanied by a knowledge of perspective. If it were so accompanied, you lack the methods of geometrical demonstration and the method of calculation of the forces and power of the muscles. Perhaps you lack the patience so that you will not be diligent. Whether all these qualities were found in me or not, the hundred and 20 books composed by me will supply the verdict, yes or no. In these pursuits I have been hindered neither by avarice nor by negligence but only by lack of time.\n\nFarewell.\n\n147\n\nCENTRAL NERVOUS SYSTEM & CRANIAL NERVES\n\ngether, we can then conclude that the sense of touch passes to this ventricle, in view of the fact that in all processes Nature operates in the shortest time and way possible and so would the sense, in the shortest time.\n\nfig 8. Diagram illustrating localization of the sensus communis.\n\nThe sketch roughly indicates the position of the third ventricle in the center of the base of the brain. To this ventricle converge a series of lines representing the optic nerves anteriorly, and the acoustic and trigeminal laterally, so establishing this ventricle as the site of the sensus communis.\n\n156\n\nPERIPHERAL NERVES: UPPER EXTREMITY\n\nNOTES.\n\nYou will make with extreme care this demonstration of the neck from in front, from behind and from the side, and the proportion of the cords and of the nerves to one another, and with the positions where they arise and terminate, because by doing otherwise, you would be able neither to treat of nor demonstrate the function or employment for which Nature or necessity had ordained them. In addition to this, describe the distances existing between the nerves with respect to their depth as well as width, and likewise the proportions of their thicknesses and lengths, and the differences in height above and below of their origins. You will do the same for the muscles, veins and arteries, and this will be a very useful thing for those who treat wounds.\n\n169\n\nRESPIRATORY SYSTEM\n\nnote: Write on what sound is and what is noise, uproar, hubbub, etc.\n\nfig 7. Upper end of larynx: lateral view.\n\nfig 8. Laryngeal aperture from above.\n\nThe figure is somewhat puzzling at first sight. Below it is written the single word uvula, which suggests that the larynx is viewed through the naso-pharyngeal isthmus. Above the illustration an incomplete note discusses the soft palate.\n\nIf you inspire air through the nose and send it out through the mouth, you will hear the sound made by the partition (tramezzo [= palate]), that is, the membrane in [...]\n\nfig 9. The larynx: posterior aspect.\n\nThe special purpose of the illustration is to show the laryngeal ventricles, which are greatly exaggerated, non-human, and resemble what is found in the pig. The tongue is so labelled. The hyoid bone, pharynx and its piriform sinuses are easily identified.\n\nfig 10. On the right is a companion illustration.\n\nfig 11. Coronal section through the larynx to illustrate its ventricles.\n\nLeonardo describes his figure and the function of the ventricles thus: The air enters and leaves by the opening d [laryngeal aditus], and when food passes over the bridge d n [epiglottis], some particle might fall into the opening d and pass through c [rima glottidis] which would be fatal. But Nature has prepared the saccules a,b [ventricles] which receive this particle and tend to keep it until, on coughing, the wind which escapes with force from the lungs by way of c, eddies and drives the crumbs held by the walls of the saccules a,b, out through the route d, and so this injurious material is cast out of its position.\n\nGROUP III, RIGHT CENTER.\n\nfig 12. Surface modeling of the lower extremity: anterior view.\n\nThis excellent \u00e9corch\u00e9e of the leg should be compared with its companion on 61, where the muscles are labeled.\n\nGROUP IV, RIGHT MARGIN.\n\nfig 13. Outline of the palate and tongue to show the uvula: posterolateral aspect.\n\nfig 14. The larynx in deglutition.\n\nfig 15. The larynx in deglutition.\n\nThese two figures illustrate the action of the epiglottis in deglutition. In the first, the epiglottis has assumed a horizontal position and in the second a bolus of food is shown passing over it to enter the oesophagus. The action of the epiglottis in swallowing has been a subject of great contention until very recent times. It was long held that it did not act as a trap-door for the larynx. However, with the introduction of highspeed cineradiography it has now been established beyond question that the epiglottis closes the laryngeal aperture, but the motion occurs with such rapidity as to be almost impossible to detect with the naked eye on ordinary fluoroscopic examination. Leonardo's statement follows traditional assumptions: a, represents how a mouthful [of food] completes the closure of the epiglottis (linguella) b, over the opening by which the wind enters the lungs.\n\nfig 16. The hyoid bone and larynx: laterial view.\n\nfig 17. The hyoid bone.\n\nBelow fig. 16 and surrounding fig. 17 is the following note: Rule to see how the sound of the voice is generated in the front [i.e., upper part] of the trachea. This will be understood by removing the trachea together with the lung of man. If the lung filled with air is then suddenly compressed, one will immediately be able to see in what way the flute (fistola) called the trachea generates the voice. This can be seen and heard well in the neck of a swan or goose which is often made to sing after it is dead.\n\nA similar statement on the goose, employing a method familiar to all country boys, is made by Fabricius ab Aquapendente in his publications on phonetics, 1601, 1603, but, like Leonardo, he ascribes the sound to the true larynx since he was unacquainted with the organ of the voice in birds, the lower larynx or syrinx. Gerard Blaes, or Blasius (d.1692), seems to have been the first, in 1674 and 1681, to associate the voice of birds with the lower larynx, but the discovery of the syrinx we owe to C. Perrault (1613-1688) in 1680. It was rediscovered by Duverney in 1686, by Girardi in 1784 and by Cuvier in 1795, according to F. J. Cole (1944).\n\nfigs 18-19. The larynx to illustrate the ventricles.\n\nLeonardo failed to appreciate the function of the vocal cords.\n\nThese are the two ventricles which make the sound of the voice; and when they are full of humor, then the voice is hoarse.\n\nAt the top of the page is a group of unrelated notes in one of which Leonardo considers arranging his book in the typical scholastic tradition from head to the foot, rather than by systems. It was Mundinus who broke away from this restrictive order and introduced a more practical arrangement by dividing the body into its major cavities and their contents.\n\nBegin the anatomy at the head and finish at the soles of the feet.\n\nPut in all the swellings which the veins of the flesh and their ramifications between the flesh and skin made, and so you will place all the veins which proceed between the flesh and the skin.\n\nWhat are the muscles which contract or pull, in the movement of each member and in each [individual] motion?\n\n173\n\nRESPIRATORY SYSTEM\n\nbranchings of the bronchus are noted from above downwards in picturesque terms as The smallest feathers; The middle-sized feathers; The largest feathers; and the statement that There are as many feathers as there are ramifications.\n\nAt the lower pole of the lung is an encircled area labelled N, representing some pathological process, possibly a tubercle which is described in these terms:\n\nNature prevents rupture of the ramifications of the trachea by thickening the substance of the trachea and making a crust, like the shell of a nut. It is cartilaginous, and this with its hardness, like a callus, repairs the rupture and in the interior, powder and an aqueous humor remain.\n\nIn the Galenical physiology the function of the lungs was to cool and refresh the blood and to supply to the left heart a portion of the air, the pneuma, from which the vital spirits were elaborated. Contemporaries believed that a free passage existed to allow the air to be brought to the heart. Earlier, Leonardo accepted the traditional view but is now almost ready to challenge this dogma. He is unable to find any communication, only contact between vessels and bronchi. He hesitates to state positively that communication does not exist through the parenchyma until he has completed a dissection in hand to elucidate this point.\n\nWHETHER AIR PENETRATES INTO THE HEART OR NOT.\n\nTo me it seems impossible that any air can penetrate into the heart through the trachea [i.e., bronchi], because when it is inflated, no part of the air escapes from any portion of it. This occurs owing to the dense membrane with which the entire ramification of the trachea is clothed. This ramification of the trachea as it divides into the most minute branches proceeds together with the very smallest ramifications of the vessels which accompany them in continuous contact to the end. It is not here that the contained air escapes through the narrow branches of the trachea and penetrates through the pores of the smallest branches of these vessels. But on this question I shall not positively affirm my first statement until I have inspected the anatomy which I have in hand.\n\nFinally Leonardo theorizes that it is the respiratory movements of the lung which by acting through the diaphragm cause the peristaltic movements of the alimentary tract, cf. 170.\n\nIf it were not for the expansion and contraction of the lung, the stomach would not pour the food into the intestines nor would the food move through the bowels when a man is lying down. As the child in the womb does not breathe, it cannot evacuate any faeces except by the breathing of its mother.\n\nfigs 2-3. Terminal bronchi on inspiration and expiration.\n\nThe smallest tracheae [bronchi] not inflated and also inflated, which double themselves in capacity on its expansion. This view that the lung increases in capacity by separation of the bronchi, was held till recent times when it was demonstrated by radiography that the lung expands by the lengthening of the bronchi.\n\nfig 4. Detail of the cartilages of a medium-sized bronchus.\n\nLegend On the shape of the rings, and Trachea [bronchus] of medium thickness.\n\n175\n\nRESPIRATORY SYSTEM\n\ntagonistic to its extension. Their synergists are the lumbar muscles [quadratus lumborum, fig. 8] which lie on the side, internal to the spine, and their antagonists are the larger muscles of the backbone.\n\nFinally, having in mind the alternate action of the diaphragm and abdominal wall in respiration, Leonardo seeks an explanation. He arrives at what may seem to be a curious conclusion that the diaphragm and belly-wall alternately lend their force to one another. However, it should be remembered that following the Averroist interpretation of Aristotle's physics, force is thought of as something tangible, like a fluid which may be potential or kinetic and so may be lent or transferred from diaphragm to abdominal wall, constituting apart from the intrinsic force of contraction, the force of rebound. Usually Leonardo thinks of this force as being conveyed by the nervous system. These concepts are inherent in the following note.\n\nWhen the diaphragm suspends its force, this provides the force of the anterior abdominal wall, and when the abdominal wall suspends its force, this returns the force to the diaphragm. Finally, the sum of the forces which are successively interchanged between the diaphragm and the belly cavity and the belly cavity to the diaphragm, remain divided, half in the diaphragm and half in the belly cavity.\n\nThe diaphragm and the anterior abdominal wall exchange their powers, lending their powers successively to one another, and finally they divide this power between them in half.\n\nMuscle is not able to recover nor increase its force if it does not first relax.\n\n176\n\nRESPIRATORY SYSTEM\n\nthe air enters on dilatation of the lung to fill this [potential] vacuum.\n\nfigs 1-2. Diagrams of the serratus anterior and serratus posterior muscles.\n\nThese diagrams illustrate the note below in which it is contended that the muscles shown assist the diaphragm in forcing the content of the alimentary tract onwards. The muscle a n m o r, is presumably the serratus anterior, but its extent suggests the inclusion of digitations of the latissimus dorsi and possibly serratus posterior inferior. The serratus posterior superior is shown above. The note is written somewhat confusedly, but the general idea can be followed. The superfluities are not necessarily the equivalent of excreta but of residues since the stomach extracts its nourishment from the food, and the residues pass on to the next segment which in turn extracts its requirements to leave residues for the next, so-called, \"less noble part\" and so on.\n\nWHAT HOLDS THE DIAPHRAGM SO THAT IT DOES NOT DILATE WHEN THE INTESTINES EVACUATE THEIR SUPERFLUITIES.\n\nThe diaphragm would be greatly dilated when the intestines are constricted and compressed by the transverse muscles [of the abdomen] to evacuate the superfluities, were it not for the [serratus anterior] muscles a n m o r, which draw the ribs together with great force in such a way that they resist the dilatation of these ribs and, consequently, the dilatation of the diaphragm. For this reason the diaphragm contracts as much as possible and presses downwards the enlargement of the intestines which funs back there [under the diaphragm] on being compressed below by the transverse muscles. For this reason the superfluities escape downwards.\n\n177\n\nRESPIRATORY SYSTEM\n\nby the straight, oblique and transverse muscular fibers which make up the coat of the organ. Leonardo not only discards this theory of attraction, retention and expulsion, but incorrectly has the transverse fibres function to retain instead of to expel the food.\n\nThe stomach does not move by itself at the expulsion of chyle but is moved by other influences, that is, by the flux and reflux that the [natural and vital] spirits have, and the motion of the diaphragm together with the abdominal wall, that is, when the abdominal wall contracts and the diaphragm relaxes, and when the abdominal wall relaxes and the diaphragm contracts. This they do constantly except at the expulsion of the superfluities when driven out of the intestines. To this end the force of the abdominal wall and of the diaphragm contributes at one and the same time during which time the lung loses its use.\n\nIf you should say that [the above is due to] the longitudinal and transverse muscles of the stomach, that the longitudinal attract the food, [and] the transverse retain [for expel] it, it will be answered that every intestine and every structure which is adapted to relaxation and contraction has transverse and longitudinal fibres like those seen in the weave of a cloth. This occurs so that no transverse, longitudinal or oblique force can rupture or tear them.\n\n201\n\nGENITO-URINARY SYSTEM\n\nThe vagina and uterus may be observed lying below and behind the disproportionately enlarged bladder. Extending to the vagino-uterine junction may be seen the so-called seminal duct, ovary and ovarian vessels in continuity. Above these is a structure on either side, equivalent of the round ligament, which runs upwards to the anterior abdominal wall from where it was supposed to extend to the mammary glands to convey the suppressed menstrual blood during pregnancy for purposes of lactation. The uterine tubes proper are not shown. The remaining structures are readily identifiable.\n\nIn relation to the figure, evidently that of a woman in early pregnancy, Leonardo makes a note in which he falls into a mistake by saying that the human placenta is cotyledonous. Nevertheless, his quantitative outlook is evident.\n\nThe child turns with its head downwards on separation of the cotyledons.\n\nThe child lies in the womb surrounded by water because heavy objects weigh less in water than in the air and the less so the more viscous and greasy the water is. Further, the water distributes its own weight together with the weight of the creature over the entire base and sides of the womb.\n\n202\n\nGENITO-URINARY SYSTEM\n\nthe superior epigastric extends from the uterus to the breast. In the Galenical physiology this vessel carries the retained menses to be converted into milk. It is variously shown as a branch of a uterine, hypogastric or umbilical vessel.\n\nA further note beginning with the statement, Man dies and always regenerates in part, has been so destroyed that the few remaining words make little sense. The body of the note seems to be concerned with the function of the meseriaic or portal vein. These few words, which do not merit translation, suggest that Leonardo was thinking in part of the cause of death of the centenarian (cf. 128) which he ascribed to hepatic insufficiency.\n\nA final note reminds him of The females of Messer lacomo Alfredo and \"Lleda ne' Fabri\".\n\n212\n\nEMBRYOLOGY\n\nAll seeds have an umbilical cord which breaks when the seed is mature. And likewise they have a womb and secundines, as herbs and all seeds which grow in pods, show. But those which grow in nutshells, as hazelnuts, pistachios and the like, have a long umbilical cord which shows itself in their infancy.\n\nThe above passage is characteristic of Leonardo's capacity for generalization. For his drawing of seeds in a pod, cf. 214. The word secundine he uses in various ways, either as foetal membranes in general or as the chorion in particular. In the figure, the uterus has been laid open to expose the chorion and then the amnion with its contained foetus. Close inspection of the chorion will reveal its cotyledonary nature, taken from animals and exhibited in greater detail in figs. 3-4 on the left, and figs. 6-7 on the right. The cervix is clearly shown within the outline of the upper end of the vagina. The accuracy of the foetal position indicates familiarity with the gravid uterus or with the products of an abortion.\n\nfigs 6-7. Detail of cotyledonary placenta.\n\nNote whether the globosity of the cotyledons faces towards the center of the uterus or the opposite.\n\nIn this instance cotyledonary villi are shown on both maternal and foetal sides imbricated with one another. At other times, 208, 210, the villi are described as attached to only one of the two contributing structures. Leonardo's hesitation is possibly due to his uncertainty as to the true type of placenta in man as was seen in 211.\n\nfig 8. Rough sketch of foetus in utero.\n\nfig 9. Foetus in utero.\n\nThe foetal coverings illustrated are similar to those of fig. 5 above. However, certain of the adnexa such as the ovary, uterine \"horn\" and vagina, have been included. The significance of these structures in Leonardine anatomy is discussed with 215. The position of the foetus is carefully noted with the remark, The chin has its commissure between the border of the back of the hand and the shoulder.\n\nLeonardo's thoughts then turn to forms other than man with the note, See how birds are nourished in their eggs. Finally he returns to his subject and observes, The allantois passes between the hands and knees of the child as it lies curled up, and it passes between the arms and outer part of the thigh as far as the flanks and binds and encloses, making a covering for the child from its flanks downwards.\n\nAgain Leonardo apparently draws on animal anatomy and describes the more highly developed allantois of the ruminant.\n\n213\n\nEMBRYOLOGY\n\novens of the fire-place. He jots down and perpetuates an ancient and persistent error. Eggs which are round in shape produce males, and those that are long produce females.\n\nAgain Leonardo refers to erection in death by hanging, cf. 182. Man frequently dies with the genital member in erection, and especially those who are suffocated as hanged and the like.\n\nAt the foot of the page Leonardo compares the representational aspects of the art of poet and painter. He follows the neo-Platonic ideal of poetic rapture, the delight in the true and essential beauty of things as the true test of poetic power. The passage loses somewhat in translation because of the play on the words figurare and figuratione, representation in the sense of the artist's brush and the descriptive words of the poet.\n\nWhen the poet ceases to represent in words what in fact exists in Nature, then the poet ceases to be the equal of the painter. For if the poet, leaving such representation, were to describe in the ornate and persuasive words of one whom he wishes to represent as speaking, then he becomes an orator and is no longer a poet or a painter, and if he speaks of the heavens, he becomes an astrologer and a philosopher\u2014and a theologian when speaking of the things of Nature or of God. But if he returns to the representation of any object, he would become the equal of the painter, if, with words, he could satisfy the eye as the painter does with brush and color [creating] a harmony to the eye as music to the ear\u2014instantaneously.\n\n214\n\nEMBRYOLOGY\n\nposite to that by which it enters when the child breathes outside the uterus.\n\nWhen women say that the child is sometimes heard to cry within the womb, this is more likely to be the sound of wind which rushes out....\n\nAn unrelated note indicates how dependent Leonardo was on local physicians for advice in his anatomical studies and nomenclature.\n\nThe names of the vessels, the muscles, the bones and the membranes and ask about the vein which was searched for in the lungs on Sunday.\n\nThe dissection of the human foetus raised questions as to how it was nourished and on quantitative aspects of its growth. He concludes that the foetus is nourished by the menstrual blood, an old Galenical notion, and attempts to explain this in some detail, taking the existence of the foetal stomach into consideration since \"Nature makes nothing in vain\". The term faeces (fecca or stercho) is here rendered excrement to be regarded as residue which may be utilized by other parts and not as excrements in the modern sense.\n\nThe excrements found in the intestines of children lying in the uterus arise from the menstrual blood of the mother. This blood comes from the 2 ramifications [uterine veins] of the great vein [cava] of the gravid mother and passes through the umbilical cord of the child and enters through the umbilical vein which ramifies in the liver of the child and through the [portal] vein which goes to the pylorus (portinario) of the stomach, and proceeds to pass into the stomach. The stomach effects the digestion of the maternal blood converting it into chyle. Then the passage of the excrements follows through the intestines in the same way as it does when it [the foetus] is outside the belly of its mother but not with the same speed, because the miseriaic [mesenteric] veins attract from it a large part of the substance of these excrements to form the bulk of the child which daily grows far more when lying in the body of its mother than it does when it is outside her body. This teaches us why in the first year when it finds itself outside the body of its mother, or in the first 9 months, it does not double the size of the 9 months when it remained within the body of its mother. And likewise, in 18 months it has not doubled the size it was for the first 9 months that it stayed outside the body of its mother. Thus, in every 9 months diminishing the amount of such increase, it at length comes to achieve its greatest height. In this case the bile carries out its function by being joined to the vein which comes from the pylorus.\nwww.doverpublications.com\n","meta":{"redpajama_set_name":"RedPajamaBook"}}
+{"text":" \n# ALSO BY AMIR D. ACZEL\n\n_Entanglement: The Greatest Mystery in Physics_\n\n_The Mystery of the Aleph: Mathematics, Kabbalah, and the Search for Infinity_\n\n_Fermat's Last Theorem: Unlocking the Secret of an Ancient Mathematical Problem_\n\n_Chance: A Guide to Gambling, Love, the Stock Market, and Just About Everything Else_\n\n_The Riddle of the Compass: The Invention That Changed the World_\n\n_Pendulum: Leon Foucault and the Triumph of Science_\n\n_God's Equation: Einstein, Relativity, and the Expanding Universe_\n\n_For Debra_\n\n#\n\nI am extremely grateful to the John Simon Guggenheim Memorial Foundation for making me a Fellow of the Foundation. My Guggenheim Fellowship made this book possible, and receiving this award has been the greatest honor in my professional career. I thank the foundation and its officers for believing in me and in this project even before its acceptance by a publisher. My special thanks to Senior Vice President G. Thomas Tanselle for his interest in my work.\n\nI thank the librarians of the Bibliotheque nationale de France in Paris for giving me access to many original manuscripts and documents on Descartes and the mystery of his notebook. Also in Paris, I am indebted to the Institut de France and its librarians for allowing me to use the institute's extensive archives, and to Professor Jean Dercourt, Perpetual Secretary of the French Academy of Sciences.\n\nMany thanks to the Gottfried Wilhelm Leibniz Library in Hanover, Germany, and to its administrator, Birgit Zimny, for making available to me the manuscripts Leibniz copied from Descartes, which held the key to the mystery addressed in this book. My appreciation for the photographic processing work on the Leibniz images performed by Kevin Wool and Boston Photo Imaging.\n\nI am grateful to Professor Jay M. Pasachoff of Williams College for providing me with his image of Kepler's model of the universe, and I thank Wayne G. Hammond of the Chapin Library at Williams College for making this figure available to me.\n\nI want to express my many thanks to Jeff Weeks (www.geometry games.org) for providing me with his images of the Poincare dodecahe-dral space and other geometrical models of the universe, and for explaining to me his work in cosmology.\n\nI thank the Descartes Museum in Descartes, Touraine, and its administrator, Daisy Esposito, for guiding me to a number of important documents on the early life of Rene Descartes. I thank the Protestant Museum in La Rochelle, France, for information on the siege of the city in the seventeenth century.\n\nI am grateful to the photographer Tzeli Hadjidimitriou (www.odoiporikon.com) in Athens, Greece, for her photograph of the temple on the island of Delos.\n\nI wish to express my gratitude to Professor Owen Gingerich and the department of the history of science at Harvard University for appointing me a visiting scholar at the department.\n\nI acknowledge the Center for the Philosophy and History of Science at Boston University, where I spent a year as a Research Fellow while writing this book. My work was aided by a number of people at the center, including Alfred Tauber and Debra Daugherty, and at various branches of the Boston University Library.\n\nMy deepest gratitude to my agent and friend, John Taylor (Ike) Williams, of Kneerim and Williams in Boston, for guiding my writing career with so much patience and wisdom.\n\nMy heartfelt thanks also to Hope Denekamp of Kneerim and Williams for all her tireless help with this book, and with everything related to publishing.\n\nI am very grateful to Gerald Howard, my editor at Broadway Books in New York, for his clear judgment, knowledge, and guidance in shaping a manuscript into a book, and for always keeping me on the right track in this complex endeavor. I thank Rakesh Satyal for all his work on this project, for his boundless energy, and for his care in making this project a reality.\n\nMany colleagues and friends helped me in the undertaking of researching and writing this book. They include Judith Alvarez-Perreire, Dan Carey, Stephen Gaukroger, Kurt Hawlitschek, Richard Landes, Kenneth Manders, Michael Matthews, Jacob Meskin, Evelyne Patlagean, Arthur Steinberg, and Marina Ville. Thank you, everyone.\n\nMy deepest thanks and appreciation to my wife, Debra, for helping me edit and revise the manuscript, for photographic work, and for her many important ideas. This book is dedicated to her.\n\n#\n\n_Acknowledgements_\n\n_Introduction_\n\n_Prologue: Leibniz's Search in Taris_\n\n1: _The Gardens of Touraine_\n\n2: _Jesuit Mathematics and the 'Pleasures of the Capital_\n\n3: _The Dutch Puzzle_\n\n4: _Three Dreams in an Oven by the Danube_\n\n5: _The Athenians Are Vexed by a Persistent Ancient Plague_\n\n6: _The Meeting with Faulhaber and the Battle of Prague_\n\n7: _The Brotherhood_\n\n8: _Swords at Sea and a (Meeting in the Marais_\n\n9: _Descartes and the Ksicrucians_\n\n10: _Italian Creations_\n\n11: _Duel at Orleans, and the Siege of la Rgchelle_\n\n12: _The Move to Holland and the Ghost of Galileo_\n\n13: _A Secret Affair_\n\n14: _Tescartes' Philosophy and the Discourse on the Method_\n\n15: _Tescartes Understands the Ancient Delian Mystery_\n\n16: _Princess Elizabeth_\n\n17: _The Intrigues of Utrecht_\n\n18: _The Qall of the Queen_\n\n19: _The Mysterioust Death of Descartes_\n\n20: _Leibniz's Quest for Tescartes' Secret_\n\n21: _Leibniz Breaks Descartes' Code and Solves the Mystery_\n\n_A Twenty first-Century Epilogue_\n\n_Notes_\n\n_Bibliography_\n\n_Illustration Credits_\n\n# _Introduction_\n\nI HELD THE FRAGILE ANCIENT MANuscript in my hand. I opened it carefully, and read:\n\nPREAMBLES\n\nFear of God is the beginning of wisdom. The actors, called to the scene, in order to hide their flaming cheeks, don a mask. Like them, when climbing on stage in the theater of the world, where, thus far, I have only been a spectator, I advance masked. At the time of my youth, witnessing ingenious discoveries, I asked myself whether I could invent all on my own, without leaning on the work of others. Henceforth, little by little, I became aware that I was proceeding according to determined rules. Science is like a woman: if faithful, she stays by her husband, she is honored; if she gives herself to everyone, she is degraded.\n\nThe manuscript continued further. After a few more pages, I read another fragment of text:\n\nOLYMPICA\n\nNovember 11, 1620. I began to conceive the foundation of an admirable discovery.\n\nThese were the enigmatic words of Rene Descartes (1596-1650). They were never intended for eyes other than his own. But the manuscript I now held in my hands was not written by Descartes. It was a copy of Descartes' secret writings made by none other than Gottfried Wilhelm Leibniz (1646-1716)\u2014one of the greatest mathematicians of all time and the man who, only a few years after copying Descartes' notebook in Paris in 1676, would give us the calculus.\n\nThe idea for a book about Descartes occurred to me while lost in a snowstorm somewhere in eastern Ontario, hard by the Quebec border, around midnight in early January of 2002. We were on our way back home to Massachusetts from a holiday visit to relatives in Toronto, hoping to spend the last night of our trip in Montreal, when our car got mired in deep snow dropped by a sudden blizzard. I turned off the highway to look for a place to wait out the storm; but after making an unfortunate sequence of turns onto various country roads, I came to the conclusion that I had gotten us completely lost. The visibility was poor, there were no lights in sight, and we had no idea where to turn. I knew that if the fuel ran out, eventually we would start to freeze.\n\nWhile driving, I glanced at my dashboard. And I remembered something this car came equipped with\u2014something I had never had the need to use before. On my dashboard, I recognized the small lit button, and I pressed it. There followed the sound of a telephone number being dialed automatically. \"Good evening, Mr. Aczel,\" said a pleasant voice from a thousand miles away. \"How are you this evening? I see that you are heading south on Glen Donald Road, half a mile north of the intersection with County Road 27, outside of Cornwall, Ontario.\"\n\n\"Aha...,\" I said, trying to keep my voice from betraying that I had absolutely no idea where we were. \"We are looking for a hotel.... It's snowing hard.\"\n\n\"No problem at all,\" was the response. \"Where are you trying to go?\"\n\n\"Montreal.\"\n\n\"That's not hard,\" reassured the voice from civilization. \"Make a left turn at the next intersection, the one with County Road 27. Follow that road for two miles, and then turn right at the intersection, and you will see the on-ramp for Highway 401 to Montreal. Which hotel would you prefer? There's a Marriott just as you reach the city from this direction. I can make you a reservation, and I'll be back with more directions as you continue.\"\n\nThe voice on this cell phone led us throughout the night: from a deserted country road in snowy Ontario all the way to a warm hotel room in Montreal, directing us at every turn along the way. The person giving us instructions from afar knew our position, accurate to within a dozen feet, during every minute of the trip. The technology that made all this possible is the Global Positioning System (GPS), which allows one to determine the location of a small radio receiver (called a GPS receiver) anywhere in the world. In this case, a device installed in my car, linked to an internal cellular phone, allowed the company that provides this service to determine the location of my vehicle wherever it might be. The amazing GPS technology works because of an invention made almost four centuries ago by the philosopher, scientist, and mathematician Rene Descartes.\n\nDescartes gave us the _Cartesian coordinate system,_ named after him\u2014a system of crisscrossed parallel lines, in two, three, or more dimensions, that allows us to _describe numerically_ the position of a point in space. In this case, the position of the point (my car) was described in terms of its latitude and longitude, which were then translated into a location on a map. The GPS system works in three dimensions as well: it can give you, in addition to your latitude and longitude, your altitude\u2014and this makes it useful in directing an airplane.\n\nBut Descartes' coordinate system is used for a lot more than GPS. Every pixel on your computer screen is described internally by a pair of numbers: its horizontal and vertical coordinates. Thus all computer technology relies on Descartes' invention. Graphs and diagrams and maps of all kinds rely on the Cartesian system, and so do digital photographs, so popular these days, and pictures and documents sent on the Internet, and engineering designs, and space flights, and oil exploration.\n\nAnd the applications go even further\u2014beyond our three-dimensional intuition of pictures and graphs and shapes. When data are available on many variables\u2014more than the visual three dimensions of everyday life\u2014such data can _still_ be analyzed using the Cartesian coordinates. Your bank, for example, may have data on your income, your assets, the number of years at your current employment, the number of people in your family, your age, your educational level, and so forth. These _multidimensional_ data can be mapped on a many-variable scale using the Cartesian coordinates (even though such a \"map\" cannot be visualized and is meaningful only within the context of the computer analyzing the data) and through statistical analysis lead to a decision by the bank to approve or deny your loan application. Statistical and scientific algorithms that analyze data on many variables use the Cartesian system in the analysis. The number of applications of the Cartesian coordinate system in our daily lives is immense. Literally everything we do or see or use in our daily lives has something to do with Descartes' great invention.\n\nInterestingly, Descartes' invention of the coordinate system that bears his name was a special outcome of a much grander design. Descartes achieved an immense advance in mathematics, launching modern mathematical theory four centuries ago, when he unified algebra with geometry by inventing analytic geometry: a way of connecting the equations and formulas of algebra with the figures and shapes of geometry. The Cartesian coordinate system was just the device he created in order to facilitate this unification.\n\nOf course, Descartes' greatest fame comes not simply from his work in mathematics or in physics\u2014in which he also made important discoveries, especially on gravity and falling objects, as well as in optics\u2014but from his philosophy. Descartes' _\"Cogito, ergo sum\"_ (I think, therefore I am), and the philosophy behind this statement, is a pillar of modern philosophy; and his rationalism\u2014 _Cartesianism_ \u2014is considered of great importance in the development of philosophical thinking. Descartes is often viewed as the founder of modern philosophy. In his Meditations, published in 1641, Descartes wrote: \"It must be acknowledged that this pronouncement, I _am, I exist,_ whenever I assert it or conceive it in my mind, is necessarily true.\" In the introduction to the book they edited, _Descartes and_ His _Contemporaries,_ M. Grene and R. Ariew describe Descartes' statement above as signaling a turning point in Western thought: \"Suddenly, we have reached a new level of awareness, at which we could ask reflective questions about ourselves: Can we reach out from consciousness to an external world? Who are we as minds in relation to our bodies?\" Some scholars have even asserted that Descartes' philosophy, in its introduction of the self into human consciousness, inaugurated modern psychological theory. Descartes' method of reasoning thus created self-reflection, which incorporated into philosophy the elements of modern psychology. Descartes pioneered metaphysical investigations, and hypothesized about the relation between body and soul. He tried to use reason and logic to prove the existence of God (in whom he believed).\n\nThere is a direct link between Descartes' logical, rational approach to philosophy and his work in mathematics. The reason for this is that Descartes' philosophy is based on an ambitious attempt to found all of human knowledge on the same precise, strictly logical principles that the ancient Greeks had used in creating their enduring geometry.\n\nI believe that Descartes' work in mathematics, physics, and philosophy, as well as in other areas this unique individual studied, such as biology, anatomy, and music theory, are unified by invisible links of logic. This recondite internal rationality is what Descartes was all about\u2014for the hidden Descartes was fundamentally a supreme mathematician: a man who was so good at doing mathematics that he came to believe he could apply his mathematical skills and methods to every area of human study.\n\nDescartes lived in one of the most tumultuous, and yet intellectually fecund, periods in history. Descartes' time, the first half of the seventeenth century, was the era of the Thirty Years War, in which Catholics and Protestants were mercilessly pitted against each other in a series of bloody battles. This period also saw the ruthless suppression by the Catholic Church of new scientific and philosophical ideas, as evidenced by the trial of Galileo by the Inquisition, the persecution by the church of other thinkers who supported the theory of Copernicus, and the burning of forbidden books. However, this was also a period of great intellectual revival\u2014an extension of the Renaissance to science, mathematics, and philosophy. Classical ideas in these areas were being studied and extended by intellectuals throughout Europe. Descartes' work was both a product of this period and the vanguard, leading the way in the development of mathematics and philosophy right up to our time.\n\nMy favorite cafe in all Paris is Les Deux Magots\u2014that icon of literary society made famous by Hemingway, Fitzgerald, Sartre, and Beauvoir\u2014 facing the ancient church of Saint-Germain-des-Pres. Six months after our Canadian trip in the snow, I found myself on a sunny day sitting at this cafe with my friend the historian Richard Landes. We were drinking iced coffee, and Richard was telling me about arrangements he wanted to make for me to meet the director of the Descartes center in Paris, now that I'd come to the French capital to research the life of the philosopher and mathematician.\n\nI was renting an apartment in the Marais\u2014the oldest, medieval part of Paris, and the only section of the city that had not been razed in the nineteenth century by Baron Georges Haussmann as part of his plan to build the wide and elegant boulevards we associate with Paris today. This part of the city, with its narrow ancient streets, looks very much as it appeared in the days of Descartes. My apartment, on the rue du Bourg-Tibourg, was in a building erected in 1629. Both the building and the apartment, on which apparently little work had been done in the past few centuries other than necessary maintenance, looked very much as they must have looked when Descartes walked these very streets when he lived just around the corner from this address for a short time in 1644: on the rue des Ecouffes, between the rue du Roi de Sicile and the rue des Blancs-Manteaux.\n\nThe apartment consisted of one large room with a kitchen corner and a bath, and it had a high ceiling supported by the original dark brown wooden beams so characteristic of seventeenth-century French construction. A narrow, dark spiral staircase with small windows cut into the thick stone walls led up to the apartment. Looking at the building from outside, one could admire the tall Parisian windows and notice the protruding iron supports holding together the exterior walls of this ancient structure. Knowing that my building was there at the time Descartes walked these same streets lent my search an added sense of reality.\n\nI spent my days at the libraries and archives of Paris, researching material on Descartes and his work; I traveled to the locations at which he stayed or lived throughout Europe\u2014Descartes was a great traveler who saw most of the Continent\u2014and I walked the perimeter of the Place des Vosges, under the ancient arches, exactly as Descartes did in 1647 discussing mathematics with Blaise Pascal. I held in my hands original letters Descartes had written to his friend Marin Mersenne; I perused countless manuscripts written over the centuries; I even bought an original book of Descartes', published in 1664 But sometime in the middle of my search, I made a surprising discovery: Descartes had kept a secret notebook.\n\nI was now sitting at the heart of the area in which Descartes loved most to live whenever he was in Paris for longer stays\u2014the then-as-now-fashionable district of Saint-Germain-des-Pres. Richard was talking fast about Descartes and history and Paris, but we were too often interrupted by the perpetual ring of his cell phone. I looked at the ancient church in front of us. I knew it was very old\u2014its construction began in the sixth century. The church has a graceful tower, dating to the tenth century and still in its original state. It has a rustic kind of beauty, seen more often in churches in the French countryside, and in fact it used to be out in the fields, outside the city walls\u2014hence the designation \"des Pres.\" And I knew something else about this church: inside it is a crypt containing the remains of Rene Descartes. But the body of the great philosopher and mathematician\u2014so revered by the French\u2014lacks a head. Descartes' skull, or rather a skull purported to be that of the philosopher, is displayed elsewhere in Paris. Nothing about Descartes is simple, and nothing is what it seems, as I learned in my quest to understand Descartes and to uncover his secrets.\n\n# _Prologue_\n\n# _Leibniz's Search in Paris_\n\nON JUNE 1, 1676, GOTTFRIED WILhelm Leibniz, who would become known as one of the greatest mathematicians of all time and who\u2014along with Newton, who worked independently in England\u2014 would be credited with the discovery of the calculus, stepped off a carriage in front J of a house in Paris, climbed up a set of stairs, and knocked on a heavy wooden door.\n\nLeibniz had arrived in Paris a few years earlier from Hanover, in his native Germany. He was on a diplomatic mission on behalf of his patron, a German nobleman. But personally, Leibniz was on a search for Descartes' hidden writings. He had heard that when Descartes died, in Stockholm in 1650, he had left behind a locked box containing writings that he never intended to publish and had kept secret throughout his life. Leibniz knew that these writings were kept somewhere in the French capital, and over three and a half years in Paris, Leibniz made every effort to locate this treasure. Finally, using a network of connections, Leibniz was able to obtain the name and address of Claude Clerselier (1614-84), a man who had been a friend of Descartes and an editor and translator of his works.\n\nLeibniz learned that a quarter of a century earlier, Clerselier received Descartes' hidden manuscripts as a present from his brother-in-law Pierre Chanut (1601-62), who had been France's ambassador to Sweden and a confidant of Descartes during the few months he served as philosophy teacher to Queen Christina of Sweden before he died.\n\nSome time after Descartes' death, Ambassador Chanut loaded the box containing Descartes' hidden manuscripts onto a ship in Stockholm headed for France. After long delays en route, the cargo was unloaded sometime in 1653 at the French port of Rouen. The box was then reloaded onto a boat that was to take it up the Seine River to Paris. But just as the boat entered Paris and was passing by the palace of the Louvre, it capsized and sank. The sealed box containing Descartes' manuscripts remained submerged for three days. Then, miraculously, it disentangled itself from the wreckage and was found on the bank of the river some distance downstream.\n\nUpon hearing this news, Clerselier\u2014who had been expecting the precious cargo for a long time and had sadly just given up hope of ever seeing the manuscripts after he heard that the boat had capsized\u2014 rushed to the river with all his servants and ordered them to retrieve the papers quickly. He instructed his servants to spread the parchment sheets of Descartes' manuscripts on tables in his house to dry. The servants were illiterate, and found it difficult to reassemble the manuscripts. But Clerselier worked hard to save Descartes' hidden writings and spent many years reading the manuscripts and putting them in order. There was, however, one notebook whose content he could not understand.\n\nThe elderly man opened the door slightly, but seeing someone he did not recognize, shut it again. \"Please,\" pleaded the young man from behind the locked door, \"please read this letter,\" and he thrust in through a reopened crack in the door a letter of introduction from the duke of Hanover, asking whoever was shown it to offer all help to its bearer.\n\nAfter quickly reading the letter, Clerselier opened his door and motioned Leibniz in. Clerselier was a possessive man, and had been jealously guarding Descartes' writings. He viewed himself as the protector of his late friend's secrets. Clerselier listened intently as Leibniz explained his urgent and unusual need to see the documents. Upon hearing the story, he understood that this young man's future and reputation might well depend on the content of Descartes' hidden writings. So reluctantly, and despite his inclination to the contrary, Clerselier agreed to let Leibniz see Descartes' work, and even to copy it.\n\nLeibniz sat down, opened a manuscript, and read:\n\nPREAMBLES\n\nFear of God is the beginning of wisdom. The actors, called to the scene, in order to hide their flaming cheeks, don a mask....\n\nBut after reading Descartes' description of his hope of discovering science all on his own, and of \"advancing masked\" through life, Leibniz read the following as the manuscript continued:\n\nMATHEMATICAL TREASURE OF POLYBIUS THE COSMOPOLITAN\n\nProviding the reader with the true means of resolving all the difficulties of this science; it is demonstrated that, on these difficulties, the human spirit can find nothing more. This, to shake off idle chatter, and to dismiss the recklessness of some who promise to demonstrate in all the sciences new miracles.\n\nLeibniz understood that Descartes had planned to write a book about an important mathematical discovery using a pseudonym. Rene Descartes would be Polybius the Cosmopolitan. Leibniz paused for a moment. Then he continued to peruse the unusual document; but what he read next startled him:\n\nOffered, once again, to the erudite scholars of the entire world, and especially to G. F. R. C.\n\nIn the copy he made of the manuscript, Leibniz added a parenthetical word, making it read:\n\nG. (Germania) F. R. C.\n\nHe did not need to annotate the acronym \"F. R. C.\" He knew it well... perhaps too well. Leibniz felt a quiver run down his spine as he realized that an invisible secret bond linked him with the late French philosopher.\n\nLooking carefully at the manuscripts in front of him, Leibniz understood that the _Preambles_ and the _Olympica,_ which announced Descartes' \"admirable discovery\" but did not give the discovery itself, were only fragments designed to introduce the actual work in which the truth Descartes did not disclose in these manuscripts was exposed. But what was the work, and where was it? As he was about to find out, Leibniz was now very close to Descartes' deepest secret, the discovery nearest to Descartes' heart\u2014one that would need to be veiled with a pseudonym, mysterious language, and bizarre, mystical notation.\n\n\"Yes, there is one more item,\" said the elderly gentleman after Leibniz had finished five days of copying and eagerly asked him if there was anything else. \"But nobody else has ever seen it before. It's a notebook\u2014his secret notebook.\" Then he added, \"But I don't think you would understand it anyway. I've worked on it for years, but nothing in it, symbols, drawings, formulas, makes any sense at all. It is completely coded.\"\n\nLeibniz pleaded, and again explained his desperate need to learn everything he could about the hidden work of Descartes. He promised that he would keep the secret, whatever it was that was hidden in Descartes' pages. Finally, Clerselier relented, but imposed tight restrictions on the access to this notebook.\n\nDescartes' notebook consisted of sixteen parchment pages. It contained bizarre notation. Some of the symbols resembled those associated with alchemy and astrology\u2014not the characters usually found in writings on mathematics. And next to them were strange, obscure figures. Then there were seemingly incomprehensible sequences of numbers. What did all these mean?\n\nWorking intently and very fast\u2014perhaps furtively, for we don't know exactly what were the conditions Clerselier had imposed when he finally allowed Leibniz to see the notebook\u2014Leibniz had to decipher Descartes' code while at the same time doing the copying. He was able to copy only one and a half pages by the time he had to stop his work. Part of Leibniz's copy of Descartes' secret notebook is shown on page 15.\n\nA page from Leibniz's copy of Descartes' secret notebook\n\nSome years after Leibniz made this copy, Descartes' original notebook disappeared forever. And for over three centuries, no one could understand the meaning of the copy Leibniz had made of Descartes' secret notebook.\n\nWhat the bizarre symbols, including _24_ meant, and what the sequences of numbers\u2014\n\n4 6 8 12 20 **_and_** 4 8 6 20 12\n\n\u2014signified, remained a deep mystery.\n\nWhy did Descartes keep a secret notebook? What were its contents? And why did Leibniz feel compelled to travel to Paris, seek out Clerselier, and copy pages from Descartes' notebook?\n\n# Chapter 1\n\n# _The Gardens of Touraine_\n\nJUST BEFORE REN\u00c9 DESCARTES WAS born, on March 31, 1596, his mother, Jeanne Brochard, took an action that may well have altered the course of Western civilization. For like Julius Caesar crossing the Rubicon in 49 B.C., Jeanne Brochard crossed the Creuse River, which lay between her family home, in the region of Poitou, and the small town of La Haye, which lies in the region of Touraine, in western central France.\n\nThe Descartes family had originated in Poitou and had lived for many years in the town of Chatellerault, about twenty-five kilometers south of La Haye. Descartes' parents, Joachim Descartes and Jeanne Brochard, who were married on January 15, 1589, owned a stately mansion in the center of Chatellerault, at 126 rue Carrou-Bernard (today's rue Bourbon).\n\nThe Descartes family mansion in Chatellerault\n\nJoachim Descartes was the councillor of the Parliament of Brittany, and this important job kept him away in distant Rennes. Jeanne needed her mother's help in birthing the baby, and this is why she traveled north and across the river to Touraine to give birth to Rene Descartes in her mother's house in La Haye. Sometime later, once she had recovered, she returned to Chatellerault. Despite this accident of birth, throughout his life, Rene's friends would often call him Rene _le Poitevin_ \u2014Rene of Poitou.\n\nDescartes' grandmother's house (now the Descartes Museum)\n\nThe regions of Poitou and Touraine include pastoral farmlands that have been cultivated since antiquity. There are low hills, many of which are forested, and rich flatlands, irrigated by rivers that cut through this fertile land. Cows and sheep graze here, and many kinds of crops are grown. La Haye is a small town of stone houses with gray roofs. At the time of Descartes, the population of the town numbered about 750 people.\n\nChatellerault is a larger, more genteel town than La Haye, with wide avenues and an elegant city square, and it serves as the hub of rural life in the region. Because this part of France is so fertile and rich in water and agricultural resources, the people who live here are well off. North of La Haye one can still visit the beautiful chateaus of the Loire Valley, as well as forests and game reserves, which existed at the time of Descartes. The chateaus, many of them restored to their original state, with lavish fifteenth- and sixteenth-century furnishings and surrounded by sculpted gardens, give us a feel for the life of the rich at the time of Descartes.\n\nWhile the regions of Poitou and Touraine are similar in their topography, scenery, and the way the towns and villages are laid out, there was one important difference between them. While Poitou was mainly Protestant, Touraine was mostly Catholic. We know that in the fifteen years from 1576 to 1591, there were only seventy-two Protestant baptisms in La Haye. This significant religious difference between the two regions would affect the life of Rene Descartes. For this accident of birth\u2014being born, and later also raised, in a strongly Catholic region while his family hailed from a Protestant one\u2014would exert a significant impact on Rene's personality, thus influencing his actions throughout his life and determining the course of development of his philosophical and scientific ideas and the way he divulged them to the world.\n\nDescartes lived in a century that knew severe tensions, including wars, between Catholics and Protestants. The fact that he was born in a Catholic region and would be raised by a devout Catholic governess, while many of his family's friends and associates in Poitou were Protestants, contributed to Descartes' natural secretiveness. It also made him, as an adult, much more concerned about the Catholic Inquisition than perhaps he should have been, and not worried enough about the persecution he could face from Protestants. Consequently, Descartes would refrain from publishing elements of his science and philosophy for fear of the Inquisition, and yet would readily settle in Protestant countries, where academics and theologians would viciously attack his work in part because they knew he was a Catholic.\n\nRene Descartes was baptized a Catholic in Saint George's Chapel in La Haye, a twelfth-century Norman church, on April 3, 1596. His baptismal certificate reads:\n\nThis day was baptized Rene, son of the noble man Joachym Descartes, councillor of the King and his Parliament of Brittany, and of damsel Jeanne Brochard. His godparents, noble Michel Ferrand, councillor of the King, lieutenant general of Chatellerault, and noble Rene Brochard, councillor of the King, judge magistrate at Poitiers, and dame Jeanne Proust, wife of monsieur Sain, controller of weights and measures for the King at Chatellerault.\n\n[signed]\n\nFerrand Jehanne Proust Rene Brochard\n\nMichel Ferrand, Rene Descartes' godfather, was his great-uncle\u2014 Joachim Descartes' uncle on his mother's side. Rene Brochard was the baby's grandfather, Jeanne Brochard's father. Jeanne's mother, Rene Descartes' grandmother, was Jeanne Sain. Her brother's wife was Jeanne (Jehanne) Proust.\n\nThe name La Haye comes from the French word _haie,_ meaning hedge. Originally the town was named Haia, and in the eleventh century, as the language evolved, the spelling was changed to Haya. In Descartes' time it was called La Haye-en-Touraine. In 1802, the town's name was changed to La Haye-Descartes, in honor of the philosopher, and in 1967, \"La Haye\" was altogether dropped and the town is now known as Descartes.\n\nThere was once a castle in the area, and the wealthiest and most powerful citizens of La Haye lived in it. As the feudal system disintegrated, the castle was abandoned and the people moved down to the town, where they could live more comfortably. But life in this area remained difficult. People suffered both from wars and from disease. The plague ravaged La Haye and its surroundings several times in the late sixteenth and early seventeenth centuries. In 1607, the town was placed under quarantine after a recurrence of the plague killed many people in the area.\n\nIn early times, the hedges denoted by the French name Haia (or Haya or Haie) stood for thorny hedges that were planted by the townspeople in an effort to defend themselves and their property from marauding bands of brigands and highwaymen that pillaged and looted the countryside. But as times improved after the duke of Anjou took control of the area in September 1596\u2014six months after the birth of Rene Descartes\u2014the hedges implied by the name of the town came to mean hedges of beautiful gardens. To this day, this part of France is known for its exquisite gardens and areas of great natural beauty.\n\nLate in life, just before he left on his final journey to Stockholm, Descartes wrote to his dearest friend, Princess Elizabeth: \"A man who was born in the gardens of Touraine, shouldn't he avoid going to live in the land of the bears, between rocks and ice?\" Descartes may well have been thinking of the garden of his own childhood home, his grandmother's house in La Haye, when he wrote these words to Elizabeth. Descartes' childhood home is an attractive two-story country house with four large rooms, although it is not nearly as impressive as the family mansion in Chatellerault. But it is surrounded by an exuberant garden, now restored to its original state, with flowers under the generous canopy of graceful trees. One can imagine the young boy enjoying many hours of undisturbed thinking and playing in this tranquil garden.\n\nA year after Rene was born, shortly after giving birth to her fourth child, Jeanne Brochard died. The newborn survived for three more days, and then died too. Some of Descartes' biographers have written that Rene's personality was deeply affected by the loss of his mother, and have even speculated that the young boy blamed himself for her death because he did not quite understand\u2014the event having taken place so close to his own birth\u2014that she died sometime after giving birth to her _next_ child.\n\nAfter the death of his wife, Joachim remarried. He took a Breton woman named Anne Morin as his wife, and with her had another son and another daughter (and two other babies who died in infancy). They bought a house in Rennes, where Rene's older sister joined them in 1610, and where she got married in 1613 to a local man. Until then, Rene and his older brother and sister were raised by a governess. Rene Descartes was extremely attached to his governess, who was a devout Catholic. She lived to old age, and Descartes specified in his will that she was to receive a significant amount of money annually for her support.\n\nAs a child, Rene became known as the young philosopher of the family because he had a great curiosity about the world, always wanting to know why things were the way they were. The child grew up in the natural environment of farming and hunting and strolling in the woods. Throughout his life he would make references to the bucolic land of his birth and its natural rhythms. In letters to friends, and in published works, he would describe his childhood memories: the smell of the earth after a rainstorm; the trees at different seasons of the year; the process of fermentation of hay, and the making of new wine; the churning of butter from fresh milk; and the feel of the dust rising up from the earth as it was being plowed. Perhaps it was this early closeness to nature that kindled his interest in physics and mathematics as means for understanding nature and unraveling her secrets.\n\nThe Descartes family was wealthy, and Rene would inherit even more assets directly from his grandfathers on both sides, both of whom had been successful medical doctors. His great-grandfather Jean Ferrand had been the personal physician of Queen Eleanor of Austria, the wife of Francis I of France, in the middle of the sixteenth century. He attained great wealth, which was eventually passed on to his daughter Claude, who married Pierre Descartes. Their son was Joachim Descartes, Rene's father. In 1566, when Joachim was only three years old, his father, Pierre, died of kidney stones. Pierre's father-in-law, Jean Ferrand, Queen Eleanor's personal physician, performed the autopsy on his son-in-law. In 1570 he wrote up the results of the operation and published them in a scientific paper, in Latin, about lithiasis\u2014the formation of stony concretions in the body. His deep curiosity about nature\u2014even to the point of dissecting the body of his own son-in-law\u2014was passed on to his descendants. While, unlike his grandparents, Rene Descartes would not pursue medicine as a profession, late in life he would dissect many animals in search of the secret to eternal life.\n\nRene Descartes would spend much time during his adult life managing his inheritance. This wealth, including significant land holdings in Poitou, would enable him to pursue his interests without concern about a livelihood. It would afford him to indulge his whim of volunteering for military campaigns as a gentleman soldier without compensation\u2014simply for the thrill of adventure. He would be able to afford luxurious accommodations wherever he traveled, and to employ servants and a valet. His money would even allow him to look after the education of his staff, thus sharing with them some of the privilege of his family's wealth. Descartes would grow up to be a very generous employer and friend.\n\nDespite Adrien Baillet's statement in his very comprehensive 1691 biography of Descartes that the family belonged to the nobility, recent research indicates that, as far as Rene's life is concerned, this was not true. The renowned French historian Genevieve Rodis-Lewis explains in her 1995 biography, _Descartes,_ that the Descartes family gained the rank of knighthood, the lowest status of nobility in France, only in 1668\u2014eighteen years after Rene's death. According to French law, nobility was conferred on families after three successive generations had served the king in high office. Joachim Descartes certainly held such a position, and some have argued that he had originally sought to become councillor to the Parliament of Brittany in hopes of obtaining nobility status for his descendents. But Rene Descartes would choose a different direction in life, and so nobility would be conferred on the family only after another member had satisfied the three-generations requirement, years after Rene's death.\n\nAfter he remarried, Joachim Descartes spent most of his time in Rennes with his new wife and the children she bore him. He also had interests and family business farther south and west in Nantes, also in Brittany. As they grew older, Rene and his brother and sister traveled frequently to visit their father. Eventually, Rene Descartes would see all of western France as his home territory, since time in his later childhood was spent throughout the regions of Poitou, Touraine, and Brittany.\n\nBut the frequent travel throughout the region was hard on the boy. In adulthood, Descartes described his health as a child as poor, and recounted in letters to friends that every doctor who had ever seen him as a child had said that he was in such poor health that he would most likely die at a young age. His devoted governess took such good care of him, however, that when he was eleven years old he was healthy enough to be sent away to study at the prestigious Jesuit College of La Fleche.\n\n# Chapter 2\n\n# _Jesuit Mathematics and the Pleasures of the Capital_\n\nIN 1603, KING HENRY IV, WHO HAD been raised a Protestant but converted to Catholicism, gave the Jesuits, as a gesture of his goodwill toward this powerful Catholic order, his chateau and vast grounds in the town of La Fleche, to be used by them as the site of a new college. The Jesuits enlarged the chateau, and the result was a series of large interconnected Renaissance buildings with spacious, square, symmetric inner courtyards. Entering the grounds, one is struck by the perfect order and symmetry of the checkerboard array of grand courtyards, and by the well-manicured gardens beyond them. This is one of the most impressive college grounds anywhere; today it is the site of a military academy, the Prytanee National Militaire.\n\nLa Fleche was well chosen for a college. It lies in Anjou, north of Touraine, in a rich area with forests and gentle rolling hills. The town is attractive, with a river running through its center and lush meadows surrounding it. The gate of the college opens right into the spacious town square. Once students left the grounds of the college, they were in the center of the town with its many places to eat, drink, and find entertainment.\n\nThe college was inaugurated by King Henry IV, and opened its gates in 1604 France's brightest students from the best families were encouraged to apply for acceptance. Among the students accepted to the first class to enter this elite new college was Marin Mersenne (1588-1648), who would become Descartes' most devoted and loyal friend.\n\nThe college was run as a semimilitary school. The students had to wear a uniform, including breeches with pom-pom fastenings, a fancy blue blouse with large-puffed sleeves, and a felt hat. Each student was given a long list of items he had to bring to school. These included candles, various kinds of pencils, quills, and notebooks, and items of personal use.\n\nAccording to new research, Rene Descartes entered the College of La Fleche right after Easter 1607. A college such as La Fleche was an educational institution at which young boys studied before going to a university. As such, it was akin to a modern preparatory school rather than what we call a college today. Descartes' admission to the college was delayed because his health wasn't good enough when he was younger; and until then, he was educated at home by a tutor. Rene was eleven years old when he started his studies at La Fleche, and he stayed there until his graduation eight years later, in 1615. The tuition at the college was free, but students' families had to pay for room and board and other expenses. At the time Descartes studied there, the college had about fourteen hundred students, who came from all over France. Fortunately, the college was a day's journey from Descartes' home in La Haye, so he could easily visit his grandmother and governess.\n\nSince Descartes was still frail, the family made a special request to the college, asking that its administration take exceptionally good care of his health. The rector, Pere Charlet, who was a relative of the Descartes family and whom Rene would later describe as \"almost a father to me,\" was eager to comply, and gave Rene unprecedented privileges so that the boy would not feel any stress, in hopes that his health would improve. He thus allowed Rene to sleep late in the mornings and stay in bed until he felt well enough to join the others in the classroom. This unique arrangement started Descartes on a lifelong routine of waking up late in the mornings and staying in bed, thinking and working, until he was ready to get up and face the day. Most of his life until his last few months in Sweden, with the exception of periods in which he was in an army involved in heavy fighting, Descartes never had a forced wake-up in the morning, but rather arose whenever his body was sufficiently rested.\n\nLife at the college, for everyone else, began at 5:00 A.M. From 5:00 until 5:45, the students said their morning prayers, washed and dressed, and got ready for work. Personal hygiene was very important: students were made to wash well, and if they were sick they were confined to the infirmary. The time from 5:45 to 7:15 was spent on individual work, followed by breakfast. The first classes were held from 7:30 until 10:00. Rene Descartes was exempt from having to sit through these early classes. At 10:00 A.M., mass was held, followed by dinner, which was the first substantial meal of the day. There followed a period set aside for recreation. Afternoon classes began at 1:30 and lasted until either 4:30 or 5:30, depending on the season. The students spent the remainder of the day\u2014until 9:00 P.M., when they went to bed\u2014having their evening meal and playing games, mostly ball games that were popular in France during this period (including the famous _jeu de paume)._ They were also allowed to play cards, a popular pastime, but the involvement of money in any kind of game was strictly prohibited. Just before they retired at 9:00 P.M., they attended a spiritual lecture. On special days, equestrian skills were taught, as well as swordsmanship.\n\nRene Descartes joined his fellow students after the morning classes had ended. His special arrangement, allowing him to stay in bed late, made him learn how to study on his own. This was especially useful in mathematics, where he could derive ideas by himself, without having to sit through the material slowly with an entire class. This habit of intellectual independence enabled him to forge ahead swiftly and\u2014a little later in life\u2014to create new mathematical and scientific knowledge on his own without being held back by conventional beliefs.\n\nStudents were taught grammar, which meant Latin and Greek. They also studied humanities, rhetoric, and philosophy. Both humanities and rhetoric were centered on the classics. Humanities included the works of the Roman poets Virgil, Horace, and Ovid, while rhetoric was mostly a study of Cicero and the Platonic method of argumentation. The philosophy taught at La Fleche consisted of the works of Aristotle, in the medieval scholastic tradition, as well as logic, physics, and metaphysics.\n\nThe Jesuits taught their students the essentials of Greek mathematics: the works of Euclid, Pythagoras, and Archimedes. The Greeks, with their clear, abstract view of nature and its elements, simplified all construction in geometry to figures that could be drawn with only two tools\u2014the simplest tools they could conceive and ones that they believed should suffice to construct any geometrical figure one could imagine or need. These two elementary tools were an unmarked straightedge and a compass.\n\nA straightedge\n\nA compass\n\nThe straightedge made angles and straight lines, while the compass was used for making circles and marking off distances. By combining the operations of both instruments, anything that was of importance to Greek mathematicians could be drawn.\n\nFigures drawn with straightedge and compass\n\nDescartes was fascinated by the simplicity of thought and the power of abstraction the ancient Greeks had demonstrated with their geometry, an entire science based on the use of two instruments. The priests who taught this ancient knowledge at the college outlined the entire theory of Euclidean geometry, and explained to the students how to prove a variety of theorems in geometry. Mathematics courses at La Fleche also included arithmetic, in which the rules of computation were studied, as well as algebra, in which methods of solution of equations were explained\u2014as much as these equations were understood at that time.\n\nInterestingly, the grounds and buildings of the College of La Fleche, perfectly symmetrical and square in their design, seemed constructed as if by straightedge and compass. Descartes' writings later in life\u2014particularly his _Discourse on the Method_ of 1637\u2014make it clear that he was impressed by symmetry and straight lines in the design of buildings and towns:\n\nThus old cities, which were at their beginnings nothing but small towns, and have become in time large cities, are generally not well designed as by compass _[ordinairement si mal com-passees],_ at the cost of the regularity of their squares that an engineer traced following his fantasy on the plane.... Seeing how the buildings are arranged, here a large one, there a small one, and how they make the streets curved and unequal, one would conclude that it was chance, rather than the will of men using reason, that has thus laid them out.\n\nWhat the young boy saw on the grounds of his college and learned from his study of Greek geometry using straightedge and compass became important elements in shaping his philosophy and his mathematics. With enough imagination, one can trace the origins of the Cartesian coordinate system to the perfectly symmetric design of the grounds of Descartes' College of La Fleche.\n\nDuring his time at La Fleche, Descartes and the other students at the college took part in a most unusual ceremony. King Henry IV was considered the founder of the college, and the gate to the college bore (and still does today) the letter H on each side, in honor of the king, as did most buildings on the campus. In his will, the king had specified that his heart, that of his queen, and those of their heirs were to be buried at the Church of Saint Thomas on the grounds of the college, his former Chateau of La Fleche.\n\nHenry IV, whom history would remember as one of France's most benevolent monarchs (he's the king who promised a \"chicken in every pot\" in his realm for Sunday meals), had difficulties throughout his rule with tensions between Protestants and Catholics, the latter never quite trusting him completely even though he was nominally a Catholic. Things became more dangerous for the king when in 1610 he allied himself with several German Protestant princes against Catholic Spain. On May 14 of that year, the king's carriage was passing through a particularly busy street in Paris, the rue de la Ferronerie. As traffic on the street momentarily came to a halt, a Catholic fanatic named Ravaillac rushed onto the royal carriage and stabbed the king in the chest. He died almost instantly.\n\nAfter the king's assassination, the ritual prescribed in the king's will began. It started with prayers for the soul of the dead king held on May 15 at the church of the College of La Fleche. The king's body was embalmed in the Louvre palace, and the heart was carefully removed. The heart was kept for three days in the Jesuit chapel in Paris, and then transferred to the care of Pere Provincial Armand, who gathered a group of twenty leading Jesuits and a larger number of the king's knights to accompany the heart to its final resting place in La Fleche.\n\nThe college chose a group of twenty-four of its most distinguished students to join the procession as the party carrying the king's heart arrived in town. Among these twenty-four students was Rene Descartes. The procession came to order at the central square in town, and now included also archers and royal guards, who had joined it. From the town of La Fleche, the entire assemblage marched to an open field and stopped. Torches were lit, and in a solemn ceremony, the heart was transferred from Pere Armand to the duke of Montbazon. The procession then continued on to college grounds and into the Church of Saint Thomas. Inside the church, the duke raised the heart for all to see, and in a communal prayer, it was placed in an urn forever to remain in the church. This ceremony was deeply etched into Rene Descartes' memory.\n\nAfter his graduation in 1615, Descartes moved to Poitiers to study law at the university. He spent an uneventful year there, since he was not interested in the law. Much of his spare time was devoted to practicing his swordsmanship skills learned at La Fleche. He received his doctor of law degree in 1616, and after spending a pleasant summer with his family in Rennes, riding horses and enjoying the outdoors, he moved to Paris. (In 1985, Descartes' thesis for his law degree was discovered at the University of Poitiers. The date of acceptance of the thesis was November 10, 1616. When they found the thesis, scholars were struck by its date. This day\u2014November 10, and sometimes the night of November 10-11, or November 11\u2014reappears as if by magic as the date of many key events in the life of Descartes.)\n\nDescartes' family did not take well to his expressed wish to move to Paris after his graduation. Even though Rene's health was now much better than it had been in his childhood, the family was concerned about the prospect of his living alone so far away. Joachim Descartes was especially worried about his son moving to the big city, but Rene assured him that this was what he wanted to do and that it was an important step toward his future. At twenty, he argued, he was old enough to live on his own and find his way in the world. The father finally agreed to let him go\u2014but only on the condition that he move to Paris with servants and a valet to assist him. Throughout his life, Descartes would never be without a valet. He chose them well\u2014his valets were always extremely loyal to him and would literally risk their lives for his safety and well-being.\n\nThe city of Paris has always been the center of life for the French, who have been flocking there for centuries from small towns and villages throughout the land. They come to seek a better life, economic rewards, and culture. But many come to Paris for the sheer excitement it offers. In the days of Descartes, this impulse was no different than it is today.\n\nDescartes lived during the time of d'Artagnan and the swashbuckling adventures depicted in Alexandre Dumas' _Three Musketeers._ Looking at seventeenth-century French paintings and engravings gives us a good idea about the styles of the time of Descartes: richly colored flowing silk garments with voluptuous folds, plumed velvet hats, shoes with ornate silver buckles. Descartes loved to dress in style, and he carried his polished sword with him wherever he went, as did many young gentlemen of his time. He was intent on learning as much as he could from \"the great book of the world,\" as he called it. He was on a search for truth about life and the human experience. And what better place to explore life than the city of Paris ?\n\nBy the time he finally moved to Paris, Descartes' health was excellent. He had lost the paleness of his youth, and he no longer suffered from whatever ailments had plagued him in childhood. Feeling well for the first time in his life, and finally having finished his education, he was eager to experience life. In Paris he met up with many of his old friends from La Fleche, who had congregated in the capital, and he also made some new ones.\n\nDescartes' early days in Paris were a carnival of drinking, gambling, and merrymaking. He learned very quickly that he had a knack for card games and other games of chance\u2014now, unlike at college, played for money. He was very successful at these games, winning significant amounts of money, which made him even more popular with his old and new friends alike. Descartes was constantly surrounded by people, and life for him was a continuous, endless party. These young men paraded down the streets of Paris, pursuing beautiful women.\n\nWhen he was a child, Rene had a crush on a young girl who had a lazy-eye problem. This childhood memory made him always focus his attention on women's eyes. As a young man in Paris, he found himself especially attracted to women who had beautiful eyes.\n\nAmong Rene's new friends in Paris was Claude Mydorge, who had been the treasurer of the city of Amiens, and who enjoyed a reputation as a first-rate mathematician. Mydorge was a dozen years older than Descartes, a man of the world, and he had an especially engaging and vivacious personality and a good sense of humor. Descartes was attached to him, and the two men spent many hours together enjoying themselves as well as discussing mathematics. Among Rene's acquaintances from La Fleche was Marin Mersenne. Mersenne had by then finished a course of study at the Sorbonne and had received the habit of the Minim order on July 17, 1611, in the monastery of Nigeon, near Paris. The Order of the Minim Brothers was founded in 1435 by Saint Francis of Paola in Calabria, Italy. To the Minims, humility is the primary virtue, and the name Minim derives from _minimi,_ since they view themselves as \"the least\" of all the religious.\n\nSix months after Descartes arrived in Paris, Mersenne was ordained a priest and became a friar of the Minim monastery at the Place Royale (today's Place des Vosges). Descartes would often visit Mersenne, who had a very wide range of scientific and mathematical interests, and talk with him and explore new ideas. Mersenne quickly became Descartes' closest friend. According to Baillet, the stimulating interactions Descartes enjoyed with Mersenne served as a counterweight to the general lack of purpose that characterized his early days in Paris.\n\nDescartes also loved music. Some scholars have drawn a connection between his interest in music and his great ability in mathematics. At any rate, Descartes and his many friends pursued musical interests together, attending concerts and performances throughout the capital.\n\nAfter about a year of play and enjoyments of all kinds, Rene Descartes felt the need to become more serious. In Paris he had come in contact with new ideas. French intellectuals were studying Greek geometry, trying to embellish the works of the ancient Greeks. Euclid's _Elements_ had by then been extended to include three more volumes beyond the original thirteen. Physics, too, was developing, as scientists were studying the nature of falling objects and exploring the riddle of gravity. Descartes longed to study these new ideas, and his feverish social life became an impediment to achieving this goal. To concentrate on his work, the young man now felt he had to distance himself from his many friends\u2014but they made it hard for him to do so. Whenever Descartes stayed home to read and work, his friends would come over to his apartment and beseech him to join them on the streets and at the nightspots of the city.\n\nIn desperation, Descartes took a drastic measure\u2014he secretly moved and did not give his friends his new address. He needed to be in an area where people would not recognize him whenever he went out for a walk, or recognize his servants or valet when they shopped or ran errands for him. So Descartes moved outside the walls of the city, to the neighborhood around the ancient Church of Saint-Germain-des-Pres. He loved this part of Paris because it was peaceful and quiet, and more rural. There were open fields here, to which young men would occasionally come to duel, an activity discouraged by the authorities. Descartes began to view himself as a spectator rather than an actor in the drama of daily life around him. For over a year, no one saw Descartes. His friends worried, and they suspected that he might have left Paris to return to his father's house in Brittany. They complained to one another about his incivility in leaving without saying good-bye. Some of them made inquiries in Rennes, but learned that he was not in Brittany, nor in Touraine or Poitou. They kept looking for him in the capital, but found him at no ball or banquet or reception. His friends were close to giving him up as lost.\n\nHiding out in a new part of the city worked for Descartes for some time. But his friends were still searching for him everywhere. One day, Descartes' valet was recognized on the street by one of these acquaintances, who then secretly followed the valet out of the city walls and into the area of Saint-Germain. The man waited for the valet to disappear up a flight of stairs, and then followed up the same stairway. He looked through the keyhole into Descartes' bedroom.\n\nThe man observed Descartes lying in bed reading, then sitting up in bed to write in a notebook, then lying down again to read, and a little later sitting up again to write in the notebook. The friend realized that Descartes was immersed in work he seemed determined to keep from the rest of the world. He would not disturb him, now that he understood Descartes' need to withdraw from the excited life of the capital to pursue his private work, and he quietly left.\n\nScholars believe that Descartes likely wrote his enigmatic _Preambles,_ which included the statement \"I advance masked,\" in his hideaway in Saint-Germain. Descartes' _Preambles_ continued:\n\nThe sciences are now masked; the masks lifted, they appear in all their beauty. To someone who can see the entire chain of the sciences, it would seem no harder to discern them than to do so with the sequence of all the numbers. Strict limits are prescribed for all spirits, and these limits may not be trespassed. If some, by a flaw of spirit, are unable to follow the principles of invention, they may at least appreciate the real value of the sciences, and this should suffice to bring them true judgment on the evaluation of all things.\n\nDescartes' ideas about the \"chain of the sciences\" and the sequence of the natural numbers bore a striking resemblance to mysterious writings of a mystical nature that had begun to appear in Europe in the early part of that same decade. The authors of these treatises on science and mathematics had remained anonymous.\n\nTwo years after he arrived in the French capital, Rene Descartes was ready to move on. He had always enjoyed a fast lifestyle, and he liked to fence and ride horses; now he longed for a life of action. Descartes had heard that up in Holland, Maurice of Nassau, the new prince of Orange and the Protestant champion in the religious wars, was gathering men from several countries\u2014including two French regiments\u2014and training them in his camps for war with the gathering Catholic forces of Spain and Austria.\n\nAlthough he was a Catholic, Descartes was interested in joining Prince Maurice's army. He felt that he could learn much about the art of war from the prince and his generals, and religion did not weigh in his decision, perhaps because he would join as a volunteer and would not have to fight if he chose not to do so. Descartes sent his servants back to his father in Rennes and, taking only his valet with him, traveled to Breda in southern Holland to volunteer his services. He would learn the art of war, but would not be paid for his military service\u2014other than a token single gold doubloon. Unpaid, he would retain many freedoms, and these rights would allow him to pursue his research in mathematics and science, and to try to uncover their hidden meanings. Descartes would use the army as a vehicle for travel and adventure. In the words of Baillet, Descartes would use the army as \"a passport to the world.\"\n\n# Chapter 3\n\n# The Dutch Puzzle\n\n\"QUID HOC SIGNIFICAT?\" THE YOUNG French soldier asked the slightly older Dutchman standing next to him, addressing him in Latin, the lingua franca of the educated throughout Europe. They were both among a group that had crowded around a curious poster attached to a tree trunk in the main square of the city of Breda, on the morning of November 10, 1618. \"What does this mean?\"\n\nThe Dutchman was from Middleburg and had just finished his studies in medicine and mathematics, and was hoping to take up the position of assistant principal of the Latin School of Utrecht. He had come to Breda to help his uncle slaughter his pigs, and was also hoping to find a wife. He took a long look at the young French soldier facing him. Rene Descartes wore the distinctive uniform of a volunteer in the army of Maurice of Nassau, the prince of Orange.\n\nThe Dutchman also noticed that the soldier was wearing a fancy plumed green hat, and that a silver sword hung from his hip\u2014not the usual musket other soldiers carried. He looked not much older than twenty-two or twenty-three, was of medium height, slightly less perhaps, with longish thick and wavy dark brown hair, and a mustache and goatee to match. And he had piercing, earnest brown eyes.\n\nThe soldier was looking at him expectantly. \"It is a mathematical puzzle,\" the Dutchman answered.\n\n\"I can see that,\" responded Descartes, \"but what exactly does it say? I do not understand Flemish.\"\n\nThe man took out a piece of paper and a pencil and began to copy the geometrical designs on the poster, labeling each in Latin, rather than Flemish, and then translating into Latin the paragraph written below the diagram. He handed the paper to the young soldier and said, \"They want you to prove this statement,\" pointing to the last sentence. Descartes looked intently at the paper in his hand, and the man added: \"And I suppose you will give me the solution, once you have solved this problem?\"\n\nDescartes turned quickly from the paper and gazed intently at the man.\n\n\"Yes, of course I will give you the solution,\" he said with determination. \"Would you please give me your address?\"\n\nThe Dutchman offered him his hand and said, \"Isaac Beeckman is my name.\"\n\n\"Rene Descartes,\" said the soldier. \"Or Rene _le Poitevin,_ as they call me, since my family comes from the French region of Poitou; although I was actually born in Touraine.\"\n\nThey shook hands, and Beeckman told Descartes that he was from Middleburg but was staying in Breda to help his uncle with his pigs. He gave him his uncle's address and they bade each other good-bye. From his journal, which was discovered in a Dutch library in 1905, and from other sources, we know that Beeckman did not believe that the young soldier would be able to solve the puzzle.\n\nThe next morning, as Isaac Beeckman was about to have breakfast at his uncle's house, there was a persistent loud knock on the door. The servant opened the door and let in the young soldier. He was accompanied by his valet. Descartes showed Beeckman his solution to the Dutch puzzle. Beeckman, who was a competent mathematician, was amazed by the soldier's solution to a very difficult mathematical problem. He had not expected a random person to solve a problem that many trained mathematicians and professors could not. Descartes' brilliant solution cemented a friendship between the two men. It was also a watershed event in the life of the young Descartes, since this was the moment he first realized that he was a very gifted mathematician.\n\nThe puzzle Descartes solved and demonstrated to his new friend was not an isolated problem suddenly appearing on a poster in southern Holland. The seventeenth century saw a revival of the classical geometry of ancient Greece as educated people throughout Europe sought intellectual challenges and the hidden meanings of mathematics. Ancient Greek texts were being republished in Latin, foremost among them Euclid's classic volumes of the _Elements,_ written in Alexandria about 300 B.C. Euclid's work was, in fact, the most important textbook published on the new printing presses invented less than a century and a half before Descartes' time. Other ancient texts, such as Diophan-tus's _Arithmetica,_ written around A.D. 250, were also being printed in seventeenth-century Europe. It was on the margin of a copy of this book that Pierre de Fermat (1601-65) wrote his famous Last Theorem, which would haunt mathematicians and amateurs alike until its final, dramatic proof late in the twentieth century.\n\nThese newly republished mathematical texts enabled a revival of the study of geometry in the schools and universities of Europe, and with these new publications arose a whole class of intellectuals who avidly pursued new solutions to ancient problems, challenging one another to solve problems they proposed and publicized on posters placed in public places. The problem Descartes solved on November 10, 1618, was one such example of a challenge issued by a mathematician through a public posting. Similar challenges issued a century earlier by mathematicians living in northern Italy had led to great developments in the area of algebra, resulting in the solution of complicated equations that the ancient Greeks and the medieval Arab mathematicians who followed them had not been able to achieve.\n\nWe don't know exactly what the problem was that Descartes solved and showed Beeckman in November 1618. We do know that it involved angles in a geometrical drawing, and that it was a very difficult problem. But one unusual, and perhaps incidental, aspect of Descartes' geometrical thought apparently impressed Beeckman very much. Descartes may have raised this particular issue on meeting Beeckman, even before he presented him with his solution to the problem from the poster the next day. In his journal, Beeckman described it on the day after he met Descartes:\n\n_Angulum nullum esse maL probavit Des Cartes:_\n\nYesterday, which was November 10, 1618, at Breda, a Frenchman from Poitou tried to prove the following: \"In truth, there is no such thing as an angle.\" This was his argument: \"An angle is the meeting point of two lines at one point, so that the line _ab_ and the line _cb_ meet at point _b._ But if you intersect angle _abc_ by the line _de,_ you divide point _b_ into two parts, so that half of it is added to line _ab,_ the other half to line _be._ But this contradicts the definition of a point, since it has no size. Hence, there is no such thing as an angle.\n\nThis, of course, is unlikely to have been the complicated mathematical puzzle Descartes solved, but rather Descartes being clever with Beeckman, showing off his mastery of Greek geometry with its axiomatic definitions\u2014to the point of making an absurd argument. The _point_ in the angle does not, in fact, get cut into two halves\u2014precisely because it has no size. Descartes was philosophizing, and Beeckman was impressed with his mastery of the intricacies of Greek geometry.\n\nAt the time Descartes showed Beeckman his solution to the Greek geometrical problem, the two areas, geometry and algebra, were considered two different parts of a wider, and somewhat nebulous, field called _mathematics._ Geometry was about straight lines and triangles and circles\u2014 idealized visual images of the elements of the physical world. Algebra, however, was the study of _equations_ \u2014symbols and numbers on two sides of an equal sign, which had to be solved to result in some meaningful quantity. No one had imagined that these two fields could be unified into a larger discipline. But within two decades, Rene Descartes would do just that.\n\nDescartes told Beeckman that he was hoping to go to war. Beeckman worried about this prospect, and hoped that his new friend would stay in the area and that the two of them could meet often and work together on problems of mathematics and science. After he left Isaac Beeckman on November 11, 1618, and returned to his army camp, Descartes realized that he was not yet going to be sent to war. He stayed on in Prince Maurice's army for several months while the troops remained stationed outside Breda. Since he was, after all, a volunteer, Descartes did more or less what he wanted to do. He spent time learning Flemish, so that he would never again have to ask strangers for translations. Descartes had excellent facility with language\u2014he had perfect mastery of French and Latin\u2014and before long, he could understand Flemish well and even speak it with some fluency. This new language ability also gave him fluency in other, related, Germanic dialects. Descartes was proud of his new achievement, and on January 24,1619, he wrote to Beeckmanfrom his army camp: \"I devote my time here to painting, military architecture, and the study of Flemish. You will soon see the progress I have made in this language, when I come to see you in Middleburg, God permit it, at the beginning of Lent.\" Descartes could not have known it at the time, but his new mastery of Flemish and related Germanic dialects would literally save his life.\n\nDescartes' solution of the Dutch puzzle excited him about mathematics. For it demonstrated to him that he had a unique gift. He began to believe that mathematics held the secret to understanding the universe. He stayed most mornings in bed at camp reading and writing about mathematics and exploring its applications. He worked out an cient Greek problems in geometry, but he soon concluded that the power of geometry transcended pure mathematics: geometry held the secret to all creation.\n\nThree years before they met in Breda, Isaac Beeckman had penned an article\u2014which was discovered in his journal\u2014about the mathematics of music. In this article, Beeckman tried to use Greek geometry to explain the harmonics of a vibrating string. While Beeckman's analysis was not very deep, Descartes did not show any lack of respect for his new friend's work. The two men worked together, trying to create a theory of music based on mathematics. They also worked on mechanics and on pure geometry. Beeckman would suggest problems, and Descartes would solve them using his brilliant mathematical abilities. By now Beeckman was back home in Middleburg, and Descartes would visit him whenever he could. When they were not together, the two friends exchanged ideas through letters.\n\nOn March 26, 1619, Descartes wrote his friend from his camp in Breda. He unfolded his plan to invent a method of solving a very wide variety of problems. He wrote: \"I desire to give the public not an _Ars brews_ of Lull, but a science based on new foundations.\" Descartes alluded here to the work of Ramon Lull (c. 1235-1315), a medieval mystic who was born on the Spanish island of Majorca and wrote 260 books, among them the _Ars brevis_ (\"Brief Art\") Descartes mentioned. Lull's works were a mixture of Cabbala and mysticism whose elements were ways of combining letters and numbers in an attempt to extract new knowledge about the universe.\n\nA month later, on April 29, 1619, Descartes again wrote to Beeckman about the work of the Majorcan mystic: \"Three days ago I met at an inn in Dordrecht a learned man and discussed with him the _Ars parva [Ars brews]_ of Lull. He said that he could use the Art so successfully that he could discuss any topic whatsoever for an hour; and if one then asked him to speak about the same topic for another hour, he could do so without repeating what he had already said, and so on for another twenty hours.\"\n\nDescartes was interested in the supposed power of Lull's mystical methods of obtaining knowledge. He asked Beeckman about it, and the latter, who had read some of the works of Lull, explained to him that Lull had invented a wheel on which the nine letters B, C, D, E, F, G, H, J, and _K_ were arranged. These nine letters stood for attributes of creation (which were akin to the ten attributes of God, the _Sefirot,_ in the Jewish Kabbalah). By producing permutations of these letters using circles revolving within other circles in a geometrical device, new concepts could be derived. Descartes' letters to Beeckman in 1619 give us the first indication of the young man's curiosity about mystical methods and ideas.\n\nLull's medieval magic would be reflected in the teachings of a secret society emerging in the early seventeenth century, and Descartes would find himself in the midst of these explorations of science and mysticism.\n\nWhen Descartes returned to his camp in Breda, he began to suspect that he might never have a chance to see the military action he longed for. The prince of Orange had signed a truce with his enemies, and as part of this arrangement, had made a commitment not to engage in battle for a period of twelve years.\n\nDescartes felt betrayed by this truce since he felt that the promise he had been given when he volunteered to serve the prince\u2014that he would see military action\u2014would likely never be met. Descartes had known since the previous year, 1618, that important political events were taking place in Bohemia and in Germany, and that these events could lead to war. By that time, the winds of religious war had been blowing in Europe for an entire century.\n\nWhen Martin Luther (1483-1546) posted his ninety-five theses on the church door in Wittenberg in 1517, launching the Lutheran branch of Christianity and hence Protestantism, religious confrontations erupted all over Europe. Luther's act is generally taken as the starting point of the Reformation, a movement for reform of the doctrines and practices of the Roman Catholic Church. The controversy between Catholics and Protestants had a strong political aspect as well, since religion and nationality tended to correlate across the Continent. By 1530, the rulers of the German states of Saxony, Hesse, Brandenburg, and Brunswick had been won over to the reformed belief, as were the kings of Sweden and Denmark. Consequently, these rulers broke away from Catholicism and made the churches in their realms conform to Protestant principles.\n\nCalvinism, a form of Protestantism based on the teachings of John Calvin (1509-64), which includes the idea of predestination, was founded in 1536 and took hold in parts of France, western Germany, Holland, Switzerland, and Scotland. Since the rest of Europe remained Catholic and loyal to the pope, the continent was deeply divided. In France, the Wars of Religion took place in the mid-to-late sixteenth century between Catholics and the Huguenots\u2014French Protestants. These wars were complicated by the interventions of Spain, Savoy, and Rome on the side of the Catholics, and of England, Holland, and several German principalities on the side of the Huguenots. By the time Descartes was growing up, however, there was relative peace. But this peace was not to last for long.\n\nIn 1613, a young German prince, Frederick of the Palatinate\u2014a region in southern Germany that included part of the Rhine and the city of Heidelberg\u2014arrived in London to marry Elizabeth Stuart, the daughter of King James I of England and Anne of Denmark, and granddaughter of Mary, Queen of Scots. Many in Europe saw in this royal wedding the forging of an important alliance between England and Protestant forces on the continent. But in fact, King James I had every intention of remaining neutral in the religious conflict that was brewing on the continent, and was hoping to balance the apparent favoring of Germany that might have been implied by his daughter's wedding by forging a similar union with Catholic Spain.\n\nFrederick took his bride to Heidelberg, sailing down the Rhine, and they established their home in Heidelberg castle, where they lived happily and in peace for five years. But then things began to change. A strong movement on the continent saw in Frederick a potential leader who could unite the Protestant forces in Europe against the Catholic forces of the Austrian Habsburg empire, whose capital was Prague.\n\nThe Habsburg emperor Rudolf II, a benevolent and tolerant ruler who had moved the center of the Habsburg empire from Vienna to Prague, died in 1612, precipitating a power struggle for his succession. Prague under Rudolf had been a flourishing city in which new ideas were developed and learning was promoted. Rudolf had a strong interest in magic and mysticism, and under his rule, Prague became a center for alchemical, astrological, and magico-scientific studies of all kinds. Jews practiced Kabbalah in this city, and were treated equally and without discrimination. Many others studied the occult and the magical. Rudolf's palace had \"wonder rooms\" in which mechanical magical arts were practiced, including inanimate objects that were made to seem to talk, numerological analyses, astrological predictions, and alchemical wonders. In the 1580s, the famous English mystic and mathematician John Dee (1527-1608) spent several years in Prague spreading his magical knowledge. Dee's ideas would form the foundation of knowledge pursued by a mystical secret society. This new society would also develop a strong political agenda for reform in Europe, and its members would see their great hope for political salvation in the person of Prince Frederick of the Palatinate.\n\nDescartes, a devout Catholic, was serving in the Protestant army of Maurice of Nassau, who happened to be Frederick's uncle. Descartes followed closely the events in Bohemia that resulted from the power vacuum following the death of Rudolf II. He knew that on May 23, 1618, the defenestrations had taken place in Prague, in which the rebellious Bohemians threw their Habsburg governors out of the windows of their castle. The state of Bohemia then raised two armies, one headed by the count of Thurn and the other by the count of Mansfeld. Duke Maximilian of Bavaria, a Catholic, reacted by raising an army to help the Austrians of the Holy Roman Empire against the rebelling Protestant Bohemians. He allowed eight thousand men and two thousand horses to pass through Bavaria on their way from the Catholic Spanish Low Countries (allied with the Habsburgs) to prepare to attack Prague. Descartes, eagerly following these developments, could not hold back his anticipation of battle.\n\nSince it was clear that Prince Maurice\u2014because of the treaty he had signed\u2014could not take his troops there, Descartes made the decision to quit his commission and travel to Germany on his own, with the intention of joining someone else's army. He was hungry for travel and adventure, and he hoped to see action.\n\nBut Descartes did not want to leave Breda without saying good-bye to his friend Isaac Beeckman. On April 20, 1619, Descartes wrote to Beeckman: \"I ask of you at least to respond to me by an intermediary, since he is at my service, and to tell me how you are doing, what occupies your time, and are you still concerned with getting married?\" Beeckman responded within a day. He was working on mathematics\u2014 on the ideas Descartes had discussed with him at their last meeting. And, no, he hadn't found a wife yet. It was unusual for the two of them not to see each other. When Descartes was in Breda\u2014from the time they first met, in November 1618, until January 1619\u2014the two friends met almost every day. But Descartes was now with the troops and Beeckman was in Middleburg, so a letter had to suffice.\n\nDescartes wrote to Beeckman again on April 23, 1619, saying that he wanted to see him. He told him that his soul was already traveling. Borrowing Virgil's words in the _Aeneid_ (III.7), Descartes wrote: \"I don't know yet where Destiny will guide me, nor where I shall stop along the way.\" He continued:\n\nSince the threat of war no longer leads with certainty to Germany, and I fear that I would find there many armed men but no combat, I will stroll, while waiting, through Denmark, Poland, and Hungary, until I find in Germany a road clear of brigands and highwaymen to take me surely to war. If I stop somewhere along the way, as I hope to do, I promise you to put in order my work on _Mechanics_ or _Geometry,_ and to honor you as the promoter of this work.\n\nAfter saying good-bye to Beeckman, on April 24, 1619, Descartes traveled north. He left Amsterdam on April 29 and headed for Copenhagen, where he stayed for some time, and also visited the rest of Denmark. From there he continued east to Danzig. Some weeks later, Descartes headed south, traveling through much of Poland, and entered Hungary. Then he turned west and reached Frankfurt on July 20, 1619. He arrived there to witness an important event: the election of the new Holy Roman Emperor. The king of Bohemia, Ferdinand II, was elected emperor on August 28 and crowned two days later. Descartes was present at this magnificent ceremony. The new Holy Roman Emperor was given the globe and scepter of Charlemagne, and was passed Charlemagne's sword, which he raised high for all to see.\n\nBohemia no longer had a king, and the rebellious Protestant Bohemians\u2014in clear defiance of their Austrian overlords\u2014decided to _elect_ a king, rather than submit to Habsburg rule. By that time, all of Protestant Europe had been looking up to Frederick, Elector Palatine of the Rhine (so called because he was one of the German princes with the privilege of electing the Holy Roman Emperor), as their potential leader. The Bohemians easily elected Frederick of the Palatinate to become Frederick V, king of Bohemia, and offered him the crown.\n\nThe prince of Orange, Frederick's maternal uncle, supported his assuming the role for which he had been elected; but James I of England, Frederick's father-in-law, who was very worried about this development, told Frederick that he thought that he was too young and inexperienced to assume what he considered the precarious role of king of a nation about to face a massive military attack. However, James's daughter, Frederick's wife, was eager to become a queen, and she pressed her husband to take the throne. Frederick should by all rights have listened to the advice of his father-in-law, for in order to remain king he would badly need England's support, and James I was clearly uninterested in helping him. As it turned out, Frederick listened to his wife and uncle and allowed himself to be crowned. Three days after the coronation of her husband, Princess Elizabeth of England was anointed Queen Elizabeth of Bohemia.\n\nPredictably, the Austrians were outraged by the coronation of the new king and queen of Bohemia, viewing it as a rebellion by a province. Duke Maximilian of Bavaria then resolved to go to war in order to help the Austrians overthrow the new king. \"During all these movements, Descartes enjoyed the tranquillity that came from his complete indifference to all these foreign affairs,\" Baillet tells us. Descartes stayed on in the region to work on mathematics, but soon decided to pass through Bohemia and observe the imperial and Bohemian armies fighting each other. He saw cities and towns pass from one hand to another, and then back, as one army or the other enjoyed success in battle.\n\nDescartes then made his decision: he would join the army of Maximilian, the duke of Bavaria. He would again be a volunteer and would not carry a musket, only his sword. Descartes would enjoy all the privileges he had enjoyed in Prince Maurice's army, including retaining his valet and having as much free time as was possible. With these terms signed, Descartes headed south, and in October 1619 reached the small town of Neuburg an der Donau, perched on the banks of the Danube in southern Germany about halfway between Munich and Nuremberg. This was where Duke Maximilian's forces were encamped for the winter. The clouds gathering over Europe that fall of 1619 would signal the beginning of the Thirty Years War. It would end only in 1648, with the signing of the Peace of Westphalia.\n\n# Chapter 4\n\n# Three Dreams in an Oven by the Danube\n\nNow settled with the troops on the banks of the Danube, Descartes prepared to spend the winter working on science and geometry. In his _Discourse on the Method,_ published in 163 7\u2014some years before the Peace of Westphalia put an end to the Thirty Years War\u2014Descartes wrote:\n\nI was at that time in Germany, where the occasion of the wars that have not yet ended called me. As I left the coronation of the emperor to return to the army, the onset of winter forced me to remain in quarters that offered no opportunities for conversation or entertainment, and, by good fortune, also no worries or passions to trouble me. I remained, each entire day, alone in a closed oven _[poeL],_ where I had all the time, at my leisure, to entertain myself with my own thoughts.\n\nThe \"oven\" Descartes mentions was a room heated by a large central woodstove. The stove was used both for cooking and for heating in winter. Descartes' thoughts in the oven took place in November 1619. And we know that, in particular, something happened to Descartes on the night of November 10-11, 1619, while he slept in his oven\u2014something that would bring about a transformation of his life and a sharpening of his thinking.\n\nBaillet, who had access to the material in the inventory made after the death of Descartes, and who, in particular, read Descartes' manuscript described in the inventory as \"Item Cl: A small parchment register entitled _Olympica\"_ (now lost, but also copied by Leibniz), detailing the events of that fateful night, tells us the story.\n\nThe date of the event is significant: November 10 was the first anniversary of Descartes' initial meeting with Beeckman, which resulted in his solving the geometrical problem from the poster in Breda and sparked his love of mathematics. It was also the third anniversary of the acceptance of Descartes' law thesis at the University of Poitiers. But a year after meeting Beeckman and making the realization that he was a gifted mathematician, now twenty-three years old, Descartes still had not decided which course his life should take.\n\nIn the _Olympica,_ Descartes described the day: \"10 November 1619, I was filled with enthusiasm since I was on the verge of discovering the foundations of an admirable science.\" According to Baillet, this is what happened during the night. November 10-11 was Saint Martin's Eve, which was customarily a night of drinking and debauchery. The other soldiers all went out drinking in celebration of the saint's feast. But Descartes said much later that he consumed no alcohol that evening, and in fact had not drunk any wine for three months before this day. So we are left deprived, perhaps, of the simplest explanation for the unusual nature of what Descartes experienced next.\n\nHe went to bed in his oven and had a sequence of three very vivid and very powerful dreams. Arguably, Descartes experienced in the night of November 10-11, 1619, the three most famous and most frequently analyzed dreams in history. In fact, his dreams that night would change history, for they would eventually lead to the first unification of two major branches of science\u2014the wedding of geometry with algebra\u2014which would also give us the Cartesian coordinate system, the basis for so many modern technologies.\n\nDescartes did not say when he went to bed. But as soon as he fell asleep, he had the first dream. In this dream, Descartes was walking the streets and was beset by a violent wind raging through a town, bending the trees and howling through doorways. The wind was so strong that he had to lean and walk hunched to the ground. He felt the pain from this great natural violence and was desperate to find shelter from the storm. Suddenly he saw a college, his own College of La Fleche, and on its grounds, the church he knew. He wanted to enter the church to pray, but remembered that he had just passed a person without salutation and wanted to retrace his steps to excuse himself. But the violent wind pushed him strongly \"against the church.\" At this moment he saw in the courtyard of the college outside the church another person he knew, and that person called to him by his name. He spoke to him politely, asking him if he would like to go to see Monsieur N., since that man had a melon to give him, a melon that had been brought from a foreign land.\n\nWhat struck Descartes most, as he described it in the _Olympica_ as reported by Baillet, was that he noticed that everyone around him was suddenly walking very straight, while he was still curved down to the ground and unsteady on his feet because of the wind. Suddenly the wind diminished significantly, Descartes straightened up, and woke up from his dream. Waking up, he felt \"a deep sorrow that made him believe it was the work of an evil spirit that wanted to seduce him.\" He prayed to God for protection from the unknown forces he feared were bent on punishing him for his sins, for he felt that his offenses must have been very serious for him to have encountered the wrath of a storm from heaven upon his head. He spent the next two hours awake, \"thinking about the good and the bad in this world.\"\n\nDescartes had been sleeping on his left side. He changed sides and fell asleep again. Then he experienced his second dream. In this dream, Descartes was in a room, and he felt the room fade, and suddenly he heard a terrible sharp bang, which he believed to be thunder. The storm of the previous dream had returned, but it felt like a hallucination. The tempest could not reach him\u2014he was protected in the safety of his room. Then Descartes saw the room fill with magnificent sparkles of light, and he woke up again.\n\nIn the third dream, Descartes was sitting at his desk with an encyclopedia (or a dictionary, according to one interpretation) in front of him. When Descartes put forward his hand to reach for the encyclopedia, he found another book, entitled, in Latin, the _Corpus poetarum._ He opened this book to a random page and found there a poem, Idyll XV, by the Roman poet Ausonius. He began to read its first line: _\"Quod vitae sectabor her?\"_ \u2014What road shall I follow in this life? Then an unknown person appeared and presented Descartes with another Ausonius verse, titled \"Est _et Non.\"_ But as soon as Descartes tried to take hold of the _Corpus poetarum,_ it disappeared. Instead of it, he found again his encyclopedia\u2014but this time it was not quite as complete as it had been earlier. Then both the unknown person and the book disappeared. Descartes continued to sleep, but he was now in a heightened state of consciousness that told him that what he had just experienced was a dream. He was able to interpret the dream while still asleep.\n\nDescartes understood the encyclopedia to represent all the sciences put together. The _Corpus poetarum_ he took to stand for \"philosophy and knowledge joined together.\" The reason for that assumption was Descartes' belief that poets\u2014even ones writing \"silly\" verses\u2014all had something to say that was no less valuable than the works of philosophers. The poets brought Descartes his revelation, but also his \"enthusiasm\" experienced the day before the dreams\u2014a euphoric feeling of discovery. Descartes took the poem _\"Est et Non\"_ to represent \"the Yes and the No of Pythagoras, understood to mean _truth_ and _falsehood_ in the secular sciences.\"\n\nDescartes interpreted the melon in the first dream as the charm of solitude. He interpreted the violent wind of his first dream, pushing him hard against the church, as the evil spirit, bent on forcing him into a place to which he was going to go of his own free will. It was for that reason that God did not allow him to advance too far away from his destiny, even though the evil spirit was directing him into a holy place.\n\nDescartes interpreted the great sound of the second dream, a lightning and thunder that turned into sparkles of light inside his room, to represent the spirit of truth that came to possess him. Descartes now had an answer to his question posed in the third dream by the first poem of Ausonius: Which road should I choose in life? And the answer was that his mission in life was to unify the sciences. Having had his first revelation, upon solving the Dutch puzzle, that mathematics was his gift, Descartes now understood that unifying the sciences meant work in mathematics. His philosophy\u2014his search for absolute truth and his principle of doubt\u2014which he would develop in the years to come, was his attempt to impose reason and rationality on the universe using the principles of logic and mathematics. His philosophy would thus be inexorably linked with his geometry. But first, then, Descartes' charge was to develop his geometry\u2014to bring its ancient Greek principles to the seventeenth century, in which he lived, and ultimately to bequeath to the world the new science he would create: _analytic geometry._\n\nDescartes spent the entire following day reflecting on his dreams. He thought that the spirit in the dream, a \"genie\" as he called it, had inserted the dreams into his head even before he had gone to bed, and that human elements had no effect on anything that followed. His dreams had been completely predetermined. Descartes reflected long about the dreams, and asked God to make him know his will and to conduct him toward the truth. He vowed, in return, to make a trip to Italy for a pilgrimage to one of the most important religious sites in the land: the shrine of Loreto, believed to include the cottage from Nazareth in which the Holy Family had lived. He wanted to leave for Italy by the end of November, but in the end, he would travel there only four years later. Descartes remained in the solitude of his oven and made a vow to write a treatise and finish it by Easter 1620. According to Baillet, the _Olympica_ was written at this time, but the biographer felt that there was little order in the mysterious fragments of this manuscript, so that Descartes' vow to write a text must have meant a more significant manuscript than _Olympica,_ and that this larger work was merely announced in the _Preambles_ and the _Olympica._\n\nOn November 11, 1619, Descartes described in his parchment register the dreams he experienced the night before, and his interpretation of these dreams. In their essence, the copy made by Leibniz (now held with the rest of his papers in the archives of the Gottfried Wilhelm Leibniz Library in Hanover) and Baillet's account agree with each other. The Leibniz copy of _Olympica_ was discovered in the Hanover archives by Count Louis-Alexandre Foucher de Careil (1826-91), a professor at the Sorbonne who was researching Leibniz's work. Foucher de Careil published his discovery of the Leibniz copy of _Olympica_ in 1859 under the title _Cogitationes privatae._ Apparently, he understood well that Descartes considered this manuscript, and other papers he left behind in Stockholm, as private. As such, they were written in Latin. Treatises Descartes intended for publication were written in French, to afford them a wide audience in his native country. Descartes, who described his progress through life by saying, \"I advance masked,\" wanted to keep certain things hidden. He had reasons to maintain his secrecy.\n\nAccording to the inventory made at the time of Descartes' death, _Olympica_ (Item 1C) was \"a small register in parchment, of which the inside cover bears the inscription: Anno 1619 Kalendis Januarii.\" But Descartes began to write in the notebook only much later that year, in the month of November, when he wrote, before his night of dreams:\n\nX. Novembris 1619, cum plenus forem enthousiasmo, & mirabilis scientiae fundamenta reperirem...\n\n[November 10, 1619, as I was filled with enthusiasm, and I discovered the foundations of an admirable science...]\n\nWhat was the great discovery Descartes made on November 10, 1619, which filled him with such enthusiasm? Scholars have contem plated the word \"enthusiasm\" used by Descartes, looking for hints about the nature of his discovery. Recently, researchers have found a striking similarity between the way Descartes reported his discovery and another one made a few years earlier by the brilliant German astronomer and mathematician Johann Kepler (1571-1630), the man who discovered the laws of planetary motion.\n\nDid Descartes ever meet Kepler? The Kepler scholar Luder Gabe has conjectured that such a meeting indeed took place. On February 1, 1620, John-Baptist Hebenstreit, the principal of the high school of Ulm and an associate of Kepler, wrote to Kepler in Linz, inquiring whether Kepler had received the letters that a certain Cartelius was supposed to have brought him. Hebenstreit wrote: \"Cartelius is a man of genuine learning and singular urbanity. I do not wish to burden my friends with ungrateful vagrants, but Cartelius seems a different kind of person, and truly worthy of your consideration.\"\n\nGabe identified Cartelius with Descartes, whose name, in Latin, is Cartesius. In fact, scholars today still refer to Descartes as Cartesius. Kepler's editor Max Caspar noted that a long _s_ could have easily been misread as an _I._ Cartesius (Descartes) could well have brought the letters in question to Kepler and made his acquaintance. Gabe has hypothesized that at some point in his travels, Descartes studied optics with Kepler in Germany.\n\nWhether or not a meeting of the two great mathematicians ever took place, some of Descartes' ideas agree with those of Kepler. Descartes became aware of Kepler's work through his friend Beeckman. He knew all of Kepler's major works; and in Descartes' published work on optics, the _Dioptrique_ , which would appear as an appendix to his _Discourse on the Method_ in 1637, he would write that Kepler was \"my first master in optics.\"\n\nWhen Kepler was twenty-three years old\u2014exactly Descartes' age when he wrote the _Olympica_ in 1619\u2014he too wrote about a great discovery that filled him with _enthusiasm._ Kepler was looking for a mystical link between ancient Greek mathematics and cosmology. He made what he thought was a stunning connection, and published it in _Mystenum cosmographicum_ (1596). Kepler wrote of his rapturous moment of discovery about the planets, again employing a word Descartes would later use, calling it an \"admirable example of [God's] wisdom.\" We know that at some point, Descartes read Kepler's book. Was there a connection between Descartes' own discovery, the one described in his secret notebook, and that of Kepler?\n\nKepler and his work were associated with a mystical, obscure figure living in southern Germany at that time: the mathematician Johann Faulhaber (1580-1635). Faulhaber's work on mathematics was of very high quality, but was intertwined with mysticism and the occult. Recently, several scholars have independently analyzed Faulhaber's books, copies of which have been discovered at the Stadtbibliothek Ulm, the municipal library of Ulm, the city in which Faulhaber lived. These researchers have found strong and puzzling connections between Faulhaber's work and Descartes' secret writings. Was Descartes' \"admirable science\" connected with the work of this mystic-mathematician?\n\n# Chapter 5\n\n# _The Athenians Are Vexed by a Persistent Ancient Plague_\n\nIMPELLED FORWARD BY HIS THREE dreams and his interpretation of them, Descartes began to delve deeply into ancient Greek geometry. He spent most of his time alone in his \"oven,\" working out problems and developing ideas. The heart of knowledge was mathematics, but what was the essence of Greek geometry, which Descartes considered the most important part of mathematics? Descartes reviewed the ancient Greek principle of using straightedge and compass to solve all problems. Then he remembered a tantalizing story about Greek construction with straightedge and compass he had heard from his mathematics teachers at La Fleche. This was a story of an ancient mystery whose solution was unknown.\n\nThe island of Delos lies at the apparent center of the Cycladic Islands of the Aegean Sea. Since early antiquity, this island has been inhabited, and has always been considered sacred ground. Delos was first settled in the second half of the third millennium B.C. And according to legend, this island is the birthplace of Apollo and Artemis\u2014it has always been the center of worship of Apollo, and became a sanctuary to the god by the seventh century B.C. The Greek city-states of the Aegean competed with one another to build the greatest and most opulent monuments to Apollo. In the seventh century B.C., the Naxians built a terrace with stone lions by the entrance to Delos harbor. The lions can still be seen today, although they are now eroded by millennia of exposure to the sea wind. The island contains countless ruins of ancient temples and shrines. Every city-state in the Aegean Sea had its own temple to Apollo on the island. The Athenians began to influence Delos in 540 B.C. and, after the defeat of the Persians by the Greeks in 479 B.C., founded the Delian Confederacy of Greek city-states, ostensibly for defense against future Persian invasions, but in reality in order to dominate this coveted island.\n\nA temple on the island of Delos\n\nIn 427 B.C., a plague ravaged Athens, killing a quarter of its population, including the great leader Pericles. In desperation, the Athenians sent a delegation to Delos, to entreat Apollo's oracle to beg the god to spare their lives. The oracle returned with the god's demand: Apollo wanted the Athenians to _double_ the size of his temple on the island. The Athenians quickly set to work. They doubled the length, the width, and the height of the Athenian temple to Apollo. They decorated it opulently and lavished it with gifts, and soon the Athenian temple on Delos was the most magnificent on the island, or perhaps anywhere. The delegation returned to Athens with great hope, expecting that the god would now lift the curse. But the plague continued to ravage the city. So a second delegation left Athens for Delos. When its members met with the oracle, he surprised them by saying: \"You have not followed Apollo's instructions!\" The oracle continued: \"You have not doubled the size of the god's temple, as he demanded of you. Go back and do as he had commanded you to do!\"\n\nAgain, the Athenians set to work. They understood their mistake: they had doubled each of the dimensions of the old temple\u2014the length, the width, and the height\u2014and a calculation they now made showed them that they had actually increased the volume of the temple _eightfold_ (2 \u00d7 2 \u00d7 2=8). Apparently the god wanted the _volume_ to be doubled, not the dimensions.\n\nAncient Greek draftsmanship and geometry were always carried out using only a straightedge and a compass, so the Athenian architects did their best with these two tools. But they failed. As hard as they tried, they could not double the volume of the cubic structure that was Apollo's original temple\u2014or for that matter, double the volume of _any_ cube\u2014with straightedge and compass alone.\n\nAccording to Theon of Smyrna (early second century A.D.), the Athenian architects went to ask Plato for his help. Plato, who had established the Academy in Athens, in which the best mathematicians of his age worked, enlisted the help of the two great mathematicians Eratosthenes and Eudoxus in trying to solve this difficult problem. Eratosthenes was such a superb mathematician that he had been able to estimate with excellent precision the circumference of the earth by measuring the angle rays of light from the sun made at two different locations separated by a known distance. Eudoxus, on the other hand, was the great genius who could compute areas and volumes using methods that anticipated the calculus, which would only be codiscovered over two thousand years later by Leibniz and Newton. But neither Eratosthenes nor Eudoxus could solve the mystery of doubling the cube with straightedge and compass. Nor could anyone else, however fervently urged by Plato, who was desperate to help his countrymen rid themselves of the plague. Plato, who was not a mathematician himself but was called the Maker of Mathematicians because the best mathematicians studied and worked in his Academy, had such great interest in the cube and in other three-dimensional objects of perfect symmetry that such objects would eventually be named after him.\n\nWhy was it impossible to double the size of Apollo's temple? If the volume of the original temple was, say, 1,000 cubic meters (having length, width, and height 10 meters each), then the new volume should be 2 \u00d7 1,000=2,000 cubic meters (and not 8,000 cubic meters, as they had obtained on their first attempt by doubling the length, width, and height to 20 meters each). So in order to _double the cube_ \u2014in this case, to obtain a structure with volume 2,000 starting with a temple of volume 1,000\u2014they would need to increase the length, the width, and the height by _the cube root of 2_ each. This is so because the cube root of 2, when cubed, gives us 2\u2014the factor needed to multiply the volume. This way, each measurement would have to change from 10 meters to 10 \u00d7 (cube root of 2), or approximately 12.6 meters. It turns out that no finite sequence of operations with straightedge and compass can turn a given length to a number that is the product of that length by the cube root of 2\u2014or the cube root of _any_ number that is not a perfect cube. The problem Apollo's oracle gave the Athenians was an impossible one to solve. It is important to note that the new temple had to remain in the shape of a cube: otherwise, simply doubling one of its dimensions, say the length, would have done the trick.\n\nThe Greeks of antiquity did not know that the _Delian problem,_ as it has come to be known, is mathematically impossible, given their tools. An understanding of this problem would have to wait many centuries. In the meantime, they discovered two other problems they could not solve as well, and today we know that these two problems are also mathematically impossible to solve with straightedge and compass. One was the squaring of the circle\u2014to use straightedge and compass to create a square with the same area as that of a given circle. The other was trisecting an angle\u2014given an angle, to use straightedge and compass to divide it into three equal angles. This problem is solvable in special cases, but a general method\u2014one that would work with any given angle\u2014 does not exist.\n\nThe ancient Greeks\u2014Pythagoras, Euclid, and other great mathematicians of antiquity\u2014were excellent geometers. But they did not have a well-developed theory of algebra. And algebra is needed in order to understand and properly address complex problems of geometry such as doubling the cube, squaring the circle, and trisecting an angle, collectively called the _three chssical problems of antiquity._\n\nTwo millennia after the plague of Athens, Descartes found himself mulling over the Delian problem. He contemplated the cube. What were its properties? What was its secret? Why could the cube not be doubled using straightedge and compass?\n\nDescartes asked himself the question that was at the heart of Greek geometry\u2014and one that would eventually bring him to an understanding of the Delian problem of doubling the cube, as well as to his great breakthroughs in mathematics: _What does it mean to construct something with straightedge and compass?_\n\nDescartes knew what the two instruments did. The straightedge drew lines and made perfect square corners. The compass drew circles and marked off distances. He asked himself: How do I construct something?\n\nIf two points on the plane are given, Descartes (and the ancient Greeks) could construct a line passing through these points. The straightedge is used here.\n\nThat was easy enough. Descartes also knew how to construct a circle centered at one point and passing through another. The compass is used here.\n\nThis too was a very simple operation. But more complicated things could also be done. Descartes knew how to use these two ancient instruments to construct a line perpendicular to a given line and passing through a set point. This is how it is done. Use the straightedge to draw the line, and the compass to draw two circles whose intersections are used (again with the straightedge) to draw the line passing through them. This construction is fun.\n\nDescartes, and his distant predecessors of ancient Greece, also knew how to construct a line that is _parallel_ to a given line and passing through a given point.\n\nDescartes looked at the next figure for a long time and thought. The crisscrossed lines used in the construction were telling. If somehow they could be labeled by their numerical length, then a system could be used to tie in the numbers with the geometrical constructions. This could potentially allow him to construct a lot more figures than the ancient Greeks were able to create. The use of numbers _and_ figures in this way could really unleash the hidden power of mathematics. He would continue to think about how to do it.\n\nDescartes would eventually unify geometry with algebra, bringing an understanding of the three classical problems of antiquity. He would solve several celebrated mathematical problems of ancient Greece, and would also show us the way to solving many more. Descartes' work would shed light on all of mathematics, bringing the wisdom of ancient Greece to our modern world, and would pave the way for the development of mathematics into the twenty-first century. But meanwhile, Descartes also became interested in the mystical aspects of mathematics, and this interest would have strong personal consequences for him.\n\n# Chapter 6\n\n# _The Meeting with Faulhaber and the Battle of Prague_\n\nIN JULY 1620, DESCARTES DECIDED to leave the rest of the troops as they progressed northeast, and to visit the southern German city of Ulm for several months to learn about this part of the country. The first person Descartes met in Ulm was the mystic-mathematician Johann Faulhaber. As well as from Baillet, who gives us this itinerary, there is also a description of Descartes' meeting with this mathematician from Descartes' earlier biographer, Daniel Lipstorp.\n\nRecently studied German documents give incontrovertible evidence that Descartes and Faulhaber did indeed meet. In 1622, Faulhaber published a mathematical text titled _Miracuh arithmetica._ In this book, he provided methods for solving quartic (that is, fourth-degree) equations, and these methods are virtually identical to those that Descartes gives in his own book, the _Geometrie,_ published in 1637. In his book published in 1622 Faulhaber wrote:\n\nSince this noble and very knowledgeable sire, Carolus Zolindius (Polybius), my most favored sire and my friend, has let me know that he will soon publish, in Venice or in Paris, such tables...\n\nFaulhaber clearly knew someone named Polybius. And Descartes' hidden manuscript, the _Preambles,_ seen and copied by Leibniz as well as studied by Baillet, clearly stated that Descartes planned to write a book about a mathematical truth using the pseudonym Polybius the Cosmopolitan. So Polybius and Descartes were one and the same, and as Faulhaber's book mentions Descartes' pseudonym, this is strong evidence that Descartes and Faulhaber knew each other.\n\nAccording to Edouard Mehl, a professor of history at the University of Strasbourg who has made a careful study of this issue, Descartes indeed published another book, titled _Thesaurus mathematicus_ , under the pen name Polybius. Furthermore, Descartes was traveling to Paris regularly, and while he made it to Venice only in 1624, he had already decided to go there as early as 1620. Thus the claim that Carolus Zolindius (Polybius) planned to publish the mathematical tables mentioned by Faulhaber in either Paris or Venice accords well with Descartes' movements and planned travel during that period. Descartes' works would indeed be published in Paris, and Venice had been an important publishing center ever since the printing presses were invented, and was on Descartes' itinerary.\n\nMehl concluded that Faulhaber and Descartes were close friends. He argued that \"Polybius\" was known to Faulhaber as Descartes' pen name, and that Faulhaber was in the habit of calling him by another secret name, Carolus Zolindius, but in his writings also indicated Descartes' other pen name in parentheses. Dr. Kurt Hawlitschek of Ulm, a leading expert on Faulhaber, further notes in an article about Descartes' meeting with Faulhaber that \"Polybius\" can be seen to mean \"Rene\" (reborn), because the Greek root _poly_ means \"more,\" and _bios_ means \"life.\" This may have been why Descartes chose this particular pseudonym. When Descartes' secret notebook was analyzed, after Faul-haber's book had come to light, it became evident that Descartes' notebook included, in part, answers to questions raised by Faulhaber.\n\nIt is believed that Johann Faulhaber (1580-1635) was born in Ulm and was trained as a weaver. He studied mathematics and was very successful in doing mathematical work. The city of Ulm then appointed him city mathematician and surveyor. In 1600, he also founded his own school in Ulm. Faulhaber's work was in high demand because of his great mathematical skills, and he was often employed in fortification work in Ulm, as well as in Basel, Frankfurt, and other cities. He designed waterwheels and made mathematical and surveying instruments, especially ones with military applications. Faulhaber worked with compasses of various kinds. As mentioned earlier, Faulhaber knew Johann Kepler. He may have worked with him on a number of joint mathematical projects.\n\nFaulhaber studied alchemy, a mystical pseudochemistry whose main purposes were to convert base metals into gold, to find a universal cure for disease, and to discover a way to prolong life indefinitely. He used alchemical and astrological symbols in the work he did in algebra. His work in algebra was extremely important: he studied sums of powers of integers, and his development of results in this area was affirmed by mathematicians who lived after his time.\n\nA further confirmation that Descartes and Faulhaber met comes from the fact that Descartes learned to use the very same symbols Faulhaber had used, symbols commonly found in writings about alchemy and astrology. One of Faulhaber's special symbols appears in Descartes' secret notebook copied by Leibniz. It is the alchemical and astrological sign of Jupiter, shown below.\n\nFaulhaber's sign of Jupiter found in Descartes' secret notebook was one of the stumbling blocks to understanding the content of his notebook. No one who studied Leibniz's copy could understand what the sign meant\u2014not until the French scholar Pierre Costabel figured out Leibniz's key to Descartes' mystery. The discovery of Faulhaber's books in Ulm has confirmed that part of the notation used by Descartes had been adapted from Faulhaber's symbols.\n\nWe also know that some of the mathematical methods used by Faulhaber were also later employed by Descartes, which makes it virtually certain that the two men indeed met and exchanged mathematical ideas. Both men worked in the same area of algebra: they were interested in extending the work started in the previous century by a quarrelsome group of Italian mathematicians on the solution of cubic equations, that is, equations of the form _ax J+bxl+cx+d = 0._\n\nFaulhaber's interest in mathematics was propelled by his passion for mysticism. He was inspired by the Jewish mystical tradition of Kabbalah. The Kabbalists look at letters of the Hebrew alphabet, attaching to each of them a numerical value (thus aleph=l, beth=2, and so on). By summing the numerical values of all the letters in a word, the Kabbalists seek a hidden meaning by finding other words that have the same numerical sum. The Christian Cabbala is also concerned with numerical values and their symbolism. One key example is the search for the number 666, associated with the beast of the Apocalypse. Revelation 13:18 reads: \"This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man's number. His number is 666.\" Through his very advanced work in mathematics, Faulhaber was searching for significant biblical numbers such as 666. He tried to solve equations and carry out computations that would result in the number 666.\n\n\"The first person Descartes met in Ulm was Sire Johann Faulhaber,\" Baillet tells us, describing the meeting between Descartes and Faulhaber. Descartes came to Faulhaber's house and the mathematician asked him: \"Have you spoken of analysis and of the geometers?\"\n\n\"I have,\" said Descartes.\n\n\"Well, will you be able to solve my problems ?\"\n\nHe handed Descartes a copy of his book. Descartes took the book and looked at the problems of geometry Faulhaber had described in the book. He solved a number of the problems and handed the solutions to his host. Faulhaber laughed. He pointed out harder problems in the book, and Descartes solved those as well.\n\n\"Come, now,\" said Faulhaber. \"I want you to enter my study.\"\n\nAs he walked in with his host, Descartes read above the doorway, in German, \"Cubic Cossic Pleasure Garden of All Sorts of Beautiful Algebraic Examples.\" Descartes came into Faulhaber's study, and his host closed the door. Descartes saw bookshelves all around him, overflowing with books. The two men discussed mathematics well into the night, and Faulhaber gave Descartes another book he had written, in German, about algebra. The book was filled with abstract questions with no explanations. Faulhaber asked Descartes for his friendship. Descartes agreed, and Faulhaber said: \"I want you to enter a society of work with me.\" Descartes found that he could not refuse this offer. \"Good,\" said Faulhaber. \"Now I would like you to see a book that has been given to me,\" he said, and he handed Descartes a book written by another German mystic-mathematician, a man named Peter Roth (or Roten). Descartes looked at the problems in Roth's book, and solved them as well. Roth had died a few years earlier. Descartes may not have been aware of it at the time, but Faulhaber and Roth were the two most able mathematicians whose works were associated with a mysterious society so secret that its members were known as \"the Invisibles.\"\n\nEarly in November 1620, Descartes and his valet left Ulm and traveled northeast to rejoin the rest of Duke Maximilian's troops, which by now were converging on the city of Prague. Before Descartes had a chance to further study the ideas of ancient Greek geometry and to try to solve the Delian mystery, or fully explore the stimulating problems Faulhaber had posed to him, he was finally called to his first battle. He was eager to see fighting, perhaps as eager as he was to discover truth through science and mathematics.\n\nThe forces of Maximilian of Bavaria\u2014who led the German Catholics in this conflict\u2014joined the other armies encircling Prague, all preparing to do battle with the forces of Frederick V, king of Bohemia, defending the city. Descartes and his fellow soldiers were quickly marshaled and made ready for an attack on the city. On November 7, some of the defending forces were able to slip through and regroup on the White Mountain outside the capital. The defenders of Prague had a force of fifteen thousand men, supported by artillery. The attacking force, which included Maximilian's Catholic League as well as imperial troops, was twenty-seven thousand strong. The great battle of Prague had begun.\n\nThe defenders enjoyed a quick first victory as their cavalry, supported by cannon, overcame some of the invading troops. But soon the tide turned as the much larger combined powers of the enemy overwhelmed them. By evening on November 8, two thousand men of the Bohemian army lay dead, while the Catholic attackers lost only four hundred. It was clear to the survivors that Prague would soon fall. Frederick V of Bohemia, with his wife, Elizabeth, and their family, hid in the Old Town of Prague, and the king made a hasty plan to smuggle them all out of Bohemia and seek refuge in Silesia.\n\nIn the evening, the attacking armies brought their cannon and infantry close to the walls of Prague, after the villages outside the city walls had all surrendered to the Bavarian and imperial armies. On November 9, Descartes and the victorious armies entered the city of Prague. This was the young man's baptism by fire, although Baillet tells us that Descartes did not take part in the actual fighting since he was a volunteer. As Descartes and the other soldiers entered the defeated city, a carriage passed them leaving the city in a hurry. Aboard it was King Frederick V\u2014who would derisively be remembered as \"the Winter King\" because he lasted only one season\u2014with his family. The departure of the king and queen of Bohemia was so humiliating that they were not even able to take any of their possessions with them. They would be reduced to poverty for the rest of their days and would be treated with contempt both by their enemies and by their erstwhile supporters who had held such high hopes for their reign. Thereafter, only a Habsburg would sit on the throne of Bohemia. One of the members of the fleeing royal family was a two-year-old girl who, like her mother, was also named Elizabeth. Descartes and Princess Elizabeth, unknowingly passing each other in the night, would meet twenty-three years later, and she would become one of the most important people in his life.\n\nDescartes was in Prague with the celebrating troops the next day, November 10, the anniversary of the night of his dreams in the oven, the year before, as well as of his meeting with Beeckman, two years earlier, and of his law thesis, four years earlier. As fate would have it, on this very anniversary of the three watershed events in his life, a fourth event of great importance for Descartes was to take place\u2014most likely inside the city of Prague. While Descartes was walking the streets of this medieval walled city with its ancient towers, majestic bridges on the Vltava River, and magnificent churches, he had a revelation. For it was on the next day that Descartes wrote in the lost _Olympica:_ \"November 11,1620.1 began to conceive the foundation of an admirable discovery.\"\n\nWhat was this discovery? And how was it related to the discovery he began to make a year earlier, in 1619? In her definitive biography, _Descartes,_ Genevieve Rodis-Lewis attempts to identify the nature of the achievement about which Descartes is silent. She believes that Descartes' discovery was initiated in 1619 but completed in 1620, and that it is unlikely that he refers here to any of the material he would later include in the _Discourse on the Method_ (1637) or its scientific appendixes, since those developments were more involved than any single discovery. His work on unifying algebra and geometry could hardly be traced to a single moment of revelation. Rather, Descartes' rapturous discovery after the heat of battle and the intoxicating influence of victory in Prague led to knowledge he decided to hide\u2014knowledge he inscribed only in his private notebook, written in Latin. The mystical nature of the secret notebook had to have been derived from the influence of Johann Faulhaber on Descartes, especially as reflected in the symbols of alchemy and astrology.\n\nDescartes stayed in Prague until December of that year. The baron of Tilly was left behind in Prague with a garrison of six thousand men, while the rest of the Bavarian troops, led by the duke of Bavaria, left the city. Descartes was there with Maximilian's troops moving to their new winter quarters in the extreme southern part of Bohemia. Six weeks in the capital of Bohemia was enough time for Descartes to learn about the city. While other soldiers pillaged, Descartes found interesting conversations and discussions with the curious and the savants of the city. His greatest pleasure during his stay in Prague was learning from local scholars about the work of the astronomer Tycho Brahe, who had worked in this city, and his greater former assistant, Johann Kepler.\n\nOut of the city in the troops' winter quarters, Descartes once again found himself seeking solitude in his room, spending all his time meditating and studying. He resumed his analysis of geometry, but found himself also mulling his destiny and the road he should take in life. Descartes decided that he wanted to see more action, and more of the world. Staying with the stationary forces holding Bohemia was not to his liking, and at the end of March 1621, he quit the service of Maximilian of Bavaria. Descartes did not want to return to France because he knew that the plague was ravaging Paris; this plague would end only in 1623. So he took his time, traveling north to explore the parts of northern Europe he had not yet seen.\n\nDescartes came back to Holland and visited his friend Beeckman. Isaac Beeckman had had several life-changing experiences in the intervening years. At the end of November 1619 he finally got his position as assistant principal of the Latin School of Utrecht, and five months later, having the stability of a job and an income, had married a woman of Middleburg, on April 20, 1620. Apparently he had been unable to meet someone suitable in Breda, as he had hoped to do two years earlier.\n\nDescartes was happy to see his friend and congratulated him on his marriage. The two men resumed their joint work on mathematics, music, and mechanics. But Rene confided in Isaac that he had decided to keep some of his own, separate work on mathematics strictly secret. He had reasons for doing so.\n\n# Chapter 7\n\n# _The Brotherhood_\n\nDURING THE TIME DESCARTES WAS in Germany and Bohemia, educated Europeans talked about nothing but the emergence in Germany of a secret society of savants known as the Brotherhood of the Rosy Cross. Books purportedly written by members of this society had begun to ap-pear in print just a few years earlier. Descartes' friends, who knew he was engrossed in science and dedicated to the pursuit of truth, naturally assumed that he was a member of this newly established brotherhood of scholars. According to Baillet, Descartes indeed wanted to get to know the members of this mysterious order devoted to knowledge, and to join their ranks.\n\n\"The solitude he endured that winter [of 1620] was always complete, especially with respect to people who were unable to help him progress in his ideas,\" Baillet tells us. But, he continues, this did not exclude from Descartes' room people who could discuss with him the sciences or bring him news about literature. \"It was through conversations with the latter that he learned about a fraternity of savants, which had been established in Germany for some time, under the name of the Brotherhood of the Rosy Cross. His new friends spoke admiringly, but in hushed tones, about this secret society. They told him that the brothers of this fraternity were men who knew everything. They were the masters of every science\u2014they possessed all knowledge, they said: even knowledge that had not yet been divulged.\"\n\nDescartes saw in these conversations in his \"oven\" a sign that this was the direction God wanted him to take in order to pursue his destiny of unifying the sciences and searching for knowledge and truth. He yearned to meet these unknown scholars and to join their mysterious organization. Baillet reports that Descartes confided to a friend his view that the Brothers of the Rosy Cross could not be impostors since \"it would not be right that they should enjoy a good reputation as possessors of the truth at the expense of the good faith of the people.\" He decided to make an effort to find them. But here Descartes came up against an insurmountable difficulty. By their very constitution, the Brothers of the Rosy Cross\u2014also known as the Rosicrucians\u2014were unidentifiable. People called them \"the Invisibles.\" They were no different in appearance and habits and customs and everyday behavior from the rest of the population. And their meetings were secret and closed to outsiders.\n\nDespite all his efforts and the inquiries he made to everyone he knew, Descartes was unable to find a single person who would confess membership in the Brotherhood of the Rosy Cross, or who was even suspected of such membership. He was apparently completely unaware that he had already met, and developed a friendship with, one of the most prominent mathematicians associated with the Rosicrucian order\u2014 Johann Faulhaber.\n\nThe Brotherhood of the Rosy Cross was a secret mystical society of scholars and reformers established in Germany in the early part of the seventeenth century. The symbol of the society was a cross with a single rose in its center.\n\nThe story of the establishment of the Brotherhood of the Rosy Cross is truly fantastic. This story is told in the first Rosicrucian text, the _Fama jraternitatis_ , published in 1614; it is repeated almost verbatim in Baillet (1691), as well as in several other sources such as Heindel and Heindel (1988). The original founder of the society was a German man of a poor family, but with noble origins, who was born in 1378. His name was Christian Rosenkreuz (in German, \"Rosy Cross\"), leading to the name of the society.\n\nWhen he was five years old, the parents of Christian Rosenkreuz placed him in a monastery, where he learned Greek and Latin. At the age of sixteen he left the monastery and joined a group of magicians, learning their art and traveling with them for five years. Then Rosenkreuz left the magicians and continued to travel on his own. He went to Turkey, and from there on to Damascus and farther into Arabia. There he heard about a secret city in the desert, known only to philosophers, whose inhabitants possessed extraordinary knowledge of nature. The city was named Damcar.\n\nRosenkreuz found his way to Damcar and was received with great hospitality by its citizens. They all seemed to have been expecting his arrival. He described to them his experiences in the monastery and his travel with the band of magicians, and they instructed him in all their knowledge. They shared with him their science and their understanding of the laws of nature, including physics and mathematics.\n\nAfter three years with the people of Damcar, during which time he absorbed their secret knowledge of the universe, Christian Rosenkreuz left and traveled to the Barbary Coast. He went to the city of Fez, and settled there for two years, meeting sages and cabalists and learning their art. He developed ideas about reforming all of science and reforming society. He went to Spain hoping to spread his new knowledge and ideas to Europe. But the people he met were opposed to his knowledge and his theories, and treated him with contempt. He traveled through Europe, finding no interest in his ideas or his science, only disappointment, opposition, and ridicule. Finally, Rosenkreuz returned to Germany and built a large house and pursued his knowledge in solitary research. He would keep the wonderful science he was uncovering all to himself, rather than seek the glory of recognition by society. He constructed scientific instruments and conducted experiments in his house. He wanted to reform the world using science, and his dream was that after his death, his ideas would be carried forward by a select group of scholars. In the year 1484, Rosenkreuz died naturally with no illness at the age of 106.\n\nChristian Rosenkreuz was buried in a cave that he had fitted with many gold vessels and that seemed to possess magical qualities. In 1604, exactly 120 years after he died, his burial cave was serendipitously discovered by four scholars. The cave had natural light shining in it, even though sunlight could not come in. There was a bright plate of copper with mysterious writings on it, including his initials: R.C. There were four figurines, each inscribed with writings; and there were items that belonged to the deceased: mirrors, bells, books, and an open dictionary. Everything in the cave sparkled brightly. But the most remarkable thing in the cave was this Latin inscription:\n\n_Post_ CXX _Annas Patebo_\n\n[After six score years, I shall be found]\n\nThe four friends took this as a sign. They learned Rosenkreuz's secrets from the possessions and writings he had left behind, and they decided to found the secret Brotherhood of the Rosenkreuz, the Rosy Cross. The purpose of their order was a general reformation of the world using the sciences. They embraced the study of mathematics and physics, but were also interested in medicine and chemistry.\n\nWithin a short time, the four members of the fraternity brought in one friend each, and there were now eight of them. The brothers made the following six rules:\n\n  1. They must heal and distribute free medicines to all people who need them.\n\n  2. They must dress in accordance with the customs of the country in which they live.\n\n  3. They must meet once every year.\n\n  4. Each must choose a successor, so that all of them will be replaced once they die.\n\n  5. Each must carry a hidden seal with the letters R.C.\n\n  6. They will keep their society secret for at least one hundred years.\n\nThe brothers sought to develop a magical language that would serve as a secret code for science. They dispersed throughout the world, each dressing and acting in accordance with the laws and customs of the land in which he lived. Their mission was to divulge their knowledge and to rectify all the errors of science and society.\n\nIn 1614, ten years after it was founded, the brotherhood published its major book, called the _Fama jraternitatis_ , or \"Statement of the Brotherhood.\" There followed the _Confessio jraternitatis_ (\"Confession of the Brotherhood\"), in 1615; and a year later, _The Chemical Wedding of Christian Rosenkreuz._ The term \"chemical wedding\" derives from alchemy, in which chemical elements are to be wedded together to produce gold. We don't know who authored the first two Rosicrucian texts, but scholars have identified the author of the _Chemical Wedding_ as the Lutheran theologian Johann Valentin Andrea (1586-1654). The three publications received an enormous amount of attention, and caused great excitement among various groups in Europe, making the brotherhood the talk of the entire Continent during the period Descartes was in Germany a few years after the publications first appeared. According to Baillet, word about the founding of the new Brotherhood of the Rosy Cross spread around the world \"like news of a Second Coming.\" Original copies of the Rosicrucian texts exist today.\n\nAn anonymous seventeenth-century work entitled the _Chevalier de Yaigle du pelican ou Roseaoix_ describes a ritual at the first Rosicrucian lodge. The brothers are dressed in black sashes and aprons. The master stands in front of a table on which are placed three items: a perfect metal triangle, a compass, and a Bible. The master takes a seven-pointed star and lights its points; the flaming star is passed around. The ritual symbolizes the brotherhood's interest in geometry as well as in the physical world and in religion.\n\nSome people maintain that the Rosicrucians never existed, and that everything said or written about them is sheer myth. According to Baillet, those who hated the Rosicrucians called them Lutherans, believing that Protestants had invented a fictitious society to foment revolution. But books have survived, attributed to the Brotherhood of the Rosy Cross, and in these books are writings about mathematics, science, and mysticism. Also, these works incorporate a philosophy of life and an approach to politics that are unique and were revolutionary for their time. Clearly, there existed during the early seventeenth century a group of individuals, mostly living in Germany, who knew one another well and called themselves the Brotherhood of the Rosy Cross. If they defined themselves that way\u2014and their books attest to their existence and association\u2014then who are we to say that they never existed? To doubt the existence of the order of the Rosy Cross might not be different from doubting the existence of other secret societies, such as the Pythagorean order of Greece of the fifth century B.C., which gave us the Pythagorean theorem and early ideas about irrational numbers.\n\nThe Rosicrucians delved in mysticism, alchemy, and astrology. They studied mathematics and early notions of physics, as well as biology and medicine. The Rosicrucians believed that all knowledge was valuable and that it should be unified and pursued as an entity all its own. Mathematics held a key role in all science and could be used to explain the forces of nature. Hence, their philosophy of science was somewhat akin to that of the Pythagoreans, who considered geometry to be at the highest level of human knowledge. It was also very close to the ideas that Descartes would later express in his writings.\n\nThe Rosicrucians were opposed to the power of the church and advocated reform of the religious system on the Continent. The brothers were concerned about the Catholic Church's opposition to scientific ideas, and they sought change. This may well have been one of the main reasons that the Brotherhood of the Rosy Cross was a secret society. Had they not maintained secrecy, they would have been persecuted and severely punished by the Inquisition. Rosicrucian writings indicate that the order was opposed to national loyalty\u2014the members saw themselves as citizens of the world rather than of any country. In addition to the unity of all knowledge, the Rosicrucians advocated a unity of humanity without any national or ethnic boundaries.\n\nKnowledge was traditionally pursued at the university, and in Europe of the early seventeenth century, the universities were dominated by the scholastic tradition and Aristotelian thinking. The Jesuits embraced the Aristotelian view of the universe, which agreed with scripture in placing the earth at the center of all creation. Thus teachings and research at the university were unwelcoming of the new ideas of Copernicus, Kepler, and others who promoted science. Thinking in Europe of this period was institutionalized and was closed to any new ideas or interpretations. The Rosicrucians were opposed to this trend and to the institutions of their time, the church and the universities, and advocated the view that knowledge should be pursued outside these institutions.\n\nGiven the political role of the Rosicrucians, it is difficult to maintain skepticism about their existence. In a society in which people are in danger whenever they express views\u2014political, scientific, or religious\u2014that are in opposition to those of the authorities, secret societies and organizations arise. It is known that the Jesuits put a man named Adam Haslmayr in irons on a galley for publishing a treatise in 1614 amplifying the writings in the _Fama fraternitatis._ He was arrested by the Jesuits shortly after the publication appeared. Haslmayr had openly declared that the Jesuits had usurped the title of a true Society of Jesus from its rightful owners\u2014the Rosicrucians. According to Haslmayr, who was a close collaborator of Johann Valentin Andrea, widely believed to be the key Rosicrucian writer, the main purpose of the Brotherhood of the Rosy Cross was to unite the sciences under the canopy of a Christian society. Thus they attracted to their fold historians, linguists, chemists, physicists, and mathematicians. Descartes' natural secretiveness and his pursuit of science without limits agree well with stated Rosicrucian beliefs. Was the man who wrote that he \"advanced masked through life\" a Rosicrucian?\n\nThe original legend about the genesis of the Rosicrucians, repeated almost word for word in all the Rosicrucian sources, may well have a sound factual germ. The legend reflects the transfer of knowledge from East to West that took place in medieval times. We know that after the decline of the West following the destruction of Rome in the fifth century, the intellectual center of learning and arts and sciences moved to Arabia. Here, the ancient texts and ideas of Greece were preserved and promoted. In the ninth century, a House of Wisdom was established in Baghdad, in which mathematicians such as Al-Khowarizmi, who gave us algebra and whose name is reflected in the word \"algorithm,\" worked together with astronomers and other scientists building a new scientific foundation of knowledge. In the centuries that followed, this knowledge moved west. The legend about Christian Rozenkreuz bringing such knowledge from Arabia to Europe may well reflect this historical fact.\n\nThe Rosicrucians claimed that they were ancient. In their books, they said that they were \"older than the ancients,\" in the sense that they were alive while the ancients existed no more. This claim, which was propagated through their myth about the ancient origins of their founder, allowed them to justify their methods. The Rosicrucians argued that astrology was their predictor of the future and that hundreds of years of experience with interpretations of celestial signs about human events allowed them, statistically, to interpret the signs of the heavens correctly. They made similar claims about alchemy. Thus the Rosicrucians believed that their experience in interpreting the heavens and chemical reactions allowed them to make correct scientific inferences based on experience. Similar principles allowed the Rosicrucians to claim knowledge of healing the sick. They argued that thousands of years of experimentation with herbs and other medicines enabled them to know which of these ointments and liquids held magical healing powers.\n\nThe Rosicrucians claimed ancient origins through the links between their ideas and those of ancient Gnostic and Hermetic traditions. Mystical ideas reflected in Rosicrucian writings originated in alchemical, occult, and mystical writings of third-century Egypt, whose origins were attributed to the much earlier writings of Hermes Trismegistus, believed to have been a contemporary of Moses. The \"Hermetic writings\" are named after Hermes Trismegistus, but modern scholars believe that these writings go back to a later period, perhaps the second century B.C., and originate in Egyptian magical writings, Jewish mysticism, and Platonism. These elements found their way into seventeenth-century Europe in the writings of the Rosicrucians.\n\n# Chapter 8\n\n# _Swords at Sea and a Meeting in the Marais_\n\nDESCARTES' THIRST FOR TRUTH IN cited his lust for travel. For through visiting new places and seeing how people lived in different locales, Descartes was able to free himself of the \"false beliefs\" that, he thought, permeated the world around him. Descartes' emerging philoso-phy advocated doubt of unproven claims and finding out the truth through firsthand observation. For Descartes, such observation was carried out through travel to distant places and by learning directly about their people and customs and lifestyles.\n\nIn July 1621, Descartes left Germany and its invisible Rosicrucians, and traveled to Hungary. At the end of that month he continued on toward Moravia and Silesia. Of this part of his voyage, we know only that he went into the city of Breslaw. The area had been ravaged by the army of the marquis of Jagerndorf, and Descartes was curious about the effects of the hostilities on the inhabitants of this region. Descartes wanted to see more of northern Germany, and to reach the coast. At the beginning of autumn 1621, he found himself in Pomerania, by the Polish border. He found this region to be in great tranquillity and to have very little contact with the outside world, with the exception of the city of Stettin, a major port town with strong commercial links with the rest of the world. Descartes visited the Baltic coast, and then went up to Brandenburg. The Elector, George William, had just returned there from Warsaw and from Prussia, where he had gone to pay his homage to the nobility and his new subjects, as he had just received the title of king of Poland. Descartes continued to the duchy of Mecklenburg, and from there to Holstein.\n\nBefore returning to Holland, toward the end of November 1621, Descartes wanted to make one more side trip so he could better observe the Frisian coast and islands. He wanted to travel with ease and agility, so he let go his horses and the rest of his assistants, and kept only his trusted valet with him. He embarked on a vessel on the Elbe, headed for the East Frisian Islands, and planned to continue from the East Frisian to the West Frisian Islands. The Frisians are a group of low-lying islands located in the North Sea off the German and Dutch coasts. The East Frisians belong to Germany, and the West Frisians to Holland. Since Roman times, settlements on these islands have been crumbling away under persistent storms and flooding. Descartes wanted to see some of the partially submerged, abandoned villages on these islands, and to study the problem of trying to keep the sea from reclaiming the land.\n\nOnce in the East Frisian Islands, Descartes hired a small boat to take him to the West Frisians, where he wanted to visit a number of specific places that would not otherwise have been accessible to him. According to Baillet, this move \"could have been fatal for him.\" It nearly was.\n\nThe crew of this boat was \"the roughest and most barbarous lot of their profession.\" Soon after the boat left port, Descartes realized what a mistake he had made. He saw that the crew of his boat was a pitiless gang of criminals. But he knew that there was little that he could do. Descartes looked wealthy\u2014he was well dressed, a French gentleman with a sword and a bag that the sailors were convinced contained much money, and he traveled with a valet, a sign of prosperity. Descartes tried to keep calm, realizing that hiring this boat and its crew may have been the worst mistake of his life.\n\nThe crew, who spoke a Germanic dialect, thought that their passenger, who spoke French quietly to his valet, was a wealthy foreign merchant who certainly did not understand their language. In his presence, they began to talk about their plan to throw him with his valet overboard and make off with his money. Descartes didn't show any sign that he understood anything they were saying as they discussed their coldblooded plans right in front of him. Baillet explains that there was a difference between highwaymen and these criminals. Robbers on the road, when concealing their identity, would leave their victims unharmed once they robbed them since there was no need to kill them\u2014the victims could not later identify their attackers. But this rough lot had been seen by Descartes. They would have to kill him.\n\n\"Surely,\" they were saying, \"this foreigner has no acquaintance in this land, and no one would miss a lone traveler with his valet once the boat returns without them.\" So they could keep the money without the risk of being caught.\n\nBy his polite and calm demeanor, they took him for a weak man who would not give them much of a fight once they attacked him. They went into details of how they would rush the man and his valet, take hold of the two, and\u2014grabbing his bag of money\u2014throw the two men into the freezing water of the North Sea. Descartes kept his sangfroid in the face of this chilling plan.\n\nHaving taught himself Flemish a few years earlier, Descartes understood every word of the dialect spoken by these people, and once he knew every detail of their plan, he at once unsheathed his sword and lunged toward them with great force. The stunned sailors backed off, but he pursued them on deck, hurling insults at them in their own language. Demonstrating all his swordsmanship skills and speaking their own language, he swung his sword at them in the air with lightning speed and told them he would cut them all up into pieces. \"His daring had a marvelous effect on the spirit of these miserable souls,\" Baillet tells us. \"The terror they felt was followed by vertigo that prevented them from considering the advantage of their number, and they proceeded to conduct him to his destination as peacefully as possible.\"\n\nDescartes returned from his adventure unharmed and with his money intact. He left the German coast and continued to Holland. He spent the winter in that country, often visiting his friend Beeckman, and also observing with interest the progress of two sieges laid by the Spanish to Dutch cities after five months of truce between the two nations had expired. Then Descartes and his valet traveled through the Catholic parts of the Low Countries, and from there they continued to France. In early 1622, Descartes and his valet passed through Paris and continued south to the regions of Touraine and Poitou. In March, Descartes arrived at his father's house in Rennes.\n\nDescartes stayed with his father for several months. He spent his time riding, socializing, working on problems in geometry, developing his nascent philosophy, and writing furtively in his secret notebook. Since Rene was now twenty-six years old, his father decided to turn over to him the major part of the wealth he had inherited from his mother after her death, his older brother and sister having taken their shares earlier. Since much of this wealth was in the form of land holdings, Rene decided to travel to the Poitou region, the location of his new lands, so he could inspect them and perhaps come to a decision as to what to do with them.\n\nDescartes went to Poitou in May of that year, and soon after surveying his vast, sprawling properties, decided to look for buyers. He stayed there until the end of the summer, realizing that such a significant sale would probably take more time to arrange. He knew he didn't want to be a landowner who had to worry about cultivating agricultural tracts and collecting rents from farmers and lodgers, but he wasn't yet sure exactly what else he wanted to do with his life. He had had quite a ride so far, traveling and seeing the world and participating in and observing battles. He had also made great progress in understanding mathematics and developing a philosophy, but he still was unsure about how to proceed. He returned to his father's house just as fall was beginning to set in, but no one in the family could give him any good advice on what to do next. One thing was sure, however: given the wealth he had inherited\u2014the full extent of which had just been revealed to him on his visit to Poitou\u2014Rene Descartes would have nothing financial to worry about; he could devote the rest of his life to doing whatever he wanted.\n\nAfter staying the fall and winter in Rennes, spending time with his sister and brother as well as getting to know his brother-in-law better, Rene decided in early 1623 to again visit Paris for an extended period of time. He had heard that \"a new, clean air was circulating in the capital after three years of contagion from the plague.\" He was eager to breathe this new air, find new excitement, and renew his old friendships there. He had not seen his friends in Paris for five years.\n\nDescartes moved to Paris with his valet, traveling there on horseback trailed by a caravan of mules carrying his possessions. By then he had found buyers for some of his lands, bought new clothes and items of furniture, and also carried a certain amount of cash with him to deposit in banks in the capital. When Descartes arrived in Paris, the city was awash with stories about the fortunes of war\u2014the very war Descartes had taken part in. Stories were circulating everywhere about the duke of Bavaria; the deposed Frederick of Bohemia, who with his family had by then taken refuge in Holland to live out the rest of their lives in shameful exile; and about the \"Bastard of Mansfeld,\" another military leader of that war\u2014the count of Mansfeld, who was the commander of one of the two armies the Bohemians had put together to face the Austrians and Bavarians.\n\nKnowing that Descartes had participated in that war, and had lived in Germany for some time, many people beseeched him to tell them stories about the action he had seen. To his chagrin, and that of his close friends in the capital, Descartes also discovered that there were rumors about him as well: everyone in Paris was sure that while in Germany, Descartes had joined the secret Brotherhood of the Rosy Cross. It made so much sense to them that he should have done so, being a scientist. And the story on the street was that the secret brotherhood had just sent thirty-six \"deputies\" to the entire continent of Europe, six of them to France. All six Rosicrucians were \"lodged somewhere in the Marais of the Temple in Paris,\" Baillet tells us. But they could not communicate with the world, and one could not communicate with them, \"other than through thought joined with will, that is, in a manner imperceptible to the senses.\" The chance conjunction of events\u2014the alleged arrival in Paris of six Rosicrucians and the simultaneous arrival of Rene Descartes\u2014caused the conclusion that Descartes was a Rosicrucian.\n\nIn typical fashion, Descartes used his _reason_ to combat the assertions he did not like. First, he exploited the fact that the rumored Rosicrucians were \"invisible,\" and he instead made himself very visible. He ensured that he was seen everywhere in Paris\u2014and always surrounded by his many loving friends. Descartes was seen on the streets, at every merry nightspot, and at places where people listened to good music. And second, he stopped doing any mathematics in public. He would study geometry only in the privacy of his own room or\u2014as Baillet, who is our only source on this period in the life of Descartes, tells us\u2014at the request of a friend who might ask him to solve a difficult problem.\n\nDescartes had to be very careful now, for he had apparently begun to use in his mathematical work the mystical symbols from astrology and alchemy learned from Faulhaber. By now, Descartes had understood that his German friend was connected with the Brotherhood of the Rosy Cross. He had to hide all his derivations in his private notebook, for if he was seen developing knowledge using these symbols, it would be impossible for him to defend himself against the charge of delving in the arts of the Rosicrucians. For one thing, the Catholic Church was highly opposed to the Rosicrucians. Were Descartes to be labeled one, his scientific career, and perhaps his safety, could be imperiled\n\nA short time after his return to the French capital, Descartes went to the Marais to visit his college friend Marin Mersenne. After teaching for two years, Mersenne had been elected the _correcteur_ (or superior) of his monastery. His confreres soon realized that his talents were far greater than those needed for this job. Consequently, Mersenne was given much free time to study and write. He had a gift for mathematics and science, and the Minim order encouraged him to pursue his studies in these areas, not perceiving any potential conflict between science and faith\u2014something that, perhaps, would not have happened in any other order, the Minims being humble, tolerant, and forward-looking. Marin Mersenne saw his new calling as a conduit of ideas between scientists and theologians. He would foster an understanding among all the major scientists in Europe, and bring them in touch with religious authorities.\n\nStarting out, Mersenne soon realized that a dialogue between the long-accepted scholastic philosophy of the church and the newly emerging scientific revolution was very difficult to maintain, and that often communication between the two camps was in the form of mutual attacks. Mersenne himself began his dialogue with the two groups using a confrontational approach: he attacked the alchemists and the astrologers. But soon he moved to more positive and productive methods of communication. One of Mersenne's former students, Father Jean-Francois Niceron, moved to Rome to teach at the Minims' house of studies at the Church of the Trinita dei Monti. While in Rome, Niceron made contact with the most influential Italian scientist, Galileo Galilei (1564-1642). The contacts Niceron had made in Italy became very useful for Mersenne. As Mersenne continued building a dialogue between science and faith he began to see his role in life as the director of an international clearinghouse of scientific ideas. He would soon inaugurate what would become known as \"the republic of letters.\" Through letters he would write to and receive from all the major scientists in Europe, Mersenne would establish the model for an international academy of sciences. One of the major players in this drama would be Rene Descartes. Pere Rapin, an ecclesiastic of the time, called Mersenne \"Descartes' resident in Paris.\"\n\nMersenne's book _Quaestiones celeberrimae in Genesim_ (\"Celebrated Questions in the Book of Genesis,\" Paris, 1623) demonstrates how he positioned himself between science and religion. In this book, Mersenne discussed religious topics, but at the same time dedicated forty columns to a description of the laws of optics. After the publication of this book, Mersenne devoted less and less time to religion and spent most of his efforts on science and pure mathematics.\n\nMersenne soon learned the techniques of printing and became an active publisher. In twenty-five years he produced as many books, totaling over eight thousand pages. Some were his own, while others were written by his scientific correspondents. Mersenne read the major scientific works of his contemporaries: Descartes, Fermat, Desargues, Roberval, Torricelli, Galileo, and others. But his greatest contribution to science was the connections that he forged as an intermediary between all the major scientists of his day. Mersenne's room in the monastery at the Place Royale was converted into a workshop in which the key scientific and mathematical ideas of the seventeenth century were analyzed and reviewed in the worldwide correspondence he received and sent. Among the most important works analyzed and promoted by Mersenne were Descartes' writings.\n\nDescartes shared with his friend Mersenne his advances in mathematics: derivations of new results based on ancient Greek geometry. When he first came to see him, Father Mersenne was distraught about the new rumors about Descartes. He did not view the Brotherhood of the Rosy Cross favorably, perhaps because he did not consider its members Christians. Mersenne was worried about the consequences Descartes could face if people were to conclude that he was, in fact, a Rosicrucian.\n\n# Chapter 9\n\n# _Descartes and the Rosicrucians_\n\nEVEN THOUGH BAILLET DESCRIBED Descartes' interest in, and later denial of any connection with, the Brotherhood of the Rosy Cross, some scholars have persisted in their doubts about the connections between Descartes and the Rosi-crucians. But in 2001, Edouard Mehl of the University of Strasbourg published a book, based on his doctoral dissertation from the Sorbonne, in which he analyzed many original sources that had never before been studied. The picture that emerges from his study leaves little doubt that Descartes was deeply influenced by Rosicrucian ideas.\n\nThe name Descartes chose for his unpublished notebook, _Olympica,_ appears in Rosicrucian writings. And so does the language Descartes used in his _Olympica._\"Enthusiasm,\" \"admirable science,\" and \"marvelous discovery\" had all been used before 1619 as code words by members of the Brotherhood of the Rosy Cross. The name _Olympica_ is echoed in at least three treatises on alchemy attributed to the Rosicrucians: _Thesaurinella olympica aurea tripartita_ (Frankfurt, 1607), _Rosarium novum olympicum_ (Frankfurt, 1606), and in the sentence _\"Spintus olympicus, seu homo invisibilis,\"_ in the book _Basilica chymica_ (Frankfurt, 1620), written by Oswald Croll. Croll was a major writer on alchemy, and used the term \"Olympic\" to mean _intelligible_ or _comprehensible._\n\nOswald Croll and Johann Hartmann called themselves the \"enthusiasts\" of the science of the Rosicrucians in their confrontation with their key detractor, Andreas Libavius, an alchemist who was influenced by mysticism but later came to reject it. Terms such as \"marvelous science\" and \"admirable discovery,\" as well as other permutations of these words used by Descartes in his _Olympica,_ are used in the written exchanges between the \"enthusiasts\" and their opponent. Croll defined the term \"admirable science\" as intellectual power and intuition, the image of the Creator in his creatures. He used \"admirable science\" as code words for philosophy, magic, and alchemy. A coincidence? Perhaps.\n\nBut as further evidence that Descartes was familiar with Rosicrucian writings we have Descartes' statement in a letter to Mersenne\u2014\"I have faith in no 'sympathetic ointment' of Crollius,\" a reference to an alchemical universal medicine described by Oswald Croll in his _Basilica chymica._ Croll was the physician of Christian I of Anhalt, who was the counselor of the Elector Palatine, the Winter King, Frederick V of Bohemia (the father of Descartes' future friend Princess Elizabeth). According to the British historian Frances Yates, Frederick V was the man the Rosicrucians had hoped would win the wars against the Catholics and would reestablish Prague as a center for mystical studies and a capital of a realm from which reform of society and religion along Rosicrucian ideals would spread throughout Europe. Yates argues that the Rosicrucians were so closely allied with the prince of the Palatinate that the Rosicrucian text attributed to Johann Valentin Andrea, _The Chemical Wedding of Christian Rosenkreutz,_ of 1616, was an allegorical tale, using alchemical symbolism, based on the actual wedding of Frederick and Elizabeth in London in 1613. The Winter King's humiliating defeat in the battle of the White Mountain in 1620 dashed Rosicrucian hopes and eventually led to the decline of the order.\n\nThe Rosicrucians published three further major works: a book on spiritual alchemy by Oswald Croll, a treatise on \"vitalist philosophy\" by Johann Hartmann, and a compendium entitled _Harmonic Philosophy and Magic of the Brotherhood of the Rosy Cross._ The subjects of the three texts, however, are intertwined. In its early years, the brotherhood could be described as a society of alchemists, and its central figure was Johann Hartmann, who held the first European chair in pharmaceutical chemistry, at the University of Marburg, in Germany, in the late 1500s and early 1600s. Hartmann not only published his own books on alchemy, but was also the editor of Croll's _Basilica chymica._ Hartmann is believed to have been in possession of the principal Rosicrucian manuscript, the _Fama fraternitatis_ , as early as 1611\u2014three years before the publication of this text.\n\nFrom Marburg, the center of activity of the Brotherhood of the Rosy Cross moved to Kassel, also in Germany, and the subjects studied by its members expanded from alchemy to other areas. These included theology, botany, astronomy, and mathematics. Maurice of Hesse was an important figure in astronomy, logic, and mathematics, associated with the Rosicrucians. He carried on a correspondence about astronomical matters with the astronomer Tycho Brahe, which was published in Frankfurt in 1596.\n\nThe comets of 1618 created much excitement in the population as a whole, and astronomers\u2014some of them reputed Rosicrucians\u2014were especially attracted to this mysterious spectacle in the sky. Brahe's successor, Johann Kepler, first observed the third comet of the year on November 10, 1618 (as did others in Europe)\u2014a date that, as we have seen, figures repeatedly in the life of Descartes.\n\nBut the dates November 10 and 11 appeared several times earlier in the history of astronomy. On November 11, 1572, Tycho Brahe first observed a \"new star\" in the night sky\u2014a supernova, the most dramatic in the history of astronomy since the Chinese observed the supernova that created the Crab Nebula in A.D. 1054 Five years later, in 1577, astronomers at the observatory of Kassel observed on the night of November 10-11 the first appearance of the comet of that year. The observations of this comet made Brahe abandon the theory of solid celestial orbs. This was the ancient Ptolemaic system, named after the second-century mathematician and astronomer Ptolemy of Alexandria, in which the earth is the center of the solar system, and the sun, moon, and planets rotate in concentric spheres around the earth. The comet and its orbit made it necessary for Brahe to modify the ancient Ptolemaic theory of fixed celestial orbs, supported by the church because it agreed with scripture. Brahe did not adopt the complete Copernican model, still maintaining the earth was immobile, but his discovery of the highly elliptic orbit of the comet, which was not aligned with those of the planets, was the beginning of the collapse of the geocentric theory of the universe and constituted evidence in support of Copernicus. The Rosicrucians kept knowledge secret in part because of the implications of their scientific findings on theories the church held sacred.\n\nPerhaps knowing that November 10 and 11 were important recurring dates in the history of science was somehow related to Descartes having his own revelations on that anniversary in 1619 and again in 1620. Remarkably, under the entry \"November 11, 1620,\" Beeckman wrote in his journal about the appearance on that day in 1572 of the comet studied by Brahe, and speculated on the composition of comets as vapors and dust of stars, as well as about their orbits in the sky. He did not mention that this day was the anniversary of his meeting Descartes two years earlier.\n\nDescartes' route from Holland to southern Germany led him through Kassel, and there is a possibility that, at least for a short time, he communicated with the Rosicrucians as early as 1619. According to Edouard Mehl, Descartes encountered members of the Brotherhood of the Rosy Cross in Kassel and found in them a society dedicated to the study of the sciences and mathematics. The unity of scientists of seemingly disparate disciplines may have given Descartes his idea of a \"universal science\" unifying all knowledge by means of mathematics. Mehl also points out a curious coincidence between Descartes' dreams in the oven and Rosicrucian philosophy. In Descartes' dream, he sees the poem 'Est _et Non.\"_ Mehl points out that a key tenet in Rosicrucian philosophy is the existence versus nonexistence of every element in the universe. The Rosicrucians named their principle Est, _Non est._ Descartes' dream in which he sees his room fill with sparkles of light is reminiscent of the Rosicrucian story about the discovery of the burial cave of the founder of the order, Christian Rosenkreuz. The cave, too, sparkled with light that seemed to come out of nowhere, and the dream itself is similar in its feel to the description of the discovery of this cave. Descartes' dream in which he sees a dictionary bears similarity to descriptions of Rosicrucian rituals in which, too, a dictionary or encyclopedia is used.\n\nKepler himself was interested in the occult. Was Kepler, too, a Rosicrucian? His assistant, the mathematician Jost Burgi (1552-1632), whom Brahe described as \"the new Archimedes,\" was a member of the brotherhood. Burgi invented many scientific and mathematical instruments, including a proportional compass that is very closely related to the one Descartes is reported to have invented, which lends more support to the theory that Descartes communicated with the Rosicrucians. Burgi's proportional compass, in turn, was a variation of a compass first invented by Galileo in 1606. This was a compass that could maintain set proportions of various quantities because its arms were marked with graduated scales. Galileo had enjoyed some financial success by selling his compass for use in engineering and for military purposes. Burgi's variation of the proportional compass is shown below.\n\nThe Burgi compass\n\nKenneth L. Manders of the University of Pittsburgh has studied the designs of compasses invented by Descartes and those of compasses described by Johann Faulhaber. According to Manders's interpretation of a particular Descartes text copied by Leibniz and then recopied in the nineteenth century by Count Louis-Alexandre Foucher de Careil of the Sorbonne, Descartes invented _four_ kinds of compasses. Manders makes a striking observation. On December 19, 1620, Faulhaber advertised his skills in Ulm in an effort to attract students and obtain contracts for consulting jobs. A published description of Faulhaber's qualifications included the following:\n\nIn particular, four new proportional compasses, with which to find geometrically two mean proportionals between two given lines; just so, how to divide any angle on a circle geometrically into three equal parts; equally, how to obtain conic and cylindrical sections geometrically, a matter on which other authors have written large books. Moreover, how to show general rules for equations of arbitrary degree from the number 666.\n\nManders points out that Faulhaber's compasses are identical to Descartes' compasses, and since these are extremely unusual, special-purpose devices, it is certain that Descartes and Faulhaber met and exchanged very precise information. One of the compasses of Descartes (and of Faulhaber) can be used to solve one of the three classical problems of antiquity: trisecting an angle. But it should be noted that in the original Greek problem, one is to trisect an arbitrary angle using only a straightedge and a simple compass, which was available to the ancient Greeks, not the advanced device invented by Descartes, Faulhaber, Burgi, or any of them in collaboration. Note that, as also evidenced from Faulhaber's other works, his main interest in mathematics was motivated by his obsession with \"biblical numbers\" such as 666.\n\nThese interests make it almost certain that Faulhaber was indeed a Rosicrucian. In fact, in his book _The Dream of Descartes_ , the French scholar Jacques Maritain says the following:\n\nNow Faulhaber was a real Rosicrucian and a very ardent one, and one is justified in assuming, in spite of Baillet's denials, that Descartes found in him the man he was seeking, and that through him Descartes entered into direct contact with the intellectual atmosphere of the Rosicrucians. Might not such contact, however fleeting, have a deciding influence upon the moral lines and the aims of the philosopher's life? May we not even ask ourselves whether at its origin, Descartes' great idea did not permit the supposition that he intended\u2014an intention that became hazier as time went on\u2014fearlessly to transpose to the plane of everyday reason and of the most widespread common sense the design followed on the plane of alchemic mysteries by the naive Rosicrucians, and in so doing to render it much less \"uplifted,\" but much more efficacious\u2014mathematics replacing the Cabala leading to universal knowledge, the hermetic sciences and their occult qualities giving place henceforth to geometric physics and the art of mechanics, as the elixir of life to the laws of rational medicine ?\n\nAccording to the world's leading expert on Johann Faulhaber and his work, Kurt Hawlitschek of Ulm, Faulhaber was clearly a Rosicrucian. Hawlitschek hypothesizes in his book on Faulhaber that the meeting between Descartes and Faulhaber did not take place by chance. When Descartes was in Frankfurt to witness the coronation of the emperor, before proceeding to join Duke Maximilian's army, he met Count Philipp of Hesse-Butzbach (1581-1643). The count was interested in mathematics and also had Rosicrucian connections. Philipp sent Descartes to Ulm, which was close to where Duke Maximilian's army was encamped, with the purpose of having him meet Faulhaber so they could discuss mathematics.\n\nTwo other mathematicians belonging to the Brotherhood of the Rosy Cross were involved in astronomical calculations and the invention and use of compasses. They were Benjamin Bramer (1588-1652) and Faulhaber's friend the mathematician Peter Roth. Both Bramer and Roth are mentioned in Descartes' secret notebook. Descartes most likely met them in Kassel when he traveled to Germany in 1619, and was likely inspired by their work on proportional compasses, which led him to invent his own, related devices.\n\nFaulhaber was the author of a treatise titled _Numerus figuratus sive arithmetica arte mirabili inaudita nova constans_ , published in Germany in 1614 When this text was analyzed, after Pierre Costabel had deciphered Leibniz's copy of Descartes' secret notebook, striking similarities in the content of the two manuscripts were discovered. Did Descartes share his \"admirable discovery\" with his mystic friend Faulhaber? Or was Descartes influenced in his discoveries by the work of the latter? Either way, Faulhaber had at least some knowledge of Descartes' most profound secret.\n\nThe Rosicrucians and other mystics were looking for hidden meanings in numbers and shapes: arithmetic and geometry. Descartes was an expert in both areas. He, too, was on a search for meaning and understanding to be found in the realm of numbers and shapes. And the assumption that Descartes was inspired in his secret search by the work of Faulhaber would shed light on the meaning of his writings in the secret notebook. Hiding its content by using mystical symbols assured Descartes that no one uninitiated could understand the writings in his notebook, should it ever come to light.\n\nIn January 1618, Faulhaber mildly denied a connection with the Brotherhood of the Rosy Cross, saying: \"I will not spare my zeal for obtaining the best information about the very dignified society of the Rosy Cross, but I believe that divine will has not yet determined that I should be worthy of making their acquaintance.\" But this vow was soon broken when in July of that year he made the acquaintance of several members of the brotherhood, among them an important officer in the order, Daniel Mogling.\n\nEdouard Mehl claims in his book that Faulhaber's mystical mathematical text, the _MiracuL arithmetica_ of 1622, was published with the help of the Rosicrucians, among them Daniel Mogling. In this book, Faulhaber writes: \"It is as impossible to separate the breadth of divine power from the number 666 as it is to separate this divine power from the holy evangelist.\"\n\nDaniel Mogling even lodged for a time in Faulhaber's house and was influenced by his host's mathematical work. He then changed the focus of his activities from medicine and alchemy to mathematics and astronomy and became the brotherhood's person in charge of these disciplines. Mogling himself had close connections with Johann Kepler. These included a correspondence on astronomical and mystical matters, as well as joint scientific work. Kepler's astrological work, his friendship with Daniel Mogling, and his stated desire for universal reform\u2014echoing Rosicrucian writings\u2014all make it clear that he had at least some association with the Brotherhood of the Rosy Cross.\n\nFaulhaber was proud of having been able to predict, as early as 1617, the future appearance of a comet in 1618. He claimed to have made the prediction based on numerology and Cabbala. Faulhaber computed an astronomical table, and was looking for the apocalyptic number 666. He noticed in his table that the longitude of Mars and the latitude of the moon would both be 3 degrees, 33 minutes, on September 11, 1618. Then he knew that he had found what he was looking for, since 666=333+333. This meant to him that something important would appear in the sky on September 11, 1618. So Faulhaber predicted that a comet would be seen on that exact date. In fact, three comets were seen that year, the first one appearing in mid-October. When Faulhaber tried to publish his prediction, _after_ the appearance of the first comet, he was accused of having used Kepler's mathematical tables for this purpose, rather than his own numerology.\n\nThis quarrel led to a public confrontation in Ulm on October 18, 1619, between Faulhaber and John-Baptist Hebenstreit, the principal of the high school of Ulm, who was an associate of Kepler. Hebenstreit submitted to Faulhaber eight questions about his use of biblical verbs as numbers; and finally, he concluded that Faulhaber's answers were unsatisfactory and blamed him for \"mixing the heavens with the earth.\" Hebenstreit summed up his tirade by accusing Faulhaber of \"cabalistic log-arithmo-geometro-mantica.\" This, in fact, was also the title of a short treatise he published.\n\nKepler himself never got involved in this dispute, finding it beneath his dignity. He harbored no animosity toward Faulhaber, and perhaps shared a kinship with his fellow mathematician and mystic. Kepler and Faulhaber shared a secret. They were among very few people who knew that Daniel Mogling was the author, using the pseudonym Theophilus Schweighart, of an important Rosicrucian text, the _Speculum sophicum_ (1618). Hebenstreit held a grudge against Mogling, and after his attack on Faulhaber had failed, in part because of Kepler's noncooperation, turned his venom against Mogling, attacking him publicly in a very personal, insulting way.\n\nOne of Hebenstreit's associates wrote a treatise condemning the Rosicrucians and Faulhaber, titled _Kanones pueriles,_ which was purportedly authored by Kleopas Herenius. This name is nothing but an anagram of Kepler's name in Latin: Iohanes Keplerus. Mogling himself, like many Rosicrucians, was fond of anagrams, for they worked well as a device for hiding identities. In 1625, Mogling published a book about perpetual motion, titled _Perpetuum mobile,_ which he authored using an anagram of his first name in Latin, Danielis. The jumbled-up letters of \"Danielis\" gave him the name Saledini, its resemblance to \"Saladin\" lending it an Eastern, anti-Crusader flavor. This book was found in the inventory of Isaac Beeckman's library, which was part of his journal. Given the fact that Beeckman discussed most of his research and readings with Descartes, the latter likely was aware of Mogling's book.\n\nDescartes' published works, and his letters, make it clear that he was influenced by the achievements and ideas of the two mathematicians Faulhaber and Kepler. Kepler's discoveries about the nature of the orbits of the planets in the solar system were of great interest to Descartes and, according to some scholars, were at the heart of his \"admirable science.\" And Descartes' secret notebook, by its unique use of symbols and by its content, echoed the writings of Faulhaber. Descartes' writings testify to the fact that he had at least exchanged ideas with the Rosicrucians.\n\n# Chapter 10\n\n# _Italian Creations_\n\nAFTER TWO MONTHS AND A FEW days in Paris, a period during which he pretended to all but his confidant Mersenne that he had renounced the study of mathematics\u2014to avoid the trap of being labeled a Rosicrucian\u2014Descartes left for Rennes. He arrived there at the beginning of May 1623. From there, Rene went to Poitou and stayed until July. He managed to sell, with the consent of his father, most of his holdings in this region. On July 8, 1623, Descartes sold a large estate he inherited from his grandparents, called \"the land of Perron,\" to Abel de Couhe, a nobleman of Poitou, and the sale was sealed by the notaries of Chatellerault. He took the cash with him to Brittany, and after bidding his family good-bye, returned to Paris.\n\nDescartes was unable to decide how to use all the money he had brought with him from the countryside. Much of it went into a bank account; he apparently wanted to place some of the funds in investments, but found none to his liking. He decided to use some of his new money to support a long trip to Italy.\n\nDescartes wrote a good-bye letter to his father, saying \"A voyage beyond the Alps would be of great use to me, to instruct me in handling my affairs, acquire some experience in the world, and form new habits that I do not yet have. If I will not become richer, at least I may become more capable.\" Perhaps the young man felt he needed to justify to his father taking an expensive trip to be paid for by what was family money, while before that time, when he was at least nominally associated with an army, he could explain the travel as part of his occupation.\n\nDescartes crossed the Alps and continued east to Zurich. He walked down the wide, cobblestoned Neumarkt Street with its medieval mansions and the towering church at the center of the old town. He sought out scholars and savants, and finding them, discussed nature and mathematics.\n\nDescartes continued east to Tirol, and from there he descended to the plains of northern Italy, arriving in Venice just in time to witness the ceremony of the wedding of Venice with the sea on Ascension Day. Descartes arrived at the Church of San Nicolo on the Lido to view the _bucentoro,_ a specially outfitted, gilded galley carrying the doge as he was rowed out to sea from the Port of San Nicolo. Descartes sat close to Venice's leading families and envoys from foreign states who had come to witness this unique ceremony. When the galley had traveled some distance from the port, the doge cast a golden ring into the waters of the Adriatic Sea and proclaimed by this act that he was taking dominion of the sea as a husband over his wife.\n\nLegend has it that the pope had given a ring, and with it lordship over the Adriatic, to the doge in 1177. According to this legend, the Venetians defeated an imperial fleet, following which the Holy Roman Emperor Frederick I Barbarossa (Italian for \"Red Beard\") came to Venice to kiss the pope's feet. However, the victory and the battle never took place, and were pure fiction. But the ceremony of the wedding of Venice with the sea was celebrated nevertheless, and four and a half centuries after this custom had begun, Descartes witnessed it.\n\nFrom Venice, Descartes headed south to Rome\u2014a city he had always longed to see, since it was the heart of the Catholic world and an exciting, vibrant cultural center. He passed through Loreto and fulfilled his vow to visit this religious shrine. After completing his visit to Rome, he was ready to return to France, but decided to stop in Tuscany. Descartes had heard much about Galileo and admired him greatly. He was hoping to meet him at his home in Arcetri. Descartes made it to Tuscany\u2014but to his great disappointment was never able to meet Galileo.\n\nApril 1624 found Descartes in the town of Gavi, observing the military maneuvers of the duke of Savoy. Then in May he went to visit the city of Turin. Descartes climbed up into the Alps that rise over the border region between France and Italy. He spent some time in the mountains observing the melting snows and taking note of how thunderstorms developed. During his Italian trip, Descartes also observed rainbows and parhelic circles: luminous circles or halos parallel to the horizon at the altitude of the sun. These \"false suns\" appeared in Rome while Descartes was visiting that city and caused great excitement in the population. Everyone wanted to know how this phenomenon developed. Years later, when his _Discourse on the Method_ and its scientific appendixes were published, Descartes gave his explanations of the natural phenomena he had observed on his trip to Italy. Descartes' Italian trip was an important event in his life since it allowed him to study nature. But there were other benefits to this voyage as well. Through his travels in Italy, the young man matured and developed a clearer sense of who he was and of the scholarly goals he would pursue in his life.\n\nDescartes continued to Rennes, enjoyed the company of his family, and then moved back to Paris. Throughout this period, Descartes was working on algebraic problems studied by Italian mathematicians who had lived during the century before his time in the plains of the Veneto\u2014the region of Venice, which he had just visited.\n\nThe Babylonians understood simple concepts of equations: given a specified set of arithmetical conditions, they could solve an equation to obtain the value of an unknown quantity. For example, they knew how to find the length and width of a field that was to have a specified area, given some condition on the two measurements. The ancient Egyptians also knew how to solve such problems. Papyri that survive, for example the famous Ahmes papyrus, now kept at the British Museum and dated to approximately 1650 B.C., show the solution of simple equations. For example, problem 24 in the Ahmes papyrus asks for the value of a \"heap,\" if a heap added to a seventh of a heap gives 19. Ahmes gives the answer as 16+1\/2 + 1\/8, which is 16.625, as we would obtain today by solving the equation _x+(l\/7)x=19._\n\nThe ancient Greeks were also able to solve equations, so that by the close of the classical period of ancient Greece and Rome, people knew how to solve some quadratic equations, that is, equations with highest-order term being _ax 1._ But no general method had been known for solving such equations, nor was anyone able to solve higher-order equations (equations with powers higher than 2\u2014for example, equations containing a term ax3).\n\nThe word \"algebra\" comes from the first two words in the Arabic title of a book written about A.D. 825 in Baghdad: _Al-Jabr wa-al-Muqabahh,_ by Muhammad ibn Musa Al-Khowarizmi. In his book\u2014the first important book on algebra\u2014Al-Khowarizmi presented complete methods of solution for the quadratic equation. In Descartes' notation as we use it today, such equations are written in this general form\u2014\n\nax2+bx+c=0\n\n\u2014and every high school mathematician knows the general formula giving the two roots, or solutions, of this equation.\n\nWhile people knew how to solve quadratic equations, no one knew how to solve a _third-order_ equation:\n\nax3+bx2+cx+d=0\n\nHow to solve such an equation remained a mystery for another seven centuries beyond Al-Khowarizmi\u2014until four Italian mathematicians, working one against the other, endeavored to solve it.\n\nWho were these Italian developers of algebra? They were four mathematicians who lived in the sixteenth century in northern Italy\u2014the same area Descartes visited in his Italian trip in 1623-24 And they were a somewhat shady and unsavory group of individuals.\n\nNiccolo Fontana (1499-1557), known as Tartaglia (\"the Stammerer,\" in Italian) was born in Brescia, in the republic of Venice, in 1499. As a fatherless boy of thirteen, he almost died in 1512, when French forces looted his hometown and many people were killed. The boy was dealt severe facial wounds from a saber that cut his jaw and palate, and he was left for dead. His mother found him and nursed him back to health. As an adult he grew a beard to hide his scars, and he could speak only with difficulty, hence the nickname Tartaglia.\n\nTartaglia taught himself mathematics. Having an extraordinary ability, he earned his living teaching mathematics in Verona and Venice. As a mathematics teacher in Venice, Tartaglia gradually acquired a reputation by participating successfully in many public competitions.\n\nThe first person in history known to have succeeded in solving cubic equations was Scipione del Ferro (1465-1526), who was a professor of mathematics at the University of Bologna. Nobody knows how del Ferro made his amazing discovery. He did not publish it and did not divulge it to anyone\u2014until he was on his deathbed. Then he passed the secret on to his mediocre student Antonio Maria Fior. Soon afterward, word was out that Fior could solve cubic equations, which was considered a great achievement since no one had been able to do so even though people had been trying for many centuries.\n\nIn 1535, Fior challenged Tartaglia to a competition. Each person was to submit thirty problems for the other to solve. At that time, the person who won such a competition could expect money, prestige, and sometimes a professorship at a university. Fior was confident that his ability to solve cubic equations would be enough to defeat Tartaglia, but del Ferro had shown Fior how to solve only one type of equation: a cubic equation of the simple form: _x'=ax+b_ (that is, the coefficient of _x'_ is 1, and there is no _x 2_ term). Tartaglia, on the other hand, submitted to Fior a variety of different problems. Fior's poor performance, since he had only the one recipe given him by del Ferro, exposed him as an inferior mathematician. Fior also gave Tartaglia thirty problems of a variety of kinds\u2014being sure that he could not solve them since he himself didn't know how to do so. Unbeknownst to him, in the early hours of February 13, 1535, Tartaglia had a revelation: he discovered a _general_ method of solving cubic equations, that is, equations of the very general type: _ax 1+bx2+cx+d=0._ Tartaglia was now able to quickly solve all thirty of Fior's problems\u2014he completed his task in less than two hours. It was clear to everyone present that Tartaglia was both the winner of the competition and the greatest mathematician.\n\nAt this point we meet another Italian mathematician, Girolamo Cardano (1501-76), who was a medical doctor and mathematics lecturer at the Piatti Foundation in Milan. Cardano was well aware of the importance of solving cubic equations, and was intrigued when he heard about the results of the contest in Venice. He immediately set to work on trying to discover Tartaglia's secret, but he was unsuccessful. A few years later, in 1539, he contacted Tartaglia through an intermediary. Cardano told Trataglia that he wanted to include his method for solving cubic equations in a book he was planning to publish that year. Tartaglia declined the offer, saying that he wanted to publish his own book. Cardano then asked Tartaglia if he would mind showing him his method anyway, promising that he would keep it secret. Tartaglia again refused.\n\nNot giving up, Cardano now wrote Tartaglia a letter in which he hinted that he had been discussing Tartaglia's brilliance with the chief of the army in Milan, Alfonso d'Avalos, who was one of Cardano's powerful sponsors. Tartaglia took the bait. He was a poorly paid mathematics teacher, and the thought of meeting an influential and wealthy individual who might be able to help him appealed to him. He wrote back to Cardano, and Cardano then invited him to his house, promising that he would arrange a meeting between Tartaglia and d'Avalos.\n\nOn March 25, 1539, Tartaglia left Venice for Milan. To his dismay, he found that d'Avalos was not there as Cardano had promised. Cardano, however, wined and dined him in his house, and tried every method he could to convince Tartaglia to reveal his secret. Late that night, after he had drunk much wine and Cardano had sworn to him that he would never reveal his secret, Tartaglia divulged to him his secret formula. He did it by way of a poem in Italian in which he embedded his formula.\n\nIn 1545, Cardano published his now-famous book _Ars magna_ (\"The Great Art\"), which contained solutions to the cubic equation based on Tartaglia's secret formula, as well as solutions to the quartic (fourth-order) equations, which had been obtained by Cardano's student Ludovico Ferrari (1522-65). Cardano thanked Tartaglia in his book. But he had broken his promise\u2014the oath he swore to Tartaglia never to reveal his secret. Understandably, Tartaglia was furious and for years kept writing letters to everyone he knew, attacking Cardano. He even published their conversation in Milan and the broken promise, including the formula he had divulged. But Cardano's book, the _Ars magna,_ had established him as a leading mathematician, and he was untouched by Tartaglia's attacks. To add to his misery, Tartaglia was never given the chance to meet the wealthy patron he had hoped would help him. After a short period of teaching at a university, he returned to his position as teacher in Venice, which he kept until his death.\n\nToday, Tartaglia is remembered together with Cardano for a formula for solving cubic equations. Tartaglia also wrote a popular arithmetic text, and was the first Italian translator and publisher of Euclid's _Elements,_ in 1543. He also published Latin editions of Archimedes' works.\n\nDescartes was well aware of the genesis of algebra and the development of solutions to equations of third and fourth order. He spent time working on such problems, and early on derived a result in this area. Descartes had shown that if a quartic equation has a special form (has no cubic term) and can be factored into two quadratic equations\u2014\n\nx4+px2+qx+r=(x2+ax+b)(x2+cx+d)\n\n\u2014then the number a2 is the root of a cubic equation; and also, _b, c,_ and _d_ are then rational numbers (meaning fractions or integers) that depend on _a._ This is a useful result that sometimes helps solve equations. It was a good start, and a continuation by Descartes of the work done a century earlier by the Italians. It was also strikingly close to work done by Faulhaber.\n\nThe Italian mathematicians, the early algebraists, were called _cos-sists._ The word \"cossist\" comes from the Italian cosa, meaning \"thing.\" The cosa was the mystery that algebra was designed to solve\u2014it was the name given to the unknown quantity in an equation (our modern x). Descartes' missing notebook contained an original alchemical and astrological sign, the sign of Jupiter. But it also included early cossist notation:\n\nDescartes learned to use this sign from the Italian cossists, whose algebra he had studied. Descartes himself later invented our modern notation, used in algebra today. He taught us the use of x and _y_ for variables to be solved, and a and _b_ and c, and so forth, for known quantities. But tantalizingly, his hidden notebook used a different notation\u2014the mystical notation inspired by alchemy, astrology, and Rosicrucianism, and the old cossist notation. The secret notebook contained yet a third sign, which no one has been able to trace to any previous source.\n\nIncidentally, Descartes never used the equal sign (=), even though it had been invented by Michel Recorde in 1557. Descartes persisted in his use of a backward-facing Greek alpha   denote equality. Interestingly, it would be Leibniz who decades after Descartes' death would revive the use of the equal sign we use today.\n\n# Chapter 11\n\n# _A Duel at Orl\u00e9ans, and the Siege of La Rochelle_\n\nDESCARTES TRAVELED ONCE MORE to Touraine and Poitou, and then went back to the capital and settled there for a few months. But family issues in Touraine, Poitou, and in Rennes kept him traveling to these areas frequently. He spent time with his sister and his brother-in-law, and with his father. Rene traveled to Poitou to sell more of his lands and to liquidate other assets so he could take the money to Paris and live comfortably on the wealth he had inherited. He also traveled frequently to Touraine to visit his governess and family members who had remained there.\n\nWhen he was just becoming a young adult, some years earlier, Descartes was rumored to have had an intimate relationship with a mysterious woman of Touraine called La Menaudiere. His family, disapproving of his relationship with someone they considered unsuitable for their son, began to look to find him a wife. They thought that getting married might bring stability to the life of the young and restless adventurer, and that once he married, he might settle down in the area and establish a business. The search began in earnest to find Rene a wife \"of good birth and much merit.\"\n\nThere was a very beautiful young woman, who later became known as Mme. de Rosay, whose family also lived in Touraine. She was indeed of good birth and suitable to the Descartes family. Rene and the young woman met several times, and they were attracted to each other. But Rene soon left on his travels, and their relationship never progressed.\n\nBut now, in 1625, Rene was again traveling the roads of Touraine and the French countryside south of Paris to see his family and take care of his affairs. He hadn't seen her for a few years. On one of his trips between La Haye and Paris, Descartes stopped his horse-drawn carriage at a major intersection near the city of Orleans, which lies on the main road south from Paris. Descartes had to stop for a while to let his horses rest, eat, and drink. He entered a roadside inn, one that was popular with travelers on these routes. France had many such establishments along its highways. The inn had a closed courtyard in which the horses were sheltered and fed and watered. Inside the inn there was a large room with a ceiling supported by dark wooden beams. It had large, arched windows. There were several wooden tables surrounded by simple rustic chairs. People crowded around these tables drinking and eating.\n\nDescartes and his valet spent some time at the inn, enjoyed a meal and rested, and were ready to continue their journey north to Paris. They walked into the courtyard, collected their horses, and went into the sunshine. They harnessed the horses to the carriage and were just about ready to leave when Descartes suddenly looked up. And there she was: the woman we now know as Mme. de Rosay.\n\nThe two people looked at each other, and it seemed that the altered? vening years had done nothing to cool the attraction between them. Descartes, dressed in green taffeta and looking very smashing with his plumed hat and sword, approached her. She looked right into his eyes. They stood there speechless for a moment, just staring at each other. And then her companion rushed over. He was a jealous man, and he unsheathed his sword and challenged Descartes to a duel.\n\nThe man apparently didn't know whom he was dealing with\u2014 someone with much experience with swords and battles. The two men locked swords, and swung and parried for a few moments. Swiftly, Descartes brought his sword in one last time and delivered a final blow. His opponent's sword flew up into the air. Descartes put the point of his sword to his challenger's throat and, glancing at Mme. de Rosay, said to him: \"The lady has beautiful eyes, and for that I will spare your life.\" He let him go, and pulled back in disgust. The lady rushed over to Descartes' side. One last time, Descartes stared into those beautiful eyes, and turning away from her, he said: \"Your beauty is unmatched, but I love truth the most.\" He left the two stunned figures by the roadside and in a minute gathered his valet, and in a whirl of dust they were off to Paris.\n\nYears later, when she was married and had become Mme. de Rosay, and when Descartes had become a famous philosopher, the lady confessed the story to her priest, who in order to protect his identity when he repeated the tale\u2014violating the secrecy of the confessional\u2014remained known only as \"Father P.\"\n\nAccording to Mme. de Rosay, she saw Rene Descartes for the first time when he was a young man and was one day in the company of several other young men who were joyfully playing around and talking about women. He confessed to them that he had never yet met a woman he found irresistible. Then he said: \"I find that a beautiful woman, a good book, and a perfect preacher are the three most difficult things to find in this world.\"\n\nBut then, according to the lady, he met her. And he found her to be beautiful and irresistible, and from then on he desired only her. \"Rene Descartes was a young cavalier who was guided by a love for me,\" she said. \"It made him distinguish himself in great deeds on my behalf.\"\n\nAccording to Mme. de Rosay, Descartes was accompanying her, along with other ladies, on a trip to Paris when they were approached at Orleans by Descartes' bitter rival for her affections. When Descartes had won the duel and put his sword to his rival's neck, he told him the following: \"You owe your life to this beautiful woman, to whom I devote my own.\" But alas, things stopped there, and Descartes never married the lady. Was her version of the story true? Or did Descartes really say that he loved truth more than her beauty? Most likely, Descartes' account was the correct one, since it is in line with his general behavior and his rather cool approach to relationships. And we know that Descartes loved beautiful eyes.\n\nHis frequent trips to Touraine and Poitou over, Rene Descartes was living in Paris in 1628, hiding from his friends once again so he could work in peace. He was writing extensively, deriving important results\u2014some of which would become public within nine years. This was a difficult period for Descartes because he was anxious about not being found by his many friends as well as strangers who were attracted to him because of his growing fame as a philosopher, scientist, and mathematician. \"The displeasure he felt by having been chased out of his favorite quarter into hiding brought about in him a desire to go to see the siege of La Rochelle,\" Baillet tells us.\n\nOf all the places in which the Huguenots were once safe, by the early seventeenth century there remained only the city of La Rochelle, on the Atlantic coast of France. La Rochelle is a medieval walled city built in the twelfth century. It has a fortified harbor with two imposing ancient crenellated towers guarding its entrance from the sea. There is a fifteenth-century tower called the Tour Lanterne, which served as a powerful lighthouse guiding merchant vessels from around the world to this prosperous city. La Rochelle came to prominence with an economy based on salt, wheat, and wine. By 1620, 85 percent of its population was Huguenot. But the French state, whose religion was Catholicism, was threatened by the power of the Huguenots. King Louis XIII and his minister, Cardinal Richelieu, made a decision to crush Huguenot power.\n\nIn 1627, the people of La Rochelle requested and obtained the aid of the British fleet against the French. King Louis XIII then sent his forces to La Rochelle in response to this act, to confront the British fleet, which made its base on the nearby Isle of Re. The French army wanted to prevent the British forces from aiding the Huguenots. The king himself ordered and oversaw a siege of the city\u2014in what became one of the most dramatically recorded conflicts in French history. Alexandre Dumas devoted part of his masterpiece _The Three Musketeers_ to the siege, sending Athos, Pathos, Aramis, and d'Artagnan to the scene. Cardinal Richelieu had his headquarters outside the city, commanding half the French forces, while the king commanded the other half.\n\nThe siege of La Rochelle lasted thirteen months, from September 1627 until the city fell in October 1628. As the siege began, French forces encircled the city from all sides, preventing food and supplies from the rich lands it owned in the countryside from reaching the walled city. But there still remained the heavily fortified harbor, and through it the British were able to use their ships to bring in supplies of food to the besieged city.\n\nSoon after the siege began, the French decided to build a dike across the entrance to the inlet leading to the harbor. The aim of the French forces was to block completely the entrance to the harbor and thus prevent the British fleet from entering it. In March 1628, the king left for Paris and made Cardinal Richelieu the lieutenant general of the army. The cardinal began to construct the dike across the inlet, and when the king returned in April and reassumed command of half the French forces, there had already been much progress. The French had moved ships laden with rocks and other heavy loads and sank them in a line stretching across the inlet. Eventually, enough ships were sunk so that the besieging forces were able to build a wooden dike using the sunken ships as a base. The French used thirty-seven large vessels, their prows facing out to sea, to construct the dike. To these were added fifty-nine smaller boats. They built two forts along the ends of the dike, and one large triangular wooden fort was constructed in the center. According to Baillet, this dike was the most elaborate wartime construction the French had ever undertaken, and the siege was a most impressive spectacle. This attracted many curious onlookers\u2014young adventurers from the French nobility who wanted to observe the siege. Among them was the ever-curious Rene Descartes.\n\nDescartes arrived outside the besieged city at the end of August 1628. Baillet, who is our only source on this event in the life of Descartes, tells us that Descartes came with the sole purpose of observing the military operation, as many other young men of his age were doing. He did not want to be a volunteer in the fighting or to take any part in it. He came to this battle more as an observer than he had done to any previous battle in his life. He was now the scientist\u2014not the soldier. Descartes was especially interested in the physical properties of the great dike that Richelieu was building.\n\nDescartes studied mathematically everything he saw during the siege. He spoke with the engineers who were building the dike, learning from them the technical details of the construction. He also met the French mathematician Desargues, who was \"an expert on mechanics and was well appreciated by Cardinal Richelieu.\"\n\nBesides fortifications and communications, Descartes was interested in the trajectories of cannonballs. Following his admired Galileo, Descartes wanted to learn about gravity and how it made objects fall to the ground, and he studied the curves the cannonballs were making in the air as mathematical functions.\n\nWith the huge construction project over, the harbor of La Rochelle was now completely blocked. No supplies could be brought in, and the people of the city began to starve. The fall of La Rochelle happened in stages. On September 10, the citizens sent a delegation out to meet the king at the fort in the center of the dike that was starving them out. The delegates threw themselves at the king's feet, and it seemed that an arrangement could be made. But a few days later they decided that the British fleet might still save them, and the deal was off. The French forces tightened their grip around the city, furious at the new development. In October, the British fleet indeed attempted to break through the blockade, encouraged by favorable winds. But the fleet was defeated by the French forces at the dike, and the British sought and obtained a fifteen-day cease-fire with the French. It now seemed that the city was doomed, and the two sides met to arrange a retreat of the British fleet. As British officers discussed terms of the cessation of hostilities with their French counterparts, Descartes was there, meeting the British officers. This was his first meeting with English people. He knew that there were excellent scientists in Britain and hoped to meet them. According to Baillet, two years later, in 1630, Descartes would travel to London for a short visit, and there would carry out observations of the curvature of the earth.\n\nThe condition of the people in the besieged city was now desperate. They had to resort to eating cats, dogs, and rats. Finally, having exhausted even this source of nourishment, some tried to eat the leather of belts and boots. Thirteen months after the siege began, in October 1628, the city surrendered to the French forces. Of the roughly twenty thousand inhabitants of La Rochelle before the siege began, only six thousand starving souls remained, barely alive, as the French forces stormed in. Still, some continued to fight as valiantly as they could, but they were no match for the well-fed French troops with their guns and ample ammunition.\n\nAfter their last defeat, the Huguenots dispersed throughout Europe, moving to more tolerant countries. Some eventually came to the United States and founded the city of New Rochelle, New York.\n\nDescartes entered La Rochelle with the king's forces the day the city fell to the French army, October 27, 1628. He was there to see the gloomy corteges\u2014carriages laden with dead bodies were being pulled through the streets\u2014and he saw the dying being given their last sacraments. This last battle, in which the French were fighting against their own starving Huguenot citizens, was an especially gory one. According to Baillet, \"There has never been a worse spectacle since the fall of Jerusalem,\" the destruction of Jerusalem by the Romans in A.D. 70. Once he had seen enough, Descartes returned to Paris. He arrived in the French capital again on an auspicious day for him: Saint Martin's Eve, November 10.\n\nWhy would Descartes come to the site of such a dreadful siege, one in which so many people died of starvation or by the sword? Descartes was not an evil man, and neither did he harbor anti-Protestant feelings, as evidenced by the fact that he first enlisted as volunteer in the army of Prince Maurice, who led a Protestant army in 1619. But Descartes had always been attracted to military order and structure. He had been trained as a young child, starting at the age of eleven, by the Jesuits, who were run as a semimilitary Christian order. At the College of La Fleche Descartes was introduced to almost military-style discipline, order, and uniforms. It appears that the structure\u2014both architectural and behavioral\u2014of a militarylike place such as La Fleche appealed to him. Additionally, Descartes always sought adventure and travel, and the military offered him both. Oddly, he could think clearly while war raged around him.\n\nIn the seventeenth century, war was waged in a well-ordered manner, similar to the way military parades are conducted today (which is perhaps the last vestige of the way armies behaved in the olden days). Soldiers on each side faced their enemy while arrayed in perfect rows, shooting at the enemy in unison. Modern warfare is completely different, and emphasizes camouflage, hiding, and an apparent _lack of order,_ to prevent the enemy from exploiting any structure. Randomness is a key element in modern warfare, which stresses surprise and agility and unpredictable movements. The perfect order inherent in warfare in the 1600s seemed to attract Descartes' interest and appreciation. He is reported to have observed maneuvers and fighting, deriving from them a sense of harmony and symmetry. Descartes was interested in the trajectories of projectiles through the air; he was researching the fall of objects under the force of gravity. This research would inescapably lead him to the forbidden heliocentric theory of Copernicus.\n\nTrajectories and military maneuvers and the construction of a unique dike to block off the entrance to La Rochelle harbor were strong motivations for Descartes to come to the coast of his ancestral Poitou to see for himself what was happening. And finally, Descartes was a man who always wanted to be at the right place at the right time. He was there when the emperor was crowned in Frankfurt, and he was in Venice to see the wedding of the city with the sea, and now he was in La Rochelle, where history (gory, to be sure) was being made. Descartes wanted to learn as much as he could about life, and the siege of La Rochelle was one such lesson.\n\n# Chapter 12\n\n# _The Move to Holland and the Ghost of Galileo_\n\nDESCARTES RETURNED TO PARIS AT the end of October 1628, but soon left for Middelburg to visit Beeckman. He was returning to his mentor\u2014the man who first got him interested in mathematics and started him on his way to pursuing a career as a mathematician and scientist. Descartes did not find his friend in Middelburg, and continued on to Dordrecht, where the two friends finally met each other at Beeckman's school.\n\nDescartes shared with Beeckman his early attempts at unifying geometry with algebra. According to Beeckman's journal, Descartes was never able to meet anyone, in all his travels in Europe, who could understand his ideas about mathematics as well as Beeckman did. The two men discussed Descartes' novel methods in geometry and algebra, as well as music: chords and instruments and the transmission of sound. They also talked about the nature of light, and about gravity and other mysteries of physics. It seemed that the bond that united them\u2014a love of learning and a belief in the power of mathematics\u2014was stronger than ever. Descartes spent a few days with his friend, and then left. But they continued their regular communication through letters.\n\nShortly afterward, at the very end of 1628, Descartes suddenly moved to Holland. The reasons for this relocation have never been well understood. The move was permanent in the sense that Descartes would stay in Holland for the next two decades, and when he did leave that country, it would be to go to Sweden, not back to France. The move seems odd since Descartes was a Catholic and Holland was mostly Protestant. In his _Discourse on the Method,_ published eight years later, Descartes said that he had moved to Holland because of a desire to distance himself from all the places at which he was known, and to live in a country in which a thriving, active population enjoyed the fruits of peace.\n\nHolland also had more liberal printing laws than did France and other European countries, and this factor may have contributed to Descartes' decision to move, since he was hoping to publish some of his works. But Descartes' move may also have been motivated by a gnawing fear. His work had been moving in a dangerous direction\u2014toward the Copernican theory of the universe\u2014and Descartes worried that his discoveries in physics could be seen as contrary to the doctrines of the Catholic Church. It has been conjectured by the French scholar Gustave Cohen that the rumors, prevalent in Paris in the years 1623 to 1629, of a link between Descartes and the Rosicrucians had also contributed to his decision to leave France.\n\nAs time would prove, Descartes' move to Holland was a serious mistake. For there, he would suffer much more from Dutch theologians than he ever would have from Catholics. But perhaps his personality was changing as well. Descartes was becoming increasingly secretive.\n\nWhen Descartes decided to leave France, Mersenne was disappointed and tried to dissuade him from leaving. But Descartes left despite all his efforts. He would spend the next twenty years wandering throughout Holland, carrying out a correspondence with European intellectuals\u2014mostly through Mersenne, with whom he continued to discuss mathematical and philosophical problems. While Descartes was traveling through Holland, living for a few months or years in a given location, and then abruptly leaving for another town or village, he often did not give his true address to anyone but Mersenne. If he was staying in a town, he would dateline his letters from a neighboring town or large city. Since only Marin Mersenne knew exactly where Descartes was at any given time, all correspondence to Descartes from others had to go through the Minim friar. It seems that Descartes was hiding from someone or something.\n\nShortly after the move to Holland, Descartes experienced the first of the several conflicts that would come to characterize this period in his life.\n\nIt seems that Beeckman had also been experiencing a transformation through his interactions with Descartes. He developed a burning ambition to establish himself as a leading scientist, and perhaps even to compete with his brilliant friend. Early on in their relationship, on April 23, 1619, Descartes had written Beeckman saying that \"if by chance something shall come out of me that would not be viewed with contempt, you may by all rights declare it as your own.\" But this was, perhaps, a manifestation of Descartes' extreme politeness and self-effacing nature as well as gratitude to a friend, rather than an invitation to Beeckman to claim credit for Descartes' achievements. At any rate, now Beeckman did claim such credit.\n\nSoon after he last saw Descartes, Beeckman began his own correspondence with Marin Mersenne in Paris. Perhaps Descartes had facilitated the connection between the two men. The correspondence with Mersenne\u2014the central figure in European mathematics and physical science in the century, the man who acted as a clearinghouse for all scientific work on the continent\u2014was motivated by Beeckman's desire to show off his knowledge. Beeckman claimed to Mersenne, and through him to others, that it was he who had given Descartes many of his important ideas. Beeckman began to believe that he was the initiator of mathematical physics, and that Descartes was simply another person who could understand this new science, not its inventor.\n\nMersenne visited Beeckman in Holland, and continued on to pay a visit to Descartes. From Mersenne, Descartes found out about Beeckman's boastful claims of being the source of Descartes' knowledge\u2014and he was deeply offended. Descartes immediately wrote to Mersenne:\n\nI am very much obliged to you for calling to my attention the ingratitude of my friend. I think that the honor I had given him by writing to him has dazzled him and he thought that you might have a better opinion of him if he told you that he had been my master ten years ago. But he is completely mistaken, for what glory can there be in having taught a man who knows very little and freely admits it as I do? I will not mention any of this to him, since this is what you wish, but I would have much with which to make him ashamed, especially if I had his letter.\n\nBut Descartes was not assuaged by writing this letter to Mersenne. He wrote to Beeckman at the end of 1629, demanding that he return to him some of his papers, and severing all ties with his Dutch friend. In the middle of 1630, Mersenne visited Beeckman, and the latter showed him his journal, which he believed proved that he had, indeed, contributed to works by Descartes and that Descartes had not made all the discoveries he claimed without his help. When Descartes then received a letter from Beeckman telling him that he had shown his journal to Mersenne, proving his point, Descartes became even more angry than he had been until then. Descartes then wrote to Beeckman: \"Now that I know that you are more interested in silly boasting than in true friendship and truth, let me tell you some things.... Undoubtedly, you were led to err by the politeness of our French language, when, be it in conversation, be it by letter, I have affirmed that I had learned many things from you.\"\n\nBut Beeckman persisted in his claims to the intellectuals of his day that it was he who had taught Descartes mathematics and physics and music theory, and that Descartes' ideas all originated in conversations with him. He wrote to Descartes, repeating these assertions. Apparently, Beeckman believed his own priority strongly enough to write it in his journal. Among other things, Beeckman wrote in the journal in Latin: _\"Physiti mathematid paucissimi,\"_ or, \"Rare are the physicists-mathematicians.\" But Descartes wrote to him, saying that \"I have learned nothing from your imaginary physics, which you describe by the name mathematico-physics.\"\n\nOn October 17, 1630, the final rupture came. Descartes lost all patience with Beeckman and his claims on Descartes' glory. That day, he wrote him a letter that was devoid of his habitual politeness and finesse. Descartes denounced what he called Beeckman's \"stupidity and ignorance.\" He added: \"Now I recognize by all the evidence, from your last letter, that you have sinned not by malice but by insanity.\" Descartes in sisted that he had never learned anything from Beeckman, except perhaps the smallest things about nature, such as \"of ants and small worms.\" Perhaps surprisingly, the two men still continued to write sporadically to each other, and they even met. But their friendship was never the same again\u2014it lost most of its warmth and enthusiasm.\n\nIn October 1629, Descartes started to work on a book on physics and metaphysics, which he called _Le Monde_ (\"The World\"). But then in 1633, four years into this ambitious project and just when the treatise was ready to be published, Descartes heard about the trial of Galileo. Descartes' intellectual progress through life took him from pure mathematics to metaphysics, and from metaphysics to physics and cosmology. But the news about Galileo constituted a blow of unparalleled magnitude.\n\nStarting a decade earlier, Descartes sought to apply the principles he had developed in algebra and geometry to address problems of the physical world. Descartes took the ideas of his predecessors and easily verified many of them\u2014and disputed others\u2014using his keen geometrical analysis. He formed a view of the universe that was squarely in agreement with the Copernican theory that the sun is the center of our solar system and the planets, including Earth, orbit the sun. Everything in Descartes' work in physics\u2014his study of falling objects and gravity, and his observations of trajectories of cannonballs and bullets\u2014agreed with this theory.\n\nDescartes' physics was what we might call mathematical physics or theoretical physics. He deduced the laws of nature from first principles derived from mathematics. It was an intellectual exercise through which mathematics gave him answers about the physical world: the laws of falling bodies, the rotation of the earth, and the orbits of the planets around the sun. _Le Monde,_ dedicated to Descartes' friend Mersenne in appreciation for all that he had done to promote the growth of science, mathematics, and philosophy, was his scientific description of the creation and the workings of the world\u2014a revision of the book of Genesis in an attempt to reconcile science with religious belief. But just before the book was to be published, in November 1633, Descartes received the news about Galileo and he immediately canceled the publication of his book. He even \"almost resolved to burn all my papers or at least not to let any person see them,\" as he later described his resolution.\n\nHistory would show that Descartes was less vulnerable to the dangers that plagued Galileo than he might have thought. First, Descartes never baited the Inquisition the way Galileo had done in his writings (in which the church was represented by Simplicius, the simpleton). Second, Descartes lived in a country, Holland, that was less under the influence of Rome than was Galileo's Tuscany. And third, Descartes had very powerful allies. In 1637, Descartes' friend Mersenne would request and obtain from King Louis XIII the privilege of publishing without hindrance for \"our beloved Descartes.\" But that would happen some years in the future, and when it did happen, it did not change Descartes' course of action. Descartes remained resolute not to publish his treatise on physics.\n\nDescartes continued to study physics, but he refrained from publishing conclusions that could be objectionable to the church, and concentrated on a different form of physics. The shock of the trial of Galileo caused Descartes to move from theoretical physics\u2014physics based on the use of mathematics\u2014to experimental physics, that is, physics based on experiments in the real world, without a theoretical basis that might lead to conclusions that could enrage the powerful Inquisition.\n\nIn his first and most important published book, _Discourse on the Method,_ which appeared in 1637, Descartes publicly explained his dilemma of Le _Monde._ Right after the beginning of the fifth part of his _Discourse,_ Descartes wrote the following.\n\nI would now need to speak about several questions that are considered controversial by the savants, with whom I do not wish to get embroiled; I think it would be better that I abstain from doing so, and that I say only in general terms what these issues are, and leave it to the wisest to determine whether it should be useful for the public to be informed about these issues more specifically.... I have taken notice of certain laws that God had thus established in nature, and of which he had imprinted such notions in our souls, that after enough reflection about them, we would not doubt that they are exactly observed in everything that is or is done in the world. Furthermore, considering the consequences of these laws, it seems that I have discovered many truths that are more useful and more important than the ones I had learned at first, or hoped to learn.\n\nDescartes' _Le Monde_ was published only in 1664\u2014fourteen years after his death. The passage above refers to the material in chapter VII of _Le Monde,_ in which Descartes described the three principal laws of nature governing the movements of bodies. These laws are speed, direction, and communication of movement in space. According to Descartes, these rules are founded on the immutability of divine law. Descartes believed that God created the laws of nature and _made them known to man._ He thus believed that the rotation of the earth and the revolution of the earth and the planets around the sun were direct consequences of the laws of conservation of momentum (to use modern terminology) and that they were self-evident.\n\nBut because of his worries about the Inquisition, Descartes could only hint at these ideas. He had to use coded or disguised language, and to keep most of his scientific deduction secret. Because of the fear of upsetting the church by lending theoretical support to the Copernican theory, Descartes was robbed of recognition of his role in discovering the laws of motion and of the conservation of momentum. Apparently, Descartes' genius was so profound that he was able to deduce the rotation of the earth and the motion of the planets by deriving first principles of physics, and then applying these rules to the solar system. He attributed the resulting laws of nature to divine decree. The deepest insight we can gain about Descartes' process of reasoning and physical analysis\u2014and how it related to his religion and view of God in the universe\u2014which were the key elements in the retracted _Le Monde_ , can be gleaned from an important letter Descartes wrote to Mersenne on April 15, 1630. An excerpt follows.\n\nI would not allow myself in my physics to touch upon metaphysical questions, and particularly this one: that mathematical truths, which you call eternal, have been established by God and depend entirely on him, as does the rest of all creation. This, effectively, is like speaking about God as a Jupiter or Saturn and to subject them to the Styx and to the Destinies rather than say that these truths are independent of him. Do not worry at all, I beg of you, about assuring and publishing everywhere that it is God who has established these laws of nature, in the same way that a king establishes the laws of his realm. Now there is nothing at all that we are unable to comprehend, if our spirit inclines us to consider it, and all of these truths are innate in our spirit, in the same way that a king imprints his laws in the hearts of his subjects, if he has the power to do so.\n\nDescartes seems to have been desperate to convince Mersenne the friar that there is no religious reason to avoid considering any theory about the laws of nature, since these laws have been given to the world by God and, further, have been imprinted in our consciousness. Still, he chose to retract the book he had written about this subject, rather than expose himself to the dangers that lurk from less open-minded clerics, theologians, and philosophers.\n\nDescartes had been working toward a very ambitious goal\u2014a universal science (in Latin: _mathesis universalis)._ And he had achieved a landmark discovery. He was able to use geometry, an abstract discipline of pure mathematics, within his theory of the universe. Descartes was able to apply geometrical principles in physics, including optics and mechanics, and in his philosophy. But with what he perceived as terrifying events taking place in distant Rome just when he was ready to publish his discoveries, Descartes turned back. He withdrew the publication of _Le Monde;_ he hid his papers on the subject; and then he encoded the information in new papers, destroying the originals. Descartes made the numbers embedded in his text ambiguous; he achieved this by writing his numbers in a way that made them indistinguishable from symbols, so that only he could understand what he had written. The thickness of the symbols he used was Descartes' key to deciphering whether a symbol was a number or an abstract sign.\n\nModern scholars who have analyzed the text of _Le Monde_ have discerned in it what they called the \"Fable of the World.\" Descartes was so concerned with hiding his true beliefs about nature that he even went as far as to disguise the world he was writing about. The world described in Descartes' withdrawn _Le Monde_ is not our world. It is a mythical world that exists only in Descartes' own mind. It is _his_ world. And in this fable of the world, the planets including Earth do revolve around the sun. Descartes could thus say anything he wanted about physics, biology, and the nature of light\u2014one of the important topics of his book\u2014without fear of ever being criticized. Hiding his physics by way of a \"fable\" was one more layer of protection Descartes built around himself. In the letter to Mersenne of November 25, 1630, Descartes wrote: \"I like it very much, my fable of the world.\" So why did he have to take the extreme step of withdrawing this book from publication after he heard about the trial of Galileo in Rome?\n\nThe correspondence between Descartes and Mersenne reveals much about the development of science, about the relationship between these two men, about Descartes' state of mind, about the fate of _Le Monde,_ and it perhaps even gives us a hint about the reasons for his move to Holland.\n\nOn February 1, 1634, Descartes wrote to Mersenne from Deventer:\n\n_Mon Reverend Fere,_\n\n_While I don't have anything in particular to share with you, it has been more than two months that I have not received news from you, and I thought it best not to wait any longer before writing to you; as I've more than enough proof of the goodwill that you have so kindly chosen to bestow on me, I've had no occasion to ever doubt it, but still I feared that perhaps that feeling has cooled off, since I had not made good on my promise to send you something of my philosophy. But the knowledge I have of your virtues makes me hope that you will still have a good opinion of me, once you see that I have voluntarily and entirely canceled the treatise [that is,_ Le Monde], _thus losing four years of my work, for the purpose of giving full obeisance to the church, since it defends the opinion about the movement of the earth. And anyway, since I have seen neither the_ _pope nor the council ratifying such a defense, done only by the congregation of cardinals established for the censorship of books, I know well that now in France their authority is such that they can make of it an article of faith. I allow myself to say that the Jesuits have aided in the condemnation of Galileo, and all the books of P. Scheiner provide enough proof that they are not his friends. But otherwise the observations in that book furnish enough evidence for the movements he attributes to the sun, that I am of the belief that P. Scheiner himself is not of the opinion of Copernicus. I find this so astonishing that I do not dare publish my own sentiment. For me, I search for nothing but rest and the tranquillity of spirit, goals that cannot be achieved by those given to animosity. I wish only to instruct others, especially those who have already acquired some credit for fake opinions and have some fear of loss lest the truth be revealed._\n\n_I am your very obedient and very affectionate servant, Descartes_\n\nDescartes never even sent a copy of the withdrawn _Le Monde_ to his friend Mersenne. Pere Christoph Scheiner, to whose works Descartes refers, was a Jesuit astronomer who had published a treatise on sunspots. He was a good scientist and his analysis of sunspots was based on the earliest observations of this phenomenon. Galileo, however, ridiculed Scheiner's work, thus turning him into a bitter foe who then joined in the attacks against him.\n\nDescartes appears to be jittery and fearful of the formidable forces he imagines to be arrayed against him and science in general. He seems to have a genuine, warm friendship with the friar, which he is eager to maintain. And yet, a careful reading of the letter leaves the reader with the feeling that Descartes is aware of the fact that his friend is also a member of the church. Descartes stops just short of an outright condemnation of the church, although his feelings are quite evident.\n\nDescartes' following letter continues in the same vein, but his tone becomes harsher, and he is more blunt about the predicament in which he finds himself because of his views. We learn that Descartes' retracted treatise was probably a very interesting and valuable scientific piece of work providing support for the ideas of Galileo. The letter is datelined Deventer, end of February 1634-\n\n_Mon Reverend Fere,_\n\n_I learn from your letter that the previous ones I had sent you have been lost, although I believe I have addressed them correctly. These letters explained at length the reasons why I have refrained from sending you my treatise, which I have no doubt you would have found legitimate, and far from blaming me or even going so far as not wanting to see me again, you would have been the first to exhort me, had I not been already myself resolute in my views. No doubt you know that Galileo had been convicted not long ago by the Inquisition, and that his opinion on the movement of the earth had been condemned as heresy. Now I will tell you that all the things I explain in my treatise, among which is also that opinion about the movement of the earth, all depend on one another, and all are based on certain evident truths. Nevertheless, I will not for the world stand up against the authority of the church._... I _have the desire to live in peace and to continue on the road on which I have started._\n\nIn the meantime, Descartes obtained a copy of Galileo's book and was able to read for himself the heresy that had put the great scientist in peril. Descartes' next letter to Mersenne is from Amsterdam, on August 14, 1634. He writes:\n\n_I begin to feel sorrow for not having any news from you...._ Mr. _Beeckman came here on Saturday evening and brought me the book of Galileo, but took it with him to Dort this morning, so I had the book in my hands for only thirty hours. I haven't had the_ _opportunity to read it all, but I can see that he philosophizes well about the movement of the earth, even though it is not enough to persuade_.... For _what he says about a cannon fired parallel to the horizon, I believe that you will find quite a measurable difference, if you should perform this experiment. As for the other things, the messenger did not allow me enough time to read the material to be able to respond about these issues, and it is impossible for me to give a resounding answer on any issue of physics after my having explained all of these principles in my own treatise, which I have resolved to suppress._\n\nDescartes clearly believed that his own writings, published or withdrawn, contained the correct answers to the problems of physics. Perhaps this is what made him feel so close to Galileo, and thus to dread a similar or worse fate. In a letter from Leyden on June 11, 1640, he writes: \"You write me about Galileo as if he were still alive, and I think that he's been dead for a long time now.\" Actually Galileo was alive at that time and lived for another two years, passing away on January 8, 1642. Descartes was apparently so distraught and fearful of a fate similar to Galileo's that even though he was ignorant of Galileo's fate, he assumed that the old Italian scientist must already have died\u2014perhaps at the hands of the Inquisition. We see in these letters a portrait of an intellectual in the process of going into hiding.\n\n# Chapter 13\n\n# _A Secret Affair_\n\nWHILE PREPARING HIS MASTERPIECE, the _Discourse on the Method,_ having finally put the _Le Monde_ debacle behind him, Descartes settled down to a reasonably quiet and happy life in Amsterdam. He lived in a building at (today's) 6 Westermarkt Street, near the West Church.\n\nDescartes rented rooms in the building for himself and his valet from a man named Thomas Sergeant. His landlord had a pretty servant named Helene Jans, who did Descartes' housekeeping. Helene may have been a servant, but she was literate, since we know that in later years she wrote letters to Descartes. She had some education and a degree of culture. One autumn evening in 1634, while relaxing in a common area in the building at 6 Westermarkt Street, the two of them became lovers. According to Baillet, their daughter was conceived on Sunday, October 15, 1634 Clerselier reported in Paris that Descartes had told Chanut in 1644 that \"it has been ten years now that God has removed me from that dangerous engagement.\" And we know that the baby girl, whom Descartes named Francine, meaning \"Little France,\" was born on July 19, 1635. She was baptized in Deventer on August 8 in a Protestant ceremony, following the religion of her mother. Baillet has this to say about this episode:\n\nThe marriage of Monsieur Descartes is, for us, the most secret of the mysteries of the hidden life that he led outside of his country, far from his relatives and allies. This episode of his life may not have been one expected of a philosopher. But it was difficult for a man who for almost his entire life had been most interested in the workings of anatomy to practice rigorously the virtues of celibacy in order to conform with the laws that our saintly religion prescribes for those who live in bachelorhood.\n\nAfter the publication of the _Discourse,_ Descartes traveled to the Dutch coast, staying in the area around Haarlem, an isolated region of windswept sand dunes and grass. Having settled in this area, he sent for Helene and Francine to join him. Descartes wrote to a friend telling him about his move and about his desire to bring his \"niece\" to visit him. This was how Descartes referred to Francine, since he was hiding the fact that he had a daughter. His letter also indicated that he wanted to bring Helene to the house he was renting, perhaps to work as a maid for his landlady.\n\nDescartes had intended to send Francine to France so that she could get a good education from a relative of the Descartes family, Mme. du Tronchet. But tragically, the girl died of scarlet fever on September 7, 1640, after three days of illness. Descartes was devastated by the death of his daughter. Years later, Descartes was attacked by a Dutch theologian named Gisbert Voetius for \"having children outside the confines of marriage.\" But was Francine born outside of a marriage?\n\nThere are some clues that Descartes and Helene had secretly married. The record of the birth of Francine in the registry of births in Holland lists her in a way that can very well be interpreted as referring to the daughter of a married couple. Descartes was very attached to both Helene and their daughter, Francine, and may well have secretly married the mother. Since she was a servant, Descartes wanted their relationship\u2014marriage or other\u2014to be kept secret. But the girl was the love of his life. Still, he wandered and did not live with them for long. After the death of Francine, Descartes viewed his relationship with Helene as a folly of youth, explaining apologetically that he was a man, that he was young at that time, and that he had never made a vow of chastity.\n\nThree weeks after Francine died, Descartes left her mother in Amersfoort and moved to Leyden. He was brokenhearted by the loss, but kept his connection with Helene for a period of time, writing letters to her from wherever he was at the time. Eventually, the relationship ceased to exist.\n\nNow Descartes would set his sights on women he considered more in line with his aristocratic upbringing. He became interested in a woman who was nothing less than a princess.\n\nAt about the time of the death of Francine, Descartes also lost his older sister. He was completely devastated by these deaths, and was inconsolable. He sought solace in study. But since he was alone, save for his servants, he could not exchange ideas with anyone. But as Descartes spent more and more time talking with his servant Jean Gillot, a Huguenot, he discovered that the man had a talent for mathematics. Descartes gave Gillot numerous problems to solve, and he performed admirably. It became clear to the master that the servant was better suited for mathematics than for his intended work. In a letter to his friend Constantijn Huygens (1596-1687), who was the secretary of the prince of Orange as well as a poet and amateur scientist, Descartes described Gillot as \"my only disciple.\" Gillot later went on to study with Huygens himself, and then studied with other mathematicians of the day. Eventually, Jean Gillot became the official mathematician to the king of Portugal\u2014a startling achievement for a man who began his working life as a servant, and eloquent testimony to the effects of association with Descartes.\n\nThe recent deaths made Descartes aware of his own mortality. Also, when he turned forty-seven, Descartes discovered gray hairs on his head and in his goatee. He was healthy, but the discovery of gray hair made him more concerned about the process of aging, and about death. He adopted a dog, which he named Monsieur Grat. People in the little towns and villages in which he lived in Holland would often see a lonely man walking his dog, lost in thought.\n\nDescartes changed his diet. He now ate mostly vegetables and fruits, avoiding meat almost completely. He was living in seclusion, in small towns close to agricultural areas and country markets that sold fresh foodstuffs. He would send a servant daily to the nearest market to buy fresh eggs, milk, fruits, and vegetables. Descartes had good sense about medicine and nutrition. But he wanted more. Descartes wanted to discover a way to live to for over a century.\n\nTo achieve this goal, Descartes began to visit butcher shops. He didn't eat meat\u2014he wanted corpses of animals. He would dissect animal cadavers, studying their anatomy in careful detail. Over the years, Descartes dissected hundreds of animals of different kinds. One of the pictures of a dissected animal Descartes drew is shown below. It is a copy of the original drawing, now lost, that Leibniz made at Clerselier's house in Paris.\n\nDescartes was interested in the relationship between body and soul. He dissected animals in part in order to learn anatomy and search for the secret of life in the hope of living a long time, and in part in an attempt to understand the relationship between the body and the soul. As we will see, Descartes' philosophy brought him to the belief that only people had souls.\n\n# Chapter 14\n\n# _Descartes' Philosophy and the Discourse on the Method_\n\nDESCARTES IS KNOWN AS THE FAther of modern philosophy thanks in large part to the publication of his book _Discourse on the Method of Reasoning Well and Seeking Truth in the Sciences,_ in 1637. The full title, in French, was _Discours de la methode pour bien conduire sa raison, et chercher la verite dans les sciences, plus la Dioptriaue, les Meteores et la Geometric qui sont des essais de cette methode._ The _Diop-trique,_ dealing with Descartes' discoveries in optics, the _Meteores,_ detailing his theories about natural phenomena such as the rainbow, and the _Geometrie,_ in which his important advances in geometry and its relation with algebra were explained, were three appendixes demonstrating the use of Descartes' general _method._ Descartes chose to write the book in French to afford it the widest possible readership among French speakers, thus following the example of Galileo, who wrote in his native Italian for a similar reason. Theirs were among the first intellectual works to be published in the vernacular, rather than the Latin of the church and the universities.\n\nBut the _Discourse_ wasn't published in France. It first appeared in print on June 8, 1637, through the publisher Jean Maire in Leyden, Holland. The first printing of the book appeared anonymously.\n\nDescartes' philosophy, which he explained in the _Discourse_ (as well as in his later works), provided the basis for seventeenth-century _rationalism:_ a trend toward emphasis on reason and intellect rather than emotion or imagination. Rationalism is generally contrasted with empiricism\u2014the view that the main source of substantial knowledge is experience. Descartes' philosophy is based on accepting certain essential truths, not derived from experience, and seeking a system of philosophic thought based on these a priori truths while armed with a method of reasoning Descartes named \"methodical doubt.\" Descartes viewed the mind, God, and matter as innate ideas that could not be discerned from our sensory experience in the world.\n\nThe aim of Descartes' philosophy is to use his method to reach the truth. Descartes' goal is not to discover a multiplicity of isolated truths, but rather a system of true propositions in which nothing is presupposed that is not self-evident. Thus, he insists on strong connections between all the parts of the system of knowledge he constructs. The system is thus impervious to the dangers of skepticism.\n\nDescartes understood philosophy to mean the study of wisdom. And this wisdom meant to him a perfect knowledge of all things that human beings can know or understand. Descartes therefore included in his philosophy also metaphysics and physics and natural science. He even included in his philosophy anatomy, medicine, and morals. Descartes stressed the practical aspects of philosophy, saying that a state can have no greater good than the possession of true philosophy. Descartes deliberately broke away from the past, and was determined to start his search for truth at the beginning of all knowledge, never accepting the authority of any previous philosophy. According to Descartes, all the sciences are interconnected and must be studied as a single entity using one process designed to elicit truth. As such, his thought was at odds with the established medieval Christian philosophy, called scholasticism, which embraced Aristotelian principles and held that the various areas of knowledge are distinct from one another.\n\nThe _Discourse_ was Descartes' first published book (other than the thesis he had written for his law degree in 1616). Descartes was forty-one years old when the _Discourse_ appeared and became the most important, most widely read, and most controversial book of the time. People soon learned the identity of the author of this seminal work. While he had not published anything until he reached this relatively advanced age, Descartes had already written much. He had written the withdrawn _Le Monde_ (whose full title was _Le Monde cm Traite de la lumiere)_ and had authored his _Rules (Regies pour la direction de ?esprit en la recherche de la verite)_ , which is generally believed to have been written as early as 1628. Descartes had refused to publish this work as well. The reasons for the late publication of the _Discourse,_ and the withholding from publication of the _Rules_ , have remained a mystery extensively debated by scholars. Here was a very private, \"masked\" man, reluctant to reveal to the world his deepest thoughts and theories. We know that the trial of Galileo in 1633 caused the withdrawal of _Le Monde_ \u2014but why the refusal to publish earlier, five or more years before that trial? Was fear of the Inquisition affecting Descartes even at that early period? Or were there other reasons for Descartes' behavior?\n\nGalileo was first condemned by the church in 1616 for his support of Copernicus. And in an edict issued that same year, the Inquisition forbade the publication of any book supporting the Copernican theory in all the countries under the influence of the Catholic Church. Descartes had been aware of these developments and may already have been wary of the church and its potential response to his own work should it be published. He therefore may have decided well before Galileo's trial to refrain from letting his work become public. The news of Galileo's trial, however, greatly intensified Descartes' feeling that he had made the right decision.\n\nThe _Discourse on the Method_ and its scientific appendixes reflect Descartes' painful dilemma. On the one hand, he could not allow himself to publish freely about physics, since the concepts behind his theories were all in line with those of Galileo and Copernicus, and Descartes had vowed not to contradict the views of the church. On the other hand, by 1637, Descartes felt a strong internal need to publish, and had already been under pressure from many friends and correspondents asking to read his philosophy and his views of nature.\n\nThe book and its appendixes were thus a compendium of Descartes' ideas, but one in which essential parts of physics were suppressed in order to keep the text from professing the forbidden heliocentric view. Descartes' universe, as implied by his published writings, is one that has no center and whose dimensions are infinite. These assumptions allowed Descartes to hide his true opinions and deductions about the universe and to avoid altogether the Copernican controversy. These views, however, were contrary to the scholastic tradition, according to which the universe is finite and infinity belongs to God alone.\n\nAccording to recent research on Descartes' writing chronology and development of ideas, the three appendixes, the _Dioptrique,_ the _Meteor es,_ and the _Geometrie,_ were formulated within the withdrawn _Le Monde._ They had thus been written some years earlier. What Descartes had done in the intervening years was to carefully reformat his work, discarding _Le Monde_ and rewriting his science in such a way that it contained no traces of the forbidden physics. He then wrote a preface to the three appendixes containing his sanitized scientific writings, and published them. In fact, as evidenced from the sixth part of the _Discourse,_ as well as from various letters Descartes wrote in 1633 and 1634, _Le Monde_ itself was simply an _extension_ of an earlier work titled _Les Meteores,_ dealing with a wide variety of issues in natural science, which was ready for publication in 1633. Furthermore, a treatise titled _La Dioptrique_ was ready to be shipped to the printers as early as 1629, when it was withdrawn from publication. These early writings were painstakingly revised and appeared with the now-famous preface, titled the _Discourse on the Method._ Descartes' complex publishing history demonstrates the lengths to which he was ready to go in order to protect himself. His was probably the most complicated attempt to edit out controversial material in publishing history.\n\nThe _Discourse on the Method,_ intended as a preface, became the main piece of writing, for it contained the principles of Descartes' philosophy. And thus this book is often published as a stand-alone treatise. The _Discourse_ is unique in its format as well, as it constitutes a biographical account of the development of a philosophy\u2014the story of the philosopher's journey of discovery.\n\nDescartes' _Discourse on the Method_ is composed of six parts. In the first part of the book, Descartes introduces his thoughts and explains how they developed. He writes about his education at the College of La Fleche and describes the ideas to which he had been exposed. \"What pleased me most was mathematics, because of its certitude and its reasoning,\" he writes. Descartes explains how he came to believe that he could use the idea of mathematical proof in philosophy. This led him to the concept of doubt and the decision to doubt everything that he could not ascertain as true. Here the nascent Cartesian thought diverges from the accepted medieval scholastic philosophy, which held that there were three possible levels for all propositions: false, probable, and true.\n\nIn embracing purely mathematical methods of obtaining knowledge, Descartes does away with the probable and assumes the falsity of everything that he cannot prove with logical power analogous to that used in the demonstration of a theorem in geometry. He writes: \"I have always had an extreme desire to learn how to distinguish the true from the false, in order to see clearly in everything that I do, and to march forward with confidence in this life.\" Descartes mentions his years of travel that followed his education, \"thus studying from the book of the world,\" and concludes by stating his resolution to continue his search for truth through introspective study, never straying too far away from his books.\n\nDescartes begins the second part of his _Discourse_ by telling us that after witnessing the coronation of the new Holy Roman Emperor and joining the army in Germany, he spent the winter in an \"oven,\" devoting his time to thinking. Among his first ideas was the notion that works by a single master are more attractive, and in a way more true to reality, than those that had been constructed by several people. From this view, he concludes that his first duty is to renounce all knowledge that had been obtained as a result of the work of many different people, that is, he wants to reject the prevailing philosophy\u2014surely the work of many minds over generations\u2014and to start the construction of a system of knowledge that is the work of one man alone: namely Descartes himself. All he would retain from previous knowledge would be logic, geometry, and algebra. He then states four principles that would guide him in this endeavor:\n\n  1. To accept as true only that which cannot be doubted.\n\n  2. To divide every problem into as many parts as would be necessary in order to solve it correctly.\n\n  3. To order his thoughts from the simplest to the most complicated.\n\n  4. To enumerate all concepts so that nothing pertinent is omitted.\n\nDescartes then discusses how problems of mathematics are solved using his system, which is an extension of the ancient Greek method of proving theorems by means of first principles and logical concepts. He states his desire to be able to derive philosophical knowledge by way of the same mathematical methodology used in geometry.\n\nThe third part of the _Discourse on the Method_ is devoted to questions of morality. Descartes tells us that he had resolved to follow the laws and customs of the land in which he lives. He wants to be firm and resolute in all his actions; and he wants to devote his life to cultivating his reason and rationality and to apply them in all his actions. Descartes tells us how he returned to his travels and spent the following nine years \"rolling here and there in the world.\" He describes his move to Holland, away from the places where he was known.\n\nIn the fourth part of the _Discourse,_ Descartes returns to the main thrust of his development of a philosophy. He starts with his methodical doubt: I doubt, or negate, everything that cannot be proven in a mathematical way, he says. So what can Descartes prove ? Everything is taken to be false. But Descartes, the person, is doing this doubting. So one thing can be deduced as true: Descartes exists. Otherwise, he could not doubt. Thus, from the negation of everything, a proof is derived of the existence of the person doing the doubting. This is the most brilliant deduction in the history of Western thought. The proof is absolutely beautiful, and it follows mathematical principles of proof. One could even look at this deduction as a proof by contradiction\u2014a favorite method of mathematical proof: Assume that I do not exist. But if I don't exist, then I could not doubt, or assume the falsity of everything in the universe. Thus I must exist. From this deduction comes Descartes' famous _\"Cogito, ergo sum\":_ I think, therefore I am.\n\nThe thought that I have is the primal doubt that begins the chain of deduction. I doubt everything; but this doubt is a thought; and the thought proves that I exist. I cannot doubt the fact that I am doubting; thus I, at least, must exist.\n\nDescartes continues his logical process of deriving truth. Doubt implies uncertainty. And uncertainty implies imperfection. Human beings and everything in their environment are imperfect. But the idea of the imperfect implies the existence of something that is not imperfect. That which is not imperfect is, by definition, perfect. And perfection belongs to God. Thus Descartes deduces the existence of God from the fact that the perfect must exist. Perfect triangles and circles are geometrical figures that do not exist in our imperfect everyday world\u2014but they do exist as ideas, as models that imperfect triangles and circles of the real world approximate. The ideal perfection implies a perfect being, God. Descartes then proceeds to the concept of a geometric space. According to Descartes, space is infinite: it extends indefinitely in all directions. Descartes' idea of a space that is unlimited in its extent leads him to the idea of infinity, and the conclusion that the infinite is God. Hence the notion that space is infinite gives Descartes another confirmation of the existence of God.\n\nIn the fifth part of the _Discourse,_ Descartes turns to problems of physics and natural philosophy. He states that he cannot divulge all his beliefs about the physical world, a hint about the withdrawal of _Le Monde._ He writes about gravity, about the moon, and about the tides. His writing shows that he understands a great deal about physics. Then Descartes turns to biology and anatomy, as another example of the application of his method of reasoning. He describes the function of the heart, but incorrectly. Descartes assumes that the heart's temperature is higher than that of the rest of the body, and that the difference in temperature makes the blood flow in and out of the heart. A discussion of the function of other body parts, again flawed (he does not understand the function of the lungs, thinking their purpose is to cool the blood), leads him to the difference between animals and people. Descartes believes that language implies the existence of reason and intelligence, and hence that animals possess neither. Animals are automata, he concludes, and lack intelligence and a soul. Body and soul are separate, according to Descartes, and here again, his philosophy is at odds with scholasticism, according to which the soul is part of the body.\n\nIn the sixth and final part of the _Discourse on the Method,_ Descartes states the reasons why he wrote his book. His main purpose was to contribute to the general good: he became an author in order to improve the conditions of human existence. He again returns to the dangers inherent in writing, and the fact that he could not tell us everything about his thinking and deductions about the physical world. He would accept no patronage or state pension for his work, he tells us. He wants to apply his method to the search for a deep understanding of nature with the goal of finding a way to prolong life. This aim was in keeping with the spirit of the time, the seventeenth century, when people hoped to live to the ages of the patriarchs. Finally, Descartes explains why he wrote in French rather than Latin.\n\nBut Descartes realizes that his philosophy is controversial. He is well aware of the fact that it contradicts the prevailing thought of his time. Perceptively, Descartes predicts that he would face staunch opposition for his views\u2014but as a soldier, he is ready to defend his philosophy. He would indeed be forced to do so.\n\nThe publication of the _Discourse on the Method_ made Descartes immensely famous. The book quickly elicited both positive and negative reviews by scholars, and Descartes would spend much time over the following years answering letters by many scholars about his work. His treatise became a best seller all over Europe, but the controversy result ing from this work made Descartes withdraw from people even more, interacting with the outside world mostly through letters.\n\nIn their _Fama fraternitatis_ (1614), the Rosicrucians advocated \"correcting the deficiencies of the church and improving moral philosophy.\" Descartes, who in 1637 was still unhappy about the rumors that he was a member of the Brotherhood of the Rosy Cross, continued to counter them. He wrote in his _Discourse:_ \"There have been as many reformers as heads,\" implicitly arguing against reform, to further distance himself from the Rosicrucians. He also made statements about being \"suspected of this folly,\" elliptically alluding to the association with the brotherhood. And toward the end of the first part of his _Discourse,_ Descartes puts it quite clearly:\n\nAnd finally, about bad doctrines, I thought I already knew well what they are worth, so as not to fall prey to deception, neither by the promises of an alchemist, nor by the predictions of an astrologer, nor by the impostures of a magician, nor by the device of praise by those who make a profession of knowing more than they know.\n\nThus, almost two decades after he left Germany, Descartes was still concerned about the rumors connecting him with the Rosicrucians. Yet some doubts linger as one reads his writings. Earlier in the _Discourse,_ Descartes writes: \"I had browsed through all the books treating the topics one would consider the most _curious\"_ (emphasis added). According to a number of scholars, the French word _curieuses_ had a particular meaning in the seventeenth century, and \"curious\" sciences were those dealing with special knowledge: magic, astrology, and alchemy. The words \"curious science\" and \"curious books\" appear often in the _Discourse._\n\nIn his _Discourse,_ Descartes placed hints about his secret notebook. In the second part, Descartes writes about the \"analysis of the ancients and the algebra of the moderns.\" He alludes to the use of symbolic secret characters that are part of a \"confusing and obscure art.\" Three pages later, he refers to an important \"solution\" to a problem he had found after an intense period of work. Descartes writes about a method that, applied to \"arithmetic,\" gave him the solution, the proof, to his problem. It has been conjectured that Descartes refers here to the problem solved in his secret notebook.\n\nDescartes' geometrical work was described in his _Geometric_ This treatise is the most important appendix in history, for it encompassed Descartes' groundbreaking work in geometry and his wedding together of geometry and algebra\u2014his greatest legacy in mathematics. His _Geometrie_ was the \"sum of all the science of pure mathematics.\" It would play a crucial role in the development of modern mathematics. Descartes knew that this appendix was, by far, the hardest to understand, and noted so in his text, warning the reader that an advanced level of knowledge in geometry might be required. The _Geometrie_ contained extensive discussions of equations and graphs. The graphs representing the equations could not have been created without the idea of the Cartesian coordinate system, which allowed each equation to be represented with perfect precision as a curve drawn on paper. This invention was an extension of ancient Greek ideas. The Cartesian coordinate system in two dimensions is shown below.\n\nThe Cartesian Coordinates\n\n# Chapter 15\n\n# _Descartes Understands the Ancient Delian Mystery_\n\nDESCARTES WAS ENGROSSED IN THE problem of the doubling of the cube\u2014the Delian puzzle that had eluded the ancient Greeks. In order to attack it, however, he needed to make more progress on understanding exactly how constructions with straightedge and compass work. He needed a tool to allow him to study these constructions, and his coordinate system constituted the required tool. Using the Cartesian coordinate system, Descartes constructed a connection between numbers and shapes\u2014between geometry and arithmetic. The ancient Greeks had come close. For example, the Pythagoreans were able to see that the sides of a square or rectangle could be represented by numbers. This is how the Pythagorean theorem worked. If you defined the dimensions of a square as 1 unit by 1 unit, then by the Pythagorean theorem, the hypotenuse was the square root of 2. This is seen as follows.\n\nIn this sense, then, one could view the distance extending to the right of the bottom left corner as 1, and the distance extending up from that corner also as 1, measured in the perpendicular direction. This gave Descartes the idea to formalize the observation of the ancient Greeks to create a _coordinate system._ Descartes realized that _any point_ in the plane could now be described in terms of both its x-coordinate and its y-coordinate.\n\nThis breakthrough opened up a new world for Descartes\u2014and would create a new world for science. But in particular, Descartes now knew what was constructible with the ancient tools of straightedge and compass, and how to construct it.\n\nDescartes observed that a number, _a,_ is constructible if we can construct two points that are a distance of _a_ units apart. In his new coordinate system, a number _a_ is constructible if Descartes can construct either the point _(a,_ 0) or the point (0, a). Descartes observed that if _a_ and _b_ are constructible numbers, then so are the numbers _a+b, a\u2014b, ab,_ and _alb._ These properties are demonstrated in the figures below.\n\nThis was a great advance. The creation of the Cartesian coordinate system immediately taught Descartes much about numbers that could be constructed with straightedge and compass. But as we will see, more could be done with these instruments: the numbers that can be constructed are more extensive than just sums, differences, products, and quotients of constructible numbers.\n\nHaving used his new coordinate system to produce such fruitful results, Descartes took one big step forward. He was able to show that it is possible to use straightedge and compass to construct the _square root of a number._ The reason this is such an important, and perhaps unexpected, result has to do with the fields of numbers we are considering.\n\nThe rational numbers form a _field._ This means that if you start with rational numbers you stay with rational numbers: you stay within the same system, the same field, by taking sums and products and _inverses._ Every rational number\u2014that is, either an integer or a ratio of two integers\u2014has an inverse that is also a rational number. Simple examples are 7, whose inverse is 1\/7. Or \u201415, whose inverse is \u20141\/15. Or 3\/19, whose inverse is 19\/3. But generally, _square roots are outside the field of rational numbers_ (except for the trivial cases: for example, the square root of 4 is an integer, 2). The square root of 2, for example, is outside the field of rational numbers, since no simple arithmetical operation on rational numbers (fractions whose numerators and denominators are integers) will produce the square root of 2.\n\nBut Descartes was able to show that constructions with straightedge and compass can still lead to square roots of numbers. This was one of his greatest achievements in mathematics, and the proof appears on the second page of his _Geometrie._ In providing this amazing proof, which would have stunned the ancient Greeks since they could only construct much simpler things, Descartes showed that the _field_ of all the numbers that can be constructed with straightedge and compass is greater than the field of rational numbers since it now also includes square roots. Descartes was not able to show that this field includes cube roots of numbers, or any higher-order roots.\n\nIn fact, it would be shown two centuries after Descartes, through the work of the tormented genius Evariste Galois, a French mathematician who died in a duel at the age of twenty, that cube roots are not constructive, and that neither are any higher-order roots.\n\nDescartes understood that it was this property\u2014namely, that the straightedge and compass can go as far as square roots, but not far enough to cube roots\u2014that made the Delian problem of the doubling of the cube impossible. It is important to note, again, that Descartes made a great stride forward by _proving_ that square roots are constructive, but that he did not _prove_ that cube roots are not. He \"understood\" that they were not, but the actual proof would require Galois Theory.\n\nIn a sense, the result could be seen as intuitive: since straightedge and compass are devices that work on the _phne,_ they allow us to take _square roots_ (recall that the square root of a square\u2014a figure that lies _in the phne_ \u2014is the side of the square, also lying in the plane), but not cube roots. A _cube_ naturally lives in three-dimensional space, and the _cube root_ of the cube is the side.\n\nHere is how Descartes proved that square roots are constructible with straightedge and compass: Descartes constructed, with the Greek straightedge and compass, the figure on page 166.\n\nHe now used the Pythagorean theorem _three times._ He obtained\u2014 from observing the three right triangles in the figure,\n\nOpening up parentheses and substituting the second equation into the third, he got\n\na2+2a+l=c2+l2+b2\n\nNow substituting for c2 the sum _a l+b2_ using the first equation, he got that the equation above is\n\na2+2a+l=a2+b2+l2+b2\n\nThat gave him\n\n2a=2b2\n\nOr _b=\u221aa._ Thus, using straightedge and compass, one can construct square roots. Voila!\n\nDescartes realized the following: doubling the cube was an operation in three-dimensional space, and hence the straightedge and compass\u2014 inherently _plane,_ or two-dimensional, instruments\u2014could not provide a solution. Equivalently, using algebra, he noted that to double the cube was equivalent to constructing the cube root of 2. He had proved that the square root of 2 was constructible, but he understood (although his proof was inadequate, and the correct one would come two centuries later) that the cube root was not. Descartes began to think about higher dimensions\u2014he was captivated by the mathematical properties of the cube, and by the mystical aspects the Greeks attached to this perfect three-dimensional object.\n\n# Chapter 16\n\n# _Princess Elizabeth_\n\nWHILE WORKING OUT THESE GREEK problems, Descartes continued his wanderings through Holland. He lived in Eg-mond, then in Santpoort, and then near Haarlem. Throughout his travels, he received mail that was forwarded to him and followed his trail. One day Descartes received a letter about a princess. Princess Elizabeth of Bohemia was also living in Holland\u2014in exile. As a young child she escaped from Prague with her parents; as we've seen, her father, Frederick V, had been deposed as king of Bohemia right after Descartes and the victorious Bavarians and imperial troops stormed into the defeated city in 1620.\n\nFrederick then died of the plague in Mainz in 1632, at the age of thirty-six, leaving a widow and nine children, four princesses and five princes. Princess Elizabeth was the oldest of these children. Since the deposed king's mother was the sister of Prince Maurice of Nassau (Descartes' former military employer), his widow and children had a right to seek refuge in Holland. To her dying day in exile, Elizabeth kept the title of queen of Bohemia. Her grandson would become King George I of Great Britain.\n\nLife in exile was not easy for Elizabeth and her family. While he was still alive, Elizabeth's father, Frederick, tried from time to time to enjoy some of the pleasures he was once accustomed to as king, albeit on a much smaller scale. One day, he took his dogs and horse and went on a hunt. He was chasing a hare through the countryside when his dogs led him across a cultivated field. Before he knew it, an irate hulking peasant came out, wielding a pitchfork. \"King of Bohemia, king of Bohemia!\" he bellowed, apparently recognizing the exiled monarch, \"you have no right to trample on my turnips like that! I'll have you know that I have worked hard to sow them.\" The deposed king apologized and quickly moved off the field, saying that his dogs had brought him there despite all his good intentions. J.-M. and M. Beyssade, who recount this story in _Descartes: Correspondance avec Elizabeth.,_ point out that in other circumstances, the rustic would have been severely punished for his insolence: in France, they surmise, he would have been put in irons; and a German prince would certainly have set his dogs on the impudent peasant.\n\nThe young Elizabeth had a thirst for knowledge, ever seeking to improve herself. She had read a Latin translation of Descartes' book the _Discourse on the Method_ and wanted to learn more about his philosophy. Elizabeth was interested in all the philosophical questions that Descartes had written about. She wanted to find answers to questions about his metaphysics; she was interested in the relationship between body and soul; and she wanted to know more about his proofs of the existence of God. In addition, Elizabeth was interested in mathematics, and in particular wanted to learn how Descartes solved problems in Greek geometry and to try her hand in solving such problems using his methods.\n\nPrincess Elizabeth was acquainted with a man whose origins were in Piedmont, named Alphonse Pollot (originally Pallotti), who had known Descartes and had renewed his friendship with the philosopher after reading Descartes' book himself. Pollot wrote to Descartes that the princess was interested in meeting him. At that time, Descartes lived not far from the deposed royals' abode. Flattered by the interest of a princess, Descartes agreed to meet her. He wrote to Pollot that he would come to her town (coincidentally named La Haye, the name of his own birthplace in France) and would \"have the honor to bow to the princess and receive her orders. As for that which I hope would happen next...\" Evidently, the aging philosopher did entertain hopes of something more.\n\nPrincess Elizabeth was twenty-four years old when she met Rene Descartes in 1642. At forty-six, he was almost twice her age. His nascent relationship with the princess made Descartes leave his more remote dwellings in Holland and move to Leyden and its vicinity so he could be close to her. Elizabeth became a student of Descartes' philosophy. According to Baillet, \"Never had a master profited more from the penetrating mind and solidity of spirit of a disciple. Elizabeth was capable of profound meditation on the greatest mysteries of nature as well as geometry.\"\n\nElizabeth spoke perfect German like her father, perfect English like her mother, was proficient in French, and had learned Italian and Latin. She was educated in the sciences as well, and had good ability and great interest in mathematics and physics. She was described as beautiful, and looked even younger than her twenty-four years. In his letters, Descartes would describe her as an angel. She would end all her letters to the philosopher with \"Your most affectionate friend to serve you.\"\n\nThere developed a tender relationship in which the two of them exchanged ideas. Many letters between Descartes and Elizabeth survive, and they paint a picture of a very lively and eager young woman, interested in learning from the older philosopher. Elizabeth was an excellent mathematician and understood Descartes' science and philosophy equally well. Descartes once said to her: \"Experience has shown me that the majority of people who have the ability to understand the reasoning of metaphysics cannot conceive those of algebra; and reciprocally, that those who understand algebra are ordinarily incapable of understanding metaphysics. And I see only Your Highness as a person for whom both disciplines are equally easy to understand.\"\n\nPrincess Elizabeth\n\nTheir letters were affectionate, but they give no hint of the true nature of their relationship. The reason for the ambiguity of the letters is that Descartes and Princess Elizabeth would meet and talk face-to-face, and most of the letters between them were only written later, once she was forced to leave Holland. When that happened, her letters always passed through the hands of her siblings, and therefore intimate details could not be included.\n\nLater events, however\u2014having to do with Descartes' decision to move to Sweden to become tutor to Queen Christina\u2014hint that Elizabeth may have been jealous of his new interest. Such jealousy, which was mentioned in Descartes' letters, may be an indication of a deeper attachment. Descartes guarded his privacy, making it impossible to determine the true nature of his relationship with the princess. One of his biographers, at least, did claim that Descartes and the princess had an intimate relationship. Descartes had been unable to publicly marry Helene because she was a servant and thus socially beneath him. Equally, Princess Elizabeth was above him and most probably could not marry him. For this reason, the two kept the nature of their relationship secret. But as friends, at least, they were exceptionally close.\n\nWhen Descartes moved farther north in Holland, in 1644, and was now a day's journey, rather than two hours', from La Haye, Elizabeth wrote him lamenting the distance that now separated them. But Descartes moved more and more frequently now. He felt uncomfortable staying at one location for long\u2014perhaps experiencing the feelings of persecution from the onset of the academic controversy that would later erupt into what became known as the \"Quarrel of Utrecht.\" And perhaps he was eager to hide from the world the true nature of his relationship with Elizabeth, and staying close to her would have betrayed the secret.\n\nIn May 1644, Descartes returned to France for an extended stay\u2014 his first visit to his native land in sixteen years. He lodged with a friend, Abbe Picot, in the Marais\u2014in the rue des Ecouffes between the rue du Roi de Sicilie and the rue des Francs-Bourgeois. Later, and during two other stays in Paris, Descartes rented an apartment just behind today's Place de la Contrescarpe.\n\nElizabeth wrote him letters to Paris, inquiring about physics and mathematics. From there, Descartes went south to the lands of his birth, visiting Blois (near Tours), Tours, Nantes, and Rennes, staying with his older brother, visiting his half-brother Joachim and his brother-in-law Roger, the widower of Rene's sister Jeanne. From there he wrote to the princess, promising her: \"I hope, in three or four months, to have the honor of paying you a visit in La Haye.\"\n\nDescartes would keep returning to visit Elizabeth, and while away from her, he would write often. But soon an invitation would come that would take him away from her, despite her protestations, and bring him to the court of a queen. There, he would take all his secrets. In his biography of Descartes, Stephen Gaukroger reports the hypothesis that Descartes left Holland for Sweden in order to intercede on Elizabeth's behalf with Queen Christina. According to this theory, Descartes was in love with Elizabeth and was heartbroken by her poverty in exile, so unfitting for a princess. Supposedly, Descartes was hoping to convince the queen of Sweden to take care of a fellow royal in distress.\n\nSuddenly, Elizabeth had to leave Holland and seek refuge in Germany. Two of her brothers had moved to England, to stay with the royal family, their uncle and aunt. A third brother, who remained in La Haye, got involved in a personal dispute with a Frenchman from Touraine, a M. d'Espinay, who was hiding there as the result of a love scandal back in France. Elizabeth's brother and the young man got into a fight in the spice market in town, and as a result the Frenchman died. Elizabeth's mother was furious and blamed Elizabeth for inciting her brother, a charge she vehemently denied. But the mother said, \"I never want to see either of you again,\" and the two siblings left for Germany. What was to be a relatively short stay eventually became permanent exile.\n\nKing Wladyslaw IV of Poland asked Elizabeth to marry him after his wife suddenly passed away, but she flatly rejected the royal offer. She was \"in love with Descartes' philosophy,\" she said, and wanted to devote her life to studying it. From Berlin, Elizabeth wrote even more frequently to Descartes. These letters were exchanged through an intermediary, her younger sister Sophie. These particular letters are now lost. We do know, however, that one letter in particular contained sensitive information, for in a subsequent letter, which survives, Elizabeth asked the philosopher to burn it.\n\nElizabeth lived with various members of her large family, and often moved from castle to castle in Germany. For a time she lived with her brother Charles Louis, who had become an imperial elector, in his castle in Heidelberg. She also lived for a time in Brandenburg with another royal relative. She would often go with friends and relatives to Berlin to listen to music or see a play. But her greatest occupation was pursuing Descartes' philosophy\u2014something she would continue to do after Descartes' death and her own entry into a convent in Westphalia, where she would end her days. At the convent, Elizabeth would establish a salon for Cartesian philosophy and would tell her guests that she had known the philosopher well.\n\nSome years later, Elizabeth's sister Princess Sophie also moved to the castle in Heidelberg to live with her brother the elector. She stayed there until her marriage to the duke of Hanover, who would become Leibniz's patron. Through this connection, Sophie would develop a close friendship with Leibniz.\n\n# Chapter 17\n\n# _The Intrigues of Utrecht_\n\nIN 1647, DESCARTES BECAME INvolved in one of the most vicious academic confrontations in history. It is hard to understand why Descartes got into the deep trouble he did. Great forces that had opposed his philosophy were finally converging to attack him simultaneously in Jone coordinated pile-on. For six years, from 1641 to 1647, Descartes had been living peacefully in the Dutch countryside, working on two books, _Passions de I'ame_ (\"Passions of the Soul,\" which would be published in 1649 and was concerned with the distinctions between body and soul) and _Prindpes de philosophie_ (\"Principles of Philosophy,\" an extension of his philosophical ideas, published in 1647). But Descartes was increasingly being harassed by Dutch academies and others who were opposed to his philosophy on various grounds.\n\nThis philosophy became popular in the years following the publication of Descartes' _Discourse on the Method,_ and Cartesianism began to be taught at universities in Europe. But since Descartes' ideas were clearly contrary to the accepted scholastic tradition\u2014the legacy of the Middle Ages\u2014with the interest in Cartesian principles also came a growing opposition from people who held on to the old beliefs.\n\nJean-Baptiste Morin (1583-1665), a mathematician, physician, and astrologer whom Descartes had befriended in Paris in the 1620s, turned against him and first attacked his work in 1638. Morin was a proponent of the geocentric theory of the universe endorsed by the church, and saw in Descartes' scientific work a dangerous form of thinking. Morin challenged Descartes' entire approach to science, questioning his results in physics. He wrote him saying that science based on mathematics must not \"depend on any opinions drawn from physics.\" Morin sought in this way to detach science from what he saw as the evil influence of Copernican ideas in physics, fearing that they could contaminate mathematics.\n\nPierre Gassendi (1592-1655), a theologian and priest, was another scholar who disagreed with Descartes' writings. He questioned Descartes' philosophical work and the logical steps in Descartes' proof of existence based on his doubt, as well as his proof of the existence of God. Gassendi engaged Descartes in a series of epistolary exchanges about his philosophy. Antoine Arnauld (1612-94), another theologian and priest, raised similar objections to Descartes' philosophy. In reference to another book Descartes had authored, the _Meditations,_ published in 1640, Arnauld wrote: \"How does the author avoid reasoning in a circle when he says that we are sure that what we clearly and distinctly perceive is true only because God exists? We can be sure that God exists only because we clearly and distinctly perceive this.\" Paradoxically, despite his initial objections to Descartes' work, Arnauld went on to become an important Cartesian philosopher. He was a prolific writer, and his work on mathematics and philosophy filled forty-three volumes.\n\nMost of the objections to Descartes' work were raised in good spirit and led to fruitful discussions between the philosopher and his opponents. Some of them, like Arnauld, became convinced by Descartes' answers to their objections. But sometimes the opposition took the form of personal attack on Descartes himself. This was especially true in Holland, since the academics in that country knew that Descartes was living among them. Descartes did not hold an academic position himself, but his disciples did, and he was never too far from Dutch academic circles. One could view Descartes as living on the outskirts of Dutch ac-ademia. Descartes did not assume a faculty position at one of the universities because he valued his freedom to the degree that he would not have wanted to meet people on a regular basis\u2014students and fellow faculty\u2014as required of any professor. The University of Utrecht, however, was the closest to being the institution with which he was associated. This university taught Cartesian philosophy. Dutch theologians, however, being Protestant, often viewed Descartes' philosophical ideas as atheistic and antireligious. They tended to support scholastic and Aristotelian notions about the universe, and were therefore opposed to the new philosophy.\n\nDescartes was a religious Catholic\u2014and yet he was accused of atheism. This was a dangerous accusation. In 1619, a man by the name of Vanini had been burned at the stake in the French city of Toulouse for the crime of atheism. Descartes' archenemy in Holland was Gisbert Voetius (1588-1676), who perpetually accused Descartes of atheism. Ironically, Descartes had left France for Holland at least in part to escape the scrutiny of the church, and now in Holland he was being persecuted by Protestants. The Quarrel of Utrecht, as it became known, was fought through letters between Descartes and his accusers.\n\nA key letter written by Descartes became publicly known as the Epistle to Voetius. In this letter, Descartes argued for the rights of man, and alluded to Saint Paul in 1 Corinthians 13: \"All the rights of the Spirit amount to nothing without charity.\" This incited Voetius. A man by the name of Regius, or Henri le Roy (1598-1679), who was a disciple of Descartes and taught Cartesian philosophy at the University of Utrecht, helped Descartes in his conflict with Voetius by publishing papers supporting Descartes' ideas and by proposing Cartesian theses for public discussion.\n\nHis detractors were able to manipulate Regius, and the confrontation intensified. A friend told Descartes that his enemies behaved like pigs: \"Once you grab one of them by the tail, they all squeal.\" And indeed, that was exactly what happened: the senate of the University of Utrecht met on March 16, 1642, and publicly condemned Cartesian philosophy, forbidding professors from teaching it at the university. All of literate Holland was engulfed in this quarrel with Descartes' philosophy. And while the man to take the blame here was ostensibly Regius, there was no doubt in anyone's mind that the proclamations were against Descartes himself\u2014the man outside Dutch academic circles, and the creator of the new philosophy.\n\nTo make things worse for Descartes, his enemy Voetius was promoted to dean at the university and used his new powers to continue his persecution of Descartes. Since the hallmark of Descartes' philosophy is doubt, Voetius was able to manipulate it and to argue that this doubt leads to doubts about the existence of God; and hence the charge of atheism. History would judge Voetius a jealous professor who wanted to establish himself as greater than the popular Regius and chose to do so by attacking Regius's chosen philosophy, Cartesianism.\n\nVoetius secretly authored a derogatory book about Descartes, _Ad-miranda methodus novae philosophiae Renati Descartes_ (\"An Admirable New Philosophical Method by Rene Descartes,\" published in Utrecht in 1643). The author made a key accusation against Descartes: \"At first sight it is possible to say with reason that he belongs to the Society of the Brothers of the Rosy Cross.\" By then, Voetius had attacked the Rosicrucians in a book published in 1639. He used his familiarity with the brotherhood to associate Descartes with Faulhaber and other purported members. And he further used the suggested association of Descartes with the Rosicrucians to strengthen his accusation of atheism against him. Within a short time, the Rosicrucians themselves would use Voetius's writings to lend legitimacy to their brotherhood by touting their imputed association with the now-famous Descartes.\n\nThe conflict evolved into a personal attack by Voetius against Descartes himself, now publicly charged as an atheist. Descartes wrote a letter to Father Dinet, a Jesuit priest who had taught at La Fleche and whom Descartes regarded highly, trying to enlist his help in the academic dispute he now faced. But in his attempts to defend himself and his philosophy, Descartes made statements that could be interpreted as attacking the moral standing of Voetius. He exposed the fact that the _Admiranda methodus_ had been authored by Voetius, rather than another person, Martin Schoock, whose name appeared as the author.\n\nVoetius retaliated in the most vicious way: he sued Descartes for defamation. The university senate and other official bodies sided with Voetius. Now the municipality of Utrecht also took action against Descartes, placing a public poster in the center of Utrecht on June 13, 1643, making public Descartes' private letters to Dinet, which they had somehow obtained, and to Voetius. Descartes was officially charged with libel against Voetius, and was left with few options. He was now in serious trouble\u2014there was little hope of finding an honorable way out of this unexpected predicament.\n\nBut it seems that Descartes did not realize how seriously imperiled his standing was. He chose the words of the soldier that he once was, saying that while he wanted to live in peace, there was a \"time to do battle.\" He tried to rally the forces on his side and to continue to pursue his accusers. Descartes enlisted the help of France's ambassador to Holland, but that only served to alienate him further in his adopted country. On April 10, 1644, Descartes won a minor victory in his battle. Based on new evidence provided by Descartes and his allies, the senate of the university of Utrecht cleared Descartes partially of the accusation of atheism by noting that Voetius had used false testimony from Martin Schoock in his accusations against Descartes. The latter took the new judgment by the senate and sent it to the municipality of Utrecht in an effort to clear his name. But for the municipality, the case was set and Descartes remained accused of libel against Voetius. Descartes was told by the officials that the only way he could clear his name and have the charges against him dropped was by writing an official letter of apology to Voetius.\n\nDescartes understood that this was his only way out of the terrible conflict that could result in his being sent to prison. So on June 12, 1644, Descartes reluctantly wrote an official letter of apology to Voetius. But the conflict continued to brew because the letter, written in Latin, was not made public. Only in 1648 did the municipality of Utrecht translate Descartes' letter into French and Flemish and make it public. Descartes was left exhausted by this purposeless battle, and perhaps ready to consider moving elsewhere. This may have prepared him emotionally to accept an offer that would soon come to leave Holland for Sweden to assume the position of philosophy tutor to Queen Christina.\n\nInterestingly, Cartesian philosophy continued to flourish in Holland in the following years. New positions in philosophy were opened at both the University of Utrecht and the University of Leyden, in which professors of Cartesian philosophy were able to teach the discipline and see it flourish. Some historians claim that Cartesian philosophy took root in Holland _despite_ Descartes, rather than thanks to him. These historians note that perhaps a little more tact and diplomacy on the part of the philosopher would have gone a long way in helping him promote his teachings in Holland.\n\n# Chapter 18\n\n# _The Call of the Queen_\n\nEXHAUSTED BY THE QUARREL OF Utrecht, Descartes made another visit to Paris, staying in the apartment at the quiet location hidden just behind the Place de la Contrescarpe. It was here that Descartes made the acquaintance of Claude Clerselier.\n\nLike Descartes' own father, Clerselier was a councillor to Parliament. He was trained as an attorney but had wide-ranging philosophical and literary interests and ambitions. Clerselier had read all of Descartes' books and was an avid disciple of Cartesian philosophy. When he was sixteen, Clerselier had married a twenty-year-old woman of a wealthy family, Anne de Virlorieux, who brought him a significant dowry and later bore him fourteen children, many of whom died young. Since he was well off, Clerselier could indulge his love of literature and philosophy, and he spent his days collecting books and editing and publishing works he liked and whose authors he hoped to promote. Clerselier was so obsessed with Descartes and his work that he insisted that his entire family dedicate itself to the study of Cartesian philosophy. Clerselier continually sought Descartes' attention, offering to publish and promote his works.\n\nSoon Clerselier became Descartes' editor and translator. According to Baillet, Descartes told Clerselier \"the most intimate secrets of his heart.\" After some time, Clerselier told Descartes that there was one member of his extended family who wanted very much to meet him\u2014 his brother-in-law Pierre Chanut. Clerselier told him that his brother-in-law had already established a great reputation for his integrity, his morals, his doctrine, and his success in business and government. All of these had led to his being regarded in the king's court as a man useful to the state.\n\nDescartes, who in any other circumstance might have been more reluctant to meet someone new, and perhaps leery of what people's motives and intentions might have been, was favorably inclined to meet Chanut because of Clerselier's endorsement and because he had already heard of the man. Descartes' close friend Mersenne had mentioned Chanut in a letter, describing him as a person who was interested in Descartes' philosophy and had great admiration for his writings. Descartes agreed to let Clerselier arrange a meeting.\n\nA short time after Clerselier had introduced Descartes to Chanut, the latter wrote Descartes the following.\n\nI write to you with such confidence that it would seem, to a person who doesn't know me, that an uninterrupted friendship of forty years, or a similarity or equality of inclinations, had given me this liberty. For the latter, I would vow that there is such a great distance from your thoughts to mine, and that I feel I am so weak of character as compared to you, that one would be wrong to assume that you would ever love me because I resemble you in any way.\n\nDescartes allowed himself to be thus manipulated by flattery, especially since his new acquaintance followed his letters by actions. Chanut soon became France's resident in Sweden (and later would become ambassador), and was able to lure Descartes with a significant prize: the attentions of a queen.\n\nOn November 1, 1646, Descartes wrote the following curious passage in a letter to this new friend, after Chanut had been appointed resident of France at the royal court in Stockholm:\n\nMr. Clerselier has written me that you are expecting from him my _Meditations_ in French in order to present them to the queen of the land in which you are. I have never had as much ambition as to desire that persons of such high rank know my name; and further, if I had only been as wise as they say the savages persuaded themselves that the monkeys were, I never would have become known as a maker of books: Since it is said that they [the savages] imagined that the monkeys could indeed speak, if they wanted to, but that they chose not to do so lest they be forced to work. And since I had not the same prudence to abstain from writing, I now have neither as much leisure nor as much peace as I would have had if I had kept quiet. But since the mistake has already been made, and since I am now known by an infinity of people at the academy, who look askance at my writings and scour them for means of harming me, I do have a great hope of being known to persons of great merit, whose power and virtue could protect me.\n\nApparently, Descartes was by now drained emotionally and physically from the Quarrel of Utrecht and his other persecutions in Holland and was ready to accept the protection of the queen of a faraway land.\n\nChristina of Sweden was born on December 8, 1626, in Stockholm, the daughter of King Gustavus II Adolphus and Maria Eleonora of Brandenburg. At first, the midwives thought she was a male baby, and only as the kingdom began to celebrate the birth of the heir to the throne did people realize that in fact the baby was a little girl. Her mother was inconsolable that she had given birth to a girl, and found her daughter ugly. But the new princess, the king and queen's only child, would astonish everyone with her abilities. By the age of fifteen she had mastered Latin, French, and German, in addition to her native Swedish; eventually she would be fluent in ten languages. She read Plato and the Stoics, as well as other philosophy and literature. And she excelled in skills that were usually associated with males: equestrian sports, fencing, and archery. Christina claimed to have \"an ineradicable prejudice against everything that women like to talk about or do. In women's words and occupations I showed myself to be quite incapable, and I saw no possibility of improvement in this respect.\"\n\nIn the Thirty Years War, France was allied with Sweden against Austria. Christina's father, Gustavus II Adolphus, led his forces into battle and was killed at the head of his cavalry. Following her father's death, Christina became the queen-elect at the age of six. Five regents headed by the prime minister, Axel Oxenstierna, governed the country. When Christina turned eighteen, in 1644, she took power. Although many significant forces opposed ending the Thirty Years War, Christina decided that it was necessary to sign the Peace of Westphalia in 1648, putting an end to it.\n\nChristina was interested in art, music, literature, and science. She invited many leaders in these fields to come to her court. She sponsored artists and musicians, and financed hundreds of theatrical and operatic performances. For several years learned people, specialists in all branches of knowledge, arrived in Stockholm and joined her \"court of learning.\" For this reason, Stockholm became known as \"Athens of the North.\" After reading his _Principles of Philosophy_ while on a horseback visit to an iron mine, Christina decided that she wanted Descartes to join her court of learning. Pierre Chanut, the resident of France at her court and a favored adviser, listened carefully to her as she expressed that desire, and in it he saw an opportunity for himself.\n\nChanut responded to Descartes' letter of November 1, 1646, saying that the queen \"knows your name very well, as indeed everyone in the world should.\" The flattery was entirely purposeful. Bringing Descartes to Stockholm was part of a larger plan that the resident of France\u2014soon to become the ambassador of his nation to this northern kingdom\u2014had been hatching to increase the influence of France.\n\nChanut wanted to use culture to cement the alliance between France and Sweden, and Descartes fit perfectly within this scheme. The young Swedish queen was amenable to new ideas; she had a natural thirst for knowledge; and French culture held a special attraction for her. Chanut was astute enough to capitalize on her interests. He arranged for a valuable gift to be given to her by the French king: a Bible that had been specially printed for the king. She was enchanted, and Chanut told her that he knew that people in the French court were sure that she would appreciate a valuable book more than any other present.\n\nOver the next three years, Chanut acted as intermediary in an extended mutual courtship between Christina of Sweden and Rene Descartes. The queen would ask Chanut to write the philosopher a letter with new questions for him, and Descartes would oblige with his answers, always addressing his letters to Chanut, but with the understanding that the information would be brought to the attention of the queen.\n\nIn December 1646, the queen asked Descartes, through Chanut, to compare bad uses of love with bad uses of hatred. Descartes obliged with a dissertation on human nature and its emotions of love and hate. Soon the queen followed with more questions. Finally came the key question: Christina, barely twenty-one years old and at the head of a nation, wanted to learn how to govern well. Through the trusted Chanut, she asked Descartes: Tell me the characteristics of a good ruler.\n\nDescartes answered the day he received Chanut's letter. He obliged with one of his long letters back to Sweden\u2014except that this time, he wrote directly to the queen. \"I understood from M. Chanut,\" he wrote, \"that it would please Your Majesty that I have the honor to expose to thee my opinion relevant to the Good Sovereign, considered in the sense that the ancient philosophers spoke of it.\" He continued by saying that God was the Good Sovereign, since he is \"incomparably more perfect than his creatures.\" He then continued to explain over several pages the Greek views of rulers, mentioning Zeno and Epicurus. He explained to the queen his opinion that all good qualities of a ruler come from trying to emulate the attributes of God, and from trying to be close to him.\n\nThe young queen was completely taken with his answer\u2014and with Descartes himself. After reading his response to one of her questions, she said to Chanut: \"Monsieur Descartes, as much as I can see from his writing and the picture you have drawn for me, is the most fortunate of all men, and his condition is worthy of envy. You would bring me pleasure by assuring him of the great esteem I have for him.\"\n\nThe queen now decided that the letters were not enough. She wanted Descartes to become her private philosophy teacher. For that, he would have to leave Holland and come to her court. Chanut was elated that his plan was finally beginning to succeed. But he would have one more hurdle to pass in order to see his mission accomplished: he now needed to make Descartes want to come to Sweden.\n\nWhen the queen wrote him back, Descartes was flattered. On February 26, 1649, he answered her in a letter from Egmont, Holland: \"Madame, if it should have happened that a letter was sent to me from heaven, and that I saw it descend upon me from the clouds, I would not have been more surprised, and would not have received it with more respect and veneration than I did the letter Your Majesty has written me.\"\n\nDescartes was still unhappy about his fights with Dutch theologians and philosophers, and in his heart still felt the hostility directed at him in his adopted country. As he wrote to Princess Elizabeth about that time, he was often going back to France and felt he was living with \"one foot in each country.\" But he still enjoyed tranquillity in Holland, despite his troubles, and would be reluctant to leave. However, Sweden would offer him a new opportunity to start afresh, and he would enjoy being close to the seat of power there. And perhaps every philosopher wants to be able to connect his or her philosophy with worldly power: the example of Aristotle as tutor to the young Alexander the Great comes to mind. But then again, in Holland Descartes was free. He could wake up late in the morning\u2014after sleeping his usual ten hours a night\u2014and lazily read in bed for as long as he wanted. He lived in comfortable surroundings, usually in a small town in the countryside offering walks in nature and fresh farm food, which he valued very much, and yet never too far from a major city such as Leyden or Utrecht or Amsterdam, in which good libraries could be visited whenever he wanted, and in which intellectuals\u2014including his many friends\u2014could be met for discussions. This was not a life he would easily give up.\n\nBut Chanut persisted. He wrote letters to Descartes describing the queen's great intelligence, thirst for knowledge, and charm. His strongest card, however, was the queen's admiration for Descartes. Chanut wrote him: \"The queen is very much concerned with your fortunes.\" And then, \"I don't know if, once the queen tasted your philosophy, she would not try to bring you to Sweden.\"\n\nDescartes responded that he was very taken with the queen's interest in him. Still, he did not want to leave Holland for what he thought was \"the land of the bears, between rocks and ice,\" as compared with his natal \"gardens of Touraine.\" The troubles in Holland would not be the deciding factor, since he felt he could always return to France. He was always welcome in France, and had become quite famous there\u2014but he did not see the possibility of a major position. He described his disappointment to Elizabeth: \"I believe that they want me in France as an elephant or a panther, for being a rare creature, and not at all for being useful in any way.\"\n\nOn February 26,1649, Descartes responded from Holland to Chanut's letter that hinted at an upcoming formal invitation from Christina of Sweden: \"Nothing ties me down to this place, other than the fact that I know nothing about another place where I might do better.\" Chanut continued his gentle persuasion. Finally, he wrote him most directly: \"The queen of Sweden desires to see you in Stockholm and to learn philosophy from your mouth.\"\n\nReluctantly, Descartes accepted Queen Christina's invitation to come to Sweden to serve as her philosophy teacher. The queen showed great generosity and suggested, through Chanut, that Descartes take several months off before making the voyage to his new country, as well as giving him a few more months' time to get acclimated in Sweden before he would have to do anything in his new position. And with a final grand gesture, the queen ordered one of the admirals of her fleet, a man named Flemming, to sail to Holland and pick up her royal guest and bring him to Stockholm.\n\nWhen Admiral Flemming of the Royal Swedish Fleet landed in Holland in August 1649 and made the trip to Descartes' home in Egmont, the philosopher refused to follow him to his ship. Descartes claimed that he did not know who the man was and therefore would not go with him. Letters he wrote to his friends at that time provide evidence that he was still reluctant to leave Holland, and that perhaps he used this excuse in order to buy himself more time. Eventually, once letters reached him telling him that Flemming was indeed an admiral and that he had indeed been sent by the queen to pick him up, Descartes packed up his bags. He took care of his financial concerns, moving money from one bank to another, paying off debts, and revising his will. He bade farewell to his friends and was ready to leave. Some who saw him off remarked some months later that he had a premonition of his death and was ill at the thought of leaving for Sweden and an uncertain future.\n\nOn September 1, 1649, Descartes left Egmont to board his ship in Amsterdam headed for Stockholm \"coiffed in curls, wearing crescent-pointed shoes, his hands covered with well-lined snow-white gloves,\" according to a witness. He was accompanied by his new German valet, Henry Schluter, who was fluent in French and Latin in addition to his native tongue. Before leaving, Descartes wrote to his friend Clerselier, Chanut's brother-in-law, that he was going to Sweden because of his trust in Chanut, rather than because he wanted to. And prophetically, he added: \"I would be extremely upset if my presence in Stockholm should serve as the subject of malicious gossip by those who would like to say that the queen is too assiduous in her study, and that she receives her instruction from a person of _another religion.\"_\n\nDescartes could not have been more correct in this concern. The intellectual court of Queen Christina had been dominated by \"grammarians.\" These were librarians, philologists, and other scholars, all of them Calvinist and fiercely opposed to Catholicism. They would all learn to distrust and hate Descartes, especially once he became the queen's favorite adviser.\n\nThe voyage by sea from Holland to Sweden took over a month\u2014an unusual length of time. This was due to inclement weather accentuated by headwinds that impeded the ship's progress. According to the captain, Descartes used his science to help him navigate in difficult seas, and he said that he learned more from Descartes during the month he spent with him at sea than he had learned in decades of sailing the oceans.\n\nDescartes arrived in Stockholm on October 4, 1649, and was received by the queen's representative. The crates containing his manuscripts and other possessions were unloaded from the ship, and he was taken to his lodgings for the night. The next day, Descartes was received by Queen Christina in a ceremony in which she lavished so much honor upon him that it incited a general jealousy of the new arrival at her court. And no one was more jealous of and hostile to the philosopher than the man named Freinsheimius, who was the queen's chief librarian.\n\nChristina went further in honoring Descartes. She offered to grant him Swedish citizenship, and said she wanted to confer upon him noble rank. In addition, she wanted to give him lands in Germany that the Peace of Westphalia made hers. But the philosopher modestly declined these generous offers.\n\nThe queen was eager to establish the work plan for her new tutor. She wanted to meet him in the first hour after waking up in the morning\u2014that is, at 5:00 A.M. Again, modest and polite, Descartes never told her that this was completely contrary to the lifestyle he had led all his life, staying up late at night, going to bed whenever he wanted to, never waking up before ten in the morning, and then staying in bed to read and think. So at age fifty-three, Descartes would begin a new lifestyle: one that would require him to wake up very early in the morning and leave his warm bed in the French embassy, and\u2014in the frigid Swedish winter\u2014go to the queen's unheated library, arriving there at 5:00 A.M. to deliver an hour-long lesson in philosophy. But Descartes had six weeks to get used to the idea, and to get used to living in his new country.\n\nQueen Christina of Sweden with Descartes\n\nDescartes lived with the Chanuts, at the lodgings of the resident of France, in the embassy building. Pierre Chanut was not in Stockholm when Descartes arrived\u2014he was in Paris for consultations with the government and also for the ceremony promoting him from resident to ambassador. Mme. Chanut, the sister of Descartes' friend Clerselier, took good care of her guest, putting him up at the upper floor of the house, located three hundred yards from the royal palace. When Pierre Chanut arrived, Descartes witnessed the ceremony in which Chanut presented his credentials as ambassador to Queen Christina. This promotion was remarkable since Chanut was a member of the middle class, and ambassadors at that time were usually members of the nobility. His promotion had much to do with merit\u2014his success in advancing the relationship between the two nations, including the fact that he had been able to turn France's great philosopher into an adviser to the queen of Sweden.\n\nAfter meeting Christina only a few times, Descartes realized that there was a strong bond between them. It was the beginning of another troubling thought for him: the possibility of a platonic, if not physical, love triangle between himself, Christina, and Elizabeth. Shortly after his arrival in Sweden, Descartes wrote the following letter to his devoted Princess Elizabeth. It was the last letter Descartes would write to her.\n\n_Stockholm, 9 October 1649_\n\n_Madame,_\n\n_Having arrived in Stockholm four or five days ago, one of the first things I consider among my duties is to renew the offers of my very humble service to Your Highness_....\n\n_One of the first things that [Queen Christina] asked me was whether I have had any news from you, and I did not fail to tell her right away that which I think about Your Highness; since, noting the strength of her spirit, I had no fear that this would give her any feelings of jealousy, as I assure myself as well that Your Highness would also not have when I openly tell you about my sentiments for this queen._\n\nDescartes started teaching the queen, and she proved to be the perfect student. She had endless stamina and desire to learn. While the 5:00 A.M. sessions were difficult for the philosopher, Christina could go on and on. She would spend many hours each day studying beyond her morning sessions with Descartes. While on horseback during hunts, she would carry books and read them on breaks from the chase, as well as between official duties. Christina asked Descartes about issues other than philosophy as well: literature, religion, and politics. He was becoming her chief and most favored adviser. The queen was slowly falling under the spell of Descartes, or at least that was how everyone in her court viewed the situation.\n\nThe grammarians conspired against Descartes, furious about the French and Catholic influences they saw him as exerting on their queen. Descartes felt the hostility, and it made him regret his move more than all other factors combined. On January 15, 1650, he wrote in a letter to a friend named Bregy: \"The thoughts of the people here freeze during the winter as do the waters.... My desire to return to my desert grows every day more and more.\"\n\nTo another friend, he wrote that the courtiers \"regard all strangers among them with much jealousy.\" Unfortunately, Descartes would not escape this jealousy to return to his \"desert\" or the gardens of Touraine.\n\n# Chapter 19\n\n# _The Mysterious Death of Descartes_\n\nON FEBRUARY 3, 1650, FIVE MONTHS after he arrived in Stockholm, Descartes fell ill. Most of his biographers have concluded that his illness resulted from having to rise early\u2014something he was not at all used to\u2014and from the bitter Swedish cold. In fact, that particular winter was the harshest in sixty years. Indeed, the doctor who looked after Descartes in Stockholm diagnosed his symptoms as those of pneumonia.\n\nQueen Christina's best doctor, her \"first doctor,\" was a Frenchman by nationality. His name was du Ryer, and he was a friend of Descartes and an admirer of his work. Du Ryer was born in Spain but had moved to France as a young man and received his medical degree from the University of Montpellier. He had been introduced to Descartes' philosophy and enthusiastically called himself a Cartesian even before he met the famous philosopher at the court of Queen Christina. Descartes trusted Dr. du Ryer, and might have been inclined to follow his orders; he certainly would have been happy to have du Ryer as his physician. But the day Descartes fell ill, Dr. du Ryer was far away from Stockholm on a mission on behalf of the queen, and not expected back soon.\n\nThe queen therefore sent Descartes her \"second doctor,\" a Dutch physician by the name of Weulles. According to Baillet, Weulles was \"a sworn enemy of Descartes since the time of the war that the ministers and theologians of Utrecht and Leyden had declared upon him.\" Weulles had been allied with anti-Cartesian elements in Dutch acade-mia, and was further described by Baillet as wanting to \"see Descartes dead.\" This man \"had put into use all he had judged as capable of harming\" Descartes. Just why such a doctor was assigned to treat the ailing French philosopher remains a disturbing mystery.\n\nMedical knowledge in the seventeenth century was poor, and practitioners may not have known the difference between a cold, influenza, pneumonia, or something else. To treat an illness effectively, one would need to diagnose it correctly. But whatever the illness\u2014be it pneumonia or stomach pains or the plague\u2014the treatment prescribed by these doctors was always the same: bleeding.\n\nDescartes' illness started on the fifteenth day of the illness of Pierre Chanut, whom Descartes had visited every day while the ambassador was bedridden. When he left his bedside on the fifteenth day, Descartes felt a chill. That same day, Chanut had started to feel much better and was on the mend. The second day of Descartes' illness was the day of the feast of the Purification of the Virgin. Descartes was present at the ceremonies, but felt so bad that he had to leave early and get into bed.\n\nThat night, Ambassador Chanut, feeling much better himself, asked the queen to send Descartes a doctor. And according to Baillet, Weulles, \"knowing the debt he had to the queen, as well as to the integrity of his profession,\" came to the French embassy and presented himself to Chanut to offer his services to the ailing philosopher. Descartes had avoided seeing a physician for the first two days of his illness because he was wary of charlatans and ignorant doctors. Now there was no choice\u2014the queen had sent him Dr. Weulles, and he was too sick to refuse him.\n\nAs soon as he arrived at Descartes' bedside, Weulles decided to bleed his patient. The philosopher, who had spent time over the preceding decades studying anatomy, knew one thing that most of his contemporaries didn't: that bleeding doesn't help with anything. It can only cause infection. In fact, two years earlier, Descartes' good friend Marin Mersenne had died from an infection in his arm, which resulted from being bled as a remedy for some minor ailment.\n\nWeulles approached Descartes, ready to cut. Descartes was surrounded by his trusted valet, Henry Schluter, as well as his friend the ambassador and the ambassador's wife. All of them urged him to allow the doctor to bleed him.\n\n\"Gentlemen,\" said Descartes, \"spare the French blood!\"\n\nWeulles did not insist, and left the patient to his own medicine: bland food\u2014mostly broth; water; and rest.\n\nDescartes may well have contracted the illness from Chanut. Both men had high fever and what the doctors diagnosed as pulmonary inflammation. Chanut had been bled and was convinced that the bleeding had cured him. So after the doctor left Descartes' room, he kept pleading with him to allow Weulles to bleed him. But Descartes remained resolute against what he knew was a primitive and dangerous practice.\n\n\"Bleeding shortens our days,\" he said quietly, closing his eyes. Then he opened them again, and added: \"I've lived forty years as an adult in good health without bleeding.\"\n\nBy the next day, Descartes' health had deteriorated badly. His temperature was high, and he had the worst headache he had ever experienced. His early biographers described him as feeling as though his head was about to burst. As soon as the ambassador and Mme. Chanut arrived at his bedside, they again urged the philosopher to allow the Dutch doctor to bleed him. Descartes would not hear of it. Then he said, referring to Weulles: \"If I must die, I will die with more contentment if I do not see him.\"\n\nThen he asked the people gathered around his bed to leave him to rest. The Chanuts and the servants all departed, leaving Descartes with only his trusted valet by his bedside.\n\nBut someone, apparently, told the Dutch doctor what Descartes had said about him, and he took it badly. It made him hate Descartes even more than he had until then. He would not cure this patient against his own will, Weulles said.\n\nAnother day passed, and the patient was still with fever and in great pain. That evening Weulles made his prognosis: the patient will die. According to Baillet, the doctor was determined to see his prediction come true.\n\nBut in the morning, Descartes felt surprisingly well. His fever had gone down and had \"left his head, so his reason could return.\" He sat up in bed and read. He ate some bread, and he drank water. He told everyone gathered around him that he was feeling well and that the illness, apparently, had by now taken its full course. He asked to drink alcohol, requesting that it be flavored with tobacco. (Baillet surmises that this may have been Descartes' attempt to induce vomiting.)\n\nDr. Weulles's judgment was that this concoction would be fatal to anyone in Descartes' condition. But he said that at this stage, anything would be permitted to Descartes. So he left the room and returned with a glass filled with a dark liquid that smelled of alcohol and tobacco. He gave it to Descartes.\n\nBy the next morning, Descartes' health had taken a sharp turn for the worse. He was now throwing up blood and a blackish fluid. Phlegm came out of his mouth. He was in agony. At 8:00 A.M., Descartes, weak and about to abandon hope, finally gave up his resistance and allowed the doctor to bleed him. Very little blood came out, so an hour later, the doctor bled him again. This made the Chanuts hopeful, and they were grateful that their friend had finally agreed to the cure. But it made Descartes' condition worse. And as the day progressed, his condition deteriorated.\n\nIn the evening, while everyone else was away at dinner, Descartes asked his valet to help him out of bed so he could lie on the couch by the fire. He made it to the couch and lay there for a few moments. But he was too ill now, and the bleeding had sapped his strength. He opened his mouth and said: \"Ah, my dear Schluter, this is the time I must leave.\"\n\nThese were Descartes' last words. He lost consciousness, and Schluter immediately rushed to get the Chanuts and the doctors and servants.\n\nAfter a few more hours, it became clear that Descartes would not survive, and a priest, Father Viogue, was called in to administer the last rites. At four the next morning, Descartes died. It was the eleventh of February 1650; he was almost fifty-four years old.\n\nEven Descartes' earliest major biographer, Adrien Baillet, mentions the rumors that began to circulate right after the philosopher's passing: that he was poisoned by Weulles in conspiracy with other members of the queen's court allied against him. (Another rumor Baillet mentions was that Descartes had died from excessive drinking of a Spanish wine, and that he wanted to die because he was heartbroken that the queen did not take well to his philosophy. Of course neither claim is likely to have been true: Descartes never drank much, and the queen was enamored with his philosophy.) Recently, a biography of Descartes by Jean-Marc Varaut, published in France in 2002, made the claim that Descartes was poisoned.\n\nQueen Christina's court was rife with anti-Cartesian elements. Many of the people around Descartes were jealous of his place close to the queen's heart; others hated his philosophy and considered him an atheist; and there were people who despised the French philosopher because they feared his potential effect on their queen. Descartes was a Catholic and the queen and most of her subjects Lutheran. Many people feared the influence of a Catholic who was so close to the queen. And the fact that Descartes was treated by a physician who had vowed to see him dead makes the claim of a poisoning all the more believable.\n\nAnd in fact, the suspicions the grammarians harbored against Descartes and his influence on their queen became a reality four years after Descartes' death: in 1654, Christina abdicated and converted to Catholicism.\n\nPierre Chanut, the French ambassador, who should have taken care of Descartes' interests, took inexplicable actions after the philosopher's death. The queen, who was inconsolable at the death of her dearest adviser and friend, wanted to bestow on Descartes posthumous Swedish nobility and to have him buried with the kings of Sweden. She also planned to build a grand marble mausoleum for her beloved philosopher, the man she called \"My Illustrious Master.\"\n\nBut unexpectedly, the French ambassador opposed the idea. He argued with the queen that burying Descartes with the kings of Sweden would offend the Swedish nobility since Descartes had died a Catholic. Instead, he asked the Queen for permission to bury Descartes in the cemetery of the hospital for Orphans. Children who died before the age of reason were buried here, but also Catholics and Calvinists, since they belonged to religious minorities in the land.\n\nThe queen found the ambassador's request extremely strange, and was inclined to dismiss it. But Chanut was a persuasive man, and she was a very young, inexperienced queen. Chanut convinced her that this was for the better, since it would not be wise for the queen to antagonize her subjects, certainly not now. The ambassador knew the queen's secret\u2014he knew that she had already been planning to abdicate and to convert to Catholicism. He used that knowledge to push her to agree to his plan. Reluctantly, the queen agreed, but insisted on paying for the expenses of Descartes' funeral. The funeral took place the next day, without much fanfare, but following the usual ceremony of a Roman Catholic burial. Descartes' coffin was borne by Chanut's eldest son and three senior officials of the French embassy. Few others were present as the philosopher's body was interred in the wretched cemetery the ambassador had insisted be Descartes' resting place.\n\nYears after Descartes' death, on October 2, 1666, his body was exhumed, and the remains\u2014apparently without the skull\u2014were repatriated. They arrived in France in January 1667 and were placed in the Chapel of Saint Paul. From there, Descartes' bones were moved to a crypt in the Church of Sainte-Genevieve-du-Mont in Paris. That church was destroyed during the French Revolution. There was a move in France to rebury the remains of the great philosopher in the Pantheon with France's most distinguished citizens, and the Convention voted to approve the relocation, but the Directoire reversed that decision, and instead the body was moved to the Museum of French Monuments. Finally, in 1819, Descartes found his final resting place in the ancient Church of Saint-Germain-des-Pres.\n\nThe famous Swedish chemist Baron Jons Jakob Berzelius (1779-1848), the discoverer of the elements cerium, selenium, and thorium, was in Paris at that time and present as Descartes' remains were reburied. He was astonished to learn that there was no skull with Descartes' bones. As fate would have it, just as Berzelius returned to Sweden, an auction was held in Stockholm in which a skull reportedly belonging to Rene Descartes was one of the items to be sold. Berzelius bought it.\n\nBaron Berzelius then wrote a letter to a French baron, G. Cuvier, who was the perpetual secretary of the French Academy of Sciences. In his letter, he told Cuvier that he was donating to the French nation the skull of Rene Descartes, which he had just purchased, so that it \"be placed with the other remains of the philosopher,\" clearly meaning that he wanted Descartes' skull to be buried with the rest of his bones in the Church of Saint-Germain-des-Pres. But the French baron thought otherwise. For reasons that have never been explained, once the perpetual secretary of the French Academy of Sciences received the skull, he placed it on display in a museum.\n\nDescartes' skull, without a lower jaw and without any teeth, and with obscure writings in ink extending from the top of the cranium down to the forehead, found its ignominious end at the Musee de l'Homme (the Museum of Man) in Paris. The mangled skull reputed to be that of the great French philosopher now serves as part of a tasteless museum display about the development of the human skull. It shares its glass case with a skull marked \"Cro-Magnon. Age: 100,000 years\"; another, marked \"Cro-Magnon. Age: 40,000 years\"; a human skull of \"An Early French Peasant, Homo Sapiens Sapiens. Age: 7,000 years\"; and a video camera that projects the visitor's head onto a television screen, below which a caption reads: \"You, Homo Sapiens Sapiens. Age: 0-120.\"\n\nDescartes' skull is labeled \"Rene Descartes, Homo Sapiens Sapiens. French Philosopher and Savant. Place of Origin: La Haye, Touraine. Emigrated to Sweden.\" Below it, the caption continues: \"Age: 343 years (in 1993).\" Under the skull and the caption is an old book, open to its title page: Rene Descartes, _Selected Works of Descartes._\n\nAfter Descartes was buried in Stockholm, on February 13, 1650, Pierre Chanut decided that a complete inventory of the philosopher's possessions should be made, but said that he felt that he should not be the only person compiling it. He therefore asked the queen to send a representative to the embassy to assist in, and be present at, the making of the inventory. The day after Descartes' funeral, February 14, the queen sent Erik Sparre, the baron of Kronoberg and president of the Court of Justice of Abo in Finland, to represent the crown at the making of the inventory. Also present were embassy officials, Father Viogue, who had been Descartes' confessor, and the deceased philosopher's valet, Henry Schluter.\n\nDescartes' skull\n\nAll of Descartes' clothes and other personal possessions were given to Schluter, who was inconsolable at the loss of such a good master. According to Baillet, this did not prevent Schluter from making a small fortune on these items a few years later. Descartes had left a few books as well. These books were set aside to be sent to Descartes' heirs in France.\n\nThe next day these same men met again in the embassy to decide what to do with the items found in Descartes' coffer. The strongbox was opened, and found to contain several handwritten manuscripts, as well as copies of letters and documents Descartes had written and clearly deemed of importance. An inventory was then made of the materials, and Ambassador Chanut took all of these items under his \"particular protection.\"\n\nThe items left by Descartes in his locked box shed light on what the philosopher kept close to his heart\u2014and hidden from the world. They included the following:\n\nDescartes' embarrassing Letter of Apology to Voetius\u2014a painful  \nreminder of the debacle that helped push him out of Holland\n\nNine volumes of copies of letters Descartes had written against  \nVoetius\n\nCopies of Descartes' \"Responses to Objections,\" the objections  \nhaving been sent to him by his academic opponents in  \nHolland and elsewhere\n\nCopies of letters Descartes had written to his dearest friend,  \nPrincess Elizabeth\n\nThe other items in the box were pieces of manuscripts, all handwritten and none published, with obscure titles such as _Preambles, Olympica, Demoaitica, Experimenta,_ and _Parnassus._ Clearly, Descartes had kept these manuscripts for himself, never intending to have others see them. Among these manuscripts was that unique parchment notebook containing cryptic mathematical symbols, geometrical drawings, and mysterious signs that could not be identified. All the items in the inventory were labeled by Latin letters: A, B, C..., with the letter _U_ always appearing with an umlaut (Charles Adam and Paul Tannery have surmised that this was Schluter's influence). The parchment notebook bearing mysterious symbols and drawings and sequences of numbers was given the designation \"Item M.\"\n\nThe French ambassador, who did not care much about what happened to the remains of the late philosopher, allowing them to be buried in an undistinguished grave in Sweden and perhaps even failing to prevent the body from being dismembered, cared much more about the papers he had left behind. Pierre Chanut decided\u2014without consulting with Descartes' heirs in France\u2014to send the collection of items in the inventory as a present to his brother-in-law Claude Clerselier in Paris. But he was too busy to accomplish this task, so in the meantime the treasure would have to wait.\n\nTwo and a half years later, the ambassador prepared to leave Sweden for a new ambassadorial appointment, in Holland. He started to ship his possessions out of Sweden, and used the opportunity to send Descartes' manuscripts and letters to Clerselier. There had been pressure on the ambassador to allow the publication of some of Descartes' manuscripts, and in particular, a German biographer named Daniel Lipstorp, of Lubeck, had repeatedly asked Chanut to see Descartes' papers for use in his biography of the philosopher. But the ambassador was involved in intense diplomatic work on behalf of France in Sweden and Germany\u2014 in fact, he was even for a time in the very city of Lubeck\u2014and had neither time nor patience for publication requests. In any case, he wanted to make sure to send everything to Clerselier; finally he made the arrangements for the shipment. The box with Descartes' hidden writings traveled to Rouen, went up the Seine to Paris, sank with the boat, and resurfaced, and the documents were saved by Clerselier.\n\nClaude Clerselier maintained possession of all of Descartes' manuscripts until his death, in 1684, eighteen years after Leibniz had hurriedly copied parts of the manuscripts in Paris, in 1676. When Clerselier died, Descartes' papers were given to Abbe Jean-Baptiste Legrand. A short time later, the abbe responded to a request from another cleric, Pere Adrien Baillet, who asked to see the manuscripts so he could use them in the biography he was writing about Descartes. Legrand agreed to contribute as much as he could to Baillet's efforts. And it was thus that Baillet got to see Descartes' hidden manuscripts and letters. He incorporated the information in his biography of Descartes published in Paris in 1691. After over three hundred years, Baillet's biography is still the most comprehensive one ever written about Descartes.\n\nAfter Legrand's death, Descartes' manuscripts disappeared. We have only the copies of some of them made by Leibniz, and a description of some of these manuscripts in Baillet's biography. But perhaps, someday, Descartes' original manuscripts may be found in the dusty and forgotten archive of some French monastery.\n\nBaillet's biography of Descartes describes the inventory that was made in Stockholm on February 14 and 15, 1650. Adam and Tannery wrote in 1912 that a copy of the inventory was found at the French National Library in Paris. A second copy had been sent to Holland\u2014 Pierre Chanut had sent it to Descartes' friend in Holland, the scholar Constantijn Huygens. The elder Huygens wanted it for the benefit of his son, Christiaan Huygens (1629-95), who would become a famous physicist and mathematician. Through the correspondence to his father that accompanied the inventory, Christiaan Huygens would become aware that in 1653, Descartes' unpublished manuscripts had been placed in the hands of a certain Claude Clerselier living in Paris.\n\nDescartes' death left Queen Christina distraught and deeply depressed. She became convinced that she should not stay in power. She felt empty without the comforting guidance of her philosopher\u2014his advice on how to rule well, his ideas about the meaning of life, and the strength of his religious belief.\n\nWithin a year of Descartes' death, Queen Christina suffered a severe mental breakdown. To everyone's surprise, she frequently asked to see Father Antonio Macedo\u2014a Catholic priest. Descartes' influence apparently extended beyond the grave and took the form of the queen's increasing attraction to his religion. In 1654, Christina abdicated and left Sweden to move to the center of Catholicism, Rome. She took a circuitous route throughout Europe, disguised as a knight, and met Catholic clergymen along the way, learning from them more about her new religious direction. She then converted to Catholicism and settled in Rome. Christina remained restless, and perhaps missed being a queen, for she attempted to seize the city of Naples and proclaim herself Queen of Naples. When the attempt failed miserably, she did not give up: she tried to secure for herself the crown of Poland. Once this attempt failed as well, Christina returned to Rome and settled there permanently. She died in 1689 and was buried in Saint Peter's Basilica.\n\nTwelve years after the death of Descartes, the former queen of Sweden wrote:\n\nWe certify by these presents that Sire Descartes has contributed much to our glorious conversion and that the Providence of God is served by him and by his illustrious friend Sire Chanut to give us the first lights that His grace and forgiveness would bestow on us to make us embrace the truths of the Catholic, Apostolic, and Roman religion.\n\nThe former queen made this statement public so that the world would know what had brought her to her decision. From their point of view, the grammarians were right to worry.\n\n# Chapter 20\n\n# _Leibniz's Quest for Descartes' Secret_\n\nTHE YEAR DESCARTES DIED IN Stockholm, 1650, a four-year-old boy in Leipzig, Germany, watched as Swedish soldiers evacuated his city, as dictated by the Peace of Westphalia, signed two years earlier, ending the Thirty Years War. France and Sweden, winning allies in the war, were to leave German soil. But as the occupation ended and the war was over, Germany began its long period of intellectual and cultural decline in the wake of the devastation brought on by the long years of fighting.\n\nThe boy, Gottfried Wilhelm Leibniz, was an unusual child. Already when he was four, those who knew him well recognized his incredible brilliance. His father, who was a professor at the University of Leipzig, knew that his son was a genius\u2014 but unfortunately could not enjoy witnessing his son's great achievements in life because he died at age seventy, when the boy was only six years old. Gottfried read ancient Greek and Latin classics, which he found in his father's library, and within a few years had devoured books on history, art, politics, and logic. But while he was interested in many areas, he had a special ability in mathematics. And within mathematics, the young Leibniz had a very particular gift: he knew how to decipher codes.\n\nThe boy applied this unique talent both to words and to numbers. He was enamored with the mysterious, the hidden, the forbidden. His passion became the decipherment of secret messages and the quest for hidden knowledge in mathematics. Leibniz could disassemble and re-combine letters to form words of a stunning number of variations and could do so with amazing speed. Similarly, he knew how to extract prime numbers by factoring numbers, and how to count and evaluate combinations. These skills lie within the area of mathematics called _combinatorics:_ the study of combinations. One example of the work Leibniz did in the study of combinations was the following. He defined a notion, which he named _y,_ as being composed of the simple notions _a, b, c,_ and _d._ He then defined the following combinations: _l=ab, m=ac, n=ad, p=bc, q=bd,_ and _r=cd,_ as well as _s=abc, v=abd, w=acd,_ and _x=bcd._ He then noted that only the combinations _ax, bw, cv, ds, Ir, mq,_ and _np_ lead back to _y._ Recognizing his many gifts, Gottfried's mother sent him to an elite school, the Nicolai School in Leipzig, which he entered in 1653.\n\nAt the school, Leibniz formally learned Latin and progressed much faster than the other boys. The reason was that he had found books that were misplaced by an older student and read them voraciously. When his teachers found out that he was learning Latin outside the classroom and had already mastered the language while the other students were still struggling with the basics, they became upset and told his mother and aunts (who were helping the mother raise her son) that they should prevent the boy from reading books that were above his level. But he continued to raid his late father's library and to read more advanced books.\n\nIn 1661, after graduating from the Nicolai School at the age of fifteen, Leibniz enrolled at the University of Leipzig to study philosophy. He read the works of Aristotle, and took a course on the mathematics of Euclid from Professor Johann Kiihn. This course was so difficult that Leibniz was the only student in the class who understood the subject matter. The student ended up helping the professor explain the theorems to his classmates. Leibniz also studied Bacon, Hobbes, Galileo, and Descartes.\n\nThe last of these held a special attraction for Leibniz. The young student was fascinated by Cartesian logic and philosophy, but at the same time developed his own ideas, which were often at odds with those of Descartes. According to the great English philosopher and mathematician Bertrand Russell (1872-1970), Leibniz's thinking was formed in the scholastic tradition, and he was steeped in Aristotelian-scholastic ideas about the universe. He broke away from this philosophy only through work in mathematics later in life. These beliefs may have kept Leibniz from accepting Descartes' philosophy. Additionally, Leibniz's personality was such that he could never enter any area of scholarship without being an innovator and stamping on it his own unique impression.\n\nLeibniz had a strange mix of attraction and repulsion toward the work of Descartes, a love-hate relationship with the legacy of the late French philosopher. At that time, the opposition to Cartesian philosophy in all German universities was so high that any professor who tried to defend Cartesian ideas would be in jeopardy of losing his academic position.\n\nLeibniz held that Descartes' principle of doubt\u2014one of the cornerstones of Cartesian philosophy\u2014was flawed. He wrote:\n\nThat which Descartes says about the necessity of doubting everything of which there is the least incertitude can be made more satisfying and more precise: For every concept, we must consider the degree of approval or reservation it merits. Or, more simply, one must examine the reasons for each assertion. This way we can do away with the flaws in the Cartesian doubt.\n\nLeibniz then gives a number of examples of the flaws in Descartes' absolute doubt. If we see a combination of the colors blue and yellow, he asks in one example, can we completely doubt that the color we perceive is green? There must be a degree to such a doubt, he concludes, since when the two colors are mixed very well, the result is indeed the color green. Similarly, he asks, if one hand feels cold and the other warm, which hand should we believe ? Should we completely doubt the feeling in either hand?\n\nLeibniz wanted to learn as much as he possibly could about Descartes and was looking for more than just the published works. Years after his graduation, in 1670 and 1671, he would purchase original unpublished writings of Descartes, including letters; Descartes' _Reguhe_ in manuscript, purchased in Amsterdam; a manuscript entitled _Calcul de Monsieur Des Cartes,_ published in 1638 as a new introduction to Descartes' _Geometrie;_ and the Latin manuscript _Cartesii opera pMosoph-ica._ But he wanted more.\n\nLeibniz wrote his master's thesis in philosophy about the relationship between philosophy and the law, and received his degree in 1664 Nine days later, his mother died. Following a graduation tinged with the sadness of losing his remaining parent, Leibniz returned to the university to study law. In 1666, he received his doctorate in law from the University of Altdorf.\n\nLike Descartes before him, Leibniz was attracted to the work of the thirteenth-century mystic Ramon Lull. Lull's \"Great Art\" of combinations, which used rotating wheels within wheels to create a large number of combinations of concepts coded by letters on these wheels, took a new and deeper meaning in Leibniz's eyes. Leibniz saw in these efforts more than just mystical play, but rather a mathematical attempt to study combinations. Leibniz developed these same concepts into a mathematical theory, and published it in a 1666 treatise titled _De arte combinatoria._ This work developed the mathematical foundations of combinations, although it contained elements that had been independently discovered by Pascal in France.\n\nShortly afterward, in Nuremberg, Leibniz joined an alchemical society. According to Leibniz's secretary and first biographer, Johann Georg Eckhart, Leibniz wrote a letter, using obscure alchemical terminology, to the president of the alchemical society of Nuremberg. The latter was duly impressed with the writer's familiarity with alchemical secrets and offered Leibniz admittance to the society.\n\nLeibniz began to feel that the defeated and depressed Germany of his birth could never offer him the opportunities to advance intellectually as much as other countries could, especially France\u2014the land of high culture and advanced ideas at that time. He longed to find a way to go to Paris. His keen sense of politics would be his ticket out of Germany. Shortly after receiving his law degree, Leibniz found a patron in the distinguished German statesman Baron Johann Christian von Boineburg.\n\nBoineburg sent Leibniz to Paris with a special mission: to try to deflect the French king, Louis XIV, from his schemes of conquering Europe. This aim was to be achieved by means of a paper Leibniz had written with Boineburg's help suggesting that France should embark on a military adventure to Egypt. It is hard to see why a French king would want to be convinced by two Germans that he should attack Egypt, but Boineburg thought that this was a possibility, and he had the money to support Leibniz's trip to Paris. Boineburg had a personal financial interest in this scheme as well: he was owed rents for his properties in France and hoped that Leibniz's mission could earn him favor with the French royal court, and that as a result he would be paid what he was owed.\n\nLeibniz arrived in Paris at the end of March 1672, but King Louis XIV would not meet with him. Still, the young man settled down, and he met others in the French capital who had some interest in his ideas, although no progress was made on his and Boineburg's diplomatic scheme. Leibniz's own political ideas revolved around the concept of unifying Europe by reconciling its religions. He made connections with influential people and attempted to gain support for his political initiatives.\n\nLeibniz fell in love with Paris, and over the next four years made every effort possible to make it his home. Boineburg supported him for a while, ever hopeful that Leibniz would eventually get attention in the French court. In the meantime, Leibniz was employed with tutoring Boineburg's son, a young man who was also living in Paris. But soon Boineburg died, and Leibniz needed to find other sources of income if he was to stay in Paris. Before leaving Germany, he had made contact with the duke of Hanover, whom he had sent some of his philosophical writings. He now renewed the contact, and the duke agreed to sponsor him for a while, and even gave him a letter of recommendation to help him with his endeavors. But the duke insisted that Leibniz make plans to return to Germany and serve him as librarian in Hanover. Leibniz knew that time was running out on him. There was so much he had to do, and he hoped to be able to turn down the duke's offer and stay in Paris.\n\nLeibniz again turned his attention to mathematics. He deepened his understanding of mathematical ideas and began to develop new ones. Among these was a mechanical way of carrying out computations, which allowed him to construct a rudimentary calculating machine. Leibniz's achievements would have warranted acceptance to the French Academy of Sciences, which would have ensured his ability to stay in the French capital. But the French declined to offer him this opportunity. They already had two foreign members in their academy: the Italian astronomer Cassini, and the Dutch physicist and mathematician Christiaan Huygens. The latter, nevertheless, became a friend of Leibniz.\n\nLeibniz was on an intense mathematical quest. He was developing an immensely important theory, and in October 1675, he completed that theory. Leibniz indulged his fascination with Descartes by reading more of the philosopher's works. But he longed to learn ever more: he had a pressing reason to see everything he could find that had been written by Descartes.\n\nIn the spring of 1676, after he had been in Paris for over three years, Leibniz's attempts at political work collapsed completely. He no longer saw any hope of achieving success on his project of religion and diplomacy. Knowing that he would soon have no choice but to return to Germany and serve the duke of Hanover as librarian gave Leibniz's search for Descartes' manuscripts an air of urgency. He asked everyone he met whether they knew where he could find more of Descartes' writings. Finally, Christiaan Huygens told him about the inventory of Descartes' unpublished manuscripts, and gave him the name of Claude Clerselier.\n\nSo on June 1, 1676, Leibniz came to see Clerselier. He told him his story and pleaded with him to allow him to see Descartes' hidden writings. Reluctantly, the old man agreed, and Leibniz sat down and began to work.\n\nReading the _Preambles,_ Leibniz saw Descartes' words:\n\nOffered, once again, to the erudite scholars of the entire world, and especially to G. F. R. C.\n\nAnd in the copy he made of the manuscript, Leibniz added parenthetically the Latin name for Germany, making it read:\n\nG. (Germania) F. R. C.\n\nLeibniz knew very well the acronym \"F. R. C.\" It stood for _\"Fraternitas Roseae Crutis.\"_ Leibniz was very familiar with all the Rosicrucian writings. He knew the _Fama fraternitatis_ very well, and had even discussed its finer points at length in letters. And in Leibniz's own works there is a strong Rosicrucian element that seems to be taken right out of the _Fama fraternitatis._ In 1666, in Nuremberg, Leibniz had joined the Brotherhood of the Rosy Cross. According to some sources, Leibniz was even elected secretary of the order. The order of the Rosy Cross was the parent organization of the alchemical society of Nuremberg.\n\nWe know today that the _Preambles_ and _Olympica_ were closely associated with the secret notebook. The contents of the lost notebook, whose title was _De solidorum elementis_ , were revealed only after researchers made the decisive discovery that Leibniz had made over three centuries earlier: These private writings, which Descartes never intended to publish or share with anyone, were not separate entities. They were all pieces of a larger puzzle\u2014the puzzle of life that Descartes wanted to solve.\n\nDescartes' philosophy was an attempt to place human learning on a rational basis modeled on geometry. Descartes wanted people to reason in everyday life the way one reasoned in solving a mathematical problem. Within this context, the secret notebook was his crowning glory, for it contained the next level in geometry, encompassing the mystery of the universe as Descartes saw it.\n\nLeibniz opened Descartes' secret notebook, _De solidorum elementis,_ and scrutinized the writings in front of him. He didn't have much time. There were sixteen folio pages in this notebook. Either he knew that Clerselier did not want him to copy the notebook, or Clerselier had imposed very strict rules on the copying. Leibniz had to use all the mathematical skills available to him. But he had the tools needed for breaking codes\u2014he was the expert on combinations and decoding. If anyone could break Descartes' code, it was Leibniz.\n\nLeibniz looked at the page of Descartes' secret notebook. On one side were densely drawn figures that Descartes had sketched. It was hard to make out exactly what these were. On the other side of the page were formulas and symbols Leibniz could not immediately decipher. He quickly turned back his glance to the figures. Then he understood what these figures were meant to represent: a cube, a pyramid, and an octahedron (two square-based pyramids joined at their bases).\n\nThe cube has six faces, Leibniz knew. He also knew, without having to count, since he had an immeasurably fast mind, that the pyramid has six edges. The octahedron has six vertices (or corners).\n\nDescartes must have been on the occult search for the beast of the Apocalypse. Each of the three figures gave him a 6, and together they spelled 666. So this was Descartes' secret search\u2014his Rosicrucian journey to mystical power. Then Leibniz turned the page.\n\nDescartes had studied the cube, a symmetric three-dimensional object whose doubling using straightedge and compass stumped the ancient Greeks. From his contacts with Faulhaber, Descartes knew that the pyramid was associated with mystical powers. He wanted to learn more about these mysterious objects. Euclid's _Elements,_ translated into Latin, provided him the opportunity to do so.\n\nEuclid wrote his _Elements_ in thirteen volumes. In these volumes were the important works of Pythagoras, including his famous theorem about right triangles, work on prime numbers, and theorems about plane geometry, as well as the properties of triangles and circles. But in his thirteenth volume, Euclid devoted a major part of his writing to the _reg-ulai solids_ , also called the _Phtonic solids_ after Plato, who knew them. There are five Platonic solids:\n\n  1. The TETRAHEDRON, which is a pyramid with triangular faces\n\n  2. The CUBE, which has square faces\n\n  3. The OCTAHEDRON, which has triangular faces\n\n  4. The DODECAHEDRON, which has pentagonal faces\n\n  5. The ICOSAHEDRON, which has triangular faces\n\nThese solids are called _reguhr_ because their faces are all the same and are congruent, and the face angles are all equal. Plato knew that there are only five such three-dimensional _polyhedra_ (solids formed by plane faces). This fact made the ancient Greeks attach mystical properties to these solids, and they were believed to possess supernatural powers and to explain nature. And indeed, regular solids appear in nature. Many kinds of natural crystals are perfect (or close to perfect) regular solids. Euclid proved in volume XIII of his _Elements_ many theorems about inscribing regular solids inside spheres. For example, a cube can be placed snugly inside a sphere, so that its eight vertices touch the inside surface of the sphere. The same can be done with the other regular solids. This fact proved of great importance in the late 1500s to the work of Johann Kepler.\n\nIn fact, the regular solids were known before Euclid (third century B.C.) and before Plato (fifth century B.C.). The cube, the tetrahedron, and the octahedron were known to the ancient Egyptians, whose culture predates that of the Greeks by at least a millennium. And a dodecahedron made of bronze has been found and dated to several centuries before Plato. These solids were very important in Greek mathematics, which is why sophisticated discussion and complicated theorems concerning them were placed in the last volume of Euclid's _Elements._ The regular solids were seen as the culmination of Greek geometry and its extension into three dimensions. These solids were believed to contain the secrets of the universe.\n\nPlato visualized the five regular solids as the four elements earth, water, wind, and fire, as well as a fifth: the universe as a whole. This was a manifestation of the mystical qualities the ancient Greek mathematicians and philosophers ascribed to mathematical concepts and entities, and their view that God and the universe were mathematical. Plato visualized the five elements as in the diagram below (the fifth is the universe).\n\nDescartes had studied the Euclidean theorems about the regular solids. But he strove to go far beyond Euclid and the ancient Greeks. The man who wedded geometry with algebra was looking for a formula that would unify all the Platonic solids, thus allowing him to extract from them a divine truth about mathematics, and perhaps about nature. Such a crowning mathematical glory could augment and cement his philosophy.\n\nWhen he turned the page, Leibniz found the remaining Platonic solids\u2014Descartes' secret notebook contained all five of them. The number 666 was clearly not Descartes' aim. So what was it that Descartes was looking for in the Platonic solids? We know that Leibniz copied the manuscript very hastily. For a page and a half of copying, he did not see the pattern. Then suddenly he understood everything. Leibniz had found the key.\n\nHe did not need to continue the copying. All he needed to do now was to add one small marginal note\u2014a note that none of the analysts who later read Leibniz's writing over the centuries understood, until Pierre Costabel. The mystery was now solved\u2014there was no need to see the remaining pages of Descartes' original notebook. Leibniz now knew exactly what Descartes had discovered. And so did Pierre Costabel, the French priest and mathematician who had spent many years deciphering Leibniz's copy of Descartes' notebook, finally breaking the code in 1987.\n\nTwo decades after Leibniz copied Descartes' pages, the original notebook disappeared. On Leibniz's death in 1716, his papers were given to the archives of the Royal Library of Hanover (today's Gottfried Wilhelm Leibniz Library). Since Leibniz had left an immense amount of material, his pages copied from Descartes' notebook escaped attention for almost two centuries.\n\nIn 1860, Count Louis-Alexandre Foucher de Careil of the Sorbonne was searching through Leibniz's papers at the Hanover archives when he came upon the copy of Descartes' notebook. Foucher de Careil was not a mathematician, and he lacked the ability to decipher the secret key Descartes had used to disguise his work. In addition, he was confounded by Descartes' bizarre notation, and mistakenly substituted for Descartes' mystical symbols, as transcribed by Leibniz, the numbers 3 and 4 This made his work even more flawed. Consequently, Foucher de Careil's report of his discovery of the notebook, published that year, was found to be useless. Foucher de Careil's work has even confused later scholars who tried to use it over the years, leading them further away from Descartes' hidden meaning. A similar fate awaited the work of two French scholars, E. Prouhet and C. Mallet, who independently attempted to decipher Descartes' secrets later that same year.\n\nIn 1890, the French Academy of Sciences prepared to republish Leibniz's pages with an explanation based on new research on the manuscript by Vice Admiral Ernest de Jonquieres. But like Foucher de Careil before him, Ernest de Jonquieres lacked the mathematical ability to break the secret code needed to understand Descartes' work as transcribed by Leibniz. The academy had to abandon the project.\n\nAlmost eight decades later, in 1966, new work on deciphering the notebook was done by a research group that analyzed it in conjunction with information drawn from a collection of Descartes' works compiled by Charles Adam and Paul Tannery in 1912. But yet again the notebook refused to surrender its secrets. The true meaning of the strange symbols, sequences of numbers, and unusual drawings remained an enigma.\n\nIn 1987, Pierre Costabel published his definitive analysis of Leibniz's copy of Descartes' notebook. This time, the notebook yielded its secrets. Costabel had carefully studied the notes that Leibniz had made in the margin of his copy of the notebook, and understood that Leibniz had discovered Descartes' secret key, which revealed the true meaning of Descartes' writings. The key to the mystery was finding Descartes' rule for handling the sequences of numbers in his notebook. This rule was the _gnomon,_ the ancient Greek term originally meaning a staff used for casting a shadow on the ground, the length and direction of which was used to estimate time. But in Greek mathematics, the term \"gnomon\" came to mean a rule that specified how one was to arrange given sequences of numbers.\n\nDescartes had analyzed the ancient Greek regular solids\u2014Plato's mysterious objects. And within these three-dimensional geometrical objects, Descartes discovered a coveted formula: a rule that governs the structure of all of these magnificent solids. It was the Holy Grail of Greek mathematics\u2014something the Greeks had longed to possess. But Descartes would reveal to no one this hidden truth he had discovered. Some knowledge had to be kept secret. But why keep so secret a work of geometry?\n\n# Chapter 21\n\n# _Leibniz Breaks Descartes' Code and Solves the Mystery_\n\nJOHANN KEPLER KNEW THAT THE earth rotated about its axis and orbited the sun. All his astronomical work pointed in the direction of the Copernican view of the universe\u2014the theory that Descartes espoused as well, although not in a public way. Kepler, who a few years later was to derive the laws of planetary motion\u2014still used today in astronomy and space flights \u2014wanted to discover the cause for the regularity he was observing in the orbits of the planets in our solar system. In doing so, while still teaching at a high school in 1595, Kepler hypothesized that there was a connection between the Greek discovery of the existence of the five regular solids and the regular orbits of the six planets known at his time (Neptune, Uranus, and Pluto were yet to be discovered).\n\nKepler knew from his study of Euclid's remarkable theorems in book XIII of the _Elements_ that each one of the five regular solids could be perfectly inscribed inside a sphere. Motivated by his search for harmony in the creation of the solar system, he suggested the existence of celestial regular solids, whose spheres were nested. Each regular solid was inscribed in a larger sphere containing all previous regular solids and the spheres containing them. The five Platonic solids were thus placed within a sequence of nested spheres. Kepler believed that the orbits of the five other known planets (Mercury, Venus, Mars, Saturn, and Jupiter) and Earth could be viewed as circles on the surfaces of nested spheres, and he knew from Greek geometry that the five regular solids could each fit tightly inscribed inside one of these nested spheres. Kepler published this model of the solar system in his book _Mystenum cosmographicum_ (\"Cosmological Mystery,\" 1596) and considered it one of his greatest achievements, and a divine confirmation, using pure geometry, of the Copernican theory. Each sphere contained on its surface the orbit of a single planet and held inside it a regular solid. The order of these planets and solids was as follows: Mercury, octahedron, Venus, icosahedron, Earth, dodecahedron, Mars, tetrahedron, Jupiter, cube, Saturn.\n\nThe figure on page 224, from Kepler's _Mystenum cosmographicum,_ shows Kepler's cosmological model using the five Platonic solids and the planets nested between them. The sun is at the center of all the spheres containing the Platonic solids and the planets.\n\nSeeking a cosmic formula governing the Platonic solids that Kepler used to explain the universe and support the Copernican theory, Descartes began to study the mathematical properties of these ancient mystical three-dimensional geometrical objects. His purely mathematical work could thus lend theoretical support for the forbidden Copernican theory of the universe. One of the first items in Descartes' secret notebook was a theorem about placing the regular solids inside spheres, a property known to the ancient Greeks. But then Descartes went much further.\n\nKepler's model of the universe (from Mysterium cosmographicum, 1596)\n\nDescartes was looking for a transcendent truth that would describe all the regular solids. Later, he would discover that the formula he was after would describe not only the five regular solids but every three-dimensional polyhedron\u2014regular or not. Descartes was interested in capturing _numerical_ properties of these solids. He would then apply his overarching theory of analytic geometry to draw a link between the algebraic properties and the geometric structure of these solids. Descartes understood that the direct connection between the regular solids of ancient Greek geometry and Kepler's model of the universe could cause his work on these solids to be viewed as supporting the forbidden Copernican theory. He had to hide his work for fear of the Inquisition.\n\nLeibniz looked at the mysterious sequences of numbers:\n\n4 6 8 12 20 **_and_** 4 8 6 20 12\n\nWhat was the meaning of these sequences? Leibniz saw it.\n\nDescartes started by _counting the number of faces_ of the five regular solids. He got the following sequence of numbers:\n\n**4 _(tetrahedron),_ 6 _(cube),_ 8 _(octahedron),_ 12 _(dodecahedron),_ 20 _(icosahedron)_**\n\nThen, for each one of the five regular solids, Descartes counted the number of _vertices_ , or corners. This gave him, in order:\n\n**4 _(tetrahedron),_ 8 _(cube),_ 6 _(octahedron),_ 20 _(dodecahedron),_ 12 _(icosahedron)_**\n\nAn inspection of the figures of the regular solids can verify these numbers. And indeed Leibniz understood that the obscure figures on the other side of the page he was looking at stood for the five regular solids.\n\nThe key to the mystery was to know what to do with the two sequences of numbers. This was Descartes' code. The key, the gnomon, told Leibniz exactly what to do with Descartes' two sequences. The rule was embedded in the way Descartes transformed and disguised other sequences of numbers in his text. Leibniz discovered the gnomon and noted it in the margin of the copy he was making. The rule told him to arrange Descartes' two sequences of numbers in an array\u2014the second sequence below the first:\n\n4 6 8 12 20\n\n4 8 6 20 12\n\nThe page from Leibniz's copy of Descartes' secret notebook\n\nBut that's where Descartes' great discovery came in. Descartes then counted the _edges_ of each of the five regular solids. Let's add these as the bottom row of the array above. This gives us the following table.\n\nHaving written down the array, Descartes made his discovery. He noticed something very interesting about this array of numbers. It had to do with the sum of the first two rows as compared with the third row. (Can you see it?)\n\nWhat Descartes found was that for every one of the regular solids, the sum of the number of faces and vertices minus the number of sides equals two. Or as a formula:\n\nF+V-E=2\n\nThen Descartes found that his formula worked for _any_ three-dimensional polyhedron\u2014regular or not. Let's check it for a square-based pyramid (not one of the five regular solids, since it has one square face and four triangular ones).\n\nWe have F + V \u2212 E = 5 + 5 \u2212 8 = 2\n\nDescartes' formula was never attributed to him. His analysis of the three-dimensional solids would have advanced the study of geometry very much if he had published it. But because he feared the Inquisition, this important discovery remained hidden.\n\nDescartes' formula F+V\u2014E=2 is the first _topological invariant_ found. The fact that the number of faces plus the number of vertices, minus the number of edges, equals 2 is a property of space itself. In deriving this formula, Descartes had thus inaugurated the immensely important mathematical field of topology. Today, topology is one of the major areas of research in mathematics, and it has important applications in physics and other fields. But since Descartes kept his discovery secret, he is credited with launching the field of analytic geometry, wedding algebra with geometry, inventing the Cartesian coordinates, and making other important advances in mathematics, but not with the founding of topology\u2014the study of the properties of space. Others would receive the accolades for founding this field.\n\nThe Swiss mathematician Leonhard Euler (1707-83), who was born in Basel, was one of the greatest mathematicians of his century. Euler made many contributions to modern mathematics, spanning different areas within this field. Sometime after he moved to Russia to work at the Academy of Saint Petersburg, Euler discovered the magic formula that governs the structure of all three-dimensional solids: F+V\u2014E=2. This equation became known as _Eider's forrrada_ \u2014although it might easily, as we now know, have been Descartes' formula. There is a tantalizing footnote to this story. On his way from Basel to Saint Petersburg in 1730 to assume the chair of natural sciences at the Saint Petersburg Academy, Euler passed through Hanover, Germany. He is known to have spent some time reading Leibniz's manuscripts at the Hanover archives. Whether he perused Leibniz's copy of Descartes' notebook is unknown. What has been known as Euler's theorem and Euler's formula for over two and a half centuries is now increasingly often referred to\u2014following the decipherment of Descartes' secret notebook by Pierre Costabel in 1987\u2014as the Descartes-Euler theorem and the Descartes-Euler formula. But this practice is not universally followed, and many mathematicians still refer to the important property, stated as a theorem or a formula, as belonging to Euler. Had Descartes not guarded his precious knowledge so zealously, his name alone would have been attached to this discovery.\n\nDescartes lost more than his priority in making a great mathematical discovery that founded an entire field. Despite Descartes' meticulous care during his lifetime to avoid any controversy with the church, thirteen years after his death, in 1663, his writings were placed on the _Index of Prohibited Books._ And in 1685, King Louis XIV banned the teaching of Cartesian philosophy in France. In the time of Euler, the eighteenth century, Descartes' philosophy nearly disappeared. In 1724, the Libraires Associes published the last of the older French editions of Descartes' works. For a hundred years, no new editions of Descartes' works were published in France, and the philosopher and his work were all but forgotten as new ideas emerged and philosophy was developing further. Only in 1824, exactly a century later, did his work reappear in print, and he was again recognized for his greatness as a philosopher, scientist, and mathematician. And Pierre Costabel's definitive analysis of Descartes' secret notebook a century and a half later has finally restored to Descartes his credit for founding the field of topology.\n\nTantalizingly, just a few decades after he died, Descartes came close to receiving the recognition he deserved for this discovery. While researching his biography of Descartes, which would appear in 1691, Baillet was trying to understand Descartes' mathematical writings, including the secret notebook, lent him by Abbe Legrand. But he could not understand any of the mysterious symbols and drawings. When he asked him, Legrand told Baillet that some years before Clerselier died, he had been visited by a young German mathematician who copied Descartes' work and may have understood the writings in the mysterious parchment notebook. Baillet then made contact with Leibniz in Hanover. Leibniz complied and explained to Baillet Descartes' mathematics. But Baillet, not being a mathematician, failed to discuss Descartes' discovery in his biography. However, he did acknowledge in his preface the help rendered him by \"Monsieur Leibniz, a German mathematician.\"\n\nLeibniz himself remained ambivalent in his relationship to the late French philosopher and mathematician. The man who deciphered Descartes' secret writings would grudgingly praise his work, and from some of the things he later said about Descartes, it is evident that he continually compared his abilities with those of the French genius with perhaps a degree of envy. In 1679, three years after he copied and analyzed Descartes' notebook, Leibniz wrote:\n\nAs for Descartes, this is of course not the place to praise a man the magnitude of whose genius is elevated almost above all praise. He certainly began the true and right way through ideas, and that which leads so far; but since he had aimed at his own excessive applause, he seems to have broken the thread of his investigation and to have been content with metaphysical meditations and geometrical studies by which he could draw attention to himself.\n\nLeibniz remained obsessed with Descartes and his work for the rest of his life. He knew that Descartes had been crucial in laying down the foundations of modern science and mathematics, but he continued to argue that Descartes had stopped at a certain point in his development, believing that he, Leibniz, had gone much further. Descartes' work was clearly influencing him, and modern scholars would identify in Leibniz's philosophy both Cartesian and anti-Cartesian elements at the same time.\n\nLeibniz remained in contact with Descartes' friends and followers. The most prominent Cartesian philosopher of the late seventeenth and early eighteenth centuries was Nicolas Malebranche (1638-1715). Malebranche first read Descartes' philosophy in a manuscript published by Clerselier in 1664 Upon reading Descartes' ideas he became so excited that he suffered from palpitations of the heart and had to be confined to bed rest. Ten years later, Malebranche wrote his own treatise on Cartesian philosophy, titled _Recherche de la v\u00e9rit\u00e9_ (\"The Search for Truth\"). Leibniz exchanged letters with Princess Elizabeth, who was now sixty-one years old. He knew her through her sister Sophie, who was married to the duke of Hanover. On January 23, 1679, Leibniz wrote to Malebranche:\n\nThrough the favor of her highness, the Princess Elizabeth, who is celebrated as much for her learning as for her birth, I have been able to see [your Cartesian treatise].... Descartes has said some fine things; his was a most penetrating and judicious mind. But it is impossible to do everything at once, and he has given us only some beautiful beginnings, without getting to the bottom of things. It seems to me that he is still far from the true analysis and the general art of discovery. For I am convinced that his mechanics is full of errors, that his physics goes too fast, that his geometry is too narrow, and that his metaphysics is all these things.\n\nWhy such biting and clearly unjustified criticism from the man who came so close to Descartes' monumental ideas and pursued his hidden writings ? The reason was the calculus.\n\nBefore he saw Descartes' secret notebook, in the years prior to his visit to Clerselier in 1676, Leibniz was already developing his differential and integral calculus. The differential calculus is a mathematical method of finding the slope\u2014the instantaneous rate of change\u2014of a mathematical function. Descartes' published writings contain elements that lead in this direction. More precisely, Descartes could find the slopes of particular curves, but lacked a general, systematic method of finding slopes of functions. The integral calculus consists of an operation that is the opposite of finding slopes\u2014integrating a mathematical function means finding the area under the curve. The ancient Greeks, especially Archimedes and Eudoxus, made advances in this area, but Leibniz found the general method.\n\nIn 1673, Leibniz traveled from Paris to London, where he met mathematicians. He so impressed British scientists and mathematicians with his work that they elected him member of the Royal Society. Eleven years later, in 1684, Leibniz published his theory of the differential calculus, followed two years later by the integral calculus. Newton, on the other hand, possessed his results on the calculus as early as 1671, although his work was not published until 1736. Leibniz's own, independent work on the calculus was completed in Paris in October 1675\u2014before he saw any of Descartes' hidden writings.\n\nBut the calculus was not a single development\u2014it consisted of methods and techniques that had been developed over centuries: from the ancient Greek mathematicians Archimedes and Eudoxus to Galileo, Descartes, Fermat, and others. The final glory, a unified general approach to the solution of calculus problems, was developed by Leibniz and by Newton. It therefore happened that, since Leibniz had been discussing mathematical ideas with English mathematicians as particular results were being developed, he was accused of using the ideas of others. We know today that this was not the case, and that Leibniz developed his theory of the calculus all on his own. But at the time, a controversy raged in intellectual circles in England and on the continent about the priority of related important discoveries in mathematics. For it was known even before 1736 that Isaac Newton had developed a theory of the calculus, and some had asserted that perhaps during his visit to London in 1673, Leibniz came in contact with Newton's ideas on the calculus.\n\nLeibniz's being pressed to prove that his important discoveries were made alone and without knowledge of Newton's work also made him sensitive to any suspicion that his ideas might have been influenced by those of others\u2014prime among them Descartes. In particular, in May 1675, English mathematicians made the claim that some of Leibniz's works in mathematics had been \"nothing but deductions from Descartes.\" Then Leibniz received a letter in 1676 stating that \"Descartes was the true founder of the new mathematical method and the contributions of his successors were only a continuation and elaboration of Descartes' ideas.\"\n\nAt this point, Leibniz realized that he had no choice: he had to see everything that Descartes had written\u2014the published and the hidden, which might some day appear in print\u2014in order to be able to defend himself and his theory of the calculus, once it was published, from any criticism whatsoever. This gave him the burning urge to search out all of Descartes' hidden works, find Clerselier, who owned these writings, and copy and understand as much as he could of all the discoveries of Descartes. He had to make sure that nothing in Descartes' writings looked too much like his own work on the calculus\u2014or else the accusation of plagiarism could stick. It was this urgent need, and the fact that he was being attacked as having simply elaborated on the work of Descartes, that he explained to Clerselier when he came to see him in June 1676.\n\nBut the English continued to harass Leibniz with accusations of plagiarism. In August 1676, Newton wrote to Leibniz through a German interpreter, accusing him of using his work. The letter was delayed, and by the time Newton received Leibniz's answer, he was infuriated, thinking that Leibniz had taken six weeks to answer him, and hence that he was guilty. In fact, Leibniz had only a day or two to answer Newton's complaints. And he proved that his results were independent of those of Newton. He did this by showing that he had been communicated only some of Newton's specific results, and not a general method of solution. Since his calculus (and Newton's) was a very general method for the solution of a wide variety of mathematical problems, Leibniz could not have deduced it from separate, specific results that had been communicated to him by English mathematicians with whom he had ties.\n\nLeibniz's later criticisms of Descartes' work may have been his way of further distancing himself from Descartes' genius lest he be accused of having exploited his ideas. Nothing in Descartes' work led directly to Leibniz's calculus, but Descartes' discoveries in mathematics were certainly the forerunners of the calculus.\n\nWe know that in 1661, during his first year of study at Cambridge University, Isaac Newton read books about Descartes' mathematics. Much later, after he had become a famous mathematician and scientist, Newton openly declared: \"If I have seen a little farther than others, it is because I have stood on the shoulders of giants\"\u2014thus implicitly acknowledging the contributions of Galileo, Kepler, and Descartes. For without Descartes' unification of algebra and geometry it would have been impossible to describe graphs using mathematical equations, and hence, except perhaps as a pure theory, the calculus would be completely devoid of meaning.\n\nReluctantly, Leibniz returned to Hanover at the end of summer 1676 and spent the remaining years of his life serving the duke of Hanover in various posts. He was an educator, diplomat, counselor, and librarian. He traveled much, to Vienna, Berlin, and Italy. His final task was to write the history of the Brunswick family whom he served. When he died in 1716, that history had still not been completed. Leibniz never married. In his eulogy of Leibniz, Bernard de Fontenelle recounted that when Leibniz was fifty years old, he proposed to a lady, but that she took so much time to consider his offer that he finally withdrew it. When he died, the only heir to his considerable fortune was his sister's son. When this nephew's wife heard how much money she and her husband had inherited, she suffered a shock and died.\n\n# _A Twenty first-Century epilogue_\n\nDESCARTES COULD BE VIEWED AS an early cosmologist\u2014a scientist working to unveil the secrets of the universe. As such, he was the forerunner of Einstein, who in the fall of 1919\u2014exactly three hundred years after Descartes' rapturous moment of discovery in November 1619\u2014 became the celebrity we know when his general theory of relativity was confirmed through measurements of the bending of starlight around the sun made by Arthur Eddington during a total solar eclipse a few months earlier that year. Descartes' spirit of discovery is further carried forward today by Stephen Hawking, Roger Penrose, and Alan Guth\u2014the leading cosmologists of our own generation, expanding our horizons as we learn more about the workings of the universe.\n\nIn its essence, Descartes' work consisted of placing physics and cosmology on a firm mathematical foundation using Euclid's geometry as its base. Anyone who reads the works of modern cosmologists will be struck by the extent of the use of geometry in constructing models of the universe. The difference between the work of present-day scientists and that of Descartes is that modern cosmology is based on more advanced, specialized geometries such as the non-Euclidean geometries developed in the nineteenth century and used extensively by Einstein. Such geometries abandon Euclid's assumption that space is characterized by straight lines, and allow for a much more general structure of space, in which curves of various kinds are the basic elements.\n\nBut amazingly, the methods used by modern-day cosmologists are fundamentally extensions of those pioneered by Descartes. Physical space is so complex that in order to study its essential properties, cosmologists must rely on purely _algebraic_ methods. They study the geometry of space by analyzing the properties of _groups._ A group is an abstract collection of elements with certain mathematical properties, a concept that is a direct result of the algebra studied by Descartes. And the connection between geometry and algebra, the very tool that allows modern cosmologists to carry out their advanced analysis, was, as we know, established by Descartes. But do the regular solids of ancient Greece\u2014 the elements of Descartes' most prized secret\u2014have anything to do with cosmology?\n\nOn the eve of the transit of Venus across the face of the sun on June 8, 2004, a roughly twice-in-a-century event that was about to be observed by astronomers at the Observatory of the Aristotle University of Thessaloniki, in Greece, the American astronomer Jay M. Pasachoff delivered a lecture on the history of our understanding of the solar system. Referring to Kepler's cosmological model based on the five Platonic solids, Pasachoff said: \"It was a beautiful theoretical model of the universe. Unfortunately, it was completely wrong.\"\n\nIt would have seemed, therefore, that nothing about the Platonic solids had anything to do with the structure of the universe. And certainly Descartes' obsession with hiding his discovery about the nature of these solids was completely unnecessary, since Kepler's idea was not valid. The Platonic solids held no secret of the structure of the universe, and therefore did not constitute a real challenge to the earth-centered doctrine held by the church. But new research described in an article published in a mathematics journal in June 2004 may have changed everything.\n\nOn June 30, 2001, NASA launched the Wilkinson Microwave Anisotropy Probe (WMAP), a satellite designed to study minute fluctuations in the microwave background radiation that permeates all space as an echo of the Big Bang that created our universe. The fluctuations that the satellite was to study are believed to contain essential information on the geometry of the universe as a whole.\n\nOn August 10, 2001, the WMAP satellite reached its orbit far above the earth and directed its microwave antennas away from the earth into deep space. The stream of data the satellite has been producing ever since has been studied by scientists around the world.\n\nBut an enigma about the data puzzled the scientists. If the universe indeed had the infinite, flat geometry that scientists had assumed it to have, all fluctuation frequencies should have been present in the data. But surprisingly, certain fluctuations were not there. The absence of particular frequencies in the data implied to the scientists that the size of the universe was the culprit. The frequencies of the microwave background radiation that permeates space are similar in their essence to the frequencies of sound. And in the same way that the vibrations of a bell cannot be larger than the bell itself, the radiation frequencies in space are limited by the size of space itself. So cosmologists needed to look for new models of the structure of the universe: ones that would agree with the data from the satellite. These models should thus forbid the occurrence of radiation frequencies that were not found.\n\nComplicated mathematical analysis was carried out in an effort to solve this mystery. And the answer they obtained surprised the scientists: the large-scale geometry of our universe that can answer the discrepancies in the data is a geometry based on some of the Platonic solids. It seems that while the orbits of the planets in our solar system do not follow the structure of the ancient Greek solids, models of the geometry of the entire universe do. In particular, cosmologist and MacArthur fellow Jeffrey Weeks exposed in an article in the _Notices of the American Mathematical Society_ a theory that showed that tetrahedral, octahedral, and dodecahedral models of the geometry of the universe agree very well with the new findings\u2014they completely solve the mystery of the missing fluctuations.\n\nOne new model of the geometry of the universe is thus a gigantic octahedron that is \"folded onto itself in every direction. It is an octahedron in which opposite faces are identified with each other. This means that if a spaceship travels outward from the inside of the octahedron toward one of the faces, and then passes through that face, it will arrive\u2014speeding back _inward_ into the octahedron\u2014from exactly the opposite face of the octahedron. Another model is that of a huge icosa-hedron, again with opposite faces identified with each other. And a third possible model that satisfies the data is a giant dodecahedron with opposite faces identified. These models give us a universe that is closed and yet has no boundaries. Traveling (in three dimensions) within such a universe is similar to traveling on the (two-dimensional) surface of the earth: if you keep going constantly east, for example, you will travel around the world and arrive back at your starting point. You will never hit a \"boundary,\" and you will arrive back home from \"the opposite direction.\" Applying this principle to traveling in the \"folded onto itself dodecahedron, you will arrive back\u2014in three-dimensional space\u2014from the other side, that is, from the face opposite to the one you went through.\n\nSince imagining such geometries is difficult, and since to a mathematician, one dodecahedron is exactly the same as another dodecahedron of the same size, a way of understanding the new proposed geometries of the universe is by visualizing a repeating pattern of such dodecahedrons (or octahedrons or icosahedrons). Space could thus be seen as a three-dimensional array of connected octahedrons, icosahedrons, or dodecahedrons, infinitely extended in every direction. These possible geometries of our universe are shown below.\n\nIf this theory holds under the scrutiny of other experts, and survives the test of time, Kepler will have been proven right in assuming a connection between the Platonic solids and cosmology\u2014albeit one he could not have envisioned. And Descartes may well have been correct in believing that the objects of his great mathematical discovery held profound cosmological relevance.\n\nCosmological models of the universe based on Platonic solids\n\n#\n\n## INTRODUCTION\n\nPage\n\n5 _\"Who are we as minds in_ relation _to our bodies?\":_ Roger Ariew and Marjorie Grene, eds. _Descartes and_ His _Contemporaries,_ 1.\n\n5-6 _which incorporated into philosophy the elements of modern psychology:_ Victor Cousin, _Histoire generale de la philosophic depuis les temps les plus anciens,_ 359.\n\n7 _between the rue du Roi de Sidle and the rue des Bhncs-Manteaux:_ Baillet, whose 1691 biography of Descartes is still the most comprehensive after more than three hundred years, does not mention today's rue des Rosiers, which lies between the two cross streets.\n\n## PROLOGUE: LEIBNIZ'S SEARCH IN PARIS\n\nPage\n\n11 _found it difficult to reassemble the manuscripts:_ Charles Adam and Paul Tannery, _Oeuvres de Descartes_ (1974), hxviii, after Baillet. Adam and Tannery, who quote this story from Baillet, note that Baillet would well have known exactly what happened to the papers, since he collaborated in his own biography of Descartes with Father Legrand, who received the papers from Clerselier in 1684.\n\n14 _eagerly asked him if there was anything else:_ The dates\u2014June 1, 1676, for starting the copying and June 5, 1676, for copying the secret notebook\u2014are mentioned in Henri Gouhier, _Les premieres pensees de Descartes_ , 14, and are based on dates inserted by Leibniz in his manuscript copy, later recopied in the nineteenth century by Foucher de Careil.\n\n14 _imposed tight restrictions on the access to this notebook:_ Pierre Costabel, ed. Rene _Descartes: Exercises pour les elements des solides,_ ix.\n\n16 _Part of Leibniz's copy of Descartes' secret notebook:_ Reproduced by permission from the Gottfried Wilhelm Leibniz Library in Hanover, Germany. I am indebted to Birgit Zimny for the reproduction and a copy of the entire Leibniz manuscript.\n\n## CHAPTER 1: THE GARDENS OF TOURAINE\n\nPage\n\n18 _Joachim Descartes was the councillor of the Parliament of Brittany:_ Clearly, pre-Revolution France was not a democracy, so we cannot interpret the function of a regional _Parlement_ as that of, for example, the British Parliament of today. This institution had legislative and judicial roles, but they were subjected to royal authority, and these roles were more akin to those of a high court. Indeed, some of Descartes' biographers have translated the name of the institution at which Descartes' father worked as the \"High Court of Rennes.\"\n\n20 there _were only seventy-two Protestant baptisms in La Haye:_ From information kept by the Descartes Museum in Descartes, Touraine.\n\n21 His _baptismal certificate reads:_ I am indebted to Ms. Daisy Esposito of the Descartes Museum in Descartes, Touraine, for showing me a copy of the \"Acte de bapteme de Rene Descartes\" and allowing me to translate it.\n\n21 Her _brother's wife was Jeanne (Jehanne) Proust:_ This information is based on the genealogy drawn by Alfred Barbier in 1898. I am indebted to Ms. Daisy Esposito for providing me with the family tree produced by Mr. Barbier.\n\n22 _\"the land of the bears, between rocks and ice?\":_ Descartes to Princess Elizabeth, April 23, 1649, quoted in Jean-Marc Varaut, _Descartes: On cavalier francais,_ 256.\n\n24 _dust rising up from the earth as it was being plowed:_ Varaut, 44. See also Descartes, _Discours de la Methode,_ edited by Etienne Gilson, 108.\n\n25 _eighteen years after_ Rene's _death:_ Genevieve Rodis-Lewis, Descartes (Paris, 1995), 18.\n\n25 the _three-generations requirement, years after_ Rene's _death:_ Baillet's errors, however, are few and far between, and modern scholars have found it difficult to disprove facts in his biography of Descartes. Generally, he seems to have done a very good job, and his biography serves as the primary source of information about the life of the philosopher-mathematician, along with the many surviving letters Descartes had written.\n\n## CHAPTER 2: JESUIT MATHEMATICS AND THE PLEASURES OF THE CAPITAL\n\nPage\n\n28 right _after Easter 1607:_ Varaut, 48.\n\n30 _they attended a spiritual lecture:_ Varaut, 49.\n\n30 _as well as logic, physics, and metaphysics:_ Vittorio Boria, \"Marin Mersenne: Educator of Scientists,\" 12-30. 32 _\"that has thus hid them out\":_ Descartes, _Oiscours de h methode,_ Gallimard ed.,\n\n83-84, author's translation. 34 _forever to remain in the church:_ BaiUet (1691), 1:22.\n\n34 _he moved to Paris:_ BaiUet found Descartes' year in Poitiers so uninteresting that he didn't even mention it in his biography. 36 _characterized his early days in Paris:_ BaiUet (1691), 1:37.\n\n38 His _friends were close to giving him up as lost:_ BaiUet (1691), 1:36.\n\n39 _true judgment on the evaluation of all_ things: F. Alquie, ed., _Descartes: Oeuvres philosophiques,_ 1:46-47.\n\n## CHAPTER 3: THE DUTCH PUZZLE\n\nPage\n\n41 _assistant principal of the Latin School of Utrecht:_ Adam and Tannery (1986), X:22.\n\n42 _\"And I suppose you willgive me the solution, once you have solved this problem?\":_ Adam and Tannery (1986), X:46-47.\n\n45 _\"Hence, there is no such thing as an angle\":_ Adam and Tannery, (1986), X:46-47; Beeckman's _Journal,_ 1:23 7, translated in Cole, _Olympian Dreams,_ 80.\n\n46 _\"at the_ beginning _of Lent\":_ Descartes to Beeckman, January 24, 1619, in F. Alquie, ed., _Descartes: Oeuvres philosophiques,_ 1:35.\n\n48 _\"and so on for another_ twenty _hours\":_ Descartes to Beeckman, April 29, 1619, in Alquie, _Oeuvres philosophiques,_ 1:42\u201443. 48 _new concepts could be derived:_ Frances A. Yates, _The Art of Memory,_ 180-84.\n\n48 _would likely never be met:_ BaiUet (1692), 28.\n\n51 _Prince Frederick of the Pahtinate:_ Frances A. Yates, _The Rosicrucian Enlightenment,_ 23.\n\n51 _\"and are you still concerned with getting married?\":_ In Alquie, _Oeuvres philosophiques,_ 1:45.\n\n52 _the two friends met almost every day:_ Adam and Tannery (1986), X:25. 52 _\"nor where I shall stop along the way\":_ Adam and Tannery (1986), X:162.\n\n52 _\"honor you as the promoter of this work\":_ Adam and Tannery (1986), X:162. This letter was found together with Beeckman's journal in 1905.\n\n52 _Descartes was present at this magnificent ceremony:_ Some modern researchers have questioned Descartes' extensive itinerary, saying it would have taken too long, given where we know he finally arrived. But Baillet is generally correct, and perhaps there is no justification for underestimating the speed at which travel could be achieved in the seventeenth century. At any rate, from Descartes' own writings in the _Discourse on the Method_ (second part; Gallimard ed., 84), we know that Descartes was certainly at the coronation of the emperor.\n\n53 _Baillet tells us:_ Baillet (1691), 1:63.\n\n54 _would not carry a musket, only his sword:_ Baillet (1692), 30.\n\n## CHAPTER 4: THREE DREAMS IN AN OVEN BY THE DANUBE\n\nPage\n\n56 _\"to entertain myself with my own thoughts\":_ Descartes, _Discourse on the Method,_ second part, in Alquie, _Oeuvres philosophiques,_ 1:578. 56 _used both for cooking and for heating in winter:_ Varaut, 69.\n\n58 _\"an evil spirit that wanted to seduce him\":_ Baillet (1691), 1:81.\n\n58 _tried to take hold of the_ Corpus poetarum, _it disappeared:_ John R. Cole, _The Olympian Dreams and Youthful Rebellion of Rene Descartes,_ 228 n. 14, identi fies the two editions of the anthology _Corpus omnium veterum poetarum latinorum_ that were available during Descartes' early years, and notes that in these editions, the two poems _\"Quod vitae sectabor iterl\"_ and _\"Est et Non\"_ ap pear either on the same page or on facing pages. It seems that Descartes' memory of reading these poems served him even in his dream.\n\n59 \"truth _and_ falsehood in _the secuhr sciences\":_ Baillet (1691), I;82. 61 _\"Anno_ 1619 _Kalendis Januarii\":_ Adam and Tannery (1986), X:7.\n\n61 _who discovered the laws of_ planetary _motion: Edouard Mehl,_ Descartes en Allemagne, 17.\n\n61 _has conjectured that such a meeting indeed took place:_ L. Gabe, \"Cartelius oder Cartesius: Eine Korrectur zu meinem Buche iiber Descartes Selbstkritik, Hamburg, 1972,\" _Archiv fur Geschichte der Philosophy_ 58 (1976), 58-59.\n\n62 _\"truly worthy of your consideration\":_ Quoted in Mehl, 189. See also William R. Shea, _The Magic of Numbers and_ Motion: _The Scientific Career of_ Rene _Descartes,_ 105.\n\n62 _brought the letters in question to Kepler and made his acquaintance:_ Shea, 105.\n\n62 _aware of Kepler's work through his friend Beeckman:_ Adam and Tannery (1986), X:23.\n\n62 _published it in_ Mysterium cosmographicum _(1596):_ The treatise was written in July 1595, and so Kepler, who was born on December 27, 1571, was twenty-three years old at the time of his discovery. See Mehl, 17 n. 9, for details.\n\n## CHAPTER 5: THE ATHENIANS ARE VEXED BY A PERSISTENT ANCIENT PLAGUE\n\nPage\n\n67 _at two different locations separated by a known distance:_ This was one of the greatest scientific achievements in antiquity. Eratosthenes measured that sunlight made an angle of a fiftieth of a circle (about seven degrees) from the perpendicular in Alexandria, and cast no shadow (meaning the angle was zero) in Syene in Upper Egypt. The two cities are 500 miles apart (5,000 stadia). Hence he computed the circumference of the earth to be 50 \u00d7 500 = 25,000 miles (250,000 stadia). For more complete details see Pasachoff, _Astronomy,_ 15.\n\n67 to _help his countrymen rid themselves of the plague:_ Heath, A History _of Greek_ Mathematics, 1:246-60.\n\n67 _say, 1,000 cubic meters:_ I am using meters in this example not because the me-ter is an ancient measure (it is not), but rather because it is the only unit that allows me to use nice whole numbers such as 1,000, to make the mathematical example simple and illustrative while maintaining a reasonable size for a temple.\n\n## CHAPTER 6: THE MEETING WITH FAULHABER AND THE BATTLE OF PRAGUE\n\nPage\n\n72 the _mystic-mathematician Johann Faulhaber:_ Baillet (1691), 1:67.\n\n72 Descartes' _earlier biographer, Daniel Lipstorp:_ Lipstorp, Spedmina _philosophiae_ _cartesianae,_ 78-79. The story is reprinted in Adam and Tannery (1986), X: 252-53. 73 _his own book, the_ Geometrie, _published in 1637:_ See Kenneth L. Manders, \"Descartes and Faulhaber,\" _Bulletin Cartesien:_ Archives _de Philosophic_ 58, cahier3 (1995), 1-12.\n\n73 Mehi _concluded that Faulhaber and Descartes were close friends:_ Mehl, 193.\n\n74 _why Descartes chose this particular pseudonym:_ Kurt Hawlitschek, \"Die Deutschlandreise des Rene Descartes,\" _Berichte xur Wissenschaftsgechichte_ 25 (2002), 240.\n\n74 _was born in Uhn and was trained as a weaver:_ Kurt Hawlitschek, _Johann Faulhaber_\n\n_1580-1635: Fine Bltitezeit der mathematischen Wissenschaften in Uhn,_ 13. 76 _the meeting between Descartes and Faulhaber:_ Baillet (1691), 1:68.\n\n76 _\"I want you to enter my study\":_ Baillet (1691), 1:68.\n\n76 _\"Cubic Cossic Pleasure Garden of All Sorts of Beautiful Algebraic Examples\":_ Lipstorp, Specimina _philosophiae cartesianae,_ 79. I am indebted to Dr. Kurt Hawlitschek of Ulm for bringing this quotation to my attention.\n\n77 _problems in Roth's book, and solved them as well:_ Baillet (1691), 1:69.\n\n78 _the actual fighting since he was a volunteer:_ Baillet (1691), 1:73.\n\n80 _as he had hoped to do two years earlier:_ Adam and Tannery (1986), X:22.\n\n## CHAPTER 7: THE BROTHERHOOD\n\nPage\n\n83 _Baillet tells us:_ Baillet (1692), 29.\n\n83 _associated with the Rosicrucian order_ \u2014 _Johann Faulhaber:_ Richard Watson.\n\n_Cogito, Ergo Sum: The Life of Rene Descartes,_ 103, argues that Descartes had already met a Rosicrucian before his trip to Germany. According to Watson, Descartes' friend in Holland Cornelius van Hogeland was a Rosicrucian.\n\n86 _\"After six score years, I shall be found\":_ Baillet (1691), 1:89.\n\n86 _The brothers made the following six rules:_ Baillet (1691), 1:90.\n\n87 _\"like news of a Second Coming\":_ Baillet (1691), 1:92.\n\n87 _the flaming star is passed around:_ Anonymous, _Chevalier de ? Aigle du Pelican ou Rosecroix,_ 5-7.\n\n88 _Pythagorean theorem and early ideas about irrational numbers:_ Watson argues in Cogito, Ergo _Sum,_ 103-4, that scholars who persist in claiming that the Rosicrucians never existed lack an understanding of the nature of secret societies and how they operate.\n\n89 _arrested by the Jesuits shortly after the publication appeared:_ See Andrea, _Adam_\n\n_Haslmayr, der erste Verkunder der Manifeste de Rosenkreuzer,_ 20.\n\n## CHAPTER 8: SWORDS AT SEA AND A MEETING IN THE MARAIS\n\nPage\n\n93 _the effects of the hostilities on the inhabitants of this region:_ Baillet (1691), I; 101.\n\n93 _\"could have beenfatalfor him\":_ Baillet (1691), 1:101.\n\n95 _\"conduct him to his destination as peacefully as possible\":_ Baillet (1692), 49.\n\n97 _\"lodged somewhere in the Marais of the Temple in Paris\":_ Visitors to the Marais today can see both the rue du Temple and the rue Vielle du Temple. 97 _\"in a manner imperceptible to the_ senses\": Baillet (1692), 55.\n\n99 in _the form of mutual attacks:_ Information on Marin Mersenne comes mostly from Vittorio Boria, \"Marin Mersenne: Educator of Scientists.\"\n\n100 _the worldwide correspondence he received and sent:_ Boria, 91.\n\n## CHAPTER 9: DESCARTES AND THE ROSICRUCIANS\n\nPage\n\n102 _by members of the Brotherhood of the Rosy Cross:_ Mehl, 31-36.\n\n102 _used the term \"Olympic\" to mean_ intelligible _or_ comprehensible: Mehl, 31.\n\n102 _code words for philosophy, magic, and alchemy:_ Mehl, 32.\n\n102 _described by Oswald Croll in his_ Basilica chymica: Descartes to Mersenne, February 9, 1639, in Adam and Tannery (1988), 11:498.\n\n103 _eventually led to the decline of the order:_ Yates, _The Rosicrucian Enlightenment,_ 15-29.\n\n103 three _years before the publication of this_ text: Mehl, 37.\n\n105 _as well as about their orbits in the sky:_ Mehl, 43-45.\n\n105 _The Rosicrucians named their principle_ Est, Non est: Mehl, 104-6.\n\n106 selling _his compass for use in_ engineering _and for military purposes:_ Boyer and Merzbach, History _of Mathematics,_ 320.\n\n106 A _published description of Faulhaber's qualifications included the following:_ Testimonial about Johann Faulhaber by Johann Remmelin (1583-1632), published in Ulm in 1620, translated from the German by Kenneth L. Manders, in \"Descartes and Faulhaber,\" _Bulletin Cartesien: Archives de Phdosophie_ 58, cahier 3 (1995), 2.\n\n107 _Jacques Maritain says the following:_ Maritain, _The Dream of Descartes,_ 18.\n\n108 _Hawlitschek hypothesizes in his book:_ Hawlitschek, _Johann Faulhaber_ 1580-1635: _Eine Bliitezeit der mathematischen Wissenschaften in Vim._\n\n108 _meet Faulhaber so they could discuss mathematics:_ Hawlitschek, \"Die Deutsch-landreise des Rene Descartes,\" _Berichte zur Wissenschaftsgechichte_ 25 (2002), 235-38.\n\n108 _which led him to invent his own, related devices:_ Mehl, 43.\n\n109 _similarities in the content of the two manuscripts were discovered:_ Mehl, 194.\n\n109 _\"worthy of making their acquaintance\":_ Mehl, 212 n. 87.\n\n110 _the first one appearing in mid-October:_ See Ivo Schneider, _Johannes Faulhaber_ 1580-1635, 18-19, which includes the actual astronomical table prepared by Faulhaber. The story also appears in Shea, _The Magic of Numbers,_ 104, although the date is given as September 1 (which would be true according to the Julian, rather than Gregorian, calendar).\n\n111 _\"cabalistic log-arithmo-geometro-mantica\"_ : Mehl, 207. Ill _in a very personal, insulting way:_ Mehl, 214.\n\n## CHAPTER 10: ITALIAN CREATIONS\n\nPage\n\n114 _\"at leastl may become more capable\":_ Baillet (1692), 56.\n\n115 _the victory and the battle never took place, and were pure fiction:_ Frederic C. Lane, _Venice:_ A Maritime _Republic,_ 57.\n\n116 _as we would obtain today by_ solving _the equation_ x+(l\/7)x=19: Boyer and Merzbach, 15-16.\n\n117 _giving the two roots, or solutions, of this equation:_\n\n2a\n\n118 _people had been trying for many centuries:_ Boyer and Merzbach, 283.\n\n118 _and sometimes a professorship at a university:_ Jean Pierre Escofier, _Galois Theory,_ 14.\n\n118 _the coefficient of_ x3 _is 1, and there is no_ x2 _term:_ Escofier, 14.\n\n119 _a poem in Italian in which he embedded his formula:_ Escofier, 14.\n\n120-21 _work done a century earlier by the Italians:_ The formulas developed by Tartaglia and Cardano and Ferrari are very complicated. Here is one of them, a general formula for the solution of the cubic equation x3 \\+ qx \u2014 r=0. The solution is   in which the cube roots are varied so that their product is always -q\/3.\n\n121 _revive the use of the equal sign we use today:_ Florian Cajori, A History _of_\n\n## CHAPTER 11: A DUEL AT ORLEANS, AND THE SIEGE OF LA ROCHELLE\n\nPage\n\n123 _a wife \"of good birth and much merit\":_ Baillet (1691), 11:501.\n\n124 _remained known only as \"Father P.\":_ Baillet (1691), 11:501.\n\n125 _Baillet tells us:_ Baillet (1692), 69.\n\n127 _who wanted to observe the siege:_ Baillet (1691), 1:155.\n\n127 _\"well appreciated by Cardinal Richelieu\":_ Baillet (1691), 1:157.\n\n128 _was there, meeting the British officers:_ Baillet (1691), 1:159.\n\n128 _tried to eat the leather of belts and boots:_ Information about the siege obtained from documents kept at the Protestant Museum of La Rochelle.\n\n129 _troops with their guns and ample ammunition:_ Today, La Rochelle is a popular tourist destination and a thriving resort town. The old part of the city, dating from the twelfth to sixteenth centuries, looks much as it did in centuries past, and the medieval walls of the harbor with their towers still stand today. But the people of La Rochelle, most of whom are Catholic, as is the case throughout France, clearly are not proud of their history. Finding any reminders of the great siege of 1628 is very difficult, and the tourist office in town can supply visitors with no brochures or any kind of information whatsoever about this part of the city's history.\n\n## CHAPTER 12: THE MOVE TO HOLLAND AND THE GHOST OF GALILEO\n\nPage\n\n132 _active population enjoyed the fruits of peace:_ Descartes, _Oiscours de la Methode,_ edited by Etienne Gilson.\n\n132 _had also contributed to his decision to leave France:_ Gustave Cohen, _Ecrivains frangais en HoUande dans la premiere moitie du_ XVIIe _siecle,_ 402-9.\n\n133 _\"by all rights declare it as your own\":_ Quoted in Jean-Marie Beyssade, _Etudes sur Descartes,_ 33.\n\n134 _\"to make him ashamed, especially if I had his letter\":_ Descartes to Mersenne in 1629, quoted in Stephen Gaukroger, _Descartes: An Intellectual Biography,_ 223.\n\n135 _\"had learned many things from you\":_ Quoted in Varaut, 109.\n\n135 _\"which you describe by the name mathematico-physics\":_ Quoted in Michel Fichant, Science _et metaphysique dans Descartes et Leibniz,_ 19.\n\n136 _\"of ants and small worms\":_ Quoted in Beyssade, _Etudes,_ 33.\n\n136 In _October 1629, Descartes started to work on a book:_ For this date see Gilson's edition of _Discours de la Methode,_ 103 n. 3.\n\n137 _as he later described his resolution:_ Beyssade, _Etudes,_ 36.\n\n137 _that could enrage the powerful Inquisition:_ Beyssade. _Etudes,_ 40.\n\n138 _fifth part of his_ Discourse, _Descartes wrote the following:_ Descartes, _Discours de hMethode,_ Gallimard ed., Ill, author's translation.\n\n139 An _excerpt follows:_ Descartes to Mersenne, April 15, 1630, in Adam and Tannery (1974), 1:145, author's translation.\n\n140 _within his theory of the universe:_ Fichant, 22.\n\n140 _deciphering whether a symbol was a number or an abstract sign:_ Fichant, 26.\n\n141 Hiding _his physics by way of a \"fable\" was one more layer:_ J. P. Cavaille, _Descartes: ha fable du monde,_ 1.\n\n143 _The letter is datelined Deventer, end of February 1634:_ E Alquie (1997), 492-93.\n\n## CHAPTER 13: A SECRET AFFAIR\n\nPage\n\n145 _a_ pretty _servant named Helene Jans:_ Some scholars believe that Jans was the name of her father.\n\n146 \"ten _years now that God has removed me from that dangerous engagement\":_ Varaut, 139.\n\n146 _\"prescribes for those who live in bachelorhood\":_ Baillet (1691), 11:89.\n\n146 _perhaps to work as a maid for his hndlady:_ Gaukroger, _Descartes_ (1995), p. 333.\n\n148 _other mathematicians of the day:_ Varaut, 141.\n\n## CHAPTER 14: DESCARTES' PHILOSOPHY AND THE\n\nDISCOURSE ON THE METHOD\n\nPage\n\n151 _impervious to the dangers of skepticism:_ E Copleston, A History _of Philosophy,_ IV:66-67.\n\n152 _never accepting the authority of any previous philosophy:_ E Copleston, 67.\n\n152 _The_ Discourse _was Descartes' first published book:_ E de Buzon, preface, in Descartes, _Discours de h Methode,_ Gallimard ed., 7.\n\n153 _one that has no center and whose dimensions are infinite:_ E de Buzon in Descartes, _Discours,_ Gallimard ed., 9.\n\n154 _sanitized scientific writings, and published them:_ F. de Buzon in Descartes.\n\n_Discours,_ Gallimard ed., 11. 154 _when it was withdrawn from publication:_ F. de Buzon in Descartes, _Discours,_\n\nGallimard ed., 11.\n\n154 _\"because of its certitude and its reasoning\":_ Descartes, _Discours de h Methode,_ edited by Etienne Gilson, 52.\n\n155 _\"march forward with confidence in this life\":_ Descartes, _Discours,_ edited by Etienne Gilson, 56.\n\n156 _\"rolling here and there in the world\":_ Descartes, _Discours,_ edited by Etienne Gilson, 84.\n\n159 _alluding to the association with the brotherhood:_ Mehl, 87. 159 _\"knowing more than they know\":_ Descartes, _Discours,_ Gallimard ed., 82, author's translation.\n\n159 _\"one would consider the most_ curious\": Descartes, _Discours,_ Gallimard ed., 78, author's translation.\n\n160 _dealing with special knowledge: magic, astrology, and alchemy:_ F. de Buzon in Descartes, Discours, edited by Gallimard, 78 n. 2. See also Descartes, _Discours,_ Etienne Gilson, 49 n. 2.\n\n160 _the problem solved in his secret notebook:_ F. de Buzon in Descartes, _Discours,_\n\nGallimard ed., 93 n. 1. 160 _\"sum of all the_ science _of pure mathematics\":_ Fichant, 24.\n\n## CHAPTER 15: DESCARTES UNDERSTANDS THE ANCIENT DELIAN MYSTERY\n\nPage\n\n164 _on the second page of his_ Geometrie: Adam and Tannery (1982), VI:370.\n\n165 _neither are any other higher-order roots:_ See the upcoming book by Simon Winchester, _Fatal Equation_ (HarperCollins, 2009), for the story of the life of Galois.\n\n## CHAPTER 16: PRINCESS ELIZABETH\n\nPage\n\n168 set _his dogs on the impudent peasant:_ J.-M. Beyssade and M. Beyssade, eds., Descartes: Correspondence _avec Elizabeth,_ 24.\n\n169 _\"mysteries of nature as well as geometry\":_ Baillet (1691), 11:233.\n\n171 _\"both disciplines are equally easy to understand\":_ Baillet (1691), 11:233.\n\n172 _to take care of a fellow royal in distress:_ Gaukroger, _Descartes,_ 385.\n\n173 _wanted to devote her life to studying it:_ Baillet (1691), 11:231.\n\n## CHAPTER 17: THE INTRIGUES OF UTRECHT\n\nPage\n\n175 _\"only because we clearly and distinctly perceive this\":_ Adam and Tannery\n\n(1983), VII:214. See also Gaukroger, _Descartes,_ 343. 177 _\"belongs to the Society of the Brothers of the Rosy Cross\":_ Quoted in Mehl, 92.\n\n179 _helping him promote his teachings in Holland:_ Varaut, 235.\n\n## CHAPTER 18: THE CALL OF THE QUEEN\n\nPage\n\n181 _\"the most intimate secrets of his heart\":_ Baillet (1691), 11:242.\n\n182 _\"ever love me because I resemble you in any way\":_ Baillet (1691), 11:243.\n\n182 _Descartes wrote the following curious passage:_ Descartes to Chanut, from\n\nEgmond, Holland, November 1, 1646, in Beyssade and Beyssade, 245-46. 186 _\"the letter Your_ Majesty _has written me\":_ Beyssade and Beyssade, 284.\n\n186 _Alexander the Great comes to mind:_ Varaut, 254.\n\n187 _\"place where I might do better\":_ Beyssade and Beyssade, 281.\n\n188 _\"from aperson_ another religion\": Varaut, 258.\n\n191 _the last letter Descartes would write to her:_ Descartes to Elizabeth, from Stockholm, October 9, 1649, in Beyssade and Beyssade, 234-35.\n\n192 \"M;y _desire to return to my desert grows every day more and more\":_ Varaut, 269.\n\n## CHAPTER 19: THE MYSTERIOUS DEATH OF DESCARTES\n\nPage\n\n194 _\"theologians of Utrecht and Leyden had dechred upon him\":_ Baillet (1691), 11:417.\n\n195 _to offer his services to the ailing philosopher:_ Baillet (1691), 11:417.\n\n195 _\"as an adult in good health without bleeding\":_ Reported in Baillet (1692), 49.\n\n196 _\"I will die with more contentment if I do not see him\":_ Baillet (1691), 11:418.\n\n197 _did not take well to his philosophy:_ Baillet (1691), 11:415.\n\n197 _the chim that Descartes was poisoned:_ Varaut, 271-81.\n\n198 _the man she called_ \"M;y _Illustrious Master\":_ Baillet (1692), 268.\n\n199 _paying for the expenses of Descartes' funeral:_ Baillet (1691), 11:425.\n\n199 in _the Church of Sainte-Genevieve-du-Mont in Paris:_ Baillet (1692), 270.\n\n199 in _the ancient Church of Saint-Germain-des-Pres:_ These details are from Genevieve Rodis-Lewis, in John Cottingham, ed., _The Cambridge Companion to Descartes,_ 57 n. 74.\n\n200 _be buried with the rest of his bones:_ See Berzelius to Cuvier, April 6, 1821, in Adam and Tannery (1983), XII:618-19.\n\n200 _the Musee de I'Homme (the Museum of Man) in Paris:_ The museum is at the Trocadero, across from the Eiffel Tower, in Paris. I tried to decipher the writings on the skull when I visited the museum in the summer of 2004-I could make out only the word \"Stockholm\" and a date that looks like 1660 or 1666.\n\n201 _the deceased philosopher's valet, Henry Schluter:_ Adam and Tannery (1986), X:l, after Baillet.\n\n201 _making a small fortune on these items a few years later:_ Adam and Tannery (1986), X:l, after Baillet.\n\n202 _Chanut took all of these items under his \"particular protection\":_ Adam and Tannery (1986), X:3, after Baillet.\n\n203 _neither time nor patience for publication requests:_ Adam and Tannery (1974), I:xvii (based on Lipstorp).\n\n205 _\"the Catholic, Apostolic, and_ Roman _religion\":_ Baillet (1691), 11:432.\n\n## CHAPTER 20: LEIBNIZ'S QUEST FOR DESCARTES' SECRET\n\nPage\n\n207 _and_ np _lead back to_ y: G. W. Leibniz, _Recherches generates sur I'analyse des notions et des verites,_ 136.\n\n208 _books that were above his level:_ E. J. Aiton, _Leibniz:_ A _Biography,_ 12.\n\n208 _Leibniz also studied Bacon, Hobbes, Galileo, and Descartes:_ Jean-Michel\n\nRobert, _Leibniz, vie et oeuvre,_ 11. 208 _only through work in mathematics later in life:_ Bertrand Russell, _The Philosophy_\n\n_of Leibniz,_ 6. 208 _stamping on it his own unique impression:_ Marc Parmentier, _La naissance du cal-_\n\n_cul differentia,_ 15. 208 in _jeopardy of losing his academic position:_ W. Hestermeyer, _Paedagogia mathe-_\n\n_matica,_ 51.\n\n209 _\"can do away with the flaws in the Cartesian doubt\":_ Paul Schrecker, ed., G. _W._\n\n_Leibniz: Opuscules philosophiques choisis_ , 31.\n\n209 _and the Latin manuscript_ Cartesii opera philosophica: Yvon Belaval, _Leibniz critique de Descartes_ , 9.\n\n210 _offered Leibniz admittance to the society:_ Aiton, 24.\n\n211 _he would be paid what he was owed:_ Aiton, 37.\n\n213 _Latin name for Germany, making it read:_ F. Alquie, ed., _Descartes: Oeuvres philosophiques,_ 1:45. Alquie hypothesizes that there is possibility that it was Foucher de Careil who added \"Germania\" as an explanation of G when he handled Leibniz's copy of Descartes during his visit to the Hanover archive.\n\n213 _discussed its finer points at length in letters:_ Aiton, 84.\n\n213 _taken right out of the_ Fama fraternitatis: Yates, _The Rosicrucian Enlighten-_\n\n_ment,_ 154.\n\n213 _the alchemical society of Nuremberg:_ Jean-Michel Robert, _Leibniz, vie et oeuvre,_ 14.\n\n214 _Clerselier had imposed very strict rules on the copying:_ Costabel, Rene _Descartes,_ viii.\n\n218 _found and dated to several centuries before Phto:_ See the historical note by Sir\n\nThomas L. Heath in Euclid, _The Thirteen_ Books _of the Elements,_ 3:438. 220 This _made his work even more flawed:_ Adam and Tannery (1986), X:259.\n\n## CHAPTER 21: LEIBNIZ BREAKS DESCARTES' CODE AND SOLVES THE MYSTERY\n\nPage\n\n223 _the spheres containing the_ Platonic _solids and the_ planets: See Pasachoff, Astronomy, 27.\n\n225 _the page he was looking at stood for the five regutor solids:_ The two formulas from the notebook, appearing just above the two sequences of numbers, are mathematical tools for generating the sequences.\n\n227 _three-dimensional polyhedron_ \u2014 _regutor or not:_ It fails for a Mobius strip, which is a \"pathological\" three-dimensional object.\n\n229 _banned the_ teaching _of Cartesian philosophy in_ France: Gaukroger, Descartes, 3.\n\n230 _rendered him by \"Monsieur Leibniz, a_ German _mathematician\":_ Baillet (1691), I:xxvi.\n\n231 _\"by which he could draw attention to himself:_ Leibniz, _Philosophical Papers and Letters,_ 223.\n\n231 _both Cartesian and anti-Cartesian elements at the same time:_ Yvon Belaval, _Leibniz critique de Descartes,_ 12.\n\n232 _\"his metaphysics is all these_ things\": Leibniz to Nicolas Malebranche, Hanover, January 23, 1679, in Leibniz, _Philosophical Papers and Letters,_ 209.\n\n233 _\"nothing but deductions from Descartes\":_ Aiton, 56.\n\n233 _\"only a continuation and elaboration of Descartes' ideas\":_ Leibniz, _Stamliche Schriften und Briefe,_ 111.1:504-16.\n\n234 English _mathematicians with whom he had ties:_ Aiton, 65.\n\n234 Newton _read books about Descartes' mathematics:_ Boyer and Merzbach, 391.\n\n235 _acknowledging the contributions of Galileo, Kepler, and Descartes:_ E. T. Bell, Men _of Mathematics,_ 93.\n\n## A TWENTY-FIRST-CENTURY EPILOGUE\n\nPage\n\n237 on the _history of our understanding of the solar_ system: The observations were made by an international team of astronomers led by Professor John Seiradakis, the director of the Observatory of the Aristotle University of Thessaloniki.\n\n239 _article in the_ Notices of the American Mathematical Society: Jeffrey Weeks.\n\n\"The Poincare Dodecahedral Space and the Mystery of the Missing Fluctuations,\" Notices _of the American_ Mathematical _Society,_ June\/July 2004, 610-19.\n\n#\n\nAdam, Charles. _Vie et oeuvres de Descartes._ Paris: Cerf, 1910.\n\nAdam, Charles, and Paul Tannery, eds. _Oeuvres de Descartes._ 12 vols. Paris: Leopold Cerf, 1902-12.\n\n_____, eds. _Oeuvres de Descartes._ Rev. ed. 12 vols. Paris: Vrin, 1974-88.\n\nAiton, E. J. _Leibniz: A Biography._ Bristol, U.K.: Adam Hilger, 1985.\n\nAlquie, Ferdinand. _La decouverte metaphysique de Vhomme chez Descartes._ Paris: Presses Universitaires de France, 1950.\n\n_____. _Descartes: Lhomme et I'oeuvre._ Paris: Hatier-Boivin, 1956.\n\n_____, ed. _Descartes: Oeuvres phibsophiques._ Vol. I, 1618-37. Paris: Gamier, 1997.\n\nAndrea, Johann Valentin. _Adam Haslmayr, der erste Verkunder der Manifeste de Rosenkreuzer._\n\nAmsterdam: Plikaan, 1994. Anonymous (attributed to Johann Valentin Andrea). _Fama fraternitatis._ Cassel, 1614. Reprint, Stuttgart: Calwer Verlag, 1981.\n\nAnonymous. _Chevalier de I'aigh du pelican ou Rosecroix._ Reprint, Nimes: Lacour, 1998.\n\nAriew, Roger, and Marjorie Grene, eds. _Descartes and His Contemporaries._ Chicago: University of Chicago Press, 1995.\n\nArnold, P. His wire _des Rose-Croix et les origins de la Franc-Magonnerie._ Paris: Mercure de France, 1990.\n\nBaillet, Adrien. _La Vie de_ Monsieur Des-Cartes. 2 vols. Paris: Daniel Horthemels (rue Saint-Jacques), 1691.\n\n_____. Vie _de Monsieur Descartes._ Abridged ed., 1692. Reprint, Paris: La Table Ronde, 1972.\n\nBaker, Gordon, and Katherine J. Morris. _Descartes' Dualism._ New York: Routledge, 1996.\n\nBeck, Leslie John. _The Method of Descartes._ Oxford, U.K.: Oxford University Press, 1952.\n\nBeeckman, Isaac. _Journal 1604-1_ 634. Introduction and notes by C. de Waard. 4 vols. La Haye: M. Nijhoff, 1939-53.\n\nBelaval, Y. _Leibniz critique de Descartes._ Paris: Gallimard, 1960.\n\nBell, E. T. Men _of Mathematics._ New York: Simon & Schuster, 1937.\n\nBeyssade, Jean-Marie. _Etudes sur Descartes: L'histoire d'un esprit._ Paris: Editions du Seuil, 2001.\n\n_____. _La philosophic premiere de Descartes._ Paris: Flammarion, 1979.\n\nBeyssade, Jean-Marie, and M. Beyssade, eds., Rene _Descartes: Correspondance avec Elizabeth et autres lettres._ Paris: Flammarion, 1989.\n\nBitbol-Hesperies, Annie. Le _principe de vie chez Descartes._ Paris: Vrin, 1990.\n\nBlanchet, L. _Les antecedents historiques du \"Je pense done je suis.\"_ Paris: E Alcan, 1920.\n\nBloom, John J. _Descartes: His Moral Philosophy and Psychology._ New York: New York University Press, 1978.\n\nBoria, Vittorio. \"Marin Mersenne: Educator of Scientists.\" Doctoral dissertation, American University, 1989.\n\nBoyer, Carl B. A History _of Mathematics._ New York: Wiley, 1968.\n\nBoyer, Carl B., and Uta C. Merzbach. A History _of Mathematics._ 2nd edition. New York: Wiley, 1991.\n\nBrahe, Tycho. _Opera omnia._ 15 vols. Edited by J. L. E. Dreyer. 1913-26.\n\nCahne, Pierre-Alain. Un _autre Descartes_ \u2014 _le philosophe et son langage._ Paris: Vrin, 1980.\n\nCajori, Florian. A History _of Mathematical Notations._ Vols. I and II. New York: Dover, 1993.\n\nCarr, Herbert W _Leibniz._ New York: Dover, 1960.\n\nCavaille, J.-P Descartes: _La fable du monde._ Paris: Vrin, 1991.\n\nCohen, Gustave. Ecrivains _frangais en HoEande dans h premiere moitie du_ XVIIe _siecle._ Paris: E.\n\nChampion, 1920. Cole, John R. _The Olympian Dreams and Youthful Rebellion of Rene Descartes._ Chicago: University of Illinois Press, 1992.\n\nCopleston, Frederick. A History _of Philosophy._ Vol. IV, Modern Philosophy: From Descartes to _Leibniz._ New York: Doubleday, 1994.\n\nCostabel, Pierre. Demarches _originales de Descartes_ savant. Paris: Vrin, 1982.\n\n_____, ed. Rene _Descartes: Exercises pour les elements des solides._ Paris: Presses Universitaires de France, Epimethee, 1987.\n\nCottingham, John. _Descartes._ New York: Oxford University Press, 1998.\n\n_____, ed. _The Cambridge Companion to Descartes._ New York: Cambridge University Press, 1992.\n\nCousin, Victor. _Histoire generate de la philosophic depuis les temps les plus_ anciens. Paris, 1884.\n\nCouturat, Louis. _La logique de Leibniz._ New York: George Olms Verlag, 1985.\n\nCroll, Oswald. _Basilica chymica._ Frankfurt: G. Tampach, 1620.\n\nCurley, Edwin. _Descartes_ Against _the Skeptics._ Cambridge: Harvard University Press, 1978.\n\nDe Sacy, Samuel S. Decartes. Paris: Seuil, 1996.\n\n_____. Descartes _par lui-meme._ Paris: Seuil, 1956.\n\nDenissoff, Elie. Descartes: _Premier theoricien de_ la _physique mathematique._ Paris: Louvain, 1970.\n\nDescartes, Rene. _Discours de la methode._ 1637. Republished, with notes by F. de Buzon, Paris: Gallimard, 1997.\n\n_____. _Discours de h, methode._ 1637. Republished and edited, with notes, by Etienne Gilson, Paris: Vrin, 1999.\n\n_____. _Discourse on the Method and_ Meditations on First Philosophy. Edited by David Weissman. New Haven: Yale University Press, 1996.\n\n_____. _Philosophical Letters._ Translated and edited by Anthony Kenny. Oxford, U.K.: Clarendon Press, 1970.\n\n_____. _The Philosophical Works of Descartes._ Translated and edited by Elizabeth S. Haldane and G. R. T Ross. Vols. I and II. Cambridge, U.K.: Cambridge University Press, 1968.\n\nDunn, Richard S. _The Age of Religious Wars._ New York: Norton, 1970.\n\nEscofier, Jean Pierre. _Galois Theory._ New York: Springer-Verlag, 2001.\n\nEuclid. _The Thirteen Books of the Elements._ Vol. 3; Books X-XIII. New York: Dover, 1956.\n\nFaulhaber, Johann. _Arithmetischer Cubicossicher Lustgarten._ Tubingen, Germany: E. Cellius, 1604.\n\n_____. _MiracuL arithmetica._ Augsburg: D. Francken, 1622.\n\n_____. _Numerus figuratus sive arithmetica arte mirabili inaudita nova_ cons tans. Ulm, Germany, 1614\n\nFichant, Michel. Science et _metaphysique dans Descartes et Leibniz,._ Paris: Presses Universitaires de France, 1998.\n\nFoucher de Careil, Louis-Alexandre. _Oeuvres inedites de Descartes._ Paris: Foucher de Careil, 1860.\n\nGabe, Liider. _Descartes Selbskritik: Untersuchungen xur Philosophie des jungen Descartes._ Hamburg: Meiner, 1972.\n\nGarber, Daniel. _Descartes' Metaphysical Physics._ Chicago: University of Chicago Press, 1992.\n\n_____. _Descartes Embodied: Reading Cartesian Philosophy Through Cartesian_ Science. New York: Cambridge University Press, 2001.\n\nGaukroger, Stephen. _Cartesian Logic._ Oxford, U.K.: Oxford University Press, 1989.\n\n_____. _Descartes:_ An _Intellectual Biography._ Oxford, U.K.: Clarendon Press, 1995.\n\nGilder, J., and A.-L. Gilder. _Heavenly Intrigue._ New York: Doubleday, 2004.\n\nGilson, E. _Index scholastico-cartesien._ New York: Burt Franklin, 1912.\n\nGouhier, Henri. _Essais sur Descartes._ Paris: Vrin, 1949.\n\n_____. _La pensee metaphysique de Descartes._ Paris: Vrin, 1969.\n\n_____. _Les premieres_ pensees _de Descartes._ Paris: Vrin, 1958.\n\nGrimaldi, Nicolas. _Lexperience de la pensee dans la philosophie de Descartes._ Paris: Vrin, 1978.\n\nGuenancia, Pierre. _Descartes._ Paris: Bordas, 1989.\n\nGueroult, Martial. _Descartes selon I'ordre des raisons._ Paris: Aubiers, 1953.\n\nHamelin, O. Le _systeme de Descartes._ Paris: Alcan, 1911.\n\nHawlitschek, Kurt. _Johann Faulhaber 1580-1635: Eine Bltitezeit der mathematischen_ Wissenscha\/ten in _Vim._ Ulm, Germany: Stadtbibliothek Ulm, 1995.\n\nHeath, Sir Thomas. A History _of Greek Mathematics._ Vol. I. New York: Dover, 1981.\n\nHebenstreit, Johann-Baptist. _Cometen Fragstuck aus der reinen Philosophica._ Ulm, Germany: J. Meder, 1618.\n\n_____. De _Cabbah log-arithmo-geometro-mantica._ Ulm, Germany:]. Meder, 1619.\n\nHeindel, Max, and Augusta Heindel. Histoire _des Rose-Croix._ Lodeve: Beaux Arts, 1988.\n\nHestermeyer, W. _Paedagogia mathematica._ Paderborn: Schoningh, 1969.\n\nHolton, Gerald. _Thematic Origins of Scientific Thought._ Cambridge: Harvard University Press, 1973.\n\nHooker, Michael, ed. _Descartes: Critical and Interpretative Essays._ Baltimore: Johns Hopkins University Press, 1978.\n\nJudovitz, Dalia. _Subjectivity and Representation in Descartes: The Origins of Modernity._ New York: Cambridge University Press, 1988.\n\nJullien, Vincent. _Descartes: La Geometrie de 1637._ Paris: Presses Universitaires de France, 1996.\n\nKepler, Johann. _Harmonices mundi._ Linz: G. Tampachius, 1619.\n\n_____. _Kanones pueriles._ Ulm, 1620.\n\n_____. _Mysterium cosmographicum._ Tubingen, 1596. Translated as _The Secret of the Universe_ by A. M. Duncan. New York: Abaris, 1981.\n\nLane, Frederic C. _Venice: A Maritime Republic._ Baltimore: Johns Hopkins University Press, 1973.\n\nLaporte, Jean. Le _rationalisme de Descartes._ Paris: Presses Universitaires de France, 1945.\n\nLefevre, R. _La vocation de Descartes._ Paris: Presses Universitaires de France, 1956.\n\nLeibniz, Gottfried Wilhelm. _De arte combinatoria._ Leipzig, 1666.\n\n_____. _Philosophical Papers and Letters._ Edited by L. E. Lomker. 2nd ed. Dordrecht, Holland: D. Reidel, 1970.\n\n_____. _Recherches generales sur Vanalyse des notions et des verites._ Edited by Jean Baptist Rauzy. Paris: Presses Universitaires de France, 1998.\n\n_____. _Stamliche Schriften und Briefe._ Berlin: Akademie Verlag, 1923.\n\nLenoble, Robert. _Mersenne ou la naissance du mecanisme._ Paris: Vrin, 1943.\n\nLipstorp, Daniel. _Specimina philosophiae cartesianae._ Leyden, 1653.\n\nMahoney, Michael Sean. _The Mathematical Career of Pierre de Fermat._ Princeton: Princeton University Press, 1973.\n\nMarion, Jean-Luc. _Sur I'ontologie grise de Descartes._ Paris: Vrin, 1975.\n\n_____. _Sur le prisme metaphysique de Descartes._ Paris: Presses Universitaires de France, 1986.\n\n_____. _Sur h theologie bhnche de Descartes._ Paris: Presses Universitaires de France, 1991.\n\n_____. Questions _cartesiennes._ Paris: Presses Universitaires de France, 1996.\n\nMclntosh, Christopher. _The Rosy Cross Unveiled: The Rise, Mythology, and Rituals of an Occult Order._ Northamptonshire, U.K.: Aquarian Press, 1980.\n\nMehl, Edouard. _Descartes en Allemagne._ Strasbourg: Presses Universitaires de Strasbourg, 2001.\n\nMersenne, Marin. _Quaestiones celeberrimae in_ Genesim. Paris: S. Cramoisy, 1623.\n\nMesnard, P. Essai _sur h morale de Descartes._ Paris: Boivin, 1936.\n\nMilhaud, G. _Descartes savant._ Paris: Alcan, 1921.\n\nMillet, J. _Descartes, sa vie, ses travaux, ses decouvertes avant_ 1637. Paris: Clermont, 1867.\n\nMogling, Daniel (under the pseudonym T Schweighardt). _Speculum sophicum rhodostauroticum universale._ S.L. 1618.\n\nMoreau, Denis. _Deux cartesiens: La polemique entre Antoine Arnauld et Nicolas Malebranche._ Paris: Vrin, 1999.\n\nMorris, John J., ed. _Descartes Dictionary._ New York: Philosophical Library, 1971.\n\nNaude, Gabriel. _Instruction a h France sur via verite de Vhistoire des Freres de via Rose-Croix._ Paris: Juliot, 1623.\n\nParmentier, Marc. _La naissance du calcul differentia._ Paris, Vrin, 1989.\n\nPasachoff, Jay. Astronomy: From _the Earth to the Universe._ 5th ed. New York: Saunders, 1995.\n\nReichenbach, Hans. _The Phibsophy of Space and Time._ New York: Dover, 1958.\n\nRobert, Jean-Michel. _Leibniz, vie et oeuvre._ Paris: Univers Poche, 2003.\n\nRodis-Lewis, Genevieve. _Descartes._ Paris: Calmann-Levy, 1995.\n\n_____. _Descartes: His Life and Thought._ (English translation of the 1995 book.) Translated by Jane Marie Todd. Ithaca, N.Y: Cornell University Press, 1995.\n\n_____. _Descartes: Textes_ et defeats. Paris: Poche, 1984.\n\n_____. Le _devebppement de via pensee de Descartes._ Paris: Vrin, 1997.\n\n_____. _Loeuvre de Descartes._ Paris: Vrin, 1971.\n\nRoth, Peter. _Arithmetica phibsophica._ Nuremberg: J. Lantzenberger, 1608.\n\nRussell, Bertrand. _The Philosophy of Leibniz._ London: Gordon and Breach, 1908.\n\nScheiner, Christoph. _Oculus hoc est: Fundamentum opticum._ Innsbruck: D. Agricola, 1619.\n\nSchneider, Ivo. _Johannes Faulhaber_ 1580-1635: _Rechenmeister in einer Welt des Umbruchs._ Berlin: Birkhauser Verlag, 1993.\n\nSchrecker, Paul, ed. G. _W. Leibniz: Opuscules philosophiques choisis._ Paris: Vrin, 2001.\n\nScribano, Emanuela. _Guida alia lettura deUa Meditazioni metafsiche di Descartes._ Rome: Laterza, 1997.\n\nSebba, Gregor. _Bibliographia Cartesiana: A Critical Guide to the Descartes Literature,_ 1800-1960. La Haye, 1964.\n\nShea, William R. _The Magic of Numbers and_ Motion: The Scientific Career _of_ Rene Descartes. Canton, Mass.: Science History Publications, 1991.\n\nSimon, G. _Kepler, astronome, astrobgue._ Paris: Gallimard, 1992.\n\nSorrell, Tom. Descartes: A _Very Short Introduction._ New York: Oxford University Press, 2000.\n\nSriven, J. _Les annees d'apprentissage de Descartes (1596-1618)._ Paris: Vrin, 1928.\n\nTannery, Paul, and Cornelius de Waard, eds. Correspondence _du Pere_ Marin Mersenne. 17 vols. Paris: Centre National de la Recherche Scientifique, 1963-88.\n\nSzpiro, George. _Kepler's Conjecture._ New York: Wiley, 2003.\n\nVan Peursen, C. A. _Leibniz._ London: Faber and Faber, 1969.\n\nVaraut, Jean-Marc. Descartes: Un _cavalier frangais._ Paris: Plon, 2002.\n\nVerbeek, Theo, ed. Rene _Descartes et Martin Schoock: La querelle d'Utrecht._ Paris: Les Impressions Nouvelles, 1988.\n\nVrooman, J. R. Rene _Descartes: A Biography._ New York: G. P. Putnam's Sons, 1970.\n\nVuillemin, Jules. _Mathematiques et metaphysique chez Descartes._ Paris: Presses Universitaires de France, 1987.\n\nWatson, Richard. _Cogito, Ergo Sum: The Life of_ Rene _Descartes._ Boston: David R. Godine, 2002.\n\nWilliams, Bernard. _Descartes: The Project of Pure Enquiry._ New York: Penguin, 1978.\n\nWilson, C. _Leibniz's Metaphysics: A Historical and Comparative Study._ Princeton, N.J.: Princeton University Press, 1989.\n\nWilson, Margaret. _Descartes._ London: Routledge, 1978.\n\nYates, Frances A. The Art _of Memory._ Chicago: University of Chicago Press, 1966.\n\n_____. The _Rosicrucian Enlightenment._ London: Routledge and Kegan Paul, 1972.\n\nZweig, Paul. The Heresy _of Self-Love._ Princeton, N.J.: Princeton University Press, 1980.\n\n#\n\n15 A page from Leibniz's copy of Descartes' secret notebook. Courtesy of the Gottfried Wilhelm Leibniz Library, Hanover, Germany.\n\n18 The Descartes family mansion in Chatellerault. Courtesy of Debra Gross Aczel.\n\n19 Descartes' grandmother's house. Courtesy of Debra Gross Aczel. _65_ Temple at Delos. Courtesy Tzeli Hadjidimitriou, Athens, Greece.\n\n149 Anatomical drawing. Courtesy of the Gottfried Wilhelm Leibniz Library, Hanover, Germany.\n\n170 Princess Elizabeth \u00a9 NTPL\/John Hammond\/The Image Works. 190 Queen Christina of Sweden with Descartes\/Dumensil \u00a9 Reunion des Musees Nationaux\/Art Resource.\n\n201 Descartes' skull. Courtesy of Debra Gross Aczel. 224 Kepler's model of the universe (from Mysterium cosmographicum, 1596), from the collection of Jay M. Pasachoff. Courtesy of Wayne G. Hammond, Chapin Library, Williams College.\n\n226 The page from Leibniz's copy of Descartes' secret notebook. Courtesy of the Gottfried Wilhelm Leibniz Library, Hanover, Germany.\n\n240\u201441 Cosmological models of the universe based on Platonic solids. Courtesy of Jeff Weeks.\n\nABOUT THE AUTHOR\n\nAmir D. Aczel, Ph.D., is a mathematician and the author of twelve books, including the international bestseller _Fermat's Last Theorem,_ which was nominated for a _Los_ Angeies Times Book Prize and has been translated into nineteen languages. Aczel has appeared on over thirty television programs, including the CBS Evening News and ABC's Nightiine, on CNN and CNBC, and on over a hundred radio programs, including NPR's _Weekend Edition_ and _Talk of the Nation:_ Science _Friday._ In 2004 Aczel was awarded a Guggenheim Fellowship. He is a visiting scholar in the history of science at Harvard.\n\nPUBLISHED BY BROADWAY BOOKS\n\nCopyright \u00a9 2005 by Amir D. Aczel\n\nAll Rights Reserved\n\nPublished in the United States by Broadway Books, an imprint of The Doubleday Broadway Publishing Group, a division of Random House, Inc., New York. www.broadwaybooks.com.\n\nBROADWAY BOOKS and its logo, a letter B bisected on the diagonal, are trademarks of Random House, Inc.\n\nLibrary of Congress Cataloging-in-Publication Data\n\nAczel, Amir D.\n\nDescartes' secret notebook : a true tale of mathematics, mysticism, and the quest to\n\nunderstand the universe \/ Amir D. Aczel.\n\np. cm.\n\n1. Descartes, Rene, 1596-1650\u2014Notebooks, sketchbooks, etc. 2. Descartes, Rene,\n\n15 96-165 0\u2014Knowledge\u2014Mathematics. 3. Mathematics\u2014Philosophy\u2014History\u2014\n\n17th century. 4. Leibniz, Gottfried Wilhelm, Freiherr von, 1646-1716\u2014Manuscripts.\n\nI. Title.\n\nQA29.D55A25 2005\n\nS10M\u2014dc22\n\n2005045722\n\neISBN: 978-0-307-49480-1\n\nv3.0\n","meta":{"redpajama_set_name":"RedPajamaBook"}}
+{"text":"\n\nALSO BY GREGORY FUNARO\n\n_Alistair Grim's Odd Aquaticum_\nCopyright \u00a9 2015 by Gregory Funaro  \nIllustrations copyright \u00a9 2015 by Vivienne To  \nCover art \u00a9 2015 by Su Blackwell  \nCover art photograph \u00a9 2015 by Colin Crisford  \nHand lettering by David Coulson  \nDesigned by Whitney Manger\n\nExcerpt from _Alistair Grim's Odd Aquaticum_ copyright \u00a9 2015 by Gregory Funaro.\n\nAll rights reserved. Published by Disney \u2022 Hyperion, an imprint of Disney Book Group. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher. For information address Disney \u2022 Hyperion, 125 West End Avenue, New York, New York 10023.\n\nISBN 978-1-4847-1116-3\n\nVisit www.DisneyBooks.com\nContents\n\nTitle Page\n\nAlso by Gregory Funaro\n\nCopyright\n\nDedication\n\nChapter One: Grubb with a Double _B_\n\nChapter Two: The Lamb\n\nChapter Three: The Boy in the Trunk\n\nChapter Four: Good Evening, Mr. Grim\n\nChapter Five: A New Friend\n\nChapter Six: Pocket Watches Can Be Trouble\n\nChapter Seven: The Man in the Goggles\n\nChapter Eight: Shadows Fall\n\nChapter Nine: Unexpected Guests\n\nChapter Ten: The Battle in the Clouds\n\nChapter Eleven: A Lesson in Power\n\nChapter Twelve: Nigel's Secret\n\nChapter Thirteen: Sirens' Eggs and Banshees, Please\n\nChapter Fourteen: The Wasp Rider\n\nChapter Fifteen: Prisoners\n\nChapter Sixteen: There Be Dragons\n\nChapter Seventeen: In the Court of Nightshade\n\nChapter Eighteen: The Tournament\n\nChapter Nineteen: The Mirror\n\nChapter Twenty: One Last Bit\n\nCharacter List\n\nGlossary of Odditoria\n\nAcknowledgments\n\nPreview of _Alistair Grim's Odd Aquaticum_\n\nAbout the Author\n_For Jack Schneider, Grubb's first fan._\n\n_And for my daughter, who gave me the most  \npowerful Odditoria of them all._\n\n\u2014G.F.\n\n_For my mother,  \nwho never once made me sweep chimneys_\n\n\u2014V.T.\nFrom an article in _The Times_ , London. May 23, 18\u2014\n\n### `WILLIAM STOUT SENTENCED TO HANG!`\n\n`In light of a guilty plea and overwhelming evidence against the accused, the trial of the ruffian William Stout for the murder of Mr. Abel Wortley and his housekeeper, Mrs. Mildred Morse, of Bloomsbury, ended yesterday in the only possible way. The unhappy man was rightly convicted and sentenced to death for as cruel and cold-blooded a deed as was ever committed.`\n\n`Readers of the _Times_ will recall that Wortley, an elderly philanthropist and purveyor of antiquities, and Mrs. Morse were brutally struck down last month in a trend of burglaries that have become all too common amongst London high society. Thanks, however, to the steadfast police work of Scotland Yard, William Stout, an acquaintance and sometimes coachman of Wortley's, was quickly apprehended and charged with the crime. His plea of guilt, conviction, and subsequent execution shall prove, in the opinion of the _Times,_ a shining example of Her Majesty's judicial system.`\n\n`It is also the opinion of the _Times_ that, with more and more villains roaming the streets of London, a little pain and cares on the part of the elderly might in some cases preserve them from such dangers.`\n\nThe odd was the ordinary at Alistair Grim's. The people who lived there were odd. The things they did there were odd. Even the there itself there was odd.\n\n_There_ , of course, was the Odditorium, which was located back then in London.\n\nYou needn't bother trying to find the Odditorium on any map. It was only there a short time and has been gone many years now. But back then, even a stranger like you would have had no trouble finding it. Just ask a bloke in the street, and no doubt he'd point you in the right direction. For back then, there wasn't a soul in London who hadn't heard of Alistair Grim's Odditorium.\n\nOn the other hand, if you were too timid to ask for directions, you could just walk around until you came upon a black, roundish building that resembled a fat spider with its legs tucked up against its sides. Or if that didn't work, you could try looking for the Odditorium's four tall chimneys poking up above the rooftops\u2014just keep an eye on them, mind your step, and you'd get there sooner or later.\n\nUpon your arrival at the Odditorium, the first thing you'd notice was its balcony, on top of which stood an enormous organ\u2014its pipes twisting and stretching all the way up the front of the building like dozens of hollow-steel tree roots. _That's an odd place for a pipe organ,_ you might remark. But then again, such oddities were ordinary at Alistair Grim's. And what the Odditorium looked like on the outside was nothing compared to what it looked like on the _inside_.\n\nYou'll have to take my word on that for now.\n\nAnd who am I that you should do so? Why, I'm Grubb, of course. That's right, no first or last name, just Grubb. Spelled like the worm but with a double _b_ , in case you plan on writing it down someday. I was Mr. Grim's apprentice\u2014the boy who caused all the trouble.\n\nYou see, I was only twelve or thereabouts when I arrived at the Odditorium. I say \"thereabouts\" because I didn't know exactly how old I was back then. Mrs. Pinch said I looked \"twelve or thereabouts,\" and, her being Mrs. Pinch, I wasn't about to quarrel with her.\n\nMrs. Pinch was Mr. Grim's housekeeper, and I'm afraid she didn't like me very much at first. Oftentimes I'd meet her in the halls and say, \"Good day, Mrs. Pinch,\" but the old woman would only stare down at me over her spectacles and say, \"Humph,\" as she passed.\n\nThat said, I suppose I can't blame her for not liking me back then. After all, it was Mrs. Pinch who found me in the trunk.\n\nGood heavens! There I go getting ahead of myself. I suppose if I'm going to tell you about all that trunk business, I should back up even further and begin my story with Mr. Smears. Come to think of it, had it not been for Mr. Smears taking me in all those years ago, I wouldn't have a story to tell you.\n\nAll right then: Mr. Smears.\n\nI don't remember my parents, or how I came to live with Mr. Smears, only that at some point the hulking, grumbling man with the scar on his cheek entered my memories as if he'd always been there.\n\nMr. Smears was a chimney sweep by trade, and oftentimes when he'd return to our small, North Country cottage, his face was so black with soot that only his eyeballs showed below his hat. The scar on his cheek ran from the corner of his mouth to the lobe of his left ear, but the soot never stuck to it. And when I was little, I used to think his face looked like a big black egg with a crack in it.\n\nHis wife, on the other hand, was quite pleasant, and my memories of her consist mainly of smiles and kisses and stories told especially for me. All of Mrs. Smears's stories were about Gwendolyn, the Yellow Fairy, whom she said lived in the Black Forest on the outskirts of town. The Yellow Fairy loved and protected children, but hated grown-ups, and her stories always involved some bloke or another who was trying to steal her magic flying dust. But the Yellow Fairy always tricked those blokes, and in the end would gobble them up\u2014\"Chomp, chomp!\" as Mrs. Smears would say.\n\nMrs. Smears was a frail woman with skin the color of goat's milk, but her cheeks would flush and her eyes would twinkle when she spoke of the Yellow Fairy. Then she would kiss me good night and whisper, \"Thank you, Miss Gwendolyn.\"\n\nYou see, it was Mrs. Smears who found me on the doorstep, and after she made such a fuss about the Yellow Fairy, her husband reluctantly agreed to take me in.\n\n\"He looks like a grub,\" said Mr. Smears\u2014or so his wife told me. \"All swaddled up tight in his blanket like that. A little grubworm is what he is.\"\n\n\"Well then, that's what we'll call him,\" Mrs. Smears replied. \"Grub, but with a double _b_.\"\n\n\"A double _b_?\" asked Mr. Smears. \"Why a double _b_?\"\n\n\"The extra _b_ stands for _blessing_ , for surely this boy is a blessing bestowed upon us by the Yellow Fairy.\"\n\n\"Watch your tongue, woman,\" Mr. Smears whispered, frightened. \"It's bad luck to speak of her, especially when the moon is full.\"\n\n\"It's even worse luck to refuse a gift from her,\" replied Mrs. Smears. \"So shut your trap and make room for him by the fire.\"\n\n\"Bah,\" said Mr. Smears, but he did as his wife told him.\n\nMr. and Mrs. Smears had no children of their own\u2014an unfortunate circumstance that Mr. Smears often complained about at supper when I was old enough to understand such things.\n\n\"That grub ain't free, Grubb,\" Mr. Smears would say, scratching his scar. \"You best remember the only reason I agreed to take you in is because the wife said you'd make a good apprentice someday. And since we got no other grubs squirming about, I suggest you be quick about getting older, or you'll find yourself picking oakum in the workhouse.\"\n\n\"Shut your trap,\" Mrs. Smears would say. \"He'll find himself doing no such thing.\"\n\nUpon which her husband would just shake his head and say:\n\n\"Bah!\"\n\nMrs. Smears was the only person I ever saw get away with talking to Mr. Smears like that, but she died when I was six or thereabouts. I never had the courage to ask Mr. Smears what from, but I remember how old I was because Mr. Smears was very upset.\n\nAfter the funeral, he knocked me down on the cottage floor and growled:\n\n\"Six years of feeding and clothing you, and what have I got to show for it? A dead wife in the ground and a useless worm what ain't fit for nothing but the workhouse!\"\n\nThe workhouse was a black, brooding building located near the coal mines on the south edge of town. It had tall iron gates that were always locked and too many windows for me to count. Worst of all were the stories Mr. Smears used to tell about the children who worked there\u2014how they were often beaten, how they had no playtime and very little to eat. Needless to say, I didn't have to be told much else to know that the workhouse was a place from which I wanted to stay as far away as possible.\n\n\"Oh please don't send me to the workhouse!\" I cried. \"I'll make you a good apprentice. I swear it, Mr. Smears!\"\n\n\"Bah!\" was all he said, and knocked me down again. Then he threw himself on his bed and began sobbing into his shirtsleeves.\n\nI picked myself up and, remembering how gentle he was around his wife, poured him a beer from the cupboard as I'd seen Mrs. Smears do a thousand times.\n\n\"Don't cry, Mr. Smears,\" I said, offering him the mug.\n\nMr. Smears looked up at me sideways, his eyes red and narrow. And after a moment he sniffled, took the mug, and gulped it down. He motioned for me to pour him another and then gulped that one down too. And after he'd gulped down yet a third, he dragged his shirtsleeve across his mouth and said:\n\n\"All right, then, Grubb. I suppose you're old enough now. But mind you carry your weight, or so help me it's off to the workhouse with you!\"\n\nAnd so I carried my weight for Mr. Smears\u2014up and down the chimneys, that is. Mr. Smears called me his \"chummy\" and told everyone I was his apprentice, but all he was good for was sitting down below and barking orders up to me. Sometimes he'd sweep the soot into bags, but most often he left that part of the job for me to do too.\n\nI have to admit that all that climbing in the dark was scary work at first. The flues were so narrow and everything was pitch-black\u2014save for the little squares of light at the top and bottom. And sometimes the chimneys were so high and crooked that I lost sight of those lights altogether. It was difficult to breathe, and the climbing was very painful until my knees and elbows toughened up.\n\nEventually, however, I became quite the expert chummy. But sometimes when we arrived back at the cottage, Mr. Smears would knock me down and say:\n\n\"Job well done, Grubb.\"\n\n\"Well done, you say? Then why'd you knock me down, Mr. Smears?\"\n\n\"So you'll remember what's what when a job _ain't_ well done!\"\n\nThere were lots of chimneys in our town for me to sweep back then, and I always did my best, but life with Mr. Smears was hard, and many times I went to bed hungry because, according to Mr. Smears, it wasn't sensible to feed me.\n\n\"After all,\" he'd say, \"what good's a grub what's too fat to fit in his hole?\"\n\nOftentimes I'd lie awake at night, praying for the Yellow Fairy to take me away. \"Please, Miss Gwendolyn,\" I'd whisper in the dark. \"If only you'd leave me a little dust, just enough to sprinkle on my head so I can fly away, I'd be forever grateful.\"\n\nMr. Smears made me sleep in the back of the cart in the stable. I was too dirty to be let inside the cottage, he said, and what use was there washing me when I would only get dirty again tomorrow? There was a small stove in the stable for Old Joe, Mr. Smears's donkey, but on some of the chillier nights, when Mr. Smears neglected to give us enough coal, Old Joe and I would sleep huddled together in his stall.\n\nOf course, many times over the years I thought about running off, but if I did run, where would I run to? I'd only ever been as far as the country manors on jobs with Mr. Smears, and since I knew no trade other than chimney sweeping, what was left for me besides the workhouse?\n\nI suppose things weren't all bad. Every third Saturday Mr. Smears would allow me to wash at the public pump and sleep on the floor in the cottage. The following Sunday we'd dress in our proper clothes and attend service like proper folk. After that, we'd stop in the churchyard to pay our respects to Mrs. Smears. Sometimes Mr. Smears would sniffle a bit, but I would pretend not to notice so as not to catch a beating. Then we'd arrive back at the cottage, whereupon I'd pour him some beer and keep his mug full until he was pleasant enough to allow me outside to play.\n\nFor six years or so things went on that way, until one day I blundered into a stranger who changed my life forever. Indeed, we chimney sweeps have a saying that goes, \"A blunder in the gloom leads a lad to daylight or to doom.\"\n\nI just never expected to find either inside a lamb.\n\nOn a cool autumn Sunday when I was twelve or thereabouts, Mr. Smears and I returned from the churchyard to find a note pinned to the cottage door.\n\n\"What's this?\" Mr. Smears grumbled. He tore off the note and opened it. \"Well, well, well,\" he said, scratching his scar. \"A bit of pretty luck this is, Grubb.\"\n\nMr. Smears couldn't read, so I was surprised he understood the note until he handed it to me. \"You know what this means?\" he asked.\n\n\"Yes, sir,\" I said, my heart sinking.\n\nOn the piece of paper was a drawing of a lamb inside a square. This, I knew, stood for the sign at the Lamb's Inn. Next to the lamb was a crude drawing of a sun and an arrow pointing upward. This meant that Mr. Smears and I were to report to the Lamb's Inn at sunrise the following morning.\n\n\"Ha!\" said Mr. Smears, smacking me on the back. \"Looks like we've got our work cut out for us, Grubb. But also a handsome profit if we play it right.\"\n\nWhat Mr. Smears really meant was that _I_ had my work cut out for _me_. I'd worked the Lamb's Inn before, and not only did I know there were lots of chimneys to be swept, I also knew that Mr. Smears would spend most of the day drinking up his wages in the tavern with the inn's proprietor, Mr. Crumbsby.\n\nMr. Crumbsby was a round man with a bald head and thick, red whiskers below his ears. He had a jolly, friendly air about him, but I knew him to be a liar and cheat, and at the end of the day he would waffle on about how much of Mr. Smears's drink was to be deducted from his wages. Then he would trick Mr. Smears into thinking that he was actually getting the better of him.\n\nThat's not what bothered me, however, for no matter how many chimneys I swept, my wages were always the same\u2014a half plate of food and a swig of beer, if I was lucky. No, what sent my heart sinking was the thought of Mr. Crumbsby's twins, Tom and Terrance.\n\nThe Crumbsby twins were the same age as me, but they were fat, redheaded devils like their father, and together their weight added up to one sizable brawler. I'd had my share of run-ins with them over the years, and the bruises to show for it, but most of the time Tom and Terrance were much too slow to ever catch me.\n\nAnd so the next morning, Mr. Smears and I set out for the Lamb's Inn just before daybreak\u2014me in the back of the cart with the empty soot bags and brushes, Mr. Smears up front in the driver's seat handling Old Joe. It was only a short distance through the center of town, over the bridge, and up the High Road. And when next I poked my head out from the cart, I spied the outline of the Lamb up ahead of us in the gloom.\n\nWhitewashed, with a stone wall that ran around the entire property, the Lamb's Inn cut an imposing presence against the thick North Country forests that spread out behind it. The inn stood three stories high and rambled out in every direction just as wide. A hanging sign out front bore a lamb, while coach-and-horse signs at each end advertised its stables.\n\nThe inn itself was said to be over two hundred years old, but it had burned down and been rebuilt a few times with more and more rooms. I only mention this because that meant the flues had been rebuilt too, resulting in a confusing maze of narrow passages that twisted and turned into one another so randomly that even an expert chummy like myself could get lost up there in the dark.\n\nIndeed, I had just begun to imagine the grueling day ahead of me, when all of a sudden, farther up the road, a shadowy figure stepped out from the trees. It appeared to be a man in a long black cloak, but before I could get a good look at him, he dashed across the road and disappeared behind the Lamb's stone wall.\n\nNevertheless, with my heart pounding, I waited for Mr. Smears to say something. Surely, I thought, he must have seen the man too. But Mr. Smears mentioned nothing about it, and as he steered Old Joe for the Lamb's stables, I dismissed the black-cloaked figure as a trick of the early morning shadows.\n\n\"Well, what do we have here?\" said Mr. Smears, and he pulled to a stop alongside an elegant black coach. Its driver's seat was flanked by a pair of large lanterns, and on its door was emblazoned an ornate letter _G_. The horses had already been unharnessed and bedded in the stable, which meant that the owner of the coach (a Mr. G, I assumed) had spent the night at the Lamb.\n\n\"Looks like old Crumbsby's got himself a fancy pants,\" said Mr. Smears, jerking his chin at the coach. \"I'll have to remember that at the end of the day when the devil tries to chisel me for my drink. Ask him for how much he took the fancy pants, I will. That'll soften him up when he starts waffling on about being strapped for cash.\"\n\nMr. Smears chuckled to himself and scratched his scar.\n\n\"Shall I unhitch Old Joe, sir?\" I asked. I wanted to have a look inside the stables, for certainly Mr. G's horses must be a breed apart to pull so fine a coach.\n\n\"Bah,\" replied Mr. Smears, climbing down after me. \"Let Crumbsby's man do that. It's only right, us coming here on such short notice.\"\n\nMr. Smears and I crossed the yard to the Lamb's back entrance. But before Mr. Smears could knock, Mr. Crumbsby opened the door and gave my master's arm a hearty shake.\n\n\"I thought I heard you, Smears,\" said Mr. Crumbsby, smiling wide. His eyes were puffy with sleep, and his waistcoat was still unbuttoned. \"Good of you to come. Business has been slow of late, so I thought it an opportune time to secure your services.\"\n\n\"Business been slow, eh?\" Mr. Smears said suspiciously, and he jerked his thumb toward the fancy black coach. \"Looks like you've taken up collecting coaches, then, eh, Crumbsby?\"\n\n\"A late arrival yesterday afternoon,\" Mr. Crumbsby said, then he lowered his voice. \"An odd fellow that one is, too,\" he added secretively. \"Him and his coachman. Like something out of the Black Forest, I tell you, what with their pale faces and gloomy dispositions.\"\n\n\"As long as their money ain't gloomy,\" said Mr. Smears, then he smiled knowingly and lowered his voice too. \"And nothing gloomy about the price of lodging going up, I wager. A fine gentleman he is for inconveniencing you during your cleaning season\u2014or some excuse like that you must've given him, eh, Crumbsby?\"\n\nMr. Crumbsby smiled guiltily and ushered us inside. The fires were already roaring as we entered the kitchen, and Mr. Crumbsby's wife gave us each a slice of bread and cheese before she and her two daughters set about readying the rooms. Of course Mr. Smears protested my share, until Mrs. Crumbsby made her husband promise not to count it against our wages.\n\n\"Besides,\" said Mr. Crumbsby, \"we'll settle our account in the tavern at the end of the day. But I warn you, Smears: you're too shrewd a businessman for the likes of me. I have your word you'll deal me plain?\"\n\n\"That you do,\" said Mr. Smears, munching slyly. \"That you do.\"\n\n\"As for you, Grubb, you'll remember that you needn't bother with the kitchen. And you'll leave the keeper's cottage until Mrs. Crumbsby tells you it's ready. I expect the twins should be up and about by midmorning. Understand?\"\n\n\"Yes, sir,\" I said, my stomach turning. Mr. Crumbsby treated his lovely daughters, Anne and Emily, as little better than servants. Tom and Terrance, on the other hand, got a sizable allowance every week for doing nothing. But unlike their father, they made no pretense of being strapped, and carried themselves about town like a pair of haughty princes.\n\n\"As for our lone guest,\" Mr. Crumbsby continued, \"he's lodged on the second floor. North side, corner room, east wing. He's paid up for two nights but plans on departing late this afternoon. Wishes not to be disturbed until then, is what he said. I warned him about the goings-on today, but he told me not to fret. 'Sleeps the sleep of the dead' is what he said\u2014his words, not mine. You best mind your step up there today, Grubb, and leave the northeast flues for last. You hear me, lad?\"\n\n\"Yes, sir.\"\n\n\"Grubb knows what's what,\" said Mr. Smears, \"and knows even better the back of my hand if he steps out of line. Ain't that right, Grubb?\"\n\n\"Yes, sir.\"\n\n\"Come along, then,\" said Mr. Crumbsby, and he led Mr. Smears and me into the tavern. The Crumbsby girls had moved all the tables and chairs away from the hearth and laid out sheets of brown paper on the floor. These extended across the tavern to the front door so that I could come and go without tracking soot about the inn.\n\n\"All right, get on with it,\" said Mr. Smears with his boot on my bottom. And into the fireplace I went and up the chimney I climbed. \"Be mindful of the rooms,\" Mr. Smears barked after me. \"You know what's waiting for you if I find so much as a speck of soot on Mrs. Crumbsby's furniture.\"\n\n\"Yes, sir,\" I shouted back. Then I heard Mr. Smears chuckle and Mr. Crumbsby offer him a drink.\n\nAll morning I climbed and crawled, scraping my way up through the chimneys on the western wing. A hard go of it I had, and I was thankful when it was time to sweep the hearths and haul the soot bags out to the cart. By noon I'd lost track of how many chimneys I'd swept, but Mrs. Crumbsby and her daughters took pity on me and gave me a slice of beef and a biscuit before I tackled the keeper's cottage.\n\nWhen that was finished, it was back to the inn for the east wing. The flues on this side of the building were much more difficult to navigate, and once or twice I lost my way and popped down the wrong chimney.\n\nHowever, as the afternoon wore on, I grew more and more tired, and soon I found myself lost in a pitch-black maze of narrow flues. I can't tell you how many times I seemed to crisscross back on myself, crawling and squeezing my way around like a worm in the dirt, when finally I saw a light coming from below.\n\nMindful of Mr. Crumbsby's guest in the northeast corner, I popped down the chimney ready to shoot back up. Lucky for me it was one of the chimneys I'd swept earlier. I recognized the rolled up carpet and the covered mass of furniture in the center of the room.\n\nNot so lucky for me, however, was that the Crumbsby twins were now in the center of the room too.\n\n\"Well looky-look,\" Tom said sneeringly. \"An invader come to storm our castle.\"\n\nThe twins' freckled faces were smeared with jam. And even though they were dressed alike, I could always tell which one was Tom by the chip in his left front tooth.\n\n\"I thought I smelled something foul coming from the chimneys,\" he added, rising with a stick in his hand. He'd obviously been playing at swords with his brother.\n\n\"I thought I smelled something too,\" said Terrance, smiling wide. \"A rat gone up and died in there is what I thought.\"\n\n\"You don't look dead,\" said Tom, stepping forward. \"But you look like a rat. A big black rat what's left his poop in our castle.\"\n\n\"A _little_ black rat is more like it,\" said Terrance, stepping up also. \"His bottom still smelly from pooping, I wager.\"\n\n\"But there's nowhere to poop now, is there, rat?\"\n\n\"Nowhere to run now, either.\"\n\nThe boys were right. Even though the Crumbsby twins were slower than honey in winter, they were too close for me to dart back up the chimney. And before I could think of what to do next, fat Tom Crumbsby came for me with his stick.\n\nHe swiped for my head, but I ducked the blow easily and sent him flying past me into the hearth. His face hit the stone straight on.\n\n\"Ow!\" he cried, his hands flying up to his mouth. \"My _toof_!\"\n\nBut Terrance was close behind, and the two of us collided in a cloud of soot. Terrance held me in a bear hug for a moment, but on his next breath he loosened his grip and started choking.\n\n\"Agh!\" he coughed. \"Soot!\"\n\nI twisted free and rushed from the room, leaving great patches of black everywhere I stepped and on everything I touched. My stomach squeezed with horror at the sight of it\u2014Mr. Crumbsby'll have my head, I thought\u2014and then Tom began blubbering behind me. \"My _toof_!\" he shrieked. \"Grubb broke my uhffer _toof_!\"\n\n\"Stop him!\" his brother called, but I was already down the hallway and heading for the stairs. I took them two at a time and ran into Mrs. Crumbsby on the landing. I nearly knocked her over, and whether from the sight of me or the trail of soot in my wake, the kindhearted woman let out a shriek that I thought would collapse the stairs from under us.\n\n\"My apologies, ma'am,\" I said as I flew past, but I didn't dare look back to see if she was all right, for when I reached the bottom of the stairs, Mr. Crumbsby was already waiting for me.\n\n\"What's this, what's this?\" he gasped.\n\n\"My _toof_!\" Tom Crumbsby cried from above. \"He broke my uhffer _toof_!\"\n\n\"Why, you little rat,\" Mr. Crumbsby growled, grabbing for my collar, but I quickly dodged him and dashed down the hallway. Emily, the elder of the Crumbsby girls, stepped out from the parlor, her eyes wide with shock.\n\n\"Pardon me, miss,\" I said as I passed.\n\nThe only way out for me now was through the tavern. And as I ran for it, above the din I heard a voice in my head telling me the Crumbsbys were the least of my worries. No, nothing could compare to what Mr. Smears had in store for me when we got back to the cottage. And at the exact moment I saw him swinging for me in my mind, the hulking man with the scar appeared in the tavern doorway.\n\n\"What's the row?\" he growled.\n\n\"Stop him!\" Mr. Crumbsby shouted behind me. But the drink had long ago done its work, and in his confusion Mr. Smears lost his balance and braced himself against the doorjamb.\n\n\"Grubb!\" was all he could manage, and I dove straight between his legs.\n\nI slid for a stretch on my stomach then sprang to my feet, nearly slipped on all the sooty brown paper, then found my footing again and headed for the front door. Mr. Smears must have fallen as he turned round, for behind me I heard a thud and a \"Bah!\" and then Mr. Crumbsby shouting, \"Out of my way, you oaf!\"\n\nThe afternoon light was quickly fading, but I could see the outside world through the open door ahead of me. Freedom was within my reach\u2014but then I saw young Anne Crumbsby, eyes wide, mouth gaping, with her hand on the door latch.\n\n\"The door!\" Mr. Crumbsby shouted. \"Close the blasted door!\"\n\nBut I kept running and\u2014oh, Anne! Sweet Anne!\n\nThe young girl giggled and let me pass!\n\n\"Thank you, miss,\" I whispered as I burst outside, but I never knew whether or not she heard me.\n\n\"After him!\" Mr. Crumbsby cried from within.\n\n\"After him!\" Mr. Smears cried too.\n\nA pair of men who were approaching from the road blocked my way at the gate, so I darted left and ran around the inn along the high stone wall. I remembered there was a break in the wall by the keeper's cottage, but when I got there, I spied Mr. Crumbsby's groom and stableboy heading straight for me. They'd been poaching rabbits at the edge of the forest, and each carried with him a long-barreled musket.\n\nI hesitated, when suddenly I heard Mr. Crumbsby and Mr. Smears out front shouting, \"Which way? Which way?\" and \"You go left; I go right!\" And so I stepped back inside the yard and ran past the keeper's cottage toward the stables.\n\nThe fancy black coach with the _G_ on its door had been readied for departure. Its curtains were drawn, and a pair of fine black steeds had been harnessed at the fore. Drawing closer, I noticed the door to the storage bed was down, and on the ground at the rear of the coach I spied a large, black trunk. The coachman, distracted by all the racket, had abandoned it to investigate, and as I glanced toward the inn, I caught a glimpse of his coattails as he disappeared around the corner.\n\n\"What's all the commotion, Nigel?\" a man asked. His voice, deep and genteel, had come from inside the coach.\n\nMr. G, I thought\u2014and then I realized I'd stopped running.\n\n\"Nigel?\" Mr. G called again.\n\nAll at once, it seemed, I could hear footsteps and voices approaching from every direction. I thought about making a dash for the stables, but when the coach's silver door handle began to turn, I decided to try for the trunk.\n\nIt was unlocked, and along with some neatly folded clothes there appeared to be just enough space for me. I climbed inside, pulled my knees up to my chest, and closed the lid. My heart pounded at my ribs, and I hardly dared to breathe, but what little air I allowed my lungs in the cramped, dark trunk smelled musky and strange.\n\nIn the next moment I heard the coach door swing open and the sound of heavy footsteps approaching in the dirt.\n\n\"Pardon me, sir,\" came a voice, panting. It was Mr. Crumbsby. \"But did you happen to see a young boy come this way?\"\n\n\"A beggar, he looks like,\" growled another voice\u2014Mr. Smears. \"Black with soot and fit for the gallows, is what he is.\"\n\n\"I've seen no one of the sort,\" said Mr. G. \"But whatever he's done to you, I'm sure you gentlemen deserved it.\"\n\n\"Bah!\" said Mr. Smears.\n\n\"Come on, then,\" said Mr. Crumbsby. And as the men hurried off, I heard Mr. Crumbsby's groom yell, \"I'll ready the hounds, sir! He can't have gone far!\"\n\nThen the sound of more footsteps approaching.\n\n\"What was that all about?\" asked Mr. G.\n\n\"Don't know, sir,\" said another man's voice, this one higher and friendlier than Mr. G's. \"Something about a chimney sweep. Didn't get all of it, I'm afraid.\"\n\n\"Very well, then, Nigel. Let's be on our way.\"\n\n\"Right-o, sir.\"\n\nI heard the coach door close, some more shuffling in the dirt, and then I felt myself being lifted up off the ground. My head thumped against the inside of the trunk as Nigel loaded it onto the storage bed and closed the door.\n\nA moment later we were off. And after I felt us swing onto the road and pick up speed, I dared to raise the lid just enough to prop open the door and peek out.\n\nThe light had grown fainter, and above the horses and the rattling of the coach wheels I could hear Mr. Crumbsby's hounds baying in the distance. The Lamb quickly got smaller and smaller as we sped away, but only when I saw it disappear behind a bend of trees did I allow myself a sigh of relief.\n\nWe were heading southeast along the turnpike, which would take us around town and into the country. A bit of pretty luck, as Mr. Smears would say.\n\nMr. Smears!\n\nAnd just like that my relief turned to horror. What was I to do now? Where could I go? Surely never back to Mr. Smears, or to our town, for that matter. Mr. Smears would find me and send me to the workhouse for sure!\n\nI sank back down into the trunk and closed the lid. The workhouse and all the rest of it were too scary for me to think about now. Besides, I was safe for the moment where I was. And where was that? Why, inside a trunk on the back of a speeding coach, thank you very much. Come to think of it, I'd much rather spend the night all warm and snug in a trunk than in a cold stable. However, when I thought about Old Joe having to spend the night alone in his stall, I began to feel sad.\n\n_Chin up,_ I said to myself in the dark. _Mr. Smears'll find another chummy for Old Joe to huddle up with. First thing is to get as far away from Mr. Smears as possible, which you're already doing. Next thing will be to jump from the trunk when the time is right. That's plenty for you to worry about now._\n\nBut how far from Mr. Smears was far enough? And how would I know when the time was right to jump? These questions were enough to keep me occupied as we traveled on. And occasionally I'd peek as though I'd hoped to find the answers out there in the passing countryside.\n\nThe darkness came quickly, but the moon was full, and when next I peeked from the trunk I spied a great buttercup-filled meadow rolling past me. It looked like waves of sparkling silver in the moonlight, and for a moment I tried to remember if I had ever seen anything so beautiful.\n\n\"That's far enough, Nigel,\" called Mr. G.\n\nI shut myself back inside and listened as we came to a stop. Nothing. No footsteps or jostling from the coach, either. So I dared to crack open the lid again.\n\n\"Ready, Nigel?\"\n\n\"Right-o, sir,\" the coachman replied.\n\n\"It's all yours,\" Mr. G said gently. Then I heard a strange cooing sound\u2014like that of a pigeon, only higher\u2014but before I had time to wonder at it, I was startled by a loud crack and a flash of blinding yellow light.\n\nI thumped my head on the top of the trunk and shrank back inside.\n\nThe horses whinnied, and I felt a great lurch forward. We were moving again, but unlike before, the coach was now shaking feverishly, up and down and side to side. I tried to open the trunk to see what was happening, but then the shaking abruptly stopped and a great force pulled me down.\n\nAnother lurch, this one more powerful than the first, and then everything became...well... _smooth_ is the only way I could describe it. We were no longer moving, but it felt as if we were no longer stopped, either.\n\nI cracked open the trunk and a great wind rushed past me, blowing the soot from my hair like the tail of some great black comet. I could see nothing but sky, and popping my head out a bit farther, I realized the sky was not just above me but all around me too.\n\nI flung open the trunk, lifted the storage bed door, and peered out over the side of the coach.\n\nIt took a moment for everything to sink in.\n\nThere was the meadow of silver buttercups rolling beneath me; beyond that, great patches of jagged black trees; and farther still, clusters of tiny lights and the outline of our town against the sky. I recognized the steeple to our church, and for some reason felt sorry that I hadn't had a chance to properly say good-bye to Mrs. Smears before I went flying about the countryside.\n\nThat's when it hit me.\n\n\"I'm flying!\" I gasped.\n\nAnd then I was falling backward into the trunk again\u2014the sound of the lid slamming down on me the last thing I remember before everything went black.\n\nI suspect Nigel must have awakened me when he unloaded the trunk from the coach. But as I came to, everything was so still and quiet there in the cramped darkness that I thought I'd fallen asleep inside one of Mr. Crumbsby's chimneys. The air was hot and stale, and my mouth was dry and tasted of soot.\n\n\"Oh no,\" I whispered. \"Mr. Smears will box me good for sleeping on the job.\"\n\nThen I realized something was different about this particular chimney. The bricks beneath me were soft and cushiony, the ones next to me as smooth as glass.\n\nSuddenly the flue shifted, and the entire chimney seemed to be lifted off the ground. I sensed I was moving\u2014 _traveling again_ , that was it\u2014and in a flash everything came back to me. The Crumbsby twins, the chase from the Lamb, the fancy black coach\u2014and the trunk in which I was hiding!\n\nBut what about that crack of thunder? What about the flash of yellow light and all that flying about the countryside?\n\nA dream? Well, of course it had to be a dream. After all, even a humble chummy like myself knew that people didn't just go flying about in fancy black coaches.\n\nThe coach! I was no longer on the coach speeding away from the Lamb. No sound of galloping horses, no sound of rattling wheels, only the thumping of my heart in my ears and footsteps beneath me. Yes, I was being carried on someone's shoulders!\n\nThen I heard a heavy clang, like the sound of the iron gate at the churchyard, and the trunk came to a stop.\n\n\"Do you require anything else, sir?\" asked a familiar voice. The coachman\u2014Nigel, was his name.\n\n\"Take the trunk up to my chambers, will you?\" said another voice\u2014Mr. G, the owner of the fancy black coach. \"And be sure you put a blanket on the horses when you return them to the stables. It's a bit chilly this evening.\"\n\n\"Right-o, sir,\" Nigel said, and then I was moving again.\n\nThe air was stifling, and I felt a tickle in my throat as if I would cough.\n\nI swallowed hard, then swallowed again, and thankfully the tickle left me\u2014but I hardly dared to breathe out of fear that at any moment the trunk's lid would swing open and Mr. Smears would haul me out by the hair.\n\nBut I'd left Mr. Smears behind at the Lamb, hadn't I? Along with the Crumbsbys and Old Joe and the cart and the soot bags. The fancy black coach had taken me south along the High Road, which meant that I'd left behind the cottage and the stable and the churchyard\u2014 _the whole town_ , for that matter\u2014too.\n\nThe town! I remembered seeing it from the air, far beyond the meadow of silver buttercups just before I\u2014but no, that couldn't be. I'd only dreamed all that. Yes, I must have fallen asleep inside the trunk on the way to...Well, that was the question now, wasn't it? On the way to _where_?\n\nI was answered with the loud clang of another iron gate, more footsteps beneath me, and what sounded like an entire guild of blacksmiths hammering away in the distance. And as Nigel walked on, the racket grew louder and louder until finally the hammering came at me from every direction.\n\nThen Nigel abruptly stopped and said, \"Hallo, hallo, what's this?\"\n\nMy heart leaped into my throat. I was sure he was speaking to me. But then a girl's voice answered jubilantly, \"Why, hello there, Nigel. Back so soon?\"\n\n\"Not soon enough, from the looks of it,\" Nigel said, annoyed. \"You know right well you're not allowed down here without the boss!\"\n\n\"Pshaw. You won't tattle on me, will you? I only wanted to have a quick look to see how things were coming along.\"\n\n\"Not my place to go tattling, Miss Cleona. And things look to be coming along quite nicely. Just about finished, from what I can tell.\"\n\n\"And from what _I_ can tell, Uncle was successful on his trip to the North Country, was he not?\"\n\n\"That he was, Miss Cleona, that he was.\"\n\n\"Splendid!\" Cleona squealed. \"Let's have a look at her.\"\n\n\"Now, hold up! No need to go flying off like that. The boss will introduce the two of you when he's good and ready. Come along, then, off to bed with\u2014hallo, hallo, what do we have here?\"\n\n\"What do we have where?\"\n\n\"There in your hand tucked behind the folds of your gown?\" No reply. \"Now, now, don't go playing tricks on _me_ , miss. I want no part of that business. Come on then, Cleona, cough it up.\" A brief moment of only hammering and then: \"Just as I suspected. A book! You've been gadding about the library again!\"\n\n\"I only wanted to read a little before bed.\"\n\n\"But the rules state clearly that no books are to leave the library without the boss's say-so. Them's the rules. _Period_.\"\n\n\"Pshaw. Uncle and his rules.\"\n\n\"Rules are rules for a reason, miss. And after your little trick of stacking all them books up to the ceiling, well, you're lucky you're allowed in the library at all.\"\n\n\"I know, but I'll return the book in the morning. I promise. I've been conducting research all week in case Uncle tries to trick me back.\" Another brief moment of only hammering. \"Oh, please, Nigel,\" Cleona said. \"I just wanted to make sure I knew everything before Uncle returned. Promise me you won't tell him, will you?\"\n\n\"You're certain there's no trickery involved? I want no part of it.\"\n\n\"On my honor. No trickery involved whatsoever.\"\n\n\"Right-o, right-o,\" Nigel grumbled. \"But I didn't see you, understand?\"\n\n\"You're a gem, Nigel!\" Cleona said, and her giggling trailed away.\n\nNigel giggled too, and then we were moving again.\n\nSoon there came another loud clang, followed by a jumble of sounds that reminded me of the coal mines at the edge of town\u2014chains and pulleys, winches and metal cranking against metal. Nigel set down the trunk, but it still felt as if we were moving\u2014not sideways this time but upward into the air.\n\nThe hammering faded away, and when the cranking stopped, the sense of traveling upward stopped too. Another loud clang, and Nigel hoisted the trunk onto his shoulders with a grunt and started walking again.\n\n\"Hallo there, Mrs. Pinch,\" Nigel said, stopping. \"Didn't expect to find you still up and about.\"\n\n\"Lots to do, lots to do,\" replied a weary voice. \"And blind me if I haven't gone and misplaced my spectacles again.\"\n\n\"Shall I help you look for them, mum?\"\n\n\"Certainly not. What kind of housekeeper keeps others from their beds because of her own carelessness?\"\n\nThe trunk rose and fell quickly\u2014Nigel shrugging, I assumed.\n\n\"Besides,\" said Mrs. Pinch, \"they're in here somewhere. Got a speck of dust in my eye as I was laying out the linens, got distracted and\u2014well, blind me if my head doesn't need oiling.\"\n\n\"You're sure it was you who misplaced them and not\u2014\"\n\n\"Oh, no, Cleona knows better than to play her tricks on me.\"\n\nThis Cleona seems awfully fond of tricking people, I thought, and Nigel shrugged again. \"Right-o, then, mum,\" he said, setting down the trunk. \"Off to the stables, I am.\"\n\n\"Head needs oiling, I tell you,\" Mrs. Pinch muttered distractedly.\n\n\"Good night, then, mum.\"\n\nThe coachman's heavy footsteps trailed away as Mrs. Pinch set about the room in search of her spectacles, all the while huffing and puffing and mumbling, \"Blind me,\" when her search came up empty.\n\nThe tickle in my throat returned. I swallowed hard, but the tickle only seemed to get worse. That's it, I was going to cough, no remedy for it now, so I pressed my face into Mr. G's clothes and let out a muffled, \"Kipff!\"\n\nThe tickle left me at once, but as I cocked my ear to listen, I noticed that all the huffing and puffing and blind me\u2013ing outside had stopped. I waited, my heart pounding in terror, and then Mrs. Pinch began to hum pleasantly.\n\nDodged her for now, I thought. Yes, from the sound of things, it seemed as if Mrs. Pinch had set about the room again in search of her spectacles. Indeed, I'd just begun to entertain thoughts of an escape\u2014when much to my surprise the trunk flew open and Mrs. Pinch screamed:\n\n\" _Rat!_ \"\n\nThen she swung her broom and caught me square atop my head.\n\n\"Ow!\" I cried.\n\nPuzzled, Mrs. Pinch leaned cautiously over the trunk, her broom ready to strike.\n\n\"What on earth?\" she said, squinting down at me. Then she slowly lowered her broom and exclaimed: \"Why you're not a rat at all!\"\n\n\"I'm afraid not, ma'am,\" I said, rubbing my head. \"Though I must admit you're not the first person to call me that lately.\"\n\n\"Well, what on earth are you doing inside the master's trunk?\"\n\nI explained in short the circumstances surrounding my present situation, including how I came to live with Mr. Smears, as well as my apprenticeship as a chummy. Oftentimes I'd get ahead of myself, and Mrs. Pinch would become confused and ask me to go back. Her wrinkled face and squinty eyes seemed to soften when I told her about Mrs. Smears. However, when I got to the part about the trunk, her lips drew together so tightly that her nose nearly kissed her chin.\n\n\"Blind me!\" she said. \"You mean to tell me you're here by _accident_? A stowaway chimney sweep?\"\n\nI was about to reply, when I noticed the dimly lit room for the first time. The floors and walls were black, but at the same time glistened like polished coal. There were strange pipes of all shapes and sizes running everywhere, as well as curtains of purple and red velvet draped from floor to ceiling. The trunk had been set down at the edge of a fancy rug, and the furnishings, peppered about with knobs of silver and brass, were finer than anything I'd ever seen on jobs with Mr. Smears. There were statues and vases and all sorts of objects of which I didn't know the names. And at the center of it all, a grand four-poster bed. This, too, was draped in red and purple velvet, and emblazoned on the headboard, just like on the door to the coach, was a large silver letter _G_.\n\n\"Well?\" Mrs. Pinch demanded. \"What do you have to say for yourself?\"\n\nIt was then that, glancing at the bed, I spied Mrs. Pinch's spectacles wedged between the coverlet and the bedpost.\n\n\"Spectacles,\" was all I could manage.\n\n\"Come again?\" said Mrs. Pinch, squinting, upon which I reached out and gingerly retrieved them with my pinky finger.\n\n\"Humph,\" said Mrs. Pinch, snatching the spectacles from my hand. But once she slipped them on and saw how dirty I was, she opened her eyes wide and screamed.\n\n\"My apologies, ma'am.\" I closed my eyes and braced myself for the flurry of blows that I was sure would follow.\n\n\"Chin up, lad,\" Mrs. Pinch said after a moment. \"A good thrashing is the least of what you need to fear here.\"\n\nI opened my eyes to find the old woman standing before me with her broom tucked beneath her arm like a musket, the handle aimed straight at my heart.\n\n\"Now listen carefully,\" she began. \"You're to step out of that trunk and march straight for the door. Once you're in the hallway, you're to turn left and keep marching until I tell you to stop. Understand?\"\n\n\"Yes, ma'am.\"\n\n\"You're to keep your eyes straight ahead at all times. No peeking or ogling about, but straight ahead _at all times_ no matter what. You hear me, lad?\"\n\n\"Yes, ma'am.\"\n\n\"And you best mind my instructions, or blind me if you don't feel my broomstick on your bottom. Now march!\"\n\nAnd so I hopped from the trunk, turned left at the door, and set off down the hallway. Mrs. Pinch followed close behind, the tip of her broomstick lodged in the small of my back as if I were her prisoner. And I did try to obey her instructions, I truly did...but out of the corners of my eyes I couldn't help but notice a number of peculiarities.\n\nThe walls appeared to be of the same polished black as Mr. G's chambers, but they were lined with ornate sconces that burned with an eerie blue flame. Between some of the sconces were doors; between others hung large, gilded portraits that reminded me of ones I'd seen on jobs with Mr. Smears.\n\nHowever, unlike the portraits in the manor houses, someone had marred the subjects with a bunch of swirly chalk mustaches. Even worse, on a portrait of a grim-faced little boy, someone had written: _A.G. has a spotty bottom!_\n\n\"That's far enough,\" said Mrs. Pinch. We'd come to a large, oaken door at the end of the hallway. The old woman scooted around me to give the brass handle a twist, and the door opened to reveal an iron gate behind it. Mrs. Pinch slid the gate sideways with a clang, and then scooted behind me with her broomstick at my back.\n\n\"Inside,\" she commanded.\n\nThe narrow chamber into which I'd stepped resembled a jail cell, the walls from top to bottom made of long iron bars. The cell itself appeared to be suspended inside a vast chimney, and as Mrs. Pinch closed the door and the gate behind me, I discovered the same eerie blue light shining down on me from higher up the shaft.\n\n\"Very well, then,\" said Mrs. Pinch. \"You may turn around now.\"\n\nAs I did, the housekeeper shifted a large lever, which in turn set off the same cranking noise I'd heard earlier on my trip with Nigel. However, instead of moving upward, this time we were moving down!\n\nMrs. Pinch must have mistaken the expression of amazement on my sooty face for one of fear, for she stared down her nose at me and said, \"Come, come now. It's only a mechanical lift. Surely you've seen something of the sort in your line of work.\"\n\n\"Only when they sank a down-shaft in the coal mines, ma'am,\" I replied. \"And that lift had to be cranked by a pair of blokes, each one bigger than Mr. Smears!\"\n\n\"Well, we won't be traveling far down as any coal mines. Although blind me if I shouldn't just move the master's bed down here, what with his nose always buried in his books.\"\n\nThe lift came to a stop, and Mrs. Pinch ushered me into a small parlor.\n\n\"Although you deposited most of your soot on the master's clothes,\" she said, pointing her broomstick again at my heart, \"you'll stand here by the hearth without touching anything until the master says you may enter. That is, _if_ he says you may enter. Understand?\"\n\n\"Yes, ma'am.\"\n\n\"Once I introduce you, don't speak unless spoken to. Be sure to speak clearly and to the point, and do not say anything casual, obvious, or irrelevant.\"\n\n\"Irr- _elephant_ , ma'am?\"\n\n\"The master is a very proper man,\" the old woman said, ignoring me. \"And while he's very fond of children, you'll do well to at least pretend you have some breeding in you. So let's start with that spine of yours and leave off slouching!\"\n\n\"Yes, ma'am,\" I said, and stood up straight as a pencil.\n\n\"Very well, then.\" Mrs. Pinch made to leave, but then stopped short of the door. \"It just occurred to me. To whom shall I say the master is being introduced?\"\n\n\"Grubb, ma'am.\"\n\n\"Grubb?\"\n\n\"Yes, ma'am. No first or last name, just Grubb. Spelled like the worm but with a double _b_. In case the master would like to write it down.\"\n\n\"I see,\" said Mrs. Pinch, her wrinkles softening. \"And judging from the tale you told me upstairs, I assume it was Mr. Smears who bestowed this title upon you?\"\n\n\"Yes, ma'am. Or so his wife told me, ma'am.\"\n\n\"And how old are you, lad?\"\n\n\"I don't rightly know, ma'am.\"\n\n\"Humph,\" said Mrs. Pinch, looking me up and down. \"To the untrained eye, your small stature and malnourished frame would suggest a boy of nine or ten. However, judging from your tale, I would guess your age to be twelve or thereabouts. So twelve or thereabouts is what I'll tell the master.\"\n\nAnd with that Mrs. Pinch disappeared through a pair of pocket doors at the far end of the parlor. Gazing around, other than the coal-black walls and eerie blue light, to my eyes the parlor appeared no different than others I'd seen on jobs with Mr. Smears. However, stepping out from the hearth, above the mantel I spied a life-size portrait of a lady that, unlike the portraits upstairs, had not been defaced.\n\nThe lady's hair was black and done up beneath a wide-brimmed hat, and she was dressed in a flowing black gown. She sat at a dressing table with a silver-handled mirror in her hand, as if she were admiring the large, blue-stoned necklace that hung about her neck. But her black eyes seemed to stare past the mirror with an expression of deep sadness. I thought this odd at the time, but I also thought the woman to be the most beautiful I'd ever seen.\n\nPresently I heard muffled voices coming from the next room, and I stepped back onto the hearth and stood up straight. I tried hard to hear what the voices were saying, but when I could make nothing out, I began to go over Mrs. Pinch's instructions again in my head. I so badly wanted to make a good impression.\n\nBut little did I know that nothing could have prepared me for what was waiting beyond the door.\n\nThe master will see you now,\" said Mrs. Pinch, standing in the doorway. But as I made to pass her, she held me back by the shoulder and whispered, \"Not so fast, lad. Remember what I told you.\"\n\nWe stood at the entrance to an enormous library. Books filled the walls from floor to ceiling\u2014ceilings so high that rolling ladders had to be used to reach the upper shelves. More books lay tossed about on the furniture, while others were stacked on the floor as high as my head.\n\nAs in the upstairs chamber, there were statues and vases and curtains of purple and red velvet, but also clocks and swords and other weapons that I couldn't name. To my right I spied a large hearth with a pair of plush armchairs; above the mantel, a fierce-looking lion's head with glowing red eyes. The remainder of this wall was taken up by more bookshelves, some containing mechanical objects the likes of which I'd never seen.\n\n\"Master Grubb,\" Mrs. Pinch announced, pushing me forward with her broomstick. \"Twelve years old or thereabouts and very dirty, sir.\"\n\nAs I stepped into the middle of the room, I noticed for the first time a large desk behind the stacks of books on the floor. On top of the desk were more books and mechanical objects, as well as a large lamp burning with the same eerie blue light.\n\n\"You may leave us now,\" said Mr. G, unseen behind the books on his desk.\n\n\"Very well, sir,\" said Mrs. Pinch.\n\nAnd with that I heard the pocket doors close behind me.\n\n\"Now then,\" Mr. G began. \"From the brief account given me by Mrs. Pinch, I take it you've had quite a journey. You'll find a pitcher and a goblet on the table there beside you. Please pour yourself some water and drink.\"\n\nI hesitated. The pitcher and goblet were finer than any I'd ever touched.\n\n\"No need to stand on ceremony, Master Grubb. You're welcome to it.\"\n\nAs I drained my goblet, I searched unsuccessfully for Mr. G between the books on his desk. On the wall behind him, however, I spied a wide row of polished steel pipes running from the floor to the ceiling. These were bookended on either side by oaken doors, which in turn were bookended by a pair of knights. Each wore a red, bell-shaped helmet with a horned crest and a scowling black face mask. Their body armor was painted to match, but was plated in such a manner that they looked like a quartet of big red beetles standing on their hind legs.\n\n\"Ah, you've noticed my samurai,\" said Mr. G. \"Just a little something I acquired in my travels. They stand guard in case any busybodies try to get inside from the balcony. The pair behind you is merely a second line of defense.\"\n\nI glanced round at the pocket doors and discovered two more suits of armor behind me, each holding a long spear.\n\n\"The samurai are from Japan and are considered amongst the fiercest warriors in the world. Congratulations, Master Grubb. You are the first person to have ever gotten past them alive.\"\n\nI swallowed hard, and the ticking of Mr. G's many clocks seemed to grow louder.\n\n\"So, you're the troublemaker from the Lamb's Inn, eh? The lad about whom the owner and that chap with the scar were making all that fuss?\"\n\n\"Yes, sir,\" I said guiltily.\n\n\"And am I correct in concluding that you slipped into my trunk during their pursuit of you? Perhaps only moments before our departure?\"\n\n\"Yes, sir.\"\n\n\"An intriguing turn of events,\" said Mr. G, more to himself than to me. \"Tell me, Master Grubb, at any point between your departure from the Lamb and your arrival here, did you happen to peek out from your hiding place?\"\n\nI made to speak, but then quickly stopped myself.\n\n\"I suggest you consider your answer carefully,\" said Mr. G. \"Your sooty face speaks volumes, and I'll know at once if you're lying.\"\n\n\"Yes, sir,\" I said finally.\n\n\"And what exactly did you see?\"\n\n\"Well, sir,\" I began slowly, \"I peeked out when we were leaving the Lamb, heard Mr. Crumbsby's hounds setting off after me, and saw the inn disappear round the bend. I suppose I also peeked out a handful of times along the High Road, but then...\"\n\nI hesitated one last time, for upon remembering Mrs. Pinch's instructions, I decided that a proper gentleman like Mr. G would not be interested in my silly dream of flying about the countryside.\n\n\"Then what?\" asked Mr. G. \"What else did you see?\"\n\n\"Nothing, sir,\" I said quickly. \"What I mean is, I must've fallen asleep, sir. For the next thing I remember is being carried in the trunk on Mr. Nigel's shoulders.\"\n\nI waited for what seemed like an hour of clock ticking. Finally a tall, slender gentleman dressed entirely in black rose from behind the mountain of books on his desk.\n\nI took in the most obvious of his features at once: longish, slicked-back hair, black-ringed eyes, and a drawn, chiseled face that glowed whitish-blue like the moon. He looked me up and down as if inspecting a horse, but at the same time I sensed something dangerous beneath his cold appraisal\u2014when without warning he lurched forward on his desk and snarled, \" _Liar!_ \"\n\nHis eyes blazed, and his thin lips stretched wide around a toothy grin.\n\nTerrified, I spun on my heels and made for the exit\u2014but the pair of samurai beside the pocket doors crossed their long spears and blocked my escape.\n\nI shrieked, turned round, and saw that the other samurai had left their posts and were now coming for me around the desk\u2014armor clanging, their swords drawn, and their eyes glowing blue!\n\nI shrieked again, and as I raised my arms to protect myself, discovered that the silver water goblet was still in my hand.\n\n_Clang, clang, clang!_ The four samurai marched closer and closer, and without thinking, I flung the goblet at the nearest one.\n\nThe goblet struck the samurai's helmet with a heavy clank, knocking it to the floor. But where the warrior's head should have been, there was only a shaft of blue light shooting up from his body.\n\nI gasped in horror, and the samurai stopped. The three with their helmets still attached turned their glowing blue eyes to their headless companion, who promptly waved his armored hand back and forth above his shoulders. Finding nothing there, he shrugged, and the four samurai resumed their advance as if nothing had happened.\n\n_Clang, clang, clang!_\n\nI backed away, but the two samurai by the door grabbed me by the shoulders.\n\n\"Please, sir!\" I cried, struggling against their viselike grip. \"I wasn't lying, sir, I thought it was a dream!\"\n\n\"You're at the Odditorium, lad,\" said Mr. G, grinning cruelly. \"And dreams are all we have here!\"\n\n_Clang, clang, clang!_\n\nI closed my eyes, steeling myself to receive the samurai's sword points, and then my ears cracked with thunder and I felt a flash of heat across my face.\n\nSo this is what it's like to die, I thought. But in the next moment, a high-pitched voice cried out: \"YOU SHALL NOT HARM HIM!\"\n\nThe grip on my shoulders released, and I opened my eyes to find the entire room bathed in a milky-yellow haze. Incredibly, all of the samurai were moving away from me, but there was something strange in their retreat.\n\nThey're not retreating, I realized. They're flying!\n\nLight as goose down on a summer breeze, the samurai floated up into the air, over Mr. G's desk, and back to their posts.\n\nI barely had time to wonder at it, and then a bright yellow ball of light quickly descended from the ceiling and wrapped me in a cloak of shimmering stars.\n\nMuch to my astonishment, it was now _my_ turn to fly. And in a single bound I floated, eyes wide and mouth gaping, over the armchairs and landed on the hearth.\n\nThe light flashed and flickered and began to swirl about me like a cluster of yellow fireflies\u2014round and round, faster and faster\u2014until a great wind lifted me onto my tippy-toes. Then all at once the fireflies turned black, gathered in a great, rolling mass before my face, and whooshed off behind me, spinning me round on my heels as they shot up the chimney and out of sight.\n\n\"Cor blimey!\" I gasped, gaping at my hands and coat sleeves.\n\nAll the soot, every last speck of it, was gone from my body. My gray chummy clothes were cleaner than I'd ever seen them, and my skin\u2014well, I suspected my skin hadn't been this clean since the day I was born.\n\n\"Splendid, lad!\" Mr. G exclaimed, and I turned to find him coming around the desk. The malice was gone from his smile, and in the crook of his elbow he held the samurai's helmet.\n\nI just stood there, frozen in amazement.\n\n\"Terribly sorry about all that,\" said Mr. G, smiling. \"But it was necessary, Master Grubb, I assure you.\"\n\n\"A trick?\" the high-pitched voice cried out, and I spun around to discover an enormous dollhouse suspended from the ceiling in the corner behind me. The door to the dollhouse was open, and there, hovering before it, glowed another fantastical ball of bright yellow light.\n\n\"Not a trick, but a test,\" said Mr. G. Then he turned back to me and whispered, \"And quite an effective test, at that.\"\n\nI tried to speak, but my tongue felt frozen\u2014when all of a sudden the yellow ball of light streaked out from the dollhouse and stopped, trembling in midair, only inches from Mr. G's nose.\n\n\"How about you pick on someone your own size!\" the ball hissed. It began to grow bigger and bigger until, along the edge closest to Mr. G's face, there appeared the faint but unmistakable outline of teeth.\n\n\"Temper, temper,\" said Mr. G, unmoved. \"I never doubted for a moment that you'd intercede to protect the child. But the test had to be authentic; the child's fear, genuine. How else could I be sure your magic was powerful enough?\"\n\n\"Because I told you it was, you skinny little _twig_!\"\n\nThe ball growled, its teeth becoming clearer and sharper as they parted into a monstrous, gaping crescent.\n\n\"Oh, very well, then,\" sighed Mr. G. \"Go ahead and gobble me up. See where that gets us in the end.\"\n\nThe yellow ball just hovered there for a moment, shaking with fury until finally it zoomed back to the dollhouse. The light popped and fizzled, and then a little yellow girl with dragonfly wings and crystal-blue eyes materialized on the roof. \"Silly twig,\" she muttered weakly, then slumped down and pouted with her back against one of the chimneys.\n\n\"Fairies,\" groaned Mr. G, rolling his eyes. The little yellow girl growled in reply and hurled a ball of light in his direction. Mr. G dodged it, and the ball burst apart against a large, colorful top upon his desk.\n\nThe top rose into the air and began to spin of its own accord. Mr. G quickly scooped it up with the samurai's helmet and turned the helmet over on his desk. A flash of bright green light exploded through the scowling face mask.\n\nMr. G removed the helmet, and the top was motionless again.\n\n\"It was _you_ I saw coming out of the Black Forest,\" I said in astonishment. \"You captured Gwendolyn the Yellow Fairy!\"\n\n\"Captured?\" said Mr. G. \"Oh, I think not, Master Grubb. Brokered an alliance is more like it.\"\n\n\"An alliance,\" cried the Yellow Fairy. \"Hah!\"\n\n\"An alliance out of _mutual necessity_ ,\" Mr. G said for her benefit as well as mine. \"But then again, we needn't get into all that now.\" He leaned back on the edge of his desk and folded his arms. \"No, the most pressing matter at hand is what to do with _you_ , Master Grubb. I must confess, I had no intention of acquiring a chimney sweep in my travels.\"\n\nMy gaze dropped to my shoes. Now my head had room for nothing but thoughts of what was to become of me.\n\n\"From what Mrs. Pinch tells me,\" said Mr. G, thinking, \"I certainly can't send you back to that chap with the scar. And to turn an orphan like yourself out on the streets of London\u2014\"\n\n\" _London?_ \" I gasped, eyes wide.\n\n\"You mean to tell me that you had no idea you're in London, lad?\"\n\n\"No, I didn't, Mr....uh...\"\n\n\"Grim,\" he said with a slight bow. \"Alistair Grim. Pleased to make your acquaintance, Master Grubb.\"\n\n\"Likewise, Mr. G\u2014I mean, uh, Mr. Grim, sir.\"\n\n\"As I was saying, to turn you out now in your present situation would no doubt ensure you a life of beggary and thieving. There are the workhouses, of course\u2014\"\n\nI swallowed hard, my stomach in my throat.\n\n\"\u2014but most would rather die than live in such places. Then again, I can't very well let you go around London babbling on about fairies and whatnot. Of course, anyone who listened to you would think you touched in the head. But there's always the chance someone might take you seriously and make trouble for us here at the Odditorium.\"\n\n\"The Odd\u2014uh\u2014I beg your pardon, sir?\"\n\n\"Odd-ih- _tor_ -ee-um,\" Mr. Grim repeated. \"Go ahead. Give it a try, lad.\"\n\n\"Odditorium,\" I said slowly.\n\n\"Very good, Master Grubb. A word unlike any other for a place unlike any other.\"\n\nI glanced over at the Yellow Fairy, who was now listening intently and batting her thick, black eyelashes at me.\n\n\"Begging your pardon, Mr. Grim, sir,\" I said, daring to meet his gaze. \"But, if you don't mind my asking, sir, what sort of place is this Odditorium?\"\n\nMr. Grim smiled and replaced the helmet atop the samurai's shoulders. \"Well, that remains to be seen, now, doesn't it, Master Grubb?\"\n\n\"If you say so, sir,\" I said uneasily.\n\n\"Tell me. In addition to hiding in trunks, do you possess any other talent of which I should be aware?\"\n\n\"Talent, sir?\"\n\n\"Yes, Master Grubb, something at which you excel.\"\n\n\"Well, sir, I\u2014if I may be so bold\u2014I do fancy myself quite the expert chummy.\"\n\n\"Which would imply that you excel both at climbing and at squeezing through narrow spaces. What else?\"\n\n\"Well, sir,\" I said, thinking, \"I can run fast, especially when I'm being chased by blokes bigger than me. And, I can read a bit\u2014the lady who took me in taught me that before she died, as well as how to count my fingers and toes. I've since taught myself to read better and count higher and...well, I'm afraid that's about it, Mr. Grim.\"\n\n\"A boy of twelve or thereabouts who excels at climbing and squeezing through narrow spaces, who can also read a bit and count higher than his fingers and toes? Well, then, perhaps we, too, can broker an alliance.\"\n\n\"An alliance, Mr. Grim?\"\n\n\"An alliance, Master Grubb. We have many chimneys here at the Odditorium, all of which have not been swept in quite some time. Come to think of it, having a resident sweep on the premises might not be a bad idea. Having a boy around who can read a bit and count higher than his fingers and toes might not be a bad idea, either. Therefore, I have a proposition for you: how would you like to work here, Master Grubb?\"\n\n\" _Here_ , Mr. Grim?\"\n\n\"Here at the Odditorium, Master Grubb. And in exchange for your services, you shall be given room and board and a small salary, which shall be deposited weekly in your name at the Central Bank\u2014less your pocket money, of course.\"\n\n\"Pocket money?\" I asked, amazed.\n\n\"But of course, lad. After all, a boy in London without pocket money\u2014well, that simply won't do, now, will it, Master Grubb?\"\n\nI couldn't speak and just stood there, eyes wide and mouth gaping.\n\n\"There's only one catch,\" said Mr. Grim, and he squatted down so that our noses nearly touched. \"You're never to speak to anyone on the outside about what goes on here. _Never_. Not a single word about the Odditorium ever. Do you understand me, lad?\"\n\n\"Oh yes, sir, Mr. Grim,\" I said, nodding. \"You can count on me, sir.\"\n\n\"Then again, you haven't much of a choice, now, do you? For if you refuse and decide to go blabbing\"\u2014he shot a quick glance at the dollhouse\u2014\"well, let's just say Miss Gwendolyn won't always be around to protect you.\"\n\nI swallowed hard, for the look in Alistair Grim's eyes sent a chill down my spine unlike any other that day.\n\n\"What do you say, then?\" he asked, his demeanor friendly again. \"Do we have a deal, Master Grubb?\"\n\n\"Yes, sir,\" I said, smiling. My fear was gone, and all I could do was marvel again at my good fortune.\n\n\"Good,\" said Mr. Grim, offering me his hand. \"Gentlemen's shake on it.\"\n\nAnd so for the first time I shook hands with Alistair Grim. It was the first time I'd ever shaken hands with anybody. But I wonder now, had I known then what I was getting myself into\u2014samurai or no samurai\u2014would I have tried again for the door?\n\nI spent the night in the shop. That's what Mrs. Pinch called it. The shop.\n\n\"You'll spend the night in the shop,\" she said. \"There's a bed in there that Mr. Grim uses when he's working. That should suffice until we can figure out what to do with you.\" Then she opened the door and said under her breath, \"But blind me if I can't think of a more proper place for you than here.\"\n\nThe room I entered resembled the others only in its blackness and blue sconce light. It was tiny compared to Mr. Grim's library, but appeared even tinier because of all the rubbish inside. There were shelves with oddly shaped bottles and workbenches stacked with books and tinkerer's tools. And tumbling out from every corner was all manner of scrap metals and strange mechanicals. At the center of the room was a large worktable piled high with cogs and springs and gears of every sort imaginable.\n\n\"Very well, then,\" said Mrs. Pinch, pushing me toward the bed. Then she placed a large bowl of gruel on the worktable and handed me a spoon. \"Eat your fill and get some rest. And for goodness' sake, don't touch anything. Understand?\"\n\n\"Yes, ma'am.\"\n\n\"You'll begin work in the morning,\" Mrs. Pinch said as she was leaving. \"Until then this door will remain locked.\" She stepped into the hall, but then turned back and said: \"After all, we wouldn't want you wandering about in the middle of the night, now, would we?\"\n\nI swallowed hard.\n\n\"There's nothing to be afraid of, lad,\" said Mrs. Pinch. \"You're amongst friends here.\"\n\n\"Thank you, ma'am,\" I said. \"For everything, that is.\"\n\nMrs. Pinch cracked a smile and closed the door. Then I heard her key clicking in the lock and her footsteps trailing off down the hall.\n\nI looked around for a moment, and upon finding no fairies or glowing samurai staring back at me, quickly gobbled up my gruel and lay down on the bed. I didn't feel sleepy, but thought both the gruel and the bed pleasant enough. Indeed, I had just decided that I couldn't remember a more pleasant place to sleep\u2014or a more pleasant meal, for that matter\u2014when I felt myself being dragged under.\n\n\"I suppose I am sleepy after all,\" I yawned.\n\nWhat must have been a second later, I was out.\n\nMy dreams came to me in fits of flickering pictures from the day before. But mixed somewhere in the middle of it all was the girl I'd heard outside the trunk\u2014Cleona was her name. She sat beside me in a meadow of moonlit buttercups, but for some reason I could not see her.\n\n\"Do you have a family?\" she asked.\n\n\"No, I don't, miss,\" I replied.\n\n\"Well, you're to live with us at the Odditorium, aren't you? So that makes you family.\"\n\n\"If you say so, miss,\" I said, searching for her amidst the flowers. \"But how come I can't see you, miss?\"\n\n\"Because you're not allowed to. But I can see you.\"\n\n\"I wasn't allowed to talk to the children in the manor houses, but sometimes we couldn't help seeing each other.\"\n\n\"Pshaw,\" Cleona said, giggling. \"What a silly boy you are, Master Grubb. May I play a trick on you sometime?\"\n\n\"A trick, miss?\"\n\n\"I'm only allowed to play tricks on my family.\"\n\n\"Shall you bring me trouble, miss?\"\n\n\"A trick well done brings joy to both the trickster and the tricked. Besides, who would want to bring trouble on one's family?\"\n\n\"I wouldn't know, miss.\"\n\n\"So then, may I play a trick on you sometime?\"\n\n\"If it brings you joy, miss.\"\n\n\"Thank you, Master Grubb.\"\n\n\"You're welcome, Miss Cleona.\"\n\n\"You know my name?\"\n\n\"I heard you talking to Nigel outside the trunk.\"\n\n\"Well done,\" Cleona said, giggling. \"A bit of a trickster yourself, are you?\"\n\n\"Begging your pardon, miss?\"\n\n\"Go back to sleep now.\"\n\n\"Miss?\"\n\n\"Sleep.\"\n\nI must have obeyed her. And if I dreamed about anything else that night, I couldn't remember, for I awoke the next morning with a feeling that I'd just leaped across some great black chasm.\n\n\"I slept after all,\" I said, sitting up. But for how long? Long enough, I thought, for I certainly felt rested. And as I gazed around the shop for some sign of morning, it occurred to me that I hadn't seen a single window in the Odditorium anywhere.\n\nJust then there came a crackling noise, followed by a sputtering _tick-tick_ and a flash of blue light from the center of the worktable. Rising from my bed and drawing closer, I spied a large red-and-gold-checkered pocket watch quivering amongst the scattered clock parts. I picked it up and opened it.\n\n\"What time is it?\" the watch asked. Startled, I gasped and let it fall. \"Ach!\" the watch said, flopping about the table like a fish out of water. Then, with a crackle and a flash of blue light, the watch sprang upright on its case and shouted:\n\n\"Mind yer step, ya neep! If it's a fight ya want, McClintock's yer man!\"\n\nThe watch's face bore a ring of Roman numerals\u2014I'd learned these years ago by counting the bongs from the clock tower at the center of town\u2014but between the X and the II there was a pair of smiling, mechanical eyes. The pupils glowed bright blue like the eyes of the samurai, as did the watch's wide, smiling mouth, and its curved hands hung down at the VIII and the IV so that the face appeared to be that of a jolly old chap with a large mustache.\n\n\"Well?\" the watch asked. \"You for fighting or gawking, neep?\"\n\n\"Neither, sir,\" I said. \"And I don't mean to stare, but I didn't expect to meet a talking pocket watch this morning. I apologize for dropping you, sir.\"\n\n\"Silly bam,\" the watch chuckled. \"It'd take more than a wee bairn like yerself to rattle ol' McClintock.\"\n\n\"McClintock?\"\n\n\"Aye. Dougal McClintock. Only surviving son of Dougal the Elder, and chief of the Chronometrical Clan McClintock. And who might you be?\"\n\n\"Why, I'm Grubb, sir.\"\n\n\"Grubb?\"\n\n\"Yes, sir. Just Grubb. Spelled like the worm but with a double _b_.\"\n\n\"Never heard of a Clan Grubb,\" the watch said. \"Never heard of a grub with a double _b_ either. A foreigner ya must be, then. But foreigners are always welcome amongst the McClintocks. A pleasure to make yer acquaintance, Mr. Grubb.\"\n\n\"Likewise, Mr. McClintock.\"\n\n\"Call me Mack, laddie. All me friends do.\"\n\n\"Very good, then, Mack.\"\n\n\"Would ya mind picking me up again? Me eyesight ain't what it used to be.\"\n\nI did so, and the watch's bright blue eyes seemed to study me.\n\n\"Hmm,\" he said finally. \"Yer outsides look all right. Got yerself some trouble on the inside, then, have ya?\"\n\n\"Trouble, sir?\"\n\n\"Aye, laddie. This is Mr. Grim's shop for Odditoria what's giving him trouble, so that would indicate ya being both Odditoria and trouble, would it not?\"\n\n\"Well, I must admit I've been quite some trouble to Mr. Grim, but I thought the Odditoria was _where_ I am, not _what_ I am.\"\n\n\"Ya silly bam,\" Mack chuckled. \"Odditorium is _where_ you are. Odditoria is _what_ you are. Ya follow?\"\n\n\"I'm afraid I don't, sir.\"\n\n\"Loosely defined, the word _Odditoria_ , at once both singular and plural, is used to classify any object living, inanimate, or otherwise what's believed to possess magical powers. Thus, Odditori _ummmm_ is the place, and Odditori _aaaaa_ are those objects _inside_ the place. I dunno how much clearer I can make it, laddie.\"\n\n\"Oh, that's quite clear now, thank you. However, I'm sorry to disappoint you, Mack, but as far as my being Odditoria, I'm afraid there's nothing magical about me.\"\n\n\"Rubbish,\" Mack said, hopping into my hand. \"Yer here in Mr. Grim's shop, ain't ya? And since this is the place for Odditoria what's giving him trouble, it's only logical to conclude that you, too, must be both Odditoria and\u2014tick\u2014tick\u2014\"\n\nMcClintock crackled and flashed, and then his eyes went black and he stopped ticking.\n\n\"You still in there, Mack?\" I asked. \"Mack?\"\n\nI shook him, opened and closed his case, then tapped him gently on the XII on his forehead. This last bit did the trick, and he started ticking again.\n\n\"What time is it?\" he asked, the blue light returning to his eyes.\n\n\"Judging by your hands\u2014er, by your face, I should say\u2014well, I gather the time is twenty minutes past eight o'clock, give or take a bit since last we spoke.\"\n\n\"Ach, ya don't understand,\" Mack said sadly. \"Me time is always twenty past eight. No matter how often Mr. Grim sets me, eventually I stop ticking and me hands go back to eight and four. And Mr. Grim can't for the life of him figure out why.\"\n\n\"So that's makes you Odditoria and trouble? A pocket watch what's not only magical, but what also can't keep Mr. Grim's time for him?\"\n\n\"Aye, laddie,\" Mack said, hopping back onto the table. \"And I dunno if I'll ever get outta this shop in one piece. Mr. Grim's got bigger problems now, which leaves only the scrap heap for ol' McClintock.\"\n\n\"The scrap heap?\"\n\n\"Aye. After all, what good's a talking pocket watch to Mr. Grim if it can't properly keep his time for him?\"\n\n\"Well, you're very good at talking. That should count for something. And you can hop about and shine as bright as the lamps in Mr. Grim's library. That should count for something too, I'd think.\"\n\n\"Yer very kind,\" Mack said, turning away. Then he stopped. \"Hang on. _You_ have been inside Mr. Grim's library?\"\n\n\"Yes, sir, I'm afraid I have.\"\n\n\"But that's where Mr. Grim keeps me cousins!\"\n\n\"Your cousins?\"\n\n\"Aye, me cousins the clocks!\"\n\n\"Magical clocks?\"\n\n\"Nah, ya silly bam, but clocks what's keeping their proper time _without_ magic!\"\n\n\"I don't know about that, but there certainly are a lot of clocks in there.\"\n\n\"Grubb!\" Mack cried, hopping to the edge of the table. \"Me new friend, you've got to get me inside!\"\n\n\"Inside Mr. Grim's library, you mean?\"\n\n\"Aye, laddie!\"\n\n\"But what for?\"\n\n\"What for?\" asked Mack, jumping from the table and onto my shoulder. \"What for? So I can keep me time correctly, that's what for!\" I looked at him quizzically. \"Don't you see, laddie? If I were to join me cousins in the library, I'd always know what time it was no matter how long I stopped ticking!\"\n\n\"That's true,\" I said, thinking. \"But Mr. Grim certainly wouldn't approve of my going in there without his permission. I suppose I could ask him, but come to think of it, why haven't you asked Mr. Grim yourself if you can join your cousins?\"\n\n\"Well, uh,\" Mack stammered. \"I, uh, well, it's just that\u2014tick\u2014tick\u2014\"\n\nMack crackled and flashed as before, then stopped ticking altogether, and his eyes dimmed to black. I caught him as he fell from my shoulder, and was about to tap him again on his XII, but then I heard Mrs. Pinch's key in the lock.\n\nI quickly returned McClintock to the table and stepped back just as Mrs. Pinch entered the shop.\n\n\"Already awake, are you,\" she said. \"No snooping about or touching anything, I should hope.\"\n\n\"Oh no, ma'am,\" I said. \"And good morning to you, Mrs. Pinch.\"\n\n\"Humph,\" she replied. \"Now off to the kitchen with you. Lots to do, and blind me if I'm going to waste my day playing hostess to a chimney sweep.\"\n\nAs Mrs. Pinch ushered me from the shop, I was tempted to ask her the time for Mack's sake. But when I glanced back at the worktable and saw none of his blue light amidst the clutter, I assumed he was still out and unable to hear me.\n\nGood thing, I thought. Mrs. Pinch struck me as the sort who didn't like answering questions, never mind telling little boys the time.\n\nIt was only a short distance down the hallway to the kitchen, but to me it seemed like miles. The smell of freshly baked bread had taken over me, and instantly my stomach began to grumble.\n\n\"You're on the first floor now, Master Grubb,\" said Mrs. Pinch, eyes forward and always two steps ahead of me. \"In addition to Mr. Grim's shop, on this level you'll find the kitchen and the servants' quarters.\"\n\nWe stopped at the entrance to the kitchen and Mrs. Pinch turned around.\n\n\"You see that door down there?\" she asked, pointing to a large red-painted door at the far end of the hallway behind me. \"That door is off-limits to you, Master Grubb. You're never to go in there for any reason, you understand?\"\n\n\"Yes, Mrs. Pinch.\"\n\n\"You better, or blind me if my broomstick shan't be the least of your worries.\"\n\nI nodded and followed Mrs. Pinch into the kitchen. Unlike the rest of the Odditorium, the windowless chamber had hardly a speck of black paint anywhere. And instead of the eerie blue light, in the ovens there burned a brilliant bloodred fire unlike any I had ever seen.\n\nOther than that, the Odditorium's kitchen was nearly identical to the Lamb's. However, I must say that Mrs. Pinch's bread tasted much better than Mrs. Crumbsby's. She served it warm with butter and jam, and allowed me to sit at the table rather than send me out to the stable, as Mr. Smears was wont to do.\n\n\"Easy, lad,\" Mrs. Pinch said as I stuffed my face. \"You'll make yourself sick at the rate you're going.\"\n\n\"My apologies, ma'am,\" I said, but I kept on munching. I felt as if I hadn't eaten in weeks, and could not remember having ever tasted anything so delightful.\n\n\"I take it your Mr. Smears thought it ill-advised to feed you,\" said Mrs. Pinch, sitting down across from me. \"Wanted to keep you small for your job, did he not?\"\n\n\"I suppose he did, ma'am.\"\n\nMrs. Pinch's expression softened. \"Well, you needn't worry about that here. Blind me if I'm going to let a lad like you go starving. Happy tummy, happy chummy, wouldn't you agree?\"\n\n\"Oh yes, ma'am,\" I said, smiling. Then, unexpectedly, a closet door cracked open and out slipped a broom sweeping away of its own accord.\n\n\"Just a moment, please,\" said Mrs. Pinch, and she hurried over to the closet and stuffed the broom back inside. \"It's not polite to gawk, Master Grubb,\" she said, noticing my amazement, and I quickly went on with my munching.\n\nAfter breakfast, Mrs. Pinch snatched her broom from the closet and ordered me into the lift with a scraper and chimney brush. And as we traveled upward, I waited for her broom to fly out of her hand and start sweeping again. But when it didn't, I began to wonder if my eyes hadn't been playing tricks on me earlier.\n\nMrs. Pinch brought the lift to a stop and we stepped out into the parlor. The furniture had been covered with sheets, and another had been laid out on the floor before the fireplace.\n\n\"You're to sweep this chimney and this chimney alone,\" Mrs. Pinch said. \"No wandering off into the flues as is your habit. And when you're finished, you're to summon me on the talkback.\"\n\n\"The talkback, ma'am?\"\n\nMrs. Pinch pointed her broomstick at a small panel on the wall beside the lift. \"Just flick that red switch there and speak into the wire screen above it. I'll be able to hear you from the kitchen. You understand me, lad?\"\n\n\"Er, yes, Mrs. Pinch,\" I said tentatively. \"But\u2014begging your pardon, ma'am\u2014might I have a soot bag and, er...a _broom_ to sweep the hearth?\"\n\nMrs. Pinch looked down at her broom as if my request puzzled her, and then stepped into the lift.\n\n\"You needn't worry about that, Master Grubb,\" she said. \"And you'll be sure to keep out of the master's library. I needn't remind you why.\"\n\nMrs. Pinch smiled knowingly and disappeared with her broom up the lift.\n\nMy eyes immediately flitted to the library doors and then up to the portrait above the hearth. The Lady in Black, I christened her. What was she looking at past her silver mirror? And what could possibly make such a beautiful woman look so sad?\n\nI looked more closely at the stones in her necklace, the blue of which seemed to glow a bit brighter than the rest of the painting. And as I stood there on the hearth, my eyes eventually wandered back to the library doors.\n\n\"The blue stones in the Lady's necklace look like the eyes of the samurai,\" I said to myself. Suddenly, I felt something rumbling in my chummy coat. I reached inside my pocket, and when I pulled out my hand again, there was McClintock the pocket watch.\n\n\"Mack!\" I exclaimed as I opened him.\n\n\"What time is it?\"\n\n\"You never mind that. What are you doing in my pocket?\"\n\n\"Doing me duty, I figure. After all, what's a pocket watch without a pocket?\"\n\n\"But how'd you get in there?\"\n\n\"I dunno, laddie. I pretended to be out cold in the shop so's to distract ya, and then somehow I dropped off the table and into yer pocket while ya were gabbing with the old witch.\"\n\n\"That isn't very nice of you to call Mrs. Pinch a witch.\"\n\n\"Well, she _is_ a witch.\"\n\n\"And,\" I said, raising my finger, \"it isn't very nice of you to sneak into people's pockets and then go lying about it either.\"\n\n\"On my honor, laddie! I'm telling ya, something just picked me up off the table and dropped me in yer\u2014\" Mack stopped. \"Hang on,\" he said, turning round in my hand. \"Are we where I think we are?\"\n\n\"You never mind about that. You're going to get me into trouble unless I get you back to the shop.\"\n\n\"I told ya yer trouble already, lad. So I hope you'll forgive me for what I'm about to do.\"\n\nAnd before I could ask what he meant, with a crackle and a flash Mack leaped from my hand.\n\n_\"McClintock!\"_ he cried as he sailed across the room. Mack hit the floor with a grunt, tumbled a bit, and slid the rest of the way on his case. He waited until the very last moment to close himself, and then slipped neatly under the doors and disappeared into Mr. Grim's library.\n\n\"Mack!\" I called after him, dashing across the room.\n\n\"I've made it!\" I heard him cry from within. \"I've\u2014Hey! What are you do\u2014?\"\n\nThen all was silent.\n\nI listened at the door. Nothing.\n\n\"You come out of there, Mack,\" I whispered, tapping gently. \"You hear me?\"\n\nNo reply. I pressed my ear to the door but could hear nothing but the ticking of Mr. Grim's clocks on the other side.\n\nI was in for it now, I thought. If Mack fizzled out again, surely Mr. Grim would find him and know I had something to do with it. Perhaps, if I quickly stepped inside, snatched Mack, and then quickly stepped out again, what harm could come of it? Gwendolyn the Yellow Fairy had already protected me once, and surely, if the samurai tried to attack me, she'd do so again. Wouldn't she?\n\nI listened for a moment longer, took a deep breath, and resolved at once to give it a go. I cracked open the library doors and immediately spied Mack lying on the floor only a few feet away. His case was open again, but his eyes were black as coal.\n\n\"Serves you right,\" I whispered, and I slipped inside and scooped him up. \"No tapping you awake this time.\"\n\nI closed Mack tight, returned him to my pocket, and instinctively glanced up at the ceiling behind me. The dollhouse that had hung in the corner was gone, and there was no sign of Miss Gwendolyn anywhere.\n\nSurely the samurai will attack me now, I thought, making to leave. But when I saw their eyes were no longer blue, my curiosity got the better of me.\n\nI stepped farther into the room, and amidst the library's fascinating contents, for the first time I noticed the books themselves. I began to wander about. Some of the books bore words I did not understand, while on others I was able to read the entire title. _The Science of_ appeared on many of the books, as did _Secret_ , _Wonder_ , and _Legend_.\n\n\"'Legend of the Thunderbird and Other Tales from the Americas,'\" I whispered, reading aloud the title of a large book that had been left on an armchair.\n\nIn addition to _Americas_ , there were three other _A_ words that kept popping up. I could read _Adventure_ , but gave up on _Alchemy_ and _Archaeology_ until another time. And then, of course, there was one word that kept popping up more than any other.\n\n_Magic._\n\nI wandered past the fireplace and gazed up at the roaring lion's head. Its eyes seemed to pulse and flicker as if a red fire was burning somewhere behind them. I thought this strange, but soon other objects caught my attention too.\n\nIn addition to the spinning top and the countless books piled high upon Mr. Grim's desk, I noticed a silver mirror resting facedown atop a narrow wooden box. I recognized it at once as the same mirror from the portrait of the Lady in Black.\n\nImpulsively I picked it up. However, when I turned the mirror around, I discovered that the glass was entirely black.\n\n\"What an odd mirror,\" I whispered. \"I should think the Lady in Black would have a hard time seeing herself.\"\n\nI could have sworn I heard someone giggle behind me, but when I spun round, no one was there. Must be hearing things, I thought, my heart hammering.\n\nI set the mirror down on its box and was about to leave, when out of the corner of my eye I spied one of Mr. Grim's notebooks lying open on his desk.\n\nSuffice it to say, my curiosity again got the better of me.\n\n\"Cor blimey,\" I gasped, flipping through the pages. In addition to Mr. Grim's countless entries\u2014some made up entirely of strange symbols that I did not understand\u2014there were drawings of the most horrible creatures imaginable. Goblins. Trolls. A dragon or two. And yet, out of all the terrifying faces staring back at me, there was one drawing that sent a chill up my spine unlike any other.\n\n\"'The Black Fairy,'\" I whispered, reading the caption. However, Mr. Grim's depiction of the creature bore little resemblance to any fairy I'd ever seen. Unlike Gwendolyn, the Black Fairy had the body of a man and a pair of massive bat wings. Its head resembled a large cannonball with a pair of empty white eyes and a wide crescent of long, pointed teeth. These, too, were black, and stood out like rows of daggers against the white inside of the creature's mouth. Beneath the drawing, Mr. Grim had written:\n\n_2 August. I regret to say that my search for the Black Fairy has ended in failure. According to my calculations, however, the location of his lair is correct. This leaves only two possibilities: either the Black Fairy is dead, or\u2014as I feared\u2014he has allied himself with the prince._\n\n\"The prince?\" I wondered aloud. \"Could Mr. Grim mean His Royal Highness, Prince Edward?\" I flipped through the pages again, but could find no mention of him\u2014or any other of Queen Victoria's children, for that matter. No drawings of this prince either. Only the name Prince Nightshade scribbled over and over again, and oftentimes followed by a series of question marks, as in, _WHO IS PRINCE NIGHTSHADE??????_\n\n\"Who is Prince Nightshade?\" I muttered to myself\u2014and then I heard the murmur of voices in the parlor.\n\nMy heart froze. Someone was outside.\n\nGood heavens, how long had I been prying about? The murmuring grew louder\u2014someone was coming, drawing closer to the door.\n\nPanicking, I returned the notebook to its proper place and dashed over to the hearth\u2014not enough time to make my escape up the flue\u2014so I hid myself behind some stacks of books nearby just as the pocket doors slid open.\n\n\"After you,\" said Mr. Grim.\n\nPeering through a narrow space between the stacks, I saw enter a squat, sharply dressed gentleman with a wide velvet collar and a starched cravat. His bulging face flushed pink behind his waxed white mustache. He carried his hat and a silver-pommeled walking stick in one hand; in the other, a blue silk handkerchief that he dragged repeatedly across his glistening bald head.\n\n\"But I demand an explanation!\" the gentleman said frantically.\n\n\"May I offer you some sherry?\" asked Mr. Grim. \"Perhaps a spot of tea?\"\n\n\"Miscellaneous liquids? Is that your only defense, Alistair Grim?\"\n\n\"Come, come,\" said Mr. Grim, closing the doors. \"All this huffing and puffing is unbecoming of you, Lord Dreary. Please sit down and let us discuss this in a more civilized manner.\"\n\nThe man with the white mustache heaved a heavy sigh, dragged his handkerchief across his head, and plopped into an armchair at the center of the room. Mr. Grim handed him a glass of water, and as the gentleman gulped it down, Mr. Grim placed the silver mirror back inside its box and cleared off a pile of books from his desk.\n\n\"Now, then, Lord Dreary,\" he said, sitting in his chair. \"How has London been treating you while I was away?\"\n\n\"You know very well this isn't a social call, Alistair Grim. But your leaving London so abruptly, with no explanation before the grand opening\u2014well it smacks of unreliability, man!\"\n\n\"I assure you, Lord Dreary, my trip to the North Country had everything to do with our business venture here.\"\n\n\"Well, I demand to know how.\"\n\n\"You know I can't tell you that.\"\n\n\"Just as I thought,\" Lord Dreary exclaimed. \"Can't tell me that, he says!\"\n\n\"That is a fundamental clause in our agreement. You're to leave all technical aspects of the Odditorium to me, no questions asked.\"\n\n\"Collecting more of that Odditoria rubbish, I wager!\"\n\n\"Rubbish?\" said Mr. Grim, offended. \"How dare you, sir!\"\n\nLord Dreary sputtered for a moment, and then sank back into his chair.\n\n\"Oh, Alistair,\" he sighed, fingering his collar. \"You don't know what I've been through. Our backers are demanding an explanation for the delay. And when I saw your lack of progress downstairs\u2014well, I'm afraid I let my frustration get the better of me. I hope you'll forgive me, old friend.\"\n\n\"Apology accepted,\" said Mr. Grim, smiling. \"But rest assured I'm doing everything in my power to move things along in a timely manner.\"\n\n\"Then let me speak plain,\" said the old man, leaning forward on his stick. \"Your father and I were good friends as well as business partners. And no one was happier than I to see Grim's Antiquities fall to you upon his death. But that was almost fifteen years ago. And to be fair, for a couple of years you did well by him, dealing respectably and expanding your business. But after Elizabeth\u2014\"\n\nMr. Grim stiffened, and Lord Dreary's gaze dropped to the floor.\n\n\"Forgive me,\" he continued. \"But after that I saw you change, man. You became a recluse. And your trips abroad, spending your father's fortune on Odditoria\u2014the most remarkable, exotic objects I've ever seen\u2014but never selling a stick of it? Well, I don't mind telling you that even our old friend Abel Wortley thought it madness, man.\"\n\n\"But Abel Wortley has been dead for some time now, hasn't he? And if you don't get to the point, I fear I shall join him soon out of sheer boredom.\"\n\nLord Dreary stammered and shook, but my mind was spinning. Who were these people they were talking about? This Elizabeth and this Abel Wortley?\n\n\"Now, Alistair,\" Lord Dreary said, wagging his finger. \"Let us not forget that you came to _me_ out of financial necessity. Five years ago you boasted of creating the most spectacular attraction on the planet. A house of mechanical wonders, you called it, at the heart of which would be your animus, this mysterious blue energy that surrounds us.\" Lord Dreary pointed at one of the sconces with his walking stick. \"And because of what you showed me that day\u2014a small model of the Odditorium, powered by the animus\u2014I agreed to enter into a business venture with you.\"\n\n\"And you know how grateful I am for your assistance, Lord Dreary.\"\n\n\"However, since that time, you've refused anyone but me even the slightest glimpse of what you proposed. You've allowed none of our business associates inside, and you have sworn me to secrecy.\"\n\n\"The need for secrecy is of the utmost importance. Of all people, you should know that by now, Lord Dreary.\"\n\n\"I do, and therefore I needn't remind you that our business associates have continued to back our venture upon _my_ reputation alone.\"\n\n\"I've already taken down the screens and the curtains outside. They can't buy that kind of publicity!\"\n\n\"Oh yes, the outside of the Odditorium certainly lives up to its name, but it is the _inside_ about which our associates are concerned. We're a year behind schedule. A _year_.\"\n\n\"Tell them all I need is another month.\"\n\n\"Great poppycock!\" Lord Dreary gasped. \"But the grand opening has already been rescheduled six times.\"\n\n\"Wonderful, then you should be an old hand at it by now.\"\n\n\"But, Alistair, if you would only reveal to me the _source_ of your animus and how it works, perhaps I could convince\u2014\"\n\n\"Out of the question. It is too dangerous for you to even speak of the animus outside the Odditorium.\"\n\n\"A demonstration, then. Something powered by the animus that I could show our backers\u2014like that small model of the Odditorium you showed me five years ago.\"\n\n\"Again, out of the question. If my blue energy should fall into the wrong hands\u2014no, it's too risky. Until everything is ready, until all the security measures are in place, the utmost secrecy is essential. You know that.\"\n\nLord Dreary sighed and sank back into his chair. \"Then I'm afraid you leave me no choice,\" he said after a moment.\n\n\"No choice?\"\n\n\"Notwithstanding the calamity that has become our business venture, the rumors about what goes on in here are not kind, old friend. Alistair Grim: inventor, fortune hunter...and some say, mad sorcerer.\"\n\n\"Nonsense,\" said Mr. Grim, chuckling. But as he raked his hand through his long black hair, I could tell Lord Dreary's comment had winged him.\n\n\"Perhaps it is nonsense,\" said the old man. \"But you can hardly blame people for talking. You've become nothing short of a recluse. And on the rare occasions when you do appear in public, well, I needn't tell you that skulking about the streets in your gloomy black cloak doesn't help much either.\"\n\nMr. Grim was about to protest, but Lord Dreary raised a hand to stop him.\n\n\"Nevertheless,\" he continued, \"any talk of madness, in sorcery or otherwise, is enough to spook even the heartiest of investors. And therefore I regret to inform you that even my impeccable reputation isn't enough to save you now.\"\n\n\"Save me?\"\n\n\"Yes, Alistair Grim. I've been instructed by our business associates to tell you that, pending the outcome of this meeting, all your accounts at the Central Bank are to be frozen immediately.\"\n\n_\"What?\"_ cried Mr. Grim, rising. \"They can't do that!\"\n\n\"Oh, I'm afraid they can,\" said Lord Dreary, and he produced a document from his coat pocket. \"Per the agreement you signed five years ago, and I quote: 'If party one'\u2014that's you, Alistair\u2014'fails to open the Odditorium by the agreed upon date'\u2014that was a year ago yesterday, Alistair\u2014'at the discretion of party two'\u2014that's our backers\u2014'all liquid assets and material holdings belonging to party one'\u2014that's you again, Alistair\u2014'shall be seized and sold at public auction.' There's more in here pertaining to me, but I assure you that my future isn't nearly as bleak as yours.\"\n\n\"But we're so close!\"\n\n\"Then prove it!\" Lord Dreary thundered, rising. \"If you won't allow them inside, give me something I can show them\u2014something to prove that their money has not been wasted on a madman's folly.\"\n\nMr. Grim wheeled away and, leaning on the wall behind his desk, hung his head low\u2014his hair in his face, his arms rigid against the pipes. \"So it's proof they want,\" he muttered, caressing the polished steel. \"Proof that I'm not a madman?\"\n\n\"Proof that Alistair Grim is still a man of his word,\" Lord Dreary said, his voice tight with emotion.\n\n\"Very well, then,\" said Mr. Grim, stiffening. He raked his hair back and turned to face Lord Dreary. \"Tell our backers to gather outside at promptly three o'clock this afternoon.\"\n\n\"Outside the Odditorium, you mean?\"\n\n\"Precisely,\" said Mr. Grim, sitting at his desk. He opened a drawer and removed a sheet of paper, dipped his pen in his inkwell, and began to write.\n\n\"What on earth do you have in mind?\" Lord Dreary asked.\n\nMr. Grim held up a finger, seemed to think for a moment, and then finished writing.\n\n\"Here,\" he said, passing Lord Dreary the paper. \"Have the printer rush off two hundred of these\u2014large type, something dramatic\u2014and return them to me by noon. I'll take care of the rest.\"\n\n\"Hm,\" said Lord Dreary, reading. \"This had better not be another one of your confounded delays.\"\n\n\"On the contrary,\" said Mr. Grim. \"I should think our backers will be quite satisfied with what I have in store for them.\" Lord Dreary looked unconvinced. \"In fact, after today, I guarantee you they'll insist on giving us all the time we need.\"\n\n\"Hm,\" Lord Dreary said again, staring at the paper.\n\n\"Now, if you'll excuse me,\" said Mr. Grim, rising, \"I've got a busy day ahead of me. Allow me to see you out, Lord Dreary.\"\n\nThe gentlemen left the library, but only when I heard the lift cranking away in the parlor did I dare come out of my hiding place. I quickly slipped from the room, dashed for the hearth in the parlor, and set about my work in the flue as if I'd been there all along.\n\nI did not pay my respects to the Lady in Black as had become my custom.\n\nI was so worried about Mr. Grim that I forgot she was there.\n\nWhen McClintock began trembling again in my pocket, I did my best to ignore him. I truly did. \"I'm not speaking to you, Mack,\" I said, and carried on with my scraping. The flue was cold and cramped, and a pair of soot-caked pipes ran along one of the walls and disappeared high above me into an adjoining shaft. I barely had any space to move, but the old pocket watch kept at it, jiggling up and down and side to side so violently that I finally gave in out of fear he might leap from my coat and tumble down the chimney.\n\n\"What time is it?\" Mack asked as I opened him.\n\n\"Time to get you back to the shop,\" I said. \"That's twice you tricked me.\"\n\n\"Ach!\" Mack cried, spinning round in my hand. \"This isn't Mr. Grim's library!\"\n\n\"Lucky for you, it isn't.\"\n\n\"What's this yer gabbing about?\"\n\n\"Don't pretend you don't know. You fizzled out when you slipped under the library doors. I had to fetch you and ended up hiding in there while Mr. Grim spoke with Lord Dreary.\"\n\n\"Dreary? Never heard of that clan before. Is he a foreigner like you?\"\n\n\"You never mind about that. But rest assured you're never going anywhere near those library doors again.\"\n\nMack heaved a heavy sigh. \"Ah, well. That was me last hope. Now it's the scrap heap for sure.\"\n\n\"Best thing for you, I should think. What with all the trouble you've caused me.\"\n\nMcClintock's hands sagged, his eyes dimmed, and his face turned downward into my palm.\n\n\"My apologies, Mack. I shouldn't have said that.\"\n\n\"Nah, yer right, laddie,\" he said. \"Ol' McClintock's never been good for nothing but trouble. I only hope that someday you'll find it in yer heart to forgive me.\"\n\n\"Well, of course I forgive you. But friends don't go sneaking into one another's pockets.\"\n\n\"I told ya, laddie, I fell in there by accident!\"\n\n\"And we're both lucky Mr. Grim's samurai didn't attack, although I must admit I'm a bit puzzled as to why.\"\n\n\"Perhaps they fizzle out like meself from time to time.\"\n\n\"Perhaps,\" I said, thinking. \"But if I were Mr. Grim, I wouldn't want you in my library either. What with all your shaking and leaping about, you're liable to break something. I suspect that's why you're not allowed in there, isn't it?\"\n\n\"Ya found me out,\" Mack said, his case slowly closing. \"Well, it's been nice knowing ya, Grubb. I only ask that ya remember me as I was. Steadfast and true, the once-bright-'n'-fightin' Dougal, chief of the Chronometrical Clan McClintock.\"\n\nMack sighed again and sniffled.\n\n\"Oh, now stop that,\" I said, prying him open. \"No need to get all gobby eyed and gloomy. We'll figure out something to keep you off Mr. Grim's scrap heap.\"\n\n\"Ya mean it, laddie?\" Mack exclaimed, his eyes brightening, his hands twirling back to VIII and IV.\n\n\"Gentlemen's shake on it,\" I said, wobbling his case. Then, in the light from Mack's eyes, I noticed my fingers were still clean. \"Hang on,\" I said, holding Mack up to the sleeves of my chummy coat. \"I've been scraping for some time now, and there's not a speck of soot on me anywhere.\"\n\nIndeed, as I shined Mack's light on the chimney wall, I discovered the soot there to be red and glistening. \"That's odd. I've never seen soot like this before.\"\n\n\"Neither have I,\" said Mack. \"Then again, I've never seen soot at all before, so I suppose I'll have to take yer word on that one, Grubb.\"\n\nSuddenly a voice called out from below. \"Hallo, hallo?\"\n\n\"Ach!\" Mack whispered, trembling. \"It's Nigel. If he finds out I've left the shop he'll tell Mr. Grim, and then it's the scrap heap for sure!\"\n\n\"Stop your jabbering then,\" I whispered back.\n\n\"Hallo?\" Nigel called again. \"You up there, lad?\"\n\n\"Yes, sir,\" I shouted. \"Not quite finished yet, sir.\"\n\n\"Change of plans,\" Nigel said. \"You need to come down at once. Master's orders.\"\n\nFrom my position in the narrow flue, I couldn't see below me, but I knew from the sound of Nigel's voice that he'd stuck his head into the hearth.\n\n\"Quick, Grubb!\" Mack whispered. \"Help me climb up the chimney!\"\n\n\"Nonsense,\" I said. \"Just close yourself and get inside my pocket.\"\n\n\"Ya don't understand, laddie! Nigel is Odditoria too!\"\n\n\"What's all the row, lad?\" Nigel called.\n\n\"Coming, sir,\" I said, shifting my weight. This caused some soot to fall, and I heard Nigel grumble below me in the hearth. Then I whispered to Mack, \"Did you say Nigel is Odditoria too?\"\n\n\"Odditoria what's got animus like me! He knows I've left the shop\u2014I've got to make a break for it!\"\n\nMack squirmed in my hand and I almost dropped him, when without thinking I tapped him on his XII. He crackled and sputtered, and then his eyes went black.\n\n_That's good to know,_ I said to myself, and slipped him back into my pocket.\n\nI quickly shimmied down the flue and landed in the pile of strange red soot that had accumulated in the hearth. The soot didn't burst into a dust cloud like normal soot; it had the feel of river sand. However, when I looked up and saw Nigel, all thoughts of soot and sand disappeared from my head at once.\n\n\"Well, well,\" he said. \"You're the Grubb from the trunk, eh?\"\n\nThe man staring down at me was even taller than Mr. Smears and twice as wide. His bald, elongated head jutted forward from a pair of massive shoulders, and his arms hung limply at his sides as if they were too long for his body. He was dressed entirely in black, with a pair of dark goggles wedged between his heavy brow and cheek. They covered his eyes and the top of his nose completely and were fastened snug around his head by a thick leather strap.\n\nAn odd-looking bloke, I thought. But he doesn't appear to be Odditoria, let alone powered by the animus like Mack.\n\n\"I asked you a question, lad,\" Nigel said. \"Something wrong with your hearing? Or is the sight of me a bit too much for your tongue?\"\n\n\"Yes, sir,\" I stammered. \"I mean, no\u2014I mean\u2014yes, sir, I'm the Grubb from the trunk, and no, sir, my hearing is just fine, thank you very much.\"\n\n\"Right-o, then,\" Nigel said, extending his hand. \"Nigel's the name, no need to call me sir. Gentlemen's shake if we're going to be working together.\"\n\n\"Working together?\"\n\n\"That's right. Mr. Grim's orders.\"\n\nNigel's big beefy hand swallowed mine past my wrist. He shook it twice, his grip gentle but firm, then he picked up a stack of papers from one of the covered tables.\n\n\"You see these handbills here?\" he asked, sliding one off the top for me. \"We're to pass these out to people in the street. Public relations, Mr. Grim calls it.\"\n\nI was able to recognize most of the words as Nigel read aloud:\n\n\"Right-o, then,\" Nigel said, heading toward the lift. \"Let's be on our way\u2014\"\n\nPresently a loud clanking noise rang out from the library\u2014\"Blast it!\" cried Mr. Grim within\u2014and Nigel and I rushed inside to find a pair of skinny black legs sticking out from the fireplace.\n\n\"Everything all right, sir?\" Nigel asked.\n\n\"Oh, it's that blasted conductor coupling again,\" said Mr. Grim, shimmying out of the flue and onto the hearth. He had dressed down to his waistcoat and shirtsleeves, and in his right hand he held a small wrench. \"And of course, today of all wondrous days, the loose connection is in a place I can't get to.\"\n\nFrustrated, Mr. Grim tossed the wrench onto one of the armchairs, and as he stood up and brushed off his pants, some of that same, sandy red soot sprinkled down upon his shoes.\n\n\"Anything I can do, sir?\" Nigel asked.\n\n\"Not in time for the preview,\" said Mr. Grim, raking back his hair. \"In fact, unless the connection to the Eye of Mars is repaired, there's not going to be any preview.\"\n\n\"Oh dear,\" Nigel said. And as the men gazed up at the lion's head above the mantel, I noticed that the red light had gone out from the big cat's eyes.\n\nSo the lion's name is Mars, I concluded. Mr. Grim snapped his fingers and startled me from my thoughts.\n\n\"Master Grubb,\" he said. \"Perhaps a lad of your experience is just what we need. Tell me, have you any knowledge of electromagnetic induction?\"\n\n\"Er\u2014uh\u2014begging your pardon, sir?\"\n\n\"Of course you don't,\" said Mr. Grim with a sigh. \"Nevertheless, somewhere in that flue is a pair of pipes that need tightening. Under normal circumstances I would have to disconnect the entire network of pipes below in order to reach the faulty connection. However, given the immediacy of today's preview, there is simply no time for such an undertaking. Do you understand me, lad?\"\n\n\"I believe I do, sir. You want me to climb up into that flue and get the eyes of Mars glowing again.\"\n\nMr. Grim looked confused, as if he hadn't expected my reply, and I pointed to the lion's head. \"Mars,\" I said. \"His eyes have gone black.\"\n\nMr. Grim and Nigel exchanged a look.\n\n\"But of course,\" said Mr. Grim, smiling thinly. \"The lion's head, that's it.\"\n\nI had the impression that he was hiding something, but him being Mr. Grim, I wasn't about to press the matter. \"Well, what do you say, lad?\" he asked, offering me his wrench. \"You think you're up for the job?\"\n\n\"You can count on me, sir!\" I cried, snatching the wrench from his hand. And in a flash I was up inside the flue.\n\nAlmost immediately I was met with a tangle of pipes that took up nearly the entire shaft. None of them felt loose, however, so I squeezed myself past them and, feeling around in the dark, came upon a pair of pipes that rattled against each other.\n\n\"I think I've found them, sir,\" I called down, and set to work with the wrench. There was little space for me to move, but after a few minutes of twisting and turning, the pipes finally felt secure.\n\n\"I think that's done it, sir,\" I called again.\n\n\"Just a moment, please,\" said Mr. Grim. I heard a muffled hiss and what sounded like the squeak of a cabinet door opening in the library. Mr. Grim mumbled something in a language I did not understand, and then a low humming began and the pipes inside the flue grew warm.\n\n\"Ah, there we are,\" said Mr. Grim, relieved. Another squeak, another hiss, and Mr. Grim ordered me back down into the library.\n\nAgain I squeezed my way past the tangle of pipes, and as I emerged from the fireplace, I discovered that the light had returned to the lion's eyes.\n\n\"Job well done, Grubb!\" Nigel said, patting me on the back.\n\nMr. Grim dashed across the room and flicked the switch on another one of those talkback contraptions beside the door. \"Are you still in the kitchen, Mrs. Pinch?\" he called. No reply. \"Good heavens, Mrs. Pinch, where are you?\"\n\n\"Blind me!\" the old woman said finally. Her voice sounded muffled, but the irritation in her tone was clear. \"Heaven forbid I should drop what I'm doing just to talk to you!\"\n\n\"Are the ovens working again?\" asked Mr. Grim, just as irritated.\n\n\"Why, yes they are,\" she said. \"And I don't mind telling you that it's about time. Blind me if I'm going to spend my day\u2014\"\n\nMr. Grim flicked the talkback switch, and Mrs. Pinch's voice cut off.\n\n\"Splendid!\" said Mr. Grim. \"You have singlehandedly saved today's preview, Master Grubb. I am forever in your debt.\"\n\nMr. Grim gave a slight bow, and my heart swelled with pride. I was feeling quite clever, too. From what I had seen in the kitchen, I gathered that, in addition to Mr. Grim's blue animus energy, there was some kind of _red_ energy pumping through the Odditorium's pipes. Hadn't I felt its warmth in the flue, as well as seen it burning bright in Mrs. Pinch's ovens?\n\n_Come to think of it,_ I said to myself. _I'll wager all that soot I've been scraping comes from the red energy too._\n\nAs to _how_ all of it worked, well, I'm afraid I wasn't clever enough to figure that out yet. And it certainly wasn't my place to ask. I was just a chummy, and if there was one thing I learned from Mr. Smears, it was when to keep my trap shut.\n\n\"Now if you'll both excuse me,\" said Mr. Grim, sitting down at his desk, \"there is much more work to be done.\"\n\n\"That there is, boss!\" Nigel said, waving his stack of handbills. \"Right-o, then. Come along, Grubb.\"\n\nFollowing Nigel back into the parlor, I caught sight of something that stopped me cold. There on the hearth was Mrs. Pinch's broom, sweeping the soot into a bag all by itself!\n\n\"Good day to you, Broom,\" Nigel said, saluting. \"Looks like old Mars left a mess for you in the library, too.\"\n\nThe broom parted its bristles and gave a slight curtsy, then carried on with its sweeping.\n\nNigel chuckled and said, \"I wager you could've used a friend like Broom in your line of work, eh, Grubb?\"\n\nI just nodded, speechless, and followed Nigel into the lift. Not a word was spoken as we traveled down to the floor below, but I was struck by how gentle the big man was in his movements, as if he was afraid he might break something.\n\nWe emerged into a small empty room about half the size of the parlor above, and as I followed Nigel to the door at the opposite end, I noticed for the first time not only how big his feet were, but also how unusually light and bouncy his step was.\n\nNigel produced a large key ring from his pocket and unlocked the door.\n\n\"This is the gallery,\" he said, waving me inside. \"Stay close behind and watch your step. And don't touch anything, Grubb, or you might get yourself squished.\"\n\nNigel chuckled to himself and lead me through a dark and narrow maze of crowded wooden crates, some piled as high as the gallery's ceiling. Scattered between the crates was a most fantastical collection of objects: giant statues with animal heads, piles of shields and swords and helmets, a stack of oddly shaped brooms, and still another pile of colored glass balls as big as my head. In the center of the room was an enormous black cauldron, and finally, standing upright against the wall on the opposite side of the gallery, a pair of ornately decorated coffins.\n\n\"Bow your head, Grubb,\" Nigel said. \"You're in the presence of Egyptian royalty.\"\n\n\"Begging your pardon, sir\u2014I mean, Nigel?\"\n\n\"Never mind,\" the big man snickered. \"I'll explain it to you later.\"\n\nWe'd come to another iron door, and as Nigel unlocked the bolt, my eyes fell upon the pair of samurai standing guard there. Each held a sword like the samurai behind Mr. Grim's desk, and in the dim light of the gallery, I could see their eyes glowed blue behind their scowling black face masks.\n\n\"Good day, gents,\" Nigel said. The samurai did not respond, and we stepped out through the gallery door and onto a narrow landing.\n\nAs Nigel locked the door behind me, I peered over the balustrade. A pair of staircases curved down from either side of the landing to a grand reception hall below. Nigel chose the staircase on the right, and as I followed him down, he said:\n\n\"Now listen up, Grubb. You're to stick by me at all times. Most important, however, is to let me do the talking. If anyone speaks to you, you just say, 'Direct all questions to the man in the goggles.' That's me, you understand?\"\n\n\"Yes, Nigel. Direct all questions to the man in the goggles.\"\n\nNigel nodded and we crossed the hall to the front door. Glancing behind me, I spied a life-size portrait of Mr. Grim on the wall between the two staircases. He sat proudly in an armchair\u2014his face stoic, his black eyes piercing as in life\u2014but in one hand he held a burning blue orb that glowed nearly as bright as the Odditorium's sconce light.\n\n\"Now, you remember what I told you?\" Nigel asked.\n\n\"Yes, Nigel. Direct all questions to the man in the goggles.\"\n\n\"Right-o, then,\" Nigel said. Two more samurai stood guard at the front door. Nigel saluted them and unlocked the bolt. \"Ready, Grubb?\"\n\nI took a deep breath and nodded, and then we stepped outside.\n\nThe sunlight blinded me for a moment, but still I was struck by the sense of bustling activity beyond my squinting\u2014the clip-clopping of horses, the rattle of carriage wheels, the voices of people in the street. However, as Nigel and I descended the Odditorium's front steps, the street sounds began to die down. Indeed, by the time we reached the bottom, my eyes had adjusted well enough for me to see that everyone\u2014including the horses and pigeons, it seemed\u2014was staring at us.\n\nInstinctively I turned around.\n\nGazing up at the Odditorium for the first time, I could hardly believe my eyes. There was an open-air balcony, on top of which stood an enormous pipe organ\u2014its pipes twisting and stretching all the way up the front of the bulbous black building. A large silver letter _G_ had been emblazoned on the door, and along the sides of the Odditorium four tall iron buttresses folded back on themselves like a quartet of mechanical legs.\n\n\"Any relation to Mr. Grim, young man?\" a voice asked, and I whirled round to find a lady and a gentleman staring down at me. Londoners, I thought, looked just like people back home, only they were better dressed and spoke as if they were in a hurry.\n\n\"Have you been inside the Odditorium all this time?\" the gentleman asked.\n\n\"Direct all questions to the man in the goggles,\" I said, looking up at Nigel. He smiled and gave me the stack of handbills.\n\n\"Start passing these out,\" he whispered. And in a flash, he sprang up the steps, spun round, and threw up his arms dramatically. \"Ladies and gentlemen!\" he shouted. \"May I have your attention, please!\"\n\nA crowd had already gathered on the sidewalk, but I was able to gaze past it to the wonder of my surroundings. I had never seen such buildings, nor had I ever seen so many of them packed so tightly together. Most were as tall as the Odditorium itself, but some appeared even taller. Wrought-iron lampposts dotted the street in both directions, and the cobblestones themselves seemed to sprout people and coaches.\n\nThis whole place is magical, I thought, and decided at once that London was indeed the proper place for Alistair Grim's Odditorium.\n\n\"Ladies and gentlemen!\" Nigel repeated. \"Today, and only today, comes the moment you've all been waiting for! At promptly three o'clock this afternoon, Mr. Alistair Grim shall present to you a sight unlike any other. A sensational and spectacular preview of his mechanical wonder, the Odditorium!\"\n\nA murmur of excitement spread among the crowd, and I took it upon myself to pace back and forth along the bottom step, waving my handbills.\n\n\"That's right,\" Nigel said. \"Take a handbill! Take two, and give one to your neighbor! And be sure to tell your family and friends. Today, and only today, a sensational and spectacular preview of Alistair Grim's Odditorium!\"\n\n\"What sort of preview?\" a woman asked me.\n\n\"Is this another delay, lad?\" asked another.\n\n\"Direct all questions to the man in the goggles,\" I said proudly. The crowd had grown thicker, everyone stepping closer and reaching for a handbill.\n\n\"That's right, ladies and gentlemen,\" Nigel shouted. \"This afternoon's spectacular display will not only amaze you, but is also a preview of what to expect when the Odditorium opens exactly one month from Friday!\"\n\n\"One month from Friday?\" a man shouted. \"You mean we can't come inside?\"\n\n\"Not until the Odditorium's grand opening!\" Nigel shouted. \"Only one month from Friday!\"\n\n\"But we've been waiting for over a year!\" the man replied.\n\n\"We've been waiting over _five_ years!\" another man shouted.\n\n\"That's right,\" said someone else. \"First it was the screens and curtains blocking the construction, and then that awful racket at all hours of the night\u2014and still none of us has any idea what this blasted Odditorium is!\"\n\nThe crowd grumbled in agreement. All the traffic in the street had stopped now, and I noticed for the first time a tall, well-dressed lad jostling for position only a few feet away from me.\n\n\"Let me see,\" he said, but a pair of gentlemen stepped in front of him and elbowed the lad back into the crowd.\n\n\"Now, now, ladies and gentlemen,\" Nigel said. \"Your patience has been much appreciated. And believe me when I tell you that it shall be rewarded this afternoon! At promptly three o'\u2014\"\n\n\"Enough of this!\" someone cried, and a small man with a top hat and a neatly trimmed beard stepped forward from the crowd.\n\n\"Why, if it isn't Judge Mortimer Hurst,\" Nigel said. \"Retired city official and newly appointed director of the Queen's Museum Board of Trustees.\"\n\nThe judge sneered. \"Oh, don't give me your pleasantries, Nigel Stout. Your boss knows better than anyone that such public displays require the proper permits. This is just another one of Alistair Grim's stall tactics\u2014a trick to shift the blame for another delay onto city officials!\"\n\nAs the crowd grumbled its displeasure, I felt a tug at my elbow. It was the tall, well-dressed lad I'd seen before.\n\n\"May I have one of them fancy papers, please?\" he asked, and I slipped him a handbill from the top of my stack. \"Thanks, chum,\" he said, and disappeared back into the crowd.\n\n\"I don't know nothing about no permits,\" Nigel said. \"That's something you'll have to take up with the boss. You know I only work for Mr. Grim.\"\n\n\"Oh yes, I know your kind well, Nigel Stout,\" the judge said through clenched teeth. \"I sentenced your brother William to hang for the murder of Abel Wortley, did I not?\"\n\n\"That you did, Judge,\" Nigel said blandly. \"That you did.\"\n\n_Abel Wortley,_ I said to myself. I had heard that name before in Mr. Grim's study. And to think that Nigel's own brother had murdered him!\n\n\"And furthermore,\" said Judge Hurst, \"don't think for a second that I've forgotten how you appeared in London so soon after your brother went swinging. Doesn't take a market gardener to know that where one weed is pulled its twin will soon sprout.\"\n\n\"I might be William Stout's twin, sir,\" Nigel said, \"but I'm not my brother. Been an upstanding citizen, I have. Besides, William's done paid his debt. Done paid it and then some.\"\n\n\"All right, break it up!\" a constable shouted, and he elbowed his way to the front of the crowd. \"What's the trouble, Your Honor?\"\n\n\"Hear, hear!\" came another voice, and Lord Dreary emerged from the crowd too.\n\n\"Very good,\" said Judge Hurst. \"Your timing is impeccable, Lord Dreary. I was just about to have that villain there hauled in for disturbing the peace.\"\n\n\"Disturbing the peace?\" said Lord Dreary. \"Have you gone mad, Hurst?\"\n\n\"This Odditorium has been nothing but trouble from the start,\" said Judge Hurst. \"An eyesore, a disgrace\u2014and only two blocks from Her Majesty's museum!\"\n\n\"There are no city ordinances against passing out handbills,\" Lord Dreary replied. \"Mr. Stout cannot be blamed if these people stop and ask questions of their own accord.\"\n\n\"But this!\" Judge Hurst exclaimed, holding up his handbill. \"The laws are quite clear as to where such spectacles can occur!\"\n\n\"Which is why I've personally filed all the proper permits on Mr. Grim's behalf.\"\n\n\"Call his bluff, Judge!\" cried a voice from the crowd.\n\n\"Let Alistair Grim have his preview!\" cried another.\n\nMore and more people began chiming in. Judge Hurst frowned and looked suspiciously at Nigel. The big man appeared sad\u2014he just stood there, slouching at the top of the steps with his goggles turned down toward his enormous feet. Poor Nigel, I thought. All that talk about his brother William must have really winged him.\n\n\"What shall I do, Your Honor?\" the constable asked. \"That bloke's brother might've been a murderer, but I can't haul him in just for passing out papers.\"\n\n\"Very well,\" Judge Hurst said, crumpling his handbill into his pocket. \"We shall see what Mr. Grim has in store for us after all.\"\n\nThe crowd cheered.\n\n\"Move these people along, constable,\" Judge Hurst said. \"Life on our street needn't stop every time Alistair Grim spits.\"\n\nThe constable barked out his orders, and the men and women quickly dispersed, taking the remainder of my handbills along with them.\n\n\"Yes,\" said Judge Hurst, sneering up at the Odditorium. \"We'll see what Alistair Grim has in store for us. And then Alistair Grim shall see what _I_ have in store for _him_.\"\n\nAnd with that, Judge Mortimer Hurst disappeared into the crowd.\n\n\"I was afraid of that,\" Lord Dreary said. Then he looked down at me and asked, \"And who might you be, young man?\"\n\n\"I, uh\u2014Direct all questions to the man in the goggles.\"\n\n\"It's all right, Grubb,\" Nigel said, stepping down. He seemed his cheery old self again. \"The lad here is just following orders, Lord Dreary. You see, sir, Grubb here works for Mr. Grim now too. Took him on last night, he did.\"\n\n\"Did you just call this boy a grub, Nigel?\"\n\n\"Called him by his name is all. Ain't that right, Grubb?\"\n\n\"That's right, sir. No first or last name, sir, just Grubb. Spelled like the worm but with a double _b_. In case you plan on writing it down, sir.\"\n\nLord Dreary narrowed his eyes at me. \"Then you've been _inside_ the Odditorium?\"\n\n\"Yes, sir,\" I began, but then I remembered my discussion with Mr. Grim from the night before. \"My apologies, sir. Mr. Grim told me not to talk about the Odditorium with anyone ever.\"\n\nLord Dreary chuckled. \"That sounds like Alistair Grim, all right.\" He pulled out a pocket watch from his waistcoat and wound its knob. \"Very well,\" he said. \"If you wouldn't mind escorting me inside, Nigel?\"\n\n\"Right-o, sir. Come along, then, Grubb. Our work's done here.\"\n\nLord Dreary returned his pocket watch to his waistcoat, and as I followed the men up the Odditorium's steps, I reached inside my chummy coat to check on Mack. In all the excitement, I'd completely forgotten about tapping him out in the chimney.\n\nBut when I felt inside my pockets, I discovered Mack was gone!\n\nI spun on my heels, patting myself all over as my eyes darted down the steps to the sidewalk. There was no sign of Mack anywhere.\n\n\"What's the holdup, Grubb?\" Nigel asked, and I turned back to see him and Lord Dreary staring down at me from the Odditorium's doorway.\n\nMy outsides froze, but my insides began spinning every which way\u2014my heart racing as my brain frantically tried to retrace my steps. I knew at once Mack couldn't have leaped from my pocket somewhere inside the Odditorium. It was much too quiet in there and I would've felt him shaking.\n\nBut _outside_ the Odditorium?\n\nYes, things had certainly been noisy enough\u2014especially with all the yelling from Judge Hurst. But still, wouldn't I have felt Mack shaking inside my pocket?\n\nUnless somebody snatched him, I realized in horror. Mack wouldn't need to shake himself free if someone else did the freeing for him.\n\nYes, that had to be it!\n\n_Thanks, chum,_ I heard the well-dressed lad say again in my head.\n\nAnd all at once I knew what had happened.\n\n_A pickpocket!_ I said to myself.\n\n\"You all right, Grubb?\" Nigel asked. \"You look as if you've seen a ghost.\"\n\n\"Come on, lad,\" said Lord Dreary, annoyed. \"I don't have all day.\"\n\nMr. Grim's words echoed in my head. _If my blue energy should fall into the wrong hands..._\n\nAnd with that I bounded down the steps and took off down the street.\n\n\"Grubb!\" Nigel cried.\n\n\"I'll come back!\" I called over my shoulder. \"I promise!\"\n\n\"Grubb!\" Nigel cried again, but I didn't stop to look at him.\n\nAt once I was swallowed up into the stream of pedestrians. I wasn't sure if I was headed in the right direction, nor did I know what Mr. Grim thought would happen if his blue energy should fall into the wrong hands.\n\nOnly one thing was certain: Mack had been right about me.\n\nI was trouble after all.\n\nDespite the racket in the street, I could still hear Nigel calling after me as I zigzagged through the crowd and rounded the corner out of sight. Soon the traffic began to thin out enough for me to see up ahead a stretch, and as I flew past row upon row of fashionable shops, I thought of the Crumbsby twins.\n\nThe pickpocket had worn a cap and a brown three-piece suit like fat Tom and Terrance wore on Sundays. He even had freckles and red hair like the Crumbsby twins, but his eyes were bright and mischievous, whereas Tom's and Terrance's eyes were little more than slits of coal-black malice.\n\n_A beating from Tom and Terrance is nothing compared to what's in store for me if I go back to Mr. Grim's without Mack._\n\nOh yes, Mr. Grim had been quite clear the night before about what would happen if I ever spoke to anyone about the Odditorium. And now I'd done something even worse. I'd gotten his animus lifted.\n\n\"It's all my fault,\" I muttered as I ran. \"But no matter what, I've got to go back and tell Mr. Grim the truth.\"\n\nThe thought of returning to the Odditorium without Mack stopped me dead in my tracks. I had no idea where I was or how far I'd run. But as I gazed around trying to get my bearings, I saw a tuft of bright red hair sticking out from a lad's cap only a dozen or so paces ahead of me.\n\nThe pickpocket!\n\nMy heart leaped into my throat, but thankfully I thought twice about crying out. The pickpocket's legs were longer than mine, and he was still far enough away that he might be able to outrun me.\n\nSuddenly the pickpocket stopped as if he'd felt my eyes on the back of his neck. I readied myself for a brawl, but the lad only patted his pockets and made for a shadowy lane to his right.\n\nFollowing him at a distance, I rounded the corner just in time to see the heels of his boots disappear into a narrow alleyway between the shops. I ran after him, down a short flight of steps and through a winding maze of dirty passageways until I emerged into a cramped brick courtyard.\n\nThe pickpocket was waiting for me.\n\n\"I told ya lads I was tailed,\" he said, and I spun round to find that two other boys had closed in behind me. One was short and stocky with frog eyes and a gray woolen cap. The other was tall and thin with a square face and a flat nose. He wore a top hat cocked to the side and a fancy blue scarf around his neck.\n\n\"Look 'ere, me coveys,\" said the pickpocket. \"If it ain't the little showman what was workin' outside of Mr. Grim's.\"\n\n\"I remember 'im,\" said the boy with the frog eyes.\n\n\"Me too,\" said the boy with the flat nose. \"A proud bird he was, eh, Noah?\"\n\n\"'At's right,\" said the pickpocket, stepping toward me. \"I take it you ain't come 'ere to join our gang, birdie. Not with a posh job workin' for Mr. Grim.\"\n\nI swallowed hard.\n\n\"'Owever,\" he went on, \"I also take it we owe you a bit o' gratitude. What with all the commotion from you and your baldy friend, we took in quite a haul outside Mr. Grim's. Ain't that right, lads?\"\n\n\"'At's right, Noah,\" said Frog Eyes and Flat Nose.\n\n\"Consider our debt paid, then,\" Noah said. \"You turn 'round and fly on back to Mr. Grim's, and we let you take all your teeth with you.\"\n\nFrog Eyes and Flat Nose laughed.\n\n\"You've something that belongs to me,\" I said, my voice tight.\n\n\"You mean _this_?\" Noah said, producing Mack from his coat pocket.\n\n\"Yes. That's my pocket watch.\"\n\n\"Strange,\" Noah said, patting his pocket. \"This 'ere is me pocket, ain't it, lads?\"\n\n\"'At's right, Noah,\" said Frog Eyes and Flat Nose.\n\n\"And since this watch 'ere came out of me pocket,\" Noah said, dangling Mack in front of my face, \"it's only logical that this watch belongs to _me_. Ain't that right, lads?\"\n\n\"'At's right, Noah.\"\n\nI made a grab for Mack, but Noah snatched him away. Frog Eyes and Flat Nose were on me at once, seizing me by the arms and pulling me back.\n\n\"The bird's a brawler,\" Noah said, smiling.\n\n\"Let 'im 'ave it,\" said Frog Eyes.\n\n\"'At's right, Noah,\" said Flat Nose. \"Pluck his feathers.\"\n\nNoah dangled Mack in my face again and said, \"Time's up, birdie.\"\n\nFrog Eyes and Flat Nose laughed, and Noah cocked back his fist. I clenched my teeth, bracing for his punch, but then the pickpocket began to bobble Mack like a hot potato. Noah quickly gained control of him and cautiously peered into his cupped hands. I couldn't see Mack, but I thought I glimpsed a flash of blue light on the pickpocket's dirty freckled cheeks.\n\n\"Don't open him!\" I shouted\u2014but it was too late.\n\n\"What time is it?\" Mack cried, and all three boys let out a gasp.\n\n\"Cor blimey!\" said Noah, his eyes wide. \"A talking pocket watch!\"\n\n\"Cor!\" gaped Frog Eyes and Flat Nose.\n\n\"Made by Mr. Grim himself, I'll wager,\" Noah said.\n\n\"And who might you be, lad?\" Mack asked.\n\n\"Give him to me!\" I cried, trying to break free, but Frog Eyes and Flat Nose pulled me back.\n\n\"Is that you, Grubb?\" Mack called, spinning round in Noah's hands. \"Aye, laddie, there you are! What's all this about?\"\n\n\"Mack!\" I screamed, struggling.\n\n\"Pipe down, bird,\" said Frog Eyes, twisting my arm until I cried out in pain.\n\n\"What're you lads doing to me friend Grubb?\" Mack asked.\n\n\"Come on, then,\" said Flat Nose. \"Let us have a look, Noah.\"\n\n\"Naw,\" Noah said. \"I pinched it from the birdie's pocket, so I gets to keep it.\"\n\n\"What's that?\" Mack asked, spinning round. \"Pinched me from me friend Grubb's pocket, did ya?\"\n\n\"Quit yer jabberin', watch,\" Noah sneered. \"You're mine, now.\"\n\nMack trembled and hopped\u2014and without warning sprang from Noah's hand.\n\n_\"McClintock!\"_ he cried, and then clamped his case hard onto Noah's nose. The boy howled in pain, and his hands flew to his face.\n\n\"Get it off of me!\" Noah cried, pawing at his nose in a flash of crackling blue.\n\nFrog Eyes and Flat Nose just stood there gaping, but their grip on me released, and I quickly broke free and elbowed Flat Nose hard in the stomach.\n\n\"Oof!\" he grunted, and then he dropped to the ground moaning.\n\nFrog Eyes swung for my head, but I ducked and sent him stumbling past me.\n\nThen, with a squeal of pain, Noah pried Mack loose and threw him down hard on the cobblestones.\n\n\"Mack!\" I screamed, scrambling toward him\u2014but the old pocket watch only laughed and said:\n\n\"Ha! It'll take more than that to scrap ol' Mack!\" And then he flew up from the ground and cried, _\"McClintock!\"_\n\nThe pocket watch sailed past my head and smacked Frog Eyes square on his brow, whereupon Mack promptly fizzled out and tumbled to the ground.\n\nDazed, Frog Eyes collapsed on his bottom beside his mate, who was still moaning from my shot to his stomach. Then, unexpectedly, Noah knocked me down and went for Mack.\n\n\"Bite my nose, will ya?\" Noah growled, and he raised his boot to stomp him.\n\n_\"No!\"_ I screamed\u2014when out of nowhere a beefy hand clamped down hard on Noah's collar and lifted him clean off the ground.\n\n\"Nigel!\" I cried, and the big man sent Noah flying backward.\n\nThe boy landed on top of his mates, and the three of them quickly scrambled to their feet and took off, running out of sight.\n\n\"Thank you, Nigel,\" I said. \"But how did you find me?\"\n\nNigel bent down and picked up Mack.\n\n\"Oh dear,\" he said, closing Mack's case. \"Oh dear, oh dear, oh dear.\"\n\n\"I'm sorry, Nigel,\" I said. \"I forgot he was in my pocket and\u2014\"\n\n\"Do you realize what you've done?\"\n\nI couldn't see Nigel's eyes behind his goggles, but the rest of his face was all fear.\n\n\"I know,\" I said glumly. \"Mr. Grim told me what would happen if\u2014\"\n\n\"No, you don't know, Grubb,\" Nigel said, slipping Mack inside his coat pocket. \"We need to tell the boss his animus has escaped. We've got to get back before\u2014\"\n\nA strong breeze whipped through the courtyard, and what looked like a black cloud of smoke began billowing out from one of the darkened corners.\n\n\"Come on!\" Nigel cried. \"Let's get out of here!\"\n\nThe big man scooped me up and slung me over his shoulder. And as he dashed with me from the courtyard, I caught sight of a pair of bright, burning red eyes blinking open amidst the smoke.\n\nNigel carried me back through the passageways, up the short flight of steps, and out into street. He paused briefly, and then dashed off in the opposite direction from which I'd followed the pickpocket.\n\n\"The Odditorium is the other way!\" I cried. But then I saw another black cloud of smoke beginning to form in a shop doorway only a few yards away from us.\n\n\"There's no time to explain!\" Nigel said, picking up speed. \"Just tell me when we've lost them!\"\n\n\"Lost who?\"\n\n\"Just tell me!\"\n\nThere was a handful of pedestrians milling about\u2014and I was vaguely aware of their curious looks as we raced past them\u2014but then a pair of burning red eyes slipped out from the shop doorway, followed by another pair from the passage we'd just left.\n\nBoth sets of eyes brightened as they caught sight of me, and I noticed for the first time that the smoke around them had taken on the shape of a pair of large black hounds. And yet at the same time I could see right through them, as if the beasts were made from the very shadows in which they moved.\n\nMy heart froze with terror as the pair of shadow hounds dashed off after us. But every time they came upon a shaft of sunlight that had managed to find its way onto the street, they slowed and skirted around it as if they were afraid.\n\n\"Do you see them?\" Nigel asked.\n\nAnother red-eyed shadow hound joined the chase.\n\nThen another!\n\nAnd another!\n\n\"Yes!\" I cried in horror. \"There are five of them now!\"\n\nThe other people in the street seemed not to notice them, and soon the shadow hounds were right behind us, the five of them overtaking one another as if jostling for the lead on an invisible leash\u2014when suddenly one of the hounds leaped straight for me.\n\nIts paw swiped only inches from my face, the breeze ice-cold on my cheek. And then the hound landed in the street and tumbled toward a shaft of sunlight. Another hound immediately took its place at the head of the pack and made a leap for me too.\n\nAt the same time, Nigel rounded the corner and we emerged into a crowded open-air marketplace. The lead hound was close behind, but as soon as it hit the sunlight, the beast burst apart into a plume of smoke. Three more shadow hounds met the same fate and vanished one by one into thin air.\n\n\"Do you see them?\" Nigel asked, panting.\n\n\"They're gone,\" I said, terrified.\n\n\"You're certain, Grubb?\"\n\n\"Yes, the hounds broke apart as soon as they entered the square.\"\n\nThe marketplace was filled with the constant clamor of bell-ringing and shouting. From atop Nigel's shoulders I could see carts of hay and straw everywhere, while mounds of the same rose up amidst the endless stream of buyers and sellers like boulders in the middle of a babbling brook.\n\n\"That was a close one,\" Nigel said, setting me down. He stood bent over at the waist, gasping for breath with his hands on his thighs.\n\n\"What were they?\" I asked, my throat tight with fear.\n\nNigel raised a finger to his lips, and when his breath had leveled off some, he stood upright, dragged his sleeve across his forehead, and stared up at the sky.\n\n\"We'll be safe here out in the open,\" he said. \"At least until I can figure out the best way to get us back to the Odditorium.\"\n\nNigel felt inside his coat for Mack, then buttoned his pocket and led me to a large fountain at the center of the marketplace. Amidst the throng of peddlers who'd set up shop on the steps, Nigel found an opening for us to sit, and splashed some water on his head. Then he just sat there for a moment. Following his gaze through a break in the buildings at the far end of the marketplace, I spied a massive domed cathedral looming in the distance.\n\n\"A pity it's not a Monday,\" Nigel said. \"Mondays and Fridays are the market days for livestock. You could rub yourself all over with their scent. That would make it harder for the doom dogs to track you.\"\n\n\"What are doom dogs?\"\n\n\"Speak softly, Grubb,\" Nigel said, looking around. Then he leaned back on his elbows so that his mouth was close to my ear. \"Doom dogs are what's after you now.\"\n\n\"After _me_?\"\n\n\"That's right. And once a doom dog sets out after you, he's harder to shake than your own shadow.\"\n\nI glanced around, terrified.\n\n\"Oh, it can be done, mind you. Especially during the day, when all you have to do is get them to follow you into the sunlight. You saw what happens to them then.\"\n\n\"Are those dogs spirits, Nigel?\"\n\n\"A kind of spirit, yes, what can only roam about in the shadows.\"\n\nI swallowed hard. Nigel stood up on the fountain's top step and gazed out over the crowded marketplace. After a moment, he nodded and sat back down beside me.\n\n\"Don't see any more of them, but they're hard to spot. And sunlight or no sunlight, once a doom dog latches on to you, you're as good as done for.\"\n\nI shivered at the thought of how close the black hound's paw had come to my face\u2014and then it dawned on me.\n\n\"It's because of Mack's animus,\" I said. \"That's what Mr. Grim meant when he told Lord Dreary it was dangerous for his animus to leave the Odditorium. That's why those dogs came after me.\"\n\n\"You know about the animus?\" Nigel asked in shock.\n\n\"I'm afraid I do.\"\n\nI told Nigel the whole story\u2014how Mack ended up in my pocket, how I chased after him into the library and eavesdropped on Mr. Grim and Lord Dreary, and finally how I accidentally got him lifted. And when I'd finished, Nigel glared down angrily at his pocket.\n\n\"Oh, please don't be cross with Mack,\" I said. \"He was only afraid you'd come looking for him because you'd found him missing from Mr. Grim's shop.\"\n\n\"What would I be doing in Mr. Grim's shop?\"\n\n\"Well, since that's the place for Odditoria\u2014\"\n\nI stopped.\n\n\"The place for _what_?\" Nigel said, turning to me, and I saw my terrified face reflected in his goggles. Now I'd really gotten Mack into a pickle, I thought.\n\n\"Well?\" Nigel pressed.\n\n\"Well,\" I sputtered, \"I know it's not proper to repeat things, but Mack told me the shop is for Odditoria what's giving Mr. Grim trouble. And, well...silly as it may sound, Mack said that you were Odditoria too.\"\n\n\"Oh he did, did he?\" Nigel said, glaring down again at his pocket.\n\n\"Please try to forgive him, Nigel. He was only afraid Mr. Grim would scrap him for wanting to be with his clock family in the library. And I suppose you can't blame him for that. I know if I had a family, even a family of clocks, I'd want to be with them too.\"\n\nNigel's whole body sagged, and as he stared off at the cathedral, his face grew even sadder than it had looked outside the Odditorium. I suspected he was thinking about his brother William again, but I did not think it proper to pry.\n\n\"Did I say something wrong, Nigel?\" I asked after a moment, but the big man appeared lost in thought. \"Nigel?\"\n\nStartled, Nigel smiled. And just as before, he instantly became his cheery old self again. \"Right-o, then. All's forgiven on my part. As for Mr. Grim, I suppose you'll have to cross that bridge later. Come to think of it, what I wouldn't give for a bridge to throw you off.\"\n\nNigel's comment winged me, and I looked down sadly at my feet.\n\n\"No, no, Grubb,\" he said, chuckling. \"I don't mean it like that. Just wish I had a bridge over a river in which I could wash your scent off.\"\n\n\"There's the fountain,\" I said, relieved.\n\n\"It's against the law to wash in there. And the last thing we need is the law on our backs, what with Judge Hurst looking for any excuse to make trouble for Mr. Grim.\"\n\nThe two of us sat there thinking hard amidst the clamor.\n\n\"May I ask you a question, Nigel?\"\n\n\"Go ahead, Grubb.\"\n\n\"If the doom dogs can sniff out Mack's animus, how come they can't sniff out the animus inside the Odditorium?\"\n\n\"Because the Odditorium is protected by the boss's magic paint.\"\n\n\"Magic paint?\"\n\n\"The Odditorium is just a big machine powered by the animus\u2014like Mack, only more complicated and without all the jabbering. However, it's safe to use the animus inside the Odditorium because the whole place is protected by Mr. Grim's magic paint. Mack, unfortunately, is not. Understand?\"\n\n\"So that's why everything is black! The magic paint blocks the doom dogs from sniffing out the blue animus!\"\n\n\"That's right. A concoction of dragon scales, troll's blood, that sort of thing. With great power most often comes danger, and one always has to be mindful of danger.\"\n\nMade sense to me. I was used to being mindful of things that were dangerous. Fire, soaring heights, and crumbling old flues\u2014not to mention Mr. Smears and the Crumbsby twins.\n\n\"I'm sure the boss will explain it to you someday\u2014\"\n\nA rumble of thunder, barely audible above the din of the marketplace, stopped Nigel cold. He bounded up to the top of the fountain steps. \"Oh dear,\" he said, staring off at the sky. \"Oh dear, oh dear, oh dear.\"\n\n\"What is it, Nigel?\" I asked, rushing up to him, and I spied a thick swath of black clouds rolling in behind the cathedral.\n\n\"He was closer to London than we thought.\"\n\n\"Who?\"\n\n\"The prince,\" Nigel said weakly.\n\nAnother rumble of thunder\u2014this one a bit closer\u2014and then Nigel grabbed my arm and dashed off with me into the crowd.\n\nMaybe that was the last of them,\" Nigel said, gazing about. \"Or maybe they've lost track of our scent and are roaming about someplace else for us.\"\n\nThere had to have been over a dozen streets and alleyways that branched off from the marketplace, some so narrow that not even a single ray of sunshine managed to find its way to the ground. However, even down the darkest, narrowest passages, we could spy no sign of the doom dogs anywhere.\n\n\"What are we going to do?\" I asked, beginning to panic. \"What if there are more of those horrible hounds out there waiting for us?\"\n\nWe'd stopped in front of a shop at the edge of the maketplace, trying to determine the safest way back to the Odditorium. The black clouds were quickly closing in on the great dome, the thunder rumbling more frequently now. And as the marketgoers whirled about their business in anticipation of the coming storm, Nigel squatted on his haunches so that his mouth was level with my ear.\n\n\"Now calm yourself, lad,\" he whispered. \"And try not to let your fear get the better of you. After all, there's a natural balance of both good and evil in our world, and the doom dogs are only doing their job.\"\n\n\"What do you mean?\"\n\n\"You see, sometimes spirits what belong in the Land of the Dead escape into our world, and it's the doom dogs' job to bring them back.\"\n\n\"But what does that have to do with the blue animus?\"\n\n\"When the animus is used in a machine what's unprotected by Mr. Grim's paint, the doom dogs think it's an escaped spirit and come into our world to fetch it.\"\n\n\"Why would they think the animus is an escaped spirit?\"\n\n\"Er, well, uh,\" Nigel stammered nervously, \"all that's a bit complicated to explain right now. Suffice it to say that, once the doom dogs realize the animus is _not_ a spirit, they still want a spirit to take back with them.\"\n\n\"You mean\u2014?\"\n\n\"That's right, Grubb. They snatch the spirit of the person what used the animus.\"\n\nI gulped.\n\n\"Doom dogs are very good at what they do,\" Nigel continued, \"so usually only a handful of them come over into our world at a time. There's a good chance we've seen the last of them.\"\n\n\"Do the doom dogs belong to the prince?\"\n\nNigel snickered and shook his head. \"Of course not,\" he said. \"Doom dogs work on their own to keep the natural order of things\u2014ruthless and independent with allegiance to no one. Even the prince can't control the likes of them. Which is why I'm more worried about those crows.\"\n\nNigel pointed up at the clouds, and I spied a large flock of the big black birds circling near the cathedral dome.\n\n\"Crows can sense when doom dogs have come into our world,\" Nigel said. \"And so the prince has trained himself a flock to follow them. Most of the time they only lead him to doom dogs what's tracking a spirit. But _today_ \u2014\"\n\n\"The crows will lead him to _me_!\"\n\n\"So you see? All the prince has to do is send out his flock to follow the doom dogs, and then they'll lead him straight to you and the Odditorium.\"\n\n\"And by 'the prince,' you mean Prince Nightshade?\"\n\nNigel gasped and clamped his big hand over my mouth.\n\n\"Mind your tongue, lad!\" he hissed, and for the first time that day I was terrified of him. \"Mr. Grim has forbidden anyone to speak of him outside the Odditorium.\" Nigel removed his hand. \"Now tell me,\" he said, holding me by the shoulders. \"How does a lad like you come to know the prince's surname?\"\n\nI swallowed hard and promptly confessed to what I had seen in Mr. Grim's notebook, including the drawing of the Black Fairy and all the question marks after the prince's name. Nigel pondered this for a moment, and then a smile hovered about his lips.\n\n\"Well, I suppose I can't blame you for being curious,\" he said. \"However, I think it best we don't tell the boss you've been admiring his artwork. Wouldn't you agree?\"\n\n\"Thank you, Nigel,\" I said, relieved, and the big man mussed my hair.\n\n\"Right-o, then. Let's get moving.\"\n\n\"But what about Mr. Grim's preview?\" I asked, pointing to the clock tower at the center of the marketplace. \"It's nearly three o'clock already.\"\n\n\"Yes, we've got to get back to warn him about the escaped animus before everything starts. Come on, then. Stay in the sunlight, watch out for coaches, and tell me if you see any red eyes lurking about the shadows.\"\n\nNigel started off, but I didn't move.\n\n\"What's the matter?\" he asked.\n\n\"I just remembered that I saw only four doom dogs vanish in the marketplace.\"\n\n\"That's good. If only one is tracking you, he shouldn't be too hard to shake.\"\n\n\"But what if he's not tracking _me_?\"\n\n\"What do you mean?\"\n\n\"Well, if the doom dogs go after a person what's used the animus, wouldn't the doom dogs go after Noah and his gang, too?\"\n\nNigel's brow furrowed and his body sagged. \"Oh dear. I'm afraid in all the excitement I forgot about those lads. Should one of those dogs catch hold of them\u2014\"\n\nNigel swallowed hard and quickly shook off the thought.\n\n\"Right-o. That's another bridge we'll have to cross when we come to it. On our way, then, Grubb.\"\n\nThe two of us set off quickly\u2014street after street, block after block\u2014drawing angry words from pedestrians whose paths we abruptly crossed in order to remain in the sunlight. The closer we drew to the Odditorium, however, the closer the thunder drew too. And by the time I spied the Odditorium's big black chimneys above the rooftops, the skies had gone almost completely dark.\n\nThe crows, however, were nowhere to be seen.\n\n\"If there were any doom dogs on your tail,\" Nigel said, looking up at the sky, \"I'd wager those crows would be following you too.\"\n\n\"That's a relief. But do you think those clouds might scare people away from Mr. Grim's preview?\"\n\n\"Not likely. Folks here in London have been waiting for years to see the Odditorium at work. A soak and a sniffle is a small price to pay, I should think.\"\n\nAs we approached the street on which the Odditorium was located, Nigel and I were met with a wall of people\u2014everyone pushing and shoving each other amidst a great racket of shouts and police whistles.\n\n\"Stand back!\" a constable commanded.\n\n\"Don't push!\" cried another.\n\n\"Up you go, then, Grubb,\" Nigel said, and with one hand the big man scooped me up onto his shoulders. The Odditorium was clearly visible farther down the block, and the crowd in the street stretched out in every direction as far as I could see.\n\n\"Make way, make way!\" Nigel shouted. \"We're with Mr. Grim! Make way!\"\n\nIntimidated by Nigel's size, the crowd quickly parted before us without a word of protest. However, upon reaching the Odditorium we discovered Lord Dreary and Judge Hurst in the midst of a commotion. A handful of smartly dressed gents stood nearby (Mr. Grim's backers, I assumed) while a line of constables barked at the crowd to stay back.\n\n\"Look!\" someone shouted. \"It's Alistair Grim!\"\n\nAll eyes turned upward, and there stood Mr. Grim, glaring down at us from the Odditorium's balcony\u2014his expression steely, his bony fingers splayed out like tree roots upon the polished steel pipes of the balustrade.\n\nThe entire crowd immediately fell silent. Lightning flashed, and a loud clap of thunder exploded above our heads, but Mr. Grim gave it only a passing glance before he turned his back on us and sat down at his pipe organ.\n\n\"We're too late,\" Nigel said.\n\nAnd amidst another rumble of thunder, Mr. Grim began to play.\n\nA shiver of excitement rippled through the crowd. Mr. Grim's playing was magnificent, and after a quick series of expertly fingered flourishes, something strange began to happen. At first I thought my eyes were playing tricks on me. But once I heard the sound of creaking hinges and cranking gears, I knew it to be real.\n\nThe Odditorium was _moving_!\n\nThe crowd gaped and gasped, and as Mr. Grim's fingers picked up speed, the Odditorium picked up speed too\u2014all of it twisting and turning and bobbing and weaving as if the entire building were alive and dancing to the music.\n\n\"It works,\" Nigel said to himself. \"It actually _works_!\"\n\nWe all stood there in awe as Mr. Grim played on, and finally, when the music reached a fever pitch, the Odditorium appeared to lengthen upward an entire story. It held there for a moment on a single high note, and then slowly settled down again as Mr. Grim's fingers traveled to the opposite end of the keyboard.\n\nAll of a sudden, a woman's scream rang out above the crowd and the music stopped.\n\n_\"Help! Help!\"_ she cried.\n\nMr. Grim stood up and looked out over the balcony. There was a fuss brewing farther down the street. I couldn't see exactly what was happening, only that people were franticly moving aside.\n\nThen, from amidst the commotion, a constable went flying up into the air. He sailed backward over the crowd, his arms and legs pinwheeling. A moment later, another constable went flying up after him!\n\nMore heads turned and people screamed, and everyone began backing away from something in the street\u2014something that was clearly making its way toward Nigel and me\u2014and then the crowd parted to reveal a trio of lads staring up at us.\n\nIt was Noah, Frog Eyes, and Flat Nose. Their skin was deathly white, their mouths set in snarls, and their eyes, ringed with black circles, glowed a devilish purple.\n\n\"Oh dear,\" Nigel said. \"They belong to the prince now.\"\n\nAnd with that the three lads pointed up at Mr. Grim and uttered the most terrifying noise I'd ever heard\u2014a low, inhuman moan that sounded as if it had come from Mr. Grim's pipe organ.\n\nMr. Grim met their glowing purple eyes with a strange expression of both defiance and confusion. And then, in a flash of thunder and lightning, a screech echoed above our heads.\n\nGazing upward, I spied a line of crows perched atop a nearby building. At first I thought the screech had come from them, but then, high above us, a large, black-winged creature emerged from the clouds, circled there like a hawk, and began to dive.\n\nI recognized the monster immediately from the drawing in Mr. Grim's notebook.\n\n\"The Black Fairy,\" I gasped.\n\nWhether or not Nigel heard me, I cannot say, for the big man immediately lifted me off his shoulders, tucked me under his arm, and made a dash for the Odditorium. I caught one last glimpse of Mr. Grim as he fled from the balcony, and then all around us the street erupted into bedlam.\n\nThe crows took flight and the crowd screamed and scattered. The line of constables in front of the Odditorium tried to hold us back, but Nigel easily pushed them aside and made for the steps\u2014when without warning the Black Fairy swooped down and snatched Judge Hurst from the sidewalk.\n\n\"Help!\" he cried as he was carried off\u2014but I lost sight of him as Nigel scooped up Lord Dreary, tucked him under the same arm as me, and bounded with us both up the steps.\n\n\"Great poppycock!\" Lord Dreary shouted, squirming. \"Put me down!\"\n\nNigel ignored him. And as the big man reached the Odditorium's front door, he hunched over a small black dome covered with buttons. Wedged as I was between his arm and Lord Dreary, I couldn't exactly see which combination of Dreary and me, the samurai drew their swords and dashed for the door.\n\nNoah and his gang were heading up the steps outside.\n\n\"No!\" I cried, and Nigel covered my eyes with his hand.\n\n\"It's for the best, Grubb,\" he whispered.\n\nAnd then the samurai's swords went whistling through the air.\n\n\"Great poppycock!\" Lord Dreary exclaimed. \"Those lads just _disintegrated_!\"\n\n\"They weren't lads, sir,\" Nigel said. \"Not anymore.\"\n\nNigel removed his hand from my eyes. Noah and his gang were gone, all right. But as the samurai made their way back up the steps, the Black Fairy landed with a heavy thud in the street behind them.\n\nSquatting on its haunches, the creature was at least as tall as Nigel\u2014its massive bat wings spreading out far beyond the outline of the door frame. And just like the drawing in Mr. Grim's notebook, the insides of the Black Fairy's eyes and dagger-filled mouth were completely white.\n\n\"Good heavens!\" Lord Dreary gasped.\n\nThe Black Fairy screeched and flapped its wings, then turned its white eyes upward and opened its mouth wide.\n\n\"Hurry up, gents!\" Nigel screamed. The samurai rushed back inside. However, just before the big man shut the door behind them, I caught sight of what looked like a long stream of black fire shooting out from the Black Fairy's mouth.\n\n\"Mr. Grim!\" Nigel cried. \"The monster's aiming for the balcony!\"\n\nThe Odditorium shook violently and I fell to the floor. Nigel pressed a button beside the front door and a second inner door slid sideways into the frame. At the same time, a panel slid open in the ceiling, and down dropped Mr. Grim inside a giant birdcage.\n\n\"No need to worry, Nigel,\" he said. \"I lowered the shield on the balcony just in time. The control room is safe for now.\"\n\nAnother blast hit the Odditorium, and I staggered to my feet.\n\n\"What on earth is going on?\" cried Lord Dreary. \"I demand an explanation!\"\n\n\"No time for that,\" replied Mr. Grim, then he turned to Nigel and said, \"Looks like we'll have to leave sooner than planned.\"\n\n\"Right-o, sir,\" Nigel said, and he began pushing Lord Dreary into the birdcage.\n\n\"What's that?\" the old man sputtered. \"Leave? Great poppycock, man! You're not planning on taking me out there with that\u2014that\u2014 _thing_ , are you?\"\n\n\"That thing, as you so eloquently call it, is the Black Fairy.\"\n\n\"The Black\u2014?\"\n\n\"Fairy, yes. Quite an unpleasant chap as you might have gathered, but a shrewd one, nonetheless.\"\n\nAnother blast shook the building, and the Black Fairy shrieked outside.\n\n\"It won't take him long to figure out that the Odditorium is impervious to his fire,\" Mr. Grim went on. \"Therefore, I suggest we get moving before Prince Nightshade arrives to help him.\"\n\n\"Prince Nightshade?\" asked Lord Dreary, stunned. \"What are you\u2014?\"\n\nNigel shut the old man inside the birdcage. Mr. Grim threw a lever, and then he and Lord Dreary quickly began their ascent.\n\n\"Take the boy with you to the engine room, Nigel,\" Mr. Grim called down. \"Gwendolyn is fond of him, and we don't have time to risk her temper.\"\n\n\"Right-o, sir,\" Nigel said, and Mr. Grim and Lord Dreary disappeared into the ceiling. \"Come on, then, Grubb,\" Nigel said, and I followed him over to the large portrait of Mr. Grim that hung between the staircases.\n\n\"Stand back,\" Nigel said. He placed his palm on the glowing blue orb in Mr. Grim's hand and pushed it gently, upon which, along with the muffled sound of gears grinding under the stairs, the portrait slid sideways to reveal a secret chamber beyond.\n\n\"Cor blimey!\" I gasped.\n\nThe cavernous space into which we entered was spherical in construction, with a small landing and a steep staircase leading down to the floor below. A line of red-burning furnaces ringed the outside walls, and hanging from the domed ceiling was the Yellow Fairy's dollhouse. Directly beneath it, at the center of the room, was an enormous crystal sphere with a massive tangle of pipes branching out from it in every direction. At the top of the sphere, a porthole with a hinged steel cover stood open.\n\n\"It's time, miss,\" Nigel said as we descended the stairs, and the Yellow Fairy appeared in one of the dollhouse's upstairs windows.\n\n\"Oh really?\" she said mockingly, batting her eyelashes. \"The Black Fairy has got your twiggy boss worried now, has he?\"\n\n\"Now, now, Gwendolyn,\" Nigel said. \"No need to call Mr. Grim names.\"\n\n\"And what are you going to do about it, _baldy_?\"\n\nThe Yellow Fairy hurled a shimmering ball of her fairy dust and hit Nigel square in the chest, encasing him in a glowing yellow bubble. The bubble began floating up into the air with Nigel inside, but the big man appeared unconcerned, and calmly lifted his goggles to reveal a pair of eye sockets filled entirely with blue animus.\n\nMy mouth fell open in amazement.\n\nMack had told the truth. Nigel _was_ Odditoria after all.\n\nThe big man blinked once, and beams of bright blue light shot from his eyes. They burst apart in sparkles against the inside of the Yellow Fairy's bubble, and then the bubble turned green and began to fizzle and pop until it dissolved completely and Nigel dropped to the ground.\n\n\"We don't have time for this, miss,\" he said, replacing his goggles. And as if on cue, another blast from the Black Fairy shook the Odditorium.\n\n\"What's going on down there?\" shouted Mr. Grim, his voice crackling behind me. \"Why don't we have power?\"\n\nNigel rushed over to the wall, where he flicked the switch on yet another of the Odditorium's mechanical talkbacks.\n\n\"It's Gwendolyn, sir!\" Nigel shouted. \"She won't get into the sphere!\"\n\n\"Good heavens! Tell her she can't break our alliance now!\"\n\n\"I can hear you loud and clear, _twig_!\" the Yellow Fairy shouted. \"And our alliance said nothing about me spinning around in some big glass ball!\"\n\n\"The Black Fairy is retreating!\" Lord Dreary said on the talkback. He sounded farther away than Mr. Grim.\n\n\"Gwendolyn, please,\" said Mr. Grim. \"If you don't get into that sphere and start spinning, the Black Fairy will return with the prince and destroy us all!\"\n\n\"Ha! A big bully is all he is. Besides, I'd rather stand and fight than run away like a bunch of lily-livered humans!\"\n\n\"Be reasonable, will you?\" said Mr. Grim. \"Even a fairy of your power is no match for Prince Nightshade and his army!\"\n\n\"So says you, twig! But I'm beginning to think this Prince Nightshade doesn't even exist. Just another one of your tricks to use me\u2014like that jig yesterday with the samurai!\"\n\n\"Alistair, look!\" Lord Dreary shouted in the background. \"There's something happening in the clouds!\"\n\n\"Gwendolyn, I beg of you!\" cried Mr. Grim. \"We don't have time for this nonsense!\"\n\n\"You talk to her, Grubb,\" Nigel said, pushing me forward. \"You're a child. She'll listen to you.\"\n\n\"But what shall I say?\"\n\n\"Well, you might start by asking her to get in that sphere!\"\n\n\"Er, uh, begging your pardon, miss,\" I said nervously. \"But would you be so kind as to get into that sphere?\"\n\n\"Ha!\" said the Yellow Fairy. \"Playing the child card, are you? Nice try, baldy!\"\n\n\"No one's trying to trick you, miss,\" I said. \"You see, all of this is my fault.\"\n\n_\"Your fault?\"_ asked Gwendolyn and Mr. Grim together.\n\n\"Yes, sir\u2014uh, miss,\" I stuttered, spinning in place. \"You see, it was I who tipped off the doom dogs.\"\n\n\"Doom dogs?\" asked Mr. Grim from the talkback. \"Did you say doom dogs, Master Grubb?\"\n\n\"Yes, sir. It's a long story, but the nub of it is I accidentally brought Mack outside and got my pocket picked. The lads what done it opened him, and, well\u2014\"\n\n\"He's telling the truth, Miss Gwendolyn,\" Nigel said, holding up Mack. \"This pocket watch here runs on the blue animus.\"\n\nMack must have been shaking in Nigel's pocket, because when he opened him, the watch cried, \"What time is it?\"\n\nNigel immediately tapped Mack's XII and closed his case.\n\n\"Let me guess,\" Gwendolyn said, her disposition softening. \"Without the magic paint to protect them, the lads who used the animus fell victim to the doom dogs.\"\n\n\"That's right,\" Nigel said, slipping Mack into his pocket. \"And after those devil hounds took their souls to the Land of the Dead, Prince Nightshade turned their corpses into Shadesmen.\"\n\n_\"Shadesmen?\"_ asked the Yellow Fairy.\n\n\"The walking dead. Soulless creatures what serve only their master. The lads knew Mack here had come from the Odditorium, and so they led the Black Fairy straight to our doorstep.\"\n\n\"And where are these lads?\" Gwendolyn asked sadly.\n\n\"Mr. Grim's samurai put them to rest. They're at peace now.\"\n\nThe Yellow Fairy pondered this a moment. She looked close to giving in, I thought.\n\n\"I know you to be a protector of children, miss,\" I said. \"It's too late to save them other lads, but should you find it in your heart to save this one\"\u2014I pointed to myself\u2014\"well, I'd be forever grateful, miss.\"\n\nThe Yellow Fairy batted her eyelashes and studied me. Then, without warning, she flew from her dollhouse, circled it once, and hovered above the sphere.\n\n\"If this is another one of Grim's tricks,\" she said, her eyes locking with mine, \"child or no child, I'll gobble you up too!\"\n\nAnd with that the Yellow Fairy swooped down into the sphere and, closing the porthole behind her, began to twirl herself into a whirlwind of sparkling yellow light. For a moment she changed into the monstrous, toothy ball that I had seen the night before in the library. But just as quickly the teeth disappeared, and the ball expanded and brightened until it filled the entire sphere.\n\n\"Thank you, Gwendolyn!\" Mr. Grim cried from the talkback, and all at once the Odditorium began to tremble. \"Nigel, you and the boy get back up here immediately!\"\n\n\"Right-o, sir,\" Nigel said, and we dashed across the engine room and up another flight of stairs, at the top of which was a large red door.\n\nSuddenly I heard a muffled burst of organ music, and the entire Odditorium tilted and shifted\u2014first to one side, and then the other.\n\n\"Is the Black Fairy attacking again?\" I asked, steadying myself.\n\n\"Not yet,\" Nigel replied. \"But he will soon. Come on, Grubb. Through here.\"\n\nNigel opened the door, and once we were on the other side, I realized it was the same red door that Mrs. Pinch had warned me about earlier that morning. Nigel and I hurried down the hallway past Mr. Grim's shop and into the lift. Nigel shut us inside and pulled the lever, and as the lift began its ascent, I couldn't help but ask: \"What shall become of me now, Nigel?\"\n\n\"What do you mean?\"\n\n\"Mr. Grim said that if I told anyone about what goes on inside the Odditorium, Gwendolyn wouldn't always be around to protect me.\"\n\n\"But certainly the boss didn't mean protection from _him._ More likely he meant protection from something like what's going on outside.\"\n\n\"You think so?\"\n\n\"Of course. Everyone makes mistakes, Grubb. Even Mr. Grim. But you owned up to it without being asked. And that takes courage and character. And if there are two things Alistair Grim prizes above all else in a person, it's courage and character.\"\n\n\"Courage and character.\"\n\n\"Besides, if it wasn't for you, Gwendolyn might never have gotten into that sphere.\" Nigel pulled the lever again and the lift came to a stop. \"Then again, if it wasn't for you, we might never have needed her to do so in the first place.\"\n\nNigel chuckled and slid open the doors. But as we stepped out into the parlor, we nearly tripped over Mrs. Pinch. She was on her hands and knees, searching for something on the floor, and upon her head she wore a samurai helmet.\n\n\"Pardon us, mum,\" Nigel said. \"On your way down, are you?\"\n\n\"I _was_ ,\" the old woman said, irritated. \"But blind me if all this thrashing about hasn't knocked off my spectacles.\"\n\nAnother burst of organ music caused the Odditorium to shift. Nigel and I lost our balance, and I heard a distinct crunching sound beneath my feet. The three of us froze, and then I bent down and peeled something from the sole of my shoe.\n\n\"Oh dear,\" Nigel said. \"I think Grubb found your spectacles, mum.\"\n\nThe hearth was now ablaze with the same strange red fire I had seen in the kitchen, and in its light I could see that Mrs. Pinch's spectacles had been completely crushed.\n\n\"My apologies, ma'am,\" I said, terrified.\n\nMrs. Pinch rose to her feet, snatched back her spectacles, and stared down at me crossly.\n\n\"Nigel, where are you?\" called Mr. Grim from the talkback by the lift.\n\nNigel flipped the switch and said, \"In the parlor, sir. We've run into a little problem with Mrs. Pinch's spectacles.\"\n\n\"You mean she's not at her station?\"\n\n\"No, she's not, sir. And from the looks of her spectacles, she won't be much use to us there.\"\n\n\"Oh, what next!\" cried Mr. Grim. \"All right, then, you take the lower gunnery. Mrs. Pinch can go up to your station with Lord Dreary.\"\n\n\"Don't change the subject, man!\" shouted Lord Dreary in the background. \"What's all this about magic paint?\"\n\n\"What shall I do with the boy?\" Nigel asked.\n\n\"Oh yes, the boy. Send him into the control room with Mrs. Pinch. I could use an extra pair of eyes. And be sure you take the stairs. I don't want you getting stuck in the lift should the Black Fairy return.\"\n\n\"Right-o, sir,\" Nigel said. He flicked off the talkback and twisted one of the blue burning sconces above it. A secret panel slid open in the wall next to the lift, and inside I could see a narrow shaft containing a spiral staircase.\n\n\"You heard him, Grubb,\" Nigel said, descending. And as the secret panel began to close, he called back, \"And don't let Mrs. Pinch go bumping into anything!\"\n\n\"Of all the nerve,\" she said with her hands on her hips. \"Why, I could find my way around the Odditorium blindfolded!\"\n\nAnd as if to prove it, she took me by the elbow and led me into Mr. Grim's library.\n\nThe room itself had come alive with movement. The desk was in the process of sliding back into its original position over a hidden trapdoor in the floor, and disappearing into the ceiling above it was the large birdcage in which Mr. Grim had dropped down into the reception hall below. The wall behind Mr. Grim's desk had been raised so that the library now opened directly onto the balcony. All the samurai were gone, and a wide, glowing blue energy shield had been lowered over the balcony's balustrade. Finally, Mr. Grim's pipe organ had turned around so that it faced the street.\n\nMrs. Pinch and I stepped out onto the balcony to find Mr. Grim and Lord Dreary in the midst of a heated discussion.\n\n\"Magic paint made from dragon's scales and troll's blood?\" Lord Dreary exclaimed. \"You can't be serious, man!\"\n\n\"Don't you see? Without the protection of my magic paint, the Odditorium could not exist. Even the smallest use of the animus would have given me away years ago!\"\n\n\"But\u2014but\u2014\"\n\n\"I don't have time to argue with you,\" said Mr. Grim, and he tossed the old man a samurai helmet. \"How's your aim, old friend?\"\n\n\"How's my _aim_?\" Lord Dreary gasped, confused.\n\n\"Mrs. Pinch is the only person who knows how to operate the upper gunnery. You'll have to talk her through her targeting.\"\n\n\"Talk her through her _targeting_?\"\n\n\"Mrs. Pinch,\" said Mr. Grim, ignoring Lord Dreary, \"you'll be able to find your way to the upper gunnery and operate the controls effectively?\"\n\n\"I outfitted the gunneries myself, didn't I?\" replied the old woman. \"Blind me if I couldn't operate the entire Odditorium with my eyes closed!\"\n\n\"Very good. On your way, then.\"\n\n\"Yes, sir. Come along, Lord Dreary.\"\n\n\"But\u2014but\u2014\" the old man sputtered, but Mrs. Pinch took him by the elbow and quickly led him out.\n\nMr. Grim sat down at his organ and flicked the switch for the talkback on the keyboard. \"Are you in place, Nigel? Do you have a visual?\"\n\n\"Ready, boss,\" Nigel replied.\n\nI stepped closer to the edge of the balcony. Gazing down through the transparent blue energy shield, I discovered that not only had the buttresses unfolded themselves into a set of mechanical spider legs, but also the entire Odditorium had risen a full two stories off the ground.\n\n\"Very well, then,\" said Mr. Grim. \"We'll discuss your part in all this later, Master Grubb. But for now you must act as my lookout. Do you understand?\"\n\n\"Yes, sir. But, begging your pardon, sir\u2014what am I looking out for?\"\n\nOut of nowhere, an armored skeleton swooped down atop a skeleton steed and swiped a huge battle-ax at me as he passed. The blue energy shield flashed like lightning, and I let out a shriek and fell backward onto my bottom. Mr. Grim calmly turned to me and said:\n\n\"Something like that, I should imagine.\"\n\nAlthough many of the Odditorium's secrets had only been revealed to me in the moments immediately following the Black Fairy's attack, I would not actually get to see Mr. Grim's gunneries until much later. Nonetheless, I think it best to skip ahead a bit and describe them so you won't be as confused as I was when the battle began.\n\nThe Odditorium had two gunneries, one upper and one lower. The upper gunnery was the larger of the two and consisted of a turret with four cannons. When not in use, the cannons stood upright in the guise of the Odditorium's chimneys, while the turret appeared as just another inconspicuous black dome at the center of the roof. Once everything was activated, however, the chimneys tilted sideways and locked into place around the turret, a portion of the turret gave way to a blue energy shield, and the entire contraption began to track across the Odditorium's roof.\n\nThe lower gunnery, on the other hand, was outfitted with just two cannons, and could only be accessed through a porthole directly beneath the great sphere in the engine room. And just as the upper gunnery could track atop the roof, so too could the lower gunnery glide along the Odditorium's belly.\n\nOf course, I didn't know this at the time, and as more armored skeletons began to attack, I had only a vague sense of Mrs. Pinch and Lord Dreary being somewhere above me, and Nigel being somewhere down below.\n\n\"Can you hear me, Cleona?\" said Mr. Grim into the talkback on his organ. \"Why aren't you at your post?\"\n\n\"I'm here,\" replied a gentle voice that I immediately recognized as belonging to the young girl I'd heard outside the trunk. Cleona the trickster. \"I was looking for my comb,\" Cleona said. \"You wouldn't happen to know where it is, now, _would you?_ \"\n\n\"Oh, thank goodness you're safe,\" said Mr. Grim with a sigh. \"I thought for a moment that\u2014\"\n\n\"Pshaw. You worry too much, Uncle.\"\n\n\"Then you're aware of what's happening outside? You know this is not a trick?\"\n\n\"Much too elaborate a trick for the likes of you. But as for hiding my _comb,_ that's going a bit far, don't you think? After all, it was just a little chalk on your paintings. It comes right off.\"\n\nOf course! I thought. The portraits I saw last night in the upstairs gallery\u2014it was Cleona the trickster who drew all those chalk mustaches. And _A.G. has a spotty bottom\u2014_ A.G. stood for Alistair Grim, which meant the portrait must be of Mr. Grim as a little boy!\n\n\"We'll talk about your comb and my spotty bottom later,\" said Mr. Grim, flicking another switch. \"How about you, Mrs. Pinch? Are you and Lord Dreary settled in the upper gunnery?\"\n\n\"Good heavens!\" Lord Dreary exclaimed over the talkback. \"There are hundreds of those skeleton soldiers coming our way!\"\n\n\"I'll take that as a yes.\"\n\nMr. Grim pressed some buttons on his organ and the Odditorium began to tremble.\n\n\"All right, everyone,\" he began. \"Wish we could've had time for another drill, but things being what they are, I'm hoping you're not rusty.\"\n\n\"Pshaw,\" Cleona said. \"We've drilled this so many times I'm full of holes.\"\n\nNigel and Cleona snickered over the talkback, but Mr. Grim ignored them.\n\n\"Now remember, gunners,\" he said, \"until we're clear, I ask that you take great care when firing at Nightshade's soldiers. No need to turn our beloved London into rubble over an army of Shadesmen.\"\n\n_Shadesmen,_ I said to myself, terrified. Those armored skeletons out there were the walking dead, just like Noah and his gang, only these Shadesmen had glowing _red_ eyes instead of purple, and looked to have been dead much, _much_ longer.\n\n\"They're everywhere!\" Lord Dreary cried, and another one of the armored skeletons swiped the shield with his battle-ax. I yelped with fright, but Mr. Grim appeared cool as a cucumber.\n\n\"Stiff upper lip, old man,\" he said. \"We're counting on you to help Mrs. Pinch. As for the rest of you, if for some reason we don't make it, well I just want to say what a privilege it's been knowing you.\"\n\n\"Likewise, boss,\" said Nigel, his voice coming from the organ.\n\n\"Humph,\" said Mrs. Pinch.\n\n\"But\u2014but\u2014!\" sputtered Lord Dreary, and Mr. Grim flicked off his talkback.\n\n\"I'm opening the dampers now, Cleona,\" he said. \"Not sure if you'll feel any pushback from Gwendolyn, but let me know if you sense a power drain, will you?\"\n\n\"No worries, Uncle. I can hold my own against her kind.\"\n\n\"Very well, then,\" Mr. Grim said, and he flicked some more switches. \"Hold on to your helmets, people. Here goes nothing.\"\n\nAs soon as Mr. Grim began playing his pipe organ, the Odditorium began to tremble and shake. At the same time, I could hear a low rumbling noise coming from somewhere below my feet. It grew louder and louder until, much to my astonishment, the buildings outside began sinking into the ground.\n\nGazing down through the shield, I could see a massive cloud of sparkling green smoke billowing out below us. And as the mechanical spider legs folded back into their original positions, I realized that the buildings were not sinking, but that the Odditorium was rising\u2014no, _flying_ \u2014up into the air above them!\n\n\"I was right,\" said Mr. Grim, his eyes wide. \"The proper ratio of fairy dust and animus makes the perfect propellant.\"\n\nOf course, I thought. Yellow and blue make green, which meant that the smoke down there was a mixture of Gwendolyn's fairy dust and\u2014\n\n\"Oh no!\" I cried. \"The animus will summon the doom dogs!\"\n\n\"Nonsense, lad,\" said Mr. Grim. \"The blue animus is quite harmless when mixed with Yellow Fairy dust. Even the most amateur of sorcerers knows that!\"\n\nI remembered the headless samurai's helmet from the night before\u2014how it had snuffed out Gwendolyn's fairy dust and stopped Mr. Grim's top from spinning. It was the same with Nigel shooting his animus at Gwendolyn's big yellow bubble a few minutes ago in the engine room.\n\n\"The two energies cancel each other out, then?\" I asked, staring down at the swelling cloud of sparkling green smoke. \"Like fire and water, Mr. Grim?\"\n\n\"Something like that, Master Grubb,\" he said. \"But unfortunately we don't have time for a chemistry lesson at present.\"\n\nMore and more armored Shadesmen began swooping down on us\u2014some striking the blue energy shield with their battle-axes, while others just wailed and steered their steeds around the Odditorium out of sight. And yet, despite the racket, the different functions of Alistair Grim's multi-colored energies suddenly became clear to me. The blue animus energy powered the Odditorium's mechanical features. The Yellow Fairy dust energy gave the Odditorium its power to fly. And the red energy\u2014\n\nWithout warning, a hissing bolt of bright red lightning rained down from above and struck one of the Shadesmen, turning him and his skeleton horse at once into a dissipating cloud of thick black smoke.\n\n\"Cor blimey!\" I gasped.\n\nYes, come to find out, not only did the red energy fire up the Odditorium's ovens, but it could also be fired out of the gunnery cannons to blow up Shadesmen.\n\n\"Great shooting, Mrs. Pinch!\" Mr. Grim shouted into the talkback. \"You too, Lord Dreary!\"\n\n\"Humph,\" said Mrs. Pinch, and Lord Dreary chuckled modestly.\n\n\"Well, now,\" he said, \"you know I wasn't awarded first prize in the Duke's annual pheasant hunt for noth\u2014\"\n\nMr. Grim cut off his talkback again as the army of Shadesmen whizzed past us like a swarm of angry hornets. All of them, as well as their horses, were outfitted in bronze breastplates and helmets, the latter of which were topped with red-bristled crests that reminded me of my old chimney brushes. And the skeleton steeds' eyes, just like those of their riders, glowed red in their skulls.\n\nPresently, the clang of battle-axes on the outside walls echoed throughout the Odditorium from every direction.\n\n\"We've got climbers!\" Nigel called out from the talkback, and I spied a Shadesman's feet scrambling for purchase near the top of the shield. Some of the skeleton horses were now circling the Odditorium without their riders, too.\n\n\"Are the samurai on the battlements?\" asked Mr. Grim.\n\n\"They are, sir,\" replied Mrs. Pinch, \"but I can't see how they're faring against\u2014\"\n\n\"Help us, Alistair!\" cried Lord Dreary in the background. \"We've lost two of our warriors over the side!\"\n\n\"Even a samurai is no match for a cavalry charge,\" mumbled Mr. Grim. \"Order them back inside, Mrs. Pinch! I'll take care of the climbers with the levitation shield.\"\n\n\"The _what_?\" cried Lord Dreary\u2014but Mr. Grim cut him off again.\n\n\"Any sign of the Black Fairy, Master Grubb?\" he asked.\n\n\"Yes, sir,\" I said, pointing. \"He's up there, hanging back in the clouds.\"\n\n\"He knows better than to tangle with our energy bolts. You see anything else?\"\n\n\"No, sir, just more Shadesmen jumping from their horses.\"\n\n\"Good,\" said Mr. Grim, changing his organ tune to something more festive. And as the Odditorium rose higher and higher, it began to move forward, too\u2014the rooftops quickly rolling beneath our glittering green tail.\n\n\"Eyes upward, Master Grubb,\" said Mr. Grim, and he flicked on the talkback again. \"Lord Dreary, are the samurai safe inside?\"\n\n\"Yes!\" the old man replied. \"But I don't see what you can do against these climbing skeletons from down there!\"\n\nAs if to answer him, Mr. Grim pressed a button on his pipe organ. In a blinding flash of yellow, a powerful buzz shot through the floor and tickled my toes. A moment later I spied a dozen or so of the armored skeletons floating up past the shield, their bony arms and legs flailing about in scores of Gwendolyn's glowing yellow bubbles!\n\n\"The levitation shield,\" said Mr. Grim. \"A quick burst of Yellow Fairy dust that surrounds the Odditorium and thus repels anything not nailed down. Don't mind telling you how relieved I am to find out it actually works.\"\n\nMr. Grim winked, and then more bolts of hissing red lightning shot out from the Odditorium in every direction, turning the Shadesmen and their horses into smoke, in some places ten at a time.\n\n\"Huzzah!\" cried Lord Dreary. \"Take that, you blasted bone bags!\"\n\n\"That's the spirit, man!\" said Mr. Grim. \"All right, then, people, let's make a concerted effort to keep those climbers off the walls, shall we?\"\n\nMr. Grim changed his tune again, his fingers moving even faster across his pipe organ. And as the Odditorium picked up even more speed, the armored skeletons and their steeds gave chase.\n\nBolts of red lightning crackled all around us as countless Shadesmen were vaporized into smoke. We were high above the city now and moving out toward the countryside. Far off in the distance, at the edge of the clouds in which the Black Fairy and his army had arrived, I could see the blue of the afternoon sky.\n\nBut as Mr. Grim steered the Odditorium toward it, I noticed a shower of glowing red lights whizzing through the air straight for us.\n\n\"He's sending out his archers!\" Nigel cried from the talkback.\n\nMr. Grim looked up from his organ just in time to see the first volley of red-tipped arrows strike the shield. The Odditorium trembled violently, and the shield appeared to fizzle and pop purple as if it would blink out. But in the end it held.\n\n\"Those arrows are tipped with red energy!\" cried Mr. Grim. \"Prince Nightshade must have found the other Eye of Mars!\"\n\n\"Begging your pardon, sir?\" I asked.\n\n\"The power source for the gunneries. Legend has it that the god had two Eyes. And since I found only one in my travels, I always worried Prince Nightshade had found the other!\"\n\nI glanced back at the lion's head above the fireplace. As far as I could tell, old Mars still had both his eyes. In fact, the big cat's peepers were glowing brighter than ever. So what was all this talk about gods and whatnot?\n\n\"Focus all your efforts on the Shadesmen's arrows,\" Mr. Grim said into the talkback. \"It appears Prince Nightshade has found the other Eye of Mars!\"\n\n\"Oh dear,\" said Nigel.\n\n\"Another volley!\" Lord Dreary shouted. \"No, no, no! To the right\u2014farther to the right, woman!\"\n\nCrackling bolts of bright red lighting rained past us in every direction. Mr. Grim played some of the pipe organ's lower keys, and the Odditorium banked hard to the left.\n\n\"That's it,\" said Mr. Grim. \"Lay down some strafing fire while I\u2014\"\n\nThe Odditorium rocked violently, and I was nearly thrown to the floor again as a mass of crumbling brick bounced off the energy shield.\n\n\"Good heavens!\" cried Lord Dreary. \"Those arrows knocked out one of our cannons. We're down to only three!\"\n\nMr. Grim pulled a lever on his organ and the Odditorium picked up even more speed. More red lighting shot out from Nigel's station below, and a line of approaching Shadesman was instantly turned to smoke.\n\n\"Gunners,\" shouted Mr. Grim, \"I need you to hold them off while Cleona gets into position!\"\n\n\"Right-o, sir.\"\n\n\"Is it time, then?\" Cleona asked from the talkback.\n\n\"Yes, love,\" said Mr. Grim. \"The energy panels in your chamber should have more than enough charge to sustain the Odditorium's steering systems while we make the jump. Get into position and open the porthole, but remember to deactivate the shields only when you're ready. If one of those arrows should get inside\u2014\"\n\n\"Pshaw,\" Cleona said. \"You worry too much, Uncle.\"\n\n\"Be careful, Cleona. You're our only hope now.\"\n\nCleona giggled, but then Lord Dreary shouted, \"Another volley!\"\n\nSprays of red lightning shot out from above and below, wiping out an entire front line of Shadesmen and their arrows at once.\n\n\"Huzzah!\" Lord Dreary exclaimed. \"Great shooting, woman! You too, Stout!\"\n\n\"Thank you, sir,\" Nigel replied.\n\n\"Keep those arrows away from Cleona's porthole!\" cried Mr. Grim.\n\nThe red energy bolts picked off Shadesmen left and right, and as Mr. Grim made some adjustments on his keyboard, the Odditorium spun halfway around so that we were flying backward. The Black Fairy was far away from us now, and yet a great shadow appeared to be looming up in the clouds behind him.\n\n\"Mr. Grim!\" I shouted. \"Look!\"\n\nAnd with that a huge chariot burst forth from the clouds with a team of four black horses leading the way.\n\nMr. Grim swallowed hard. \"Prince Nightshade, I presume.\"\n\nAs if in reply, the monstrous black steeds neighed with a deafening screech. Fire flashed from their mouths, smoke billowed from their nostrils, and all at once it seemed as though the world grew darker, and the air was thick with fear.\n\nMost terrifying of all, however, was the figure in the chariot. I could make out only the outline of his form\u2014his chunky black armor, the spiked crown upon his head, and a flowing black cape that swelled like a sail behind him. In one hand he held the horses' reins; in the other, a fiery red whip that, when cracked, exploded with lightning and thunder.\n\n\"He's here!\" Mr. Grim cried into the talkback. \"Hurry, Cleona! Open the porthole! I daren't turn my back on the prince for long!\"\n\nThe prince cracked his whip. Lightning flashed and thunder boomed, and Mr. Grim spun the Odditorium around again until it faced the clear blue sky.\n\n\"What are you waiting for?\" cried Lord Dreary. \"Why aren't you firing at him, woman?\"\n\n\"No!\" said Mr. Grim. \"Any shot from the Eye of Mars will only make Prince Nightshade stronger. Continue firing on the Shadesmen if you can, but keep your energy bolts away from the prince, do you hear?\"\n\nA screech from the Black Fairy, a neigh from the steeds, and another crack of the whip behind us\u2014the lighting and thunder closer now.\n\n\"He's gaining on us!\" Nigel shouted. I could see only blue sky ahead of us, and were it not for the deafening racket, I wouldn't have known anything was amiss.\n\n\"The Odditorium might not survive a crack from his whip,\" said Mr. Grim. \"Please hurry, Cleona! What are you waiting for?\"\n\nWithout warning, a thick bolt of bright blue light shot out from somewhere above the shield. It traveled only a short distance and then burst apart into an enormous swirl of sparkling silver stars, at the center of which appeared what I could only describe as a hole in the sky.\n\n\"Thank you, darling!\" said Mr. Grim. \"Back inside with you and close the porthole!\" Mr. Grim flicked some switches and played some keys. \"Maintaining forward thrusters and coming about to port,\" he said, and once again the Odditorium spun around in place, traveling backward, it seemed, as we turned to face our attackers.\n\nThe prince was leading the charge now, and his steeds sped toward us at full gallop as the Black Fairy and the remaining cavalry brought up the rear.\n\nThey were closing quickly.\n\n\"I've lost my cannon!\" cried Mrs. Pinch from the talkback. \"It won't fire, sir!\"\n\n\"It's that blasted conductor coupling again!\" cried Mr. Grim, and I glanced over my shoulder to discover the lion's eyes were blinking on and off above the mantel.\n\n\"Activating the levitation shield one more time,\" said Mr. Grim, changing his organ tune, and once again the floor buzzed and the world flashed yellow. \"That will take care of any Shadesmen who try to come through the hole with us.\"\n\nI couldn't believe what I was hearing. Did Mr. Grim intend for us to pass through that hole in the sky?\n\nPrince Nightshade's steeds were almost upon us, and for the first time I could clearly see the prince's face looming up behind them\u2014a bottomless black pit with only a pair of glowing red eyes beneath an open, black-crowned helmet.\n\nA blue light began flashing on Mr. Grim's pipe organ.\n\n\"Hang on, everybody,\" he said. \"Here we _gooooo_!\"\n\nThe Black Fairy shrieked.\n\nThe steeds spit fire.\n\nAnd as Prince Nightshade raised his whip, the glowing red gash that was his mouth stretched apart into a deafening, black-fanged roar of \"MINE!\"\n\nI froze in terror, certain that my soul had just been snatched from my body\u2014but then the prince brought down his whip, and in a burst of thunder and lightning the Odditorium shook violently, knocking me once again to the floor.\n\nDazed, I thought for certain I was dead. Everything had become peaceful and glowing, as if the world had been enveloped in a brilliant white mist.\n\nMr. Grim rushed over to his pipe organ.\n\n\"I'm here!\" he cried, gazing out over the balcony. \"I'm here!\"\n\nI tried to scramble to my feet, but the Odditorium suddenly lurched forward and knocked me back down.\n\nA great _whoosh_ sucked the air from my lungs.\n\nAnd before I could breathe again, everything went black.\n\nWhen I came to, I found myself sitting on the floor with my ears ringing and my head thick with cobwebs. I tried to shake them off, and discovered Mr. Grim on the floor beside me shaking off his cobwebs too.\n\n\"Are we dead, sir?\" I asked.\n\nMr. Grim shot me a look of surprise, then scrambled to his feet and gazed out over his organ. The shield was gone now and the wind whipped freely across the balcony.\n\n\"I was there, Elizabeth,\" Mr. Grim whispered to himself. \"I was there.\"\n\n_Elizabeth?_ This was not the first time I'd heard that name\u2014Lord Dreary had mentioned an Elizabeth this morning in the library, hadn't he? But then I noticed Mr. Grim's eyes, sad and distant, as if he was longing for something out there in the sky.\n\n\"Is everything all right, sir?\" I asked tentatively.\n\nMr. Grim looked startled at first, then smiled and motioned for me to approach the balustrade.\n\nI could hardly believe my eyes. The sky was clear and blue. And far below the Odditorium I spied an endless sea of rolling whitecaps. I had never seen the sea before, but nonetheless knew what I was looking at. And I must confess that seeing it for the first time awed me as much as anything I'd seen at Mr. Grim's.\n\n\"Congratulations, Master Grubb,\" he said. \"You have just successfully navigated an interdimensional space jump.\"\n\nI looked up at him dumbstruck and he gave me a wink.\n\n\"Cleona?\" he called, flicking on his talkback. \"Cleona, are you there?\"\n\n\"I'm here, Uncle,\" she replied. \"Is everyone all right?\"\n\n\"Not sure yet, but how are you faring?\"\n\n\"Pshaw, nothing I can't handle. Although, I am a bit sapped, I must admit.\"\n\n\"I can imagine. The space jump has all but drained the Odditorium's animus. Something to do with the balance of spiritual energies, do you think?\"\n\n\"Forgive me, Uncle, but my brain's too gooey now for thinking scientifically.\"\n\n\"Forgive _me_ for being insensitive. Yes, you must rest before you recharge the animus. We'll get by on the reserves until you're ready, and then you and I will have to figure out a way to stay longer next time.\"\n\n\"Very well, then,\" Cleona said with a yawn.\n\n\"And thank you, love.\"\n\n\"You're welcome, Uncle.\"\n\n\"Gwendolyn?\" Mr. Grim said, flicking another switch on the talkback. \"Are you there?\"\n\n\"I'm here, twig!\" the Yellow Fairy snapped crossly. \"But don't you dare ask me to start spinning again\u2014my head's gone all loopy, thanks to you!\"\n\n\"By all means, rest. We've more than enough of your fairy dust to remain airborne. You've gotten us out of quite a scrape, and I'll be sure to have Mrs. Pinch bring you down some chocolates.\"\n\n\"Oooh!\" Gwendolyn said, and Mr. Grim flicked off his talkback.\n\n\"Oooh, indeed,\" he said to me. \"Never met a fairy who didn't like chocolate.\"\n\nI was just about to ask if Cleona was a fairy too, but then Lord Dreary called out, \"Alistair! Where the devil are you, Alistair Grim?\"\n\n\"Oh dear,\" said Mr. Grim, and I followed him into the library to find Lord Dreary, still in his samurai helmet, entering with Mrs. Pinch.\n\n\"Great poppycock!\" the old man shouted. \"Would you mind telling me what in blazes all that was about?\"\n\n\"What in blazes was what all about?\"\n\nLord Dreary pointed frantically at the balcony. \" _That!_ Out there!\"\n\n\"Just an interdimensional space jump. Nothing to be alarmed about.\"\n\n\"A _what_?\"\n\nMr. Grim crossed to the table that held the pitcher and silver goblets.\n\n\"Mrs. Pinch,\" he said, righting one of the goblets, \"after you take Gwendolyn her chocolates, would you mind bringing up that bottle of Asterian nectar I've been saving? I'd like to make a toast in honor of the Odditorium's maiden voyage.\"\n\n\"If I can find it amongst all your other bottles,\" said Mrs. Pinch.\n\n\"A toast?\" asked Lord Dreary. \"Maiden voyage, did you say?\"\n\n\"And when you see Nigel,\" Mr. Grim continued, ignoring him, \"please be sure he inspects the gunneries for leaks before the two of you join us down here for a drink.\"\n\n\"Yes, sir,\" said Mrs. Pinch, and she was gone.\n\n\"Made only a bit of a mess,\" said Mr. Grim, picking up his spinning top from the floor. \"Nothing broken, as far as I can tell.\"\n\n\"Nothing broken?\" Lord Dreary said, storming over to the desk. \"Flying all over London with skeletons and black fairies! An armored devil trying to whip us to shreds, and you say nothing's broken? How about _your word_ , man?\"\n\n\"My word?\"\n\n\"Maiden voyage, indeed!\" Lord Dreary thundered with his fists on the desk. \"I heard what you said. All your talk of drills! You've been planning to leave London all along. You swindled me you\u2014you\u2014 _charlatan_!\"\n\n\"How dare you, sir!\" cried Mr. Grim, aghast.\n\nLord Dreary's cheeks huffed and puffed like a blacksmith's bellows, and then he collapsed into a chair. He made to drag his handkerchief across his brow, but upon finding the black samurai helmet still on his head, he jumped and sputtered and flung the helmet across the room.\n\n\"Please try to understand,\" said Mr. Grim, sitting on the edge of his desk. \"After discovering what I'm about to tell you, I had no choice but to make a temporary change of plans.\"\n\n\"Oh, Alistair,\" sighed Lord Dreary, fingering his collar. \"Alistair, Alistair, what have you done?\"\n\n\"To be sure, I never meant to swindle you. And you have my word as a gentleman that I shall pay back every cent I owe you. You must believe me, old friend.\"\n\nLord Dreary dragged his handkerchief across his head. \"After what I've seen today, I don't know what to believe.\"\n\n\"Very well,\" Mr. Grim began, crossing to the fireplace. \"As you know, for some time now I have been traveling the world collecting Odditoria. What you _do_ _not_ know, however, is that the word _Odditoria_ , at once both singular and plural, is used to classify any object living, inanimate, or otherwise that is believed to possess magical powers.\"\n\n\"Did you say _magical_ powers?\"\n\n\"That I did.\"\n\n\"Then the rumors are true,\" said Lord Dreary in astonishment. \"You _are_ a mad sorcerer!\"\n\n\"Madness notwithstanding, I suppose I am deserving of such a title. But my interest in Odditoria has been mostly scientific. After all, when one understands the science behind a magical object, one can harness its power for practical use.\"\n\nMr. Grim pressed a button on the mantel, and the lion head with the glowing red eyes immediately swung open to reveal a hidden compartment behind it. At the center of the compartment was a miniature version of the glass sphere contraption down in the engine room. However, instead of a fairy, inside the sphere floated a glowing red orb about the size of a billiard ball.\n\n\"Behold the Eye of Mars,\" said Mr. Grim. Standing on his tippy-toes, he opened a small porthole and removed the orb from the glass sphere.\n\nMy eyes grew wide and my jaw gaped. The lightning from the gunnery cannons, the fires in the ovens and engine room furnaces, even the soot in the chimneys had nothing to do with the lion's head. All of it had come from this little, glowing red ball!\n\n\"Good heavens,\" said Lord Dreary. \"You mean to tell me that is\u2014\"\n\n\"The source of the Odditorium's firepower,\" said Mr. Grim. \"You see, according to a little known legend, Mars, the Roman god of war, was said to have given a magical weapon to each of his twin sons, Romulus and Remus, so that they would always be equal in power. These weapons were known as the Eyes of Mars.\"\n\n\"And by Romulus and Remus, you mean the legendary founders of Rome?\"\n\n\"Very good, Lord Dreary. However, according to the legend, Romulus still managed to kill his brother Remus, steal his Eye of Mars, and name the city of Rome after himself. Incensed by this treachery, Mars took back both his Eyes and buried them separately somewhere deep within the Earth. Just another Roman legend, scholars thought. _I_ , on the other hand...\"\n\nMr. Grim smiled modestly and offered the orb to Lord Dreary, but the old man hesitated to take it.\n\n\"Go ahead,\" said Mr. Grim. \"I assure you that, even in its activated state, the Eye of Mars is quite harmless unless one knows how to use it.\"\n\nLord Dreary tentatively took the Eye of Mars in his hands, his face instantly glowing red as he stared down at the orb in amazement. \"It's warm.\"\n\n\"Quite an effective source of heat on a cold London evening,\" said Mr. Grim, nodding. \"And so you see, Lord Dreary, the Eye of Mars is only one of three magical entities for which I have built conductors to harness their power.\"\n\n\"You mean there are other conductors here inside the Odditorium? Contraptions with which you harness the yellow and blue energy, too?\"\n\n\"Precisely.\"\n\n\"Hang on,\" Lord Dreary said. \"Your trip to the North Country\u2014Gwendolyn, the girl you told to get into the sphere\u2014you can't possibly mean\u2014\"\n\n\"You are correct, old friend. The legendary Yellow Fairy. Her magic dust, harnessed in one of my conductor spheres, gives the Odditorium its power to fly. I'll introduce the two of you shortly.\"\n\nStunned, Lord Dreary again dragged his handkerchief across his brow. I could tell the old man's head was spinning, but it all made perfect sense to me. Different kinds of Odditoria gave you different kinds of energy. Yellow flying energy came from Gwendolyn. Red blasting energy came from the Eye of Mars. And blue mechanical energy came from...Well, that was the question now, wasn't it? Where _did_ the blue energy come from?\n\nMr. Grim waved his hand over the orb, and upon uttering a strange incantation, the glow from the Eye of Mars went out.\n\n\"What have you done?\" Lord Dreary cried.\n\n\"Just an ancient Roman spell,\" said Mr. Grim, taking the sphere back to the fireplace. \"You see, in its deactivated state, the Eye of Mars appears to be nothing more than a worthless glass ball. Then again, I've found that the most powerful Odditoria are usually things that, on the surface at least, appear to be ordinary.\"\n\nMr. Grim placed the Eye of Mars back inside its conductor, pressed the secret button, and the lion's head swung back into place. Its eyes had gone black again.\n\n\"But how\u2014where did you find it?\"\n\n\"To make a long story short,\" said Mr. Grim, \"I tracked down the Eye of Mars to a dormant volcano on the Italian peninsula where, shall we say, I _persuaded_ the dragon who lived there to give it to me.\"\n\n\" _Dragon_ , did you say?\"\n\n\"Well, naturally when one travels around the world collecting magical objects, one stands a good chance of running into the magical creatures who guard them. However, early on in my quest for Odditoria, I realized that _someone else_ was traveling around the world collecting Odditoria too.\"\n\n\"Prince Nightshade!\"\n\n\"Indeed,\" said Mr. Grim, fetching his notebook from his desk. \"On more than one occasion, in fact, it appeared as if the old prince had snatched my Odditoria right out from under my nose\u2014and in some cases, the magical creatures who guarded them, too.\"\n\nMr. Grim opened his notebook and handed it to Lord Dreary. I could not see the page from where I was standing, but the fear in the old man's eyes made it clear which one of Mr. Grim's drawings had caught his attention.\n\n\"The Black Fairy,\" Lord Dreary said weakly.\n\n\"The prince's second in command,\" said Mr. Grim. \"You'll find many other nasty creatures in there too\u2014all of whom have allied themselves with the prince.\"\n\nLord Dreary scanned a few more pages and then quickly closed the notebook and handed it back to Mr. Grim, out of fright.\n\n\"But who _is_ this Prince Nightshade?\" asked Lord Dreary.\n\n\"I'm afraid I don't know _who_ he is,\" said Mr. Grim, returning his notebook to his desk. \"But it is clear to me _what_ he is: a master of the Dark Arts, someone who has learned to harness the power of Odditoria much as I have. And to make matters worse, it appears this Nightshade character also has the power to absorb magical energy into his body. The more energy he absorbs, the more powerful he becomes.\"\n\n\"Great\u2014\"\n\n\"Poppycock, yes,\" Mr. Grim said quickly. \"And judging from the armor worn by the prince's Shadesmen, I am convinced that he used his Eye of Mars to resurrect the ancient armies of Romulus and Remus.\"\n\nLord Dreary gasped. \"You mean those blasted bone bags are actually dead Latin soldiers?\"\n\n\"Precisely,\" said Mr. Grim. He snatched a book from one of the shelves and began flipping through its pages. \"It makes sense that the Eye of Mars could _only_ resurrect the armies of Romulus and Remus. One brother could not possibly conquer the other if he could not destroy his army, and thus they would always be equal in power. Or at least that's what Mars thought.\"\n\n\"So those Shadesmen cannot be killed?\"\n\n\"Oh no, they can be killed with the right weapons,\" Mr. Grim said absently, reading. \"A blast of red energy. A swipe from an animus-infused samurai sword...\"\n\nMr. Grim flipped a few more pages and then, unable to find what he was looking for, tossed the book onto his desk and raked back his hair in frustration.\n\n\"So that is why Prince Nightshade has come after you?\" asked Lord Dreary. \"Because you possess the other Eye of Mars?\"\n\n\"Unfortunately, no,\" said Mr. Grim. \"Although Prince Nightshade has been even more successful than I in his quest for Odditoria, it appears there is one magical entity that has continued to elude him: a source of the animus.\"\n\n\"A _source_ of the animus?\"\n\n\"Yes, old friend,\" said Mr. Grim, thinking. \"Judging from the eyes of the lads that led Prince Nightshade to the Odditorium, it appears that Nightshade has discovered a magical means by which to combine the red energy from the Eye of Mars with the animus residue from our escaped pocket watch. Red and blue make purple, you see\u2014\"\n\n\"And the lads who led him here,\" Lord Dreary exclaimed, \"their eyes glowed purple!\"\n\n\"Correct. If the Eye of Mars can only resurrect the ancient armies of Romulus and Remus, then the number of red-eyed Shadesmen the prince can gather for his army is limited. However, if he were to get his hands on a source of the _animus_ \u2014\"\n\n\"Then the number of _purple_ -eyed Shadesmen he can gather is _unlimited_!\"\n\n\"Correct again, Lord Dreary,\" said Mr. Grim. \"Prince Nightshade wants the animus so he can create a purple-eyed army of the dead.\"\n\nA heavy silence fell over the room. I couldn't help but feel sorry for Noah and his gang, but just the thought of an entire army of those moaning purple-eyed devils gadding about the world sent a shiver up my spine\u2014not to mention that I had almost become one of them myself.\n\n\"So, this pocket watch,\" Lord Dreary said finally. \"Is _that_ the magical object from which you harness the animus?\"\n\n\"Good heavens, no!\" cried Mr. Grim, laughing, but then he abruptly stopped and gazed about the room. \"Come to think of it, where _is_ old McClintock?\"\n\n\"Nigel has him, sir,\" I said, and Mr. Grim started as if he'd forgotten I was there.\n\n\"Thank you, Master Grubb,\" he said, smiling wryly. \"However, I must admit that your knowledge of Mack's whereabouts would have been much more useful to us about an hour ago.\"\n\nMr. Grim shot me a wink, but it did little to ease my guilt. In all the commotion, I'd nearly forgotten that this whole mess was entirely my fault.\n\n\"I beg your pardon, sir,\" I said, looking down at my shoes, at which point Mrs. Pinch's broom unexpectedly swept past me into the room. Lord Dreary cried out in surprise, but the broom ignored him and began tidying up the hearth. Evidently, more of the sandy red soot had fallen out of the flue during the battle.\n\n\"Not now, Broom,\" said Mr. Grim, and the broom gave a quick curtsy and disappeared into the parlor. \"Odditoria,\" said Mr. Grim with a shrug, and Lord Dreary sighed and fingered his collar.\n\n\"Speaking of which,\" said the old man, \"if the red energy comes from the Eye of Mars, and the yellow energy comes from Gwendolyn the Yellow Fairy, from what Odditoria do you harness the blue animus?\"\n\n\"Now, now,\" said Mr. Grim, smiling, \"what kind of mad sorcerer would I be if I went about revealing everything in my bag of tricks at once?\"\n\n\"Great poppycock, man, don't play games!\"\n\n\"I assure you, Lord Dreary, it is not my intention to be evasive. However, I should think any attempt to explain the source of my blue energy without an accompanying demonstration would be futile. And given the state of the Odditorium's systems, such a demonstration is impossible at the moment.\"\n\n\"Yes, but Alistair, I\u2014\"\n\n\"Besides,\" said Mr. Grim, rising, \"it looks as if Mrs. Pinch and Nigel have arrived with our Asterian nectar.\"\n\nLord Dreary and I turned to find them standing in the entrance to the library. The old woman held a tray, on top of which rested a slender black bottle and five small glasses.\n\nHowever, I could not help but stare at Nigel. He was Odditoria too, was he not? Odditoria powered by the animus just like Mack. But Nigel most certainly wasn't a machine. Which meant that _people_ could be powered by the animus too. Maybe Nigel was the _source_ of the animus. After all, odder things had happened at Alistair Grim's, even though I had yet to come across a sphere big enough to hold a man like Nigel Stout.\n\n\"Allow me, Mrs. Pinch,\" said Mr. Grim, and he took the tray and set it on his desk. \"Don't want you pouring this without your spectacles.\"\n\nMrs. Pinch furrowed her brow and drew her lips together tightly.\n\n\"Asterian nectar,\" said Mr. Grim, holding up the bottle. \"A rare delicacy I picked up in Greece.\" Mr. Grim popped the cork and filled each glass with the thick, black liquid. \"Gather 'round,\" he said. \"You too, Master Grubb.\"\n\nAll of us took our glasses.\n\n\"Alistair, I\u2014\" Lord Dreary began, but Mr. Grim quickly cut him off.\n\n\"There'll be plenty of time for show-and-tell later,\" he said. \"Let us now enjoy the peace and quiet of this moment with a toast to the Odditorium.\"\n\nMr. Grim raised his glass. Nigel and Mrs. Pinch followed suit, but both Lord Dreary and I hesitated.\n\n\"Are you not going to join us, Lord Dreary?\" asked Mr. Grim.\n\nThe old man looked back and forth between Mr. Grim and the others\u2014then heaved a heavy sigh and said, \"When in Rome.\"\n\nI wasn't quite sure what he meant by that, since we were nowhere near Rome as far as I could tell. But nonetheless, when Lord Dreary raised his glass I did the same.\n\n\"To the Odditorium,\" said Mr. Grim.\n\n\"To the Odditorium!\" replied the others.\n\n\"You, too, Master Grubb,\" said Mr. Grim.\n\n\"To the Odditorium,\" I said, and we all sipped from our glasses.\n\nI had never partaken in a toast before, nor had I ever tasted anything as delicious as Mr. Grim's nectar. And as a salt-scented breeze blew in from the balcony, I gazed out past the pipe organ to the clear blue sky and understood at once that what I had tasted was adventure.\n\nAfter our toast, Lord Dreary continued to press Mr. Grim to reveal the source of his animus, upon which Mr. Grim once again insisted that, until the Odditorium's systems were recharged, such a revelation would be impossible. Besides, he explained, there were more pressing matters at hand now that Prince Nightshade was on our tail. The first order of business: to find out where the space jump had taken us.\n\n\"Right-o, then,\" Nigel said. \"Come along, Grubb.\"\n\n\"Just a moment, Nigel,\" said Mr. Grim. \"If you and Lord Dreary would care to step into the parlor, I'd like to speak to Master Grubb for a moment. _Alone._ \"\n\nI swallowed hard and my heart began to hammer. For a while there I thought Mr. Grim was going to let me off the hook about McClintock.\n\n\"Begging your pardon, sir,\" Nigel said. \"As far as I can tell, this whole Mack business was an honest mistake.\"\n\n\"Yes, Alistair,\" said Lord Dreary. \"Try not to be too hard on the lad, will you?\"\n\n\"I'll take your advice into consideration,\" said Mr. Grim, ushering them out. But as Nigel and Lord Dreary retreated to the parlor, Mrs. Pinch lagged behind.\n\n\"May I help you, Mrs. Pinch?\" asked Mr. Grim.\n\n\"Well, sir, I...\"\n\nThe old woman's eyes darted back and forth between Mr. Grim and me.\n\n\"Yes, Mrs. Pinch?\"\n\n\"Well, sir,\" she began again. \"I may not have my spectacles, but I know a good lad when I see one. And blind me if I'm going to stand by without putting in a word for Master Grubb here.\"\n\n\"Your word is duly noted,\" said Mr. Grim, and he motioned for her to leave.\n\n\"Humph!\" said Mrs. Pinch. And with that the old woman picked up the tray of dirty glasses and stormed out of the library.\n\n\"Well now, Master Grubb,\" said Mr. Grim, closing the pocket doors. \"Looks like your little jaunt with McClintock has brought us a bit of trouble, has it not?\"\n\n\"I'm afraid it has, sir,\" I said guiltily.\n\n\"Nothing to be afraid of just yet,\" said Mr. Grim, and he crossed to his desk. \"Turn your back, please,\" he said.\n\n\"Sir?\"\n\n\"Turn your _back_.\"\n\nI gulped. Here comes a beating for certain, I thought, and I slowly turned round to face the door. However, as I braced my bottom for his blows, I caught sight of Mr. Grim's reflection in the silver water pitcher on the table. He reached into the wooden box on his desk, took out the Lady in Black's mirror, and stared at it for a long time.\n\n\"What's to become of him?\" he whispered into the mirror\u2014and I could have sworn I saw it flash\u2014but then Mr. Grim frowned. \"Temperamental trinket,\" he muttered, and quickly returned the mirror to its case.\n\n\"You may turn around now,\" he said, and I obeyed. \"Very well, then, no more suspense. All is forgiven, Master Grubb.\"\n\n\"Cor blimey!\" I said, relieved. \"You mean you're not going to beat me, sir?\"\n\n\"Beat you?\" said Mr. Grim, aghast. \"Certainly not, Master Grubb. Everyone makes mistakes, but you have shown courage and honesty in the face of adversity\u2014not to mention quite a bit of resourcefulness\u2014which is why I'd like to offer you a job as my apprentice.\"\n\n\"Your _apprentice,_ sir?\" I asked, amazed.\n\n\"I'm not getting any younger, and I'd be lying if I said all this Nightshade business hasn't made me mindful of my own mortality. I could use a boy like you to help carry on here, should something happen to me. And so, I am promoting you from resident chummy to sorcerer's apprentice\u2014that is, if you want the job.\"\n\n\"But of course, sir!\" I cried, my heart swelling. \"Oh, thank you, sir!\"\n\n\"Very well, then, we'll work out the particulars later.\" Mr. Grim pulled down on a nearby sconce, and his desk slid back to reveal the trapdoor in the floor. \"But for now, you run along with Nigel. And send in Lord Dreary, will you? I did promise him an introduction to Gwendolyn, did I not?\"\n\nMr. Grim winked, and the giant birdcage began its descent from the ceiling.\n\n\"Yes, sir, oh, thank you, sir!\" I cried, and I dashed out into the parlor. \"Mr. Grim would like to see you now, Lord Dreary, sir!\"\n\nLord Dreary, oblivious to my happiness, muttered something about a stiff upper lip and then hurried into the library.\n\n\"Looks like you swallowed a bucket of sunshine,\" Nigel said. \"Everything turn out all right, then?\"\n\n\"Oh yes, Nigel! Mr. Grim asked me to be his apprentice!\"\n\n\"Well done, lad!\" Nigel said, patting me on the back. \"A wise choice, I might add, but no time to celebrate now. We've got work to do.\"\n\nNigel motioned for me to follow him.\n\n\"Where are we going?\" I asked.\n\n\"Why, to the garret. If the boss wants to find out where the Odditorium has jumped to, the garret is where we must begin.\"\n\nNigel opened the secret panel beside the lift, and I followed him inside. The shaft was pitch-black. Nearly all of the Odditorium's blue sconce lights had gone out\u2014a result, Mr. Grim had explained earlier, of having to run on the power reserves. And as we climbed the stairs, Nigel removed his goggles to light our way.\n\n\"Watch your step, Grubb,\" he said.\n\nThe animus from his eyes certainly was bright enough, and as we passed the first landing, I spied a door that I determined to be a secret entrance beside the lift on the fourth floor\u2014the same floor on which the long hallway with the marred portraits was located. I so badly wanted to ask Nigel about Cleona the trickster; but as we pressed on, I decided it was not the proper time to talk about swirly chalk mustaches and A.G.'s spotty bottom.\n\n\"Here we are, then,\" Nigel said as we came to a trapdoor in the ceiling. Nigel pushed it open, and the two of us hoisted ourselves up into the garret.\n\nAs with most garrets, the ceiling was low, and Nigel had to hunch over to keep from bumping his head. In the center of the room was a pair of ladders, each leading up to a hatch that opened onto the roof. Beside each ladder stood a pair of samurai with their swords drawn. The late afternoon sunlight shone down on them from the hatches, casting their face masks in shadow so that only the blue of their eyes could be seen.\n\n\"Hallo, hallo,\" Nigel said. \"You gents still hanging about?\" The samurai, as usual, did not respond. \"Carry on, then. Back to your posts.\"\n\nThe samurai promptly sheathed their weapons and shuffled past us, one by one disappearing down through the trapdoor.\n\nNigel stepped over a large pipe and skirted around one of the ladders. The garret was nearly filled to capacity with a massive tangle of clockwork gears and flues\u2014all of it packed together so tightly that it seemed impossible that any of it could actually work.\n\n\"Over here, Grubb,\" Nigel said. And as I joined him beside the ladder, I noticed that he was staring up at a colony of bats hanging upside down from the ceiling.\n\nI gasped and backed away. Being a chummy, I'd had my share of run-ins with bats, thank you very much, and I knew better than to go bothering with them\u2014unless, of course, I wanted to get my ears bitten.\n\n\"Don't be afraid, Grubb,\" Nigel said, unhooking a bat from the ceiling. \"These ain't your typical belfry bats.\"\n\nAs Nigel held the bat close to his glowing blue eyes, I could tell right away that the creature wasn't a real bat at all, but a mechanical bat made entirely of black metal.\n\n\"Wake up, sleepyhead,\" Nigel whispered, and a thin bolt of animus shot out from each of his eyes, enveloping the bat in a shimmering ball of sparkles. The bat instantly sprang to life, its eyes aglow with animus as it flapped its inky black wings and let out a screech.\n\n\"Cor blimey!\" I gasped. Perhaps Nigel was the source of the animus after all.\n\n\"Good morning, child,\" Nigel said, and then he set the bat atop his shoulder. Nigel did the same for all of them, one by one bringing them to life and wishing them good morning until he had a dozen or so of the black mechanicals perched atop his massive shoulders.\n\n\"Come along then, children,\" he said. He replaced his goggles and headed for one of the ladders. \"That means you, too, Grubb.\"\n\nThe big man climbed up and squeezed himself through the open hatch. I followed him, and as I stepped out onto the roof, I spied the upper gunnery for the first time. One of its cannons had indeed been blown off, and the turret's blue energy was deactivated.\n\n\"Over here, Grubb,\" Nigel said, and I joined him at the edge of the roof just as he set down the last of the bats on the Odditorium's castlelike battlements. Nigel didn't seem worried about their animus attracting the doom dogs, and so I knew that the tiny mechanicals had to be covered in Mr. Grim's magic paint. Just like the Odditorium.\n\n\"Be mindful of danger, children,\" Nigel said. \"I expect all of you to come back safe and sound, do you hear?\"\n\nThe bats nodded their mechanical heads and chomped their mechanical jaws.\n\n\"Right-o, then, off you go!\" And with a loud clap of his hands the big man sent the bats scattering away in every direction. \"Safe and sound, children!\" he called after them. \"Safe and sound!\"\n\nThe bats screeched their good-byes, and the two of us watched them fly away\u2014their cries quickly fading as they grew smaller and smaller in the distance. Finally, when the last of the bats had disappeared into the setting sun, I asked, \"Where are they going, Nigel?\"\n\n\"In search of land,\" he replied. \"It'll be dark soon. Mr. Grim can steer the Odditorium by the stars, but first we need to know how close we are to land. Wouldn't be sensible for us to travel west if land was closer east.\"\n\nNigel heaved a heavy sigh and leaned with his elbows upon the battlements. I wasn't tall enough to do the same, so I just stood there gazing up at him.\n\n\"Will they be able to find their way back?\" I asked.\n\n\"Oh yes,\" Nigel said. \"That is, if they don't run out of animus first.\"\n\n\"You mean they fizzle out like Mack?\"\n\n\"No, the bats have to be recharged from time to time, as does everything else what runs on the animus. Mack, on the other hand, fizzles out but then comes back. He _never_ has to be recharged. And for the life of him, Mr. Grim can't figure out why.\"\n\n\"Is that why he's always in the shop?\"\n\n\"That's right, Grubb. So, until the Odditorium is up and running again with blue animus, we won't be able to go anywhere.\"\n\n\"But if that space jump drained the Odditorium of its blue animus, how come it didn't drain you of yours too?\"\n\nNigel shot me a look of surprise\u2014not the best way to ask him about his blue energy, I had to admit\u2014but then the big man heaved a heavy sigh, as if he knew this question had been coming.\n\n\"The animus works differently in a person than it does in a machine,\" he said simply. \"Same reason why the doom dogs don't come for me. The animus is safe inside my body. However, unlike Mack, I have to be recharged from time to time.\"\n\nGuess I was mistaken, I thought. If Nigel has to be recharged, then he cannot possibly be the source of the animus.\n\n\"I suppose you're afraid of me now, eh, Grubb?\" Nigel said quietly.\n\n\"But of course not! Why would I be afraid of you? Animus or no animus, you're still my friend, aren't you, Nigel?\"\n\n\"That I am, Grubb,\" Nigel said, smiling. But as he gazed out over the sea, once again his face took on the same sad expression that I had seen in the marketplace.\n\n\"Begging your pardon, Nigel,\" I said after a moment. \"But since we're friends, may I ask what you're thinking about when you look so sad?\"\n\nThe big man turned to me. \"You can tell I'm sad without seeing my eyes?\"\n\n\"I suppose I can, yes. Is it because you miss your brother William?\"\n\nNigel hung his head a bit, then turned back toward the sea. \"No, not William,\" he said. \"I don't give him much thought anymore. The one I'm missing is Maggie.\"\n\n\"Who's Maggie, Nigel?\"\n\n\"Maggie is William's daughter.\"\n\n\"Oh,\" I said, swallowing. \"Is she\u2014?\"\n\n\"Dead?\" Nigel asked, and I nodded. \"No, Grubb. Maggie is as alive as you are. A little older than you, in fact, and healthy as one of Mr. Grim's horses.\"\n\n\"Where is she?\"\n\n\"It's all a bit complicated, Grubb. But since you're going to be Mr. Grim's apprentice, I suppose I'll have to explain it to you sooner or later.\"\n\nNigel and I sat down with our backs against the battlements.\n\n\"Maggie's mum,\" Nigel began, \"died in childbirth, so right from the start it was up to William to raise Maggie on his own. He had a hard go of it at first, but eventually he managed to make a comfortable life for the two of them working as a coachman for Judge Mortimer Hurst.\"\n\nI gasped. \"The same Judge Hurst what caused all that fuss today?\"\n\n\"That's right, Grubb. William used to work at the stables where Judge Hurst boarded his horses. The judge took a liking to William and offered him a job\u2014took a liking to little Maggie, too, and would often let her ride with him in his coach.\n\n\"But you see,\" Nigel went on, \"Judge Hurst, when he wasn't sentencing people to hang, was also a collector of antiquities. And along with Mr. Grim and Lord Dreary, he sometimes did business with an elderly gentleman by the name of Abel Wortley.\"\n\n\"Abel Wortley\u2014the man Judge Hurst said your brother William done in!\"\n\n\"Right-o, Grubb. Abel Wortley was a purveyor of antiquities just like Mr. Grim used to be. And oftentimes Judge Hurst would send William to fetch the old man for society meetings where they could show off their latest acquisitions.\n\n\"Well, one night when William went to pick up Mr. Wortley at his house, the old man didn't come down. Neither did his housekeeper, for that matter. William thought this strange, of course, but Judge Hurst told him not to bother about it and gave him the rest of the night off. And so William spent the evening playing with Maggie at his lodgings. She was just shy of four years old at the time but smart as a whip, she was, and the apple of her father's eye.\"\n\nNigel smiled, but I could hear in his voice that he had grown sad again.\n\n\"Anyhow,\" he said with a sigh, \"an inspector from Scotland Yard met William at the stables the next morning. You see, Abel Wortley and his housekeeper had been done in the night before. Stabbed to death and robbed, they was, around the same time William was there. And so he became the prime suspect. William protested his innocence, of course, but when the inspector found some of the stolen items in the judge's coach\u2014\"\n\n\"Oh no!\"\n\n\"Oh yes, Grubb. Judge Hurst could easily account for his whereabouts, so who else had been at Wortley's around the time the old man got himself done in?\"\n\nI swallowed hard, speechless.\n\n\"Needless to say, the evidence against William was damning. However, when Judge Hurst visited him in the clink, he told William that if he went quietly to the gallows, Maggie would be provided for. Gave William his word that he would send her off to live in the country with his sister. A proper lady, she is, what can't have children of her own. So you see, that's where Maggie lives today. With Judge Hurst's sister.\"\n\n\"So then William confessed his guilt?\"\n\n\"Either way, he was going to hang, so why not give his daughter a better life? The judge's sister could provide for Maggie in ways that William never could. And best of all, she could set Maggie on the path to becoming a proper lady.\"\n\n\"But Nigel, if William didn't murder Abel Wortley, then who did?\"\n\n\"Well, that's where things get a bit tricky. And that's where Mr. Grim comes in.\"\n\n\"Mr. Grim?\"\n\n\"You see, Mr. Grim had been a friend of Wortley's too. And being his friend, he spent a lot of time in the old man's study. Even after Elizabeth\u2014\" Nigel abruptly stopped and cleared his throat. \"That is, even after Mr. Grim removed himself from society and began collecting Odditoria, Mr. Wortley was one of the few friends with whom he still associated. And being that he spent so much time in the old man's study, when he visited the crime scene, he had a fair idea of what the robbers had taken.\"\n\n\"The items found in the coach?\"\n\n\"All that, yes, but also a couple of other items that were _not_ found in the coach. Items that appeared ordinary\u2014unless one had knowledge of Odditoria.\"\n\n\"Ordinary,\" I whispered.\n\n\"What's that you say?\"\n\n\"Ordinary. Mr. Grim said that the most powerful Odditoria are usually those things that, on the surface, appear ordinary.\"\n\n\"He's right. And so Mr. Grim knew that Abel Wortley's killer had to have knowledge of Odditoria too. Why else would a thief steal such ordinary objects and leave the more valuable ones behind? And since William didn't seem the sort to be familiar with Odditoria, Mr. Grim suspected he had been framed by someone who was.\"\n\n\"Good heavens!\"\n\n\"But you have to remember that, back then, no one knew Mr. Grim was gadding about the world collecting Odditoria. Consequently, if he spilled the beans about the missing objects, he would endanger his entire quest.\"\n\n\"Because he would have to reveal that the objects were magical?\"\n\n\"That's right, Grubb. Not to mention that he would risk revealing his knowledge of Odditoria to the real culprit too.\"\n\n\"So what happened, Nigel?\"\n\n\"Well, when Mr. Grim visited William in the clink, he told him that he not only thought William was innocent, but also that he thought he'd been set up by someone.\"\n\n\"Judge Hurst!\" I exclaimed.\n\n\"Right-o, Grubb. But Mr. Grim had no proof, you see. And there was also Maggie to think about. Mr. Grim did offer to take her in, but even he had to admit that the kind of life he could provide for her was nothing compared to the life she'd lead in the country\u2014what with all his quests in search of Odditoria and whatnot.\"\n\n\"That would be a problem,\" I said, but I was thinking about Cleona the trickster. She lived at the Odditorium, didn't she?\n\n\"But besides Judge Hurst,\" Nigel continued, \"Mr. Grim had plenty of reasons to suspect that one of his other society friends might recognize Odditoria too. And without the proof of the stolen items...well, you see poor William's predicament?\"\n\nI stared down sadly at my shoes. Poor William, indeed. Not only had he been hanged for something he didn't do, but also the sister of the very man who hanged him was raising his daughter. On the bright side, however, at least William was at peace and no longer missed her. But what about Maggie? How dreadful all that must have been on the child\u2014and she being just shy of four years old. At least I was six or thereabouts when Mrs. Smears died. But even if Maggie missed her father half as much as I missed Mrs. Smears, well...\n\nThe tears began to rise in my throat, but I quickly swallowed them down. _Chin up,_ I told myself _. This is no time to get all gobby eyed and gloomy. Nigel needs a friend, and if I'm going to be Mr. Grim's apprentice, I need to be strong about such things._\n\nAnd so I forced myself not to cry. \"So that's when you came to London, Nigel?\" I asked finally. \"After your brother was hanged?\"\n\n\"Yes and no, Grubb. You see, just before William was led to the gallows, Mr. Grim offered him a bargain.\"\n\n\"A bargain?\"\n\n\"That's right. A bargain in which Mr. Grim offered to bring William back from the dead.\"\n\nI gasped.\n\n\"Of course,\" Nigel went on, \"William thought Mr. Grim had gone touched in the head. But then again, what did he have to lose? So he listened carefully as Mr. Grim laid down the terms of his bargain. One, that upon his resurrection, William would come work for him. Two, that he would always keep his work secret. And three, that he would never reveal his true identity to anyone until Abel Wortley's killer was found.\"\n\n\"And did William agree to Mr. Grim's terms?\"\n\nNigel grew silent. And looking back, I suppose I should've put it all together much sooner. But only when he lifted his goggles and stared at me with his animus-filled eyes did the nub of Nigel's story finally hit home.\n\n\"You!\" I cried. \"You're William Stout!\"\n\n\"That's right, Grubb. And as I'm sure you've guessed, there never was a brother Nigel. Nigel was the name I took after Mr. Grim brought me back from the dead. Played the role of William's twin, I did, so as to keep the terms of my bargain.\"\n\nNigel replaced his goggles, and a long silence passed in which his secret gradually sank in. A million questions raced through my mind at once, and as I searched among them for the proper one to ask, for some reason I settled on perhaps the silliest question of them all.\n\n\"So if you were brought back from the dead,\" I said, \"does that mean you're a Shadesman, too, Nigel?\"\n\nThe big man laughed heartily. \"Don't worry, Grubb,\" he said. \"Unlike those bone bags, people what's been brought back with the animus wind up much as they were in life\u2014except for their bright blue peepers, of course. In fact, Mr. Grim says the animus is the closest one can get to the scientific recreation of the human soul.\"\n\n\"Cor blimey,\" I said. \"But, Nigel, if you're really William Stout, that means that Maggie\u2014\"\n\n\"Is really _my_ daughter.\"\n\nNigel's words stopped me cold, for despite everything I'd learned about him that day, I never imagined my new friend might have a child.\n\n\"So you see, Grubb?\" he said after moment. \"When I'm looking sad, it's because I'm missing Maggie.\"\n\n\"Have you seen her since...well...since you came back from the dead?\"\n\n\"Only from a distance. Mr. Grim sometimes sends Mrs. Pinch to the country with gifts for her, and I hang back in the coach hoping to catch a glimpse of her. Sometimes I do, sometimes I don't, but I send out the bats nearly every night to check up on her. The judge was true to his word, Grubb, and Maggie's been growing up quite happy. There's comfort for me in that.\"\n\n\"But, Nigel, if everyone thinks you're William's brother, wouldn't Maggie think so too? I mean, couldn't you visit her in the country as her Uncle Nigel?\"\n\n\"Being that everyone fancies me the brother of a murderer, her new family thinks it best she not associate with my sort. Besides,\" Nigel added, pointing to his goggles, \"what sort am I, anyway? Not alive, not dead, but a freak in between what can't even look at his daughter with his own eyes.\"\n\nI swallowed hard, unsure of what to say.\n\n\"No,\" he said firmly. \"It's best for everyone if things stay as they are now. At least until Abel Wortley's murderer is brought to justice. Who knows? Now that Prince Nightshade has finally reared his ugly head, we might end up killing two birds with one stone.\"\n\n\"What do you mean?\"\n\n\"Well, it's entirely possible that the first time the prince got to his Odditoria before Mr. Grim was ten years ago at Abel Wortley's. Meaning, Abel Wortley's killer and Prince Nightshade might be the same person.\"\n\n_Cor!_ I was about to exclaim, when something occurred to me. \"I saw Judge Hurst with the Black Fairy!\"\n\n\"What?\"\n\n\"When the Black Fairy attacked, he snatched up the judge and carried him off. Not long afterward Prince Nightshade appeared from the clouds.\"\n\n\"Hm,\" Nigel said, thinking. \"An intriguing turn of events. Especially since Mr. Grim could never prove that Judge Hurst framed me. Then again, after seeing this Prince Nightshade for the first time today, I don't know what to believe anymore.\"\n\nPresently, McClintock began rustling in his pocket, and as Nigel made to take him out I cried, \"Don't, Nigel! The doom dogs will come after us again!\"\n\n\"No need to worry about them,\" Nigel said. \"The Odditorium's magic paint is powerful enough to protect us even up here.\"\n\n\"What time is it?\" Mack asked as Nigel opened him. But as soon as he caught sight of those big goggles staring down at him, Mack let out a terrified, _\"Ach!\"_\n\nHe crackled and flashed, gave a quick _tick-tick,_ and then his eyes went dim.\n\n\"Don't try that on me,\" Nigel said. \"I know your fizzling-out routine all too well, you coward!\"\n\n\"Coward?\" Mack cried, lighting up immediately. \"You calling the chief of the Chronometrical Clan McClintock a coward?\"\n\n\"Just as I thought. Playing possum again! Why, I've got a good mind to toss you off the roof and be done with you!\"\n\n\"Well, if yer gonna scrap me, then yer gonna have to fight for it!\"\n\nMack leaped for Nigel's nose\u2014 _\"McClintock!\"_ he cried\u2014but Nigel caught him just in time. \"Let me go!\" Mack shouted, and Nigel made to tap him on his XII.\n\n\"Don't!\" I cried.\n\nNigel and Mack stopped their scuffling and turned to me.\n\n\"There's no sense in fighting about it now,\" I said. \"After all, it was I who accidentally brought Mack outside. So I suppose if you're going to toss him off the roof, you'll have to do the same with me, Nigel.\"\n\n\"Hang on,\" Mack said, spinning round. \"What are we doin' on the roof?\"\n\n\"A lot has happened since you got pinched, Mack,\" I said. \"Nevertheless, I should think it more sensible for Odditoria to stick together rather than fighting all the time. Especially now that Prince Nightshade is after us.\"\n\n\"Prince Nightshade?\" Mack asked. \"What's a Prince Nightshade?\"\n\n\"I'll explain it to you later. But what do you say, Nigel? Do you think you and Mack can be friends?\"\n\n\"Grubb's right,\" Nigel said, sighing. \"We Odditoria have to stick together. Sorry I said I was going to scrap you, Mack. You know I'd never go through with it.\"\n\n\"And I'm sorry I tried to bite yer nose,\" Mack said. \"Especially since you know I _would_ go through with it.\"\n\nNigel laughed. \"Gentlemen's shake on it, then,\" he said, wobbling Mack's case.\n\n\"Odditoria and friends to the end,\" Mack said.\n\n\"Right-o,\" Nigel said, and then he extended his hand to me. \"You too, Grubb.\"\n\n\"Me?\"\n\n\"Of course,\" Mack interjected. \"Yer Odditoria and a friend, ain't ya?\"\n\n\"A friend, yes, but\u2014\"\n\n\"Then stop yer jabberin' and put it there, laddie!\"\n\nMack wobbled his case, and rather than arguing with him about being Odditoria, I shook Nigel's hand and Mack's case at the same time.\n\n\"Friends to the end, lads!\" Mack cheered.\n\n\"Friends to the end!\" Nigel and I repeated.\n\nThen, out of the corner of my eye, I saw something flash on the far side of the roof. \"Look!\" I said, pointing.\n\n\"One of my bats come back already?\" Nigel asked.\n\n\"I don't think so,\" I said, searching. All I could see now was the toothy outline of the Odditorium's battlements against the twilight skies. And for a moment I thought my eyes had been playing tricks on me, but then\u2014\n\n\"There!\" I said as the light flashed again. \"Did you see it?\"\n\n\"Yes, I did!\" Nigel said, scrambling to his feet. \"Looks like it's coming from the other side of the battlements. Come on!\"\n\nThe three of us dashed across the roof, and the light flashed again.\n\n\"I see it now too!\" Mack exclaimed. And upon reaching the opposite battlement, Nigel leaned out over the side of the Odditorium.\n\n\"Oh dear,\" he said.\n\n\"What is it?\" Mack and I asked.\n\nNigel didn't answer right away, but the look of terror on his face told me we were in big trouble just the same.\n\n\"We've got to find Mr. Grim,\" he said finally.\n\nAnd then we ran for the gunnery.\n\nWhat is it?\" asked Lord Dreary, out of breath. \"An explosive of some sort?\"\n\nFortunately there was enough animus left in the Odditorium's reserves to power the talkbacks, so all Nigel had to do to summon Mr. Grim was hop down into the gunnery. Nigel reached him in the engine room with Lord Dreary, and when the gentlemen arrived on the roof moments later, I could tell by the old man's disposition that his introduction to Gwendolyn had done little to ease his bewilderment.\n\n\"Not an explosive, old friend,\" said Mr. Grim, peering over the battlements. \"No, judging from its shape and size, I would suspect that the object down there is some sort of tracking mechanism.\"\n\n\"A tracking mechanism?\" asked Lord Dreary.\n\n\"Yes,\" said Mr. Grim, turning around. He leaned with his back against the battlements and folded his arms. \"Have a look for yourself.\"\n\nLord Dreary did so, his face flickering red as the mysterious object flashed again beneath him. \"Great poppycock!\"\n\n\"One of the prince's Shadesmen, no doubt,\" said Mr. Grim. \"Must have attached it before I activated the Odditorium's levitation shields.\"\n\n\"It looks like a giant serpent's egg.\"\n\n\"A _Siren's_ egg, to be precise.\"\n\n\"A Siren, did you say?\"\n\n\"Yes. Those beautiful but dangerous sea witches whose songs lured ancient sailors to their deaths. The prince must have convinced one or more of them to join his evil menagerie of living Odditoria.\"\n\n\"Good heavens! You really think one of those singing sea witches could have allied herself with the prince?\"\n\n\"I shall have to enter a sketch of the creature in my notebook,\" said Mr. Grim, thinking. \"Nevertheless, if a Siren has the power to lure, Prince Nightshade has no doubt discovered a magical means by which to fashion a tracking mechanism out of her eggs\u2014a tracking mechanism that will lure him straight to us!\"\n\n\"But, Alistair!\" cried Lord Dreary. \"If the Siren's egg is luring Prince Nightshade to the Odditorium, then surely it is only a matter of time before\u2014\"\n\n\"Time!\" Mr. Grim exclaimed. \"What time do you have, Lord Dreary?\"\n\n\"Why\u2014I\u2014\" he sputtered, removing his pocket watch from his waistcoat. \"Hang on. Having a hard go seeing in this light...\"\n\nWithout thinking, I held up Mack to assist him, and as soon as his blue light illuminated Lord Dreary's pocket watch, Mack twirled his hands to ten and twelve.\n\n\"It's ten o'clock!\" he cried, spinning round in my hand and jumping for joy. \"Look at me, laddies! I know what time it is! Just ask me! Why, it's ten o'clock! It's ten o'\u2014tick\u2014tick\u2014\"\n\nMack crackled and flashed blue, and then his eyes went dark and his hands spun back to VIII and IV.\n\n\"Good heavens!\" gasped Lord Dreary. \"Is that the pocket watch that caused all the trouble?\"\n\n\"Never mind that,\" said Mr. Grim, gazing out over the battlements. \"Does it look like ten o'clock in the evening out there to you, Lord Dreary?\"\n\n\"Well, I\u2014judging from the position of the sun, the time of year, I would say it's closer to six o'clock.\"\n\n\"Precisely. Therefore, if your watch reads ten o'clock London time, we cannot be in the London time zone.\"\n\n\"Remarkable!\" said Lord Dreary. \"The space jump instantly transported us to a place four hours behind London time!\"\n\n\"And yet _seven_ hours have gone by on your watch.\"\n\n\"What do you mean?\"\n\n\"If you'll recall, we left London shortly after the preview began at three o'clock. That means _seven_ hours have gone by on your watch\u2014three o'clock plus seven hours makes ten o'clock. However, by my calculations, only _two_ hours have passed since we popped out of the sky wherever we are now.\"\n\n\"You're right,\" said Lord Dreary, thinking. \"And if only two hours have passed, regardless of wherever we are now, my watch should read five o'clock. Three o'clock plus two hours makes five o'clock.\"\n\n\"That is correct,\" said Mr. Grim. \"But since your watch reads _ten_ o'clock\u2014\"\n\n\"We've lost five hours!\" I cried, and both Mr. Grim and Lord Dreary started as if they had forgotten I was there.\n\n\"Very good, Master Grubb,\" said Mr. Grim. \"That would explain the power drain. Not only did the force of the space jump knock out nearly all of the Odditorium's animus, it also knocked out all of us for five hours!\"\n\n\"Good heavens!\" cried Lord Dreary.\n\n\"I should have realized this immediately,\" said Mr. Grim, thinking. \"Everybody's heads had gone all loopy. But blast it! I didn't think to check the time!\"\n\n\"But, Alistair, regardless of whether or not we were unconscious for five hours, how could a hole in the sky instantly transport us so far from London?\"\n\n\"How should I know?\" cried Mr. Grim. \"I'm a sorcerer, not a physicist!\"\n\n\"Yes, well\u2014\"\n\n\"Nevertheless,\" said Mr. Grim. \"I now realize that the strain of a space jump is much greater than I anticipated. This is something I will have to account for if we are to ever try it again.\"\n\n\"But, Alistair,\" gasped Lord Dreary, panicking. \"If you add on two hours to the five we were asleep, that means that\u2014\"\n\n\"Prince Nightshade has been tracking us for seven hours!\"\n\n\"Oh dear,\" Nigel said.\n\nMr. Grim rushed across the roof and jumped down into the gunnery. He flicked on the talkback and shouted, \"Cleona, are you awake?\"\n\n\"I am now,\" Cleona yawned. \"What is it, Uncle?\"\n\n\"Sorry to disturb you, but you need to come up to the roof immediately!\"\n\n\"Is this a trick? Payback for scribbling on your paintings?\"\n\n\"I've already hidden your comb in retaliation for that,\" said Mr. Grim. \"Thus, as far as I'm concerned, we are even until the paintings are clean again.\"\n\n\"Pshaw.\"\n\n\"Now, please, Cleona. I need you up here on the roof immediately. It truly is a matter of life and death.\"\n\n\"No tricks?\"\n\n\"On my honor, Cleona.\"\n\n\"All right, Uncle.\"\n\nMr. Grim scrambled up from the gunnery and back to the battlements.\n\n\"Uncle?\" said Lord Dreary. \"Did I just hear that girl call you Uncle?\"\n\n\"I'm afraid you did.\"\n\n\"But who on earth could possibly call you Uncle? You're an only child!\"\n\nMr. Grim was about to answer, but was stopped short by the glowing blue figure of a girl rising up through the roof.\n\n\"Here I am,\" she said.\n\nLord Dreary spun around and gasped.\n\nThe girl appeared to be a bit older than me, with delicate features wrapped in skin the color of ivory. Her hair was white and fell from her head in a pair of long braids that reached her knees. She wore a simple white gown cinched at the waist, and on the hem and neckline was a square maze pattern that glowed bright blue like the halo of light surrounding her.\n\n\"Over here,\" said Mr. Grim, indicating the battlements. And as the girl glided past me, I noticed that I could see straight through her to Lord Dreary on the other side.\n\nLord Dreary must have seen me through her too. And as the girl floated up and peered out over the battlements, the old man staggered back and cried: \"A ghost!\"\n\n\"I beg your pardon,\" said the girl, turning round in midair. \"I should think a gentleman of your breeding would know better than to go around calling people names, Lord Dreary.\"\n\n\"You\u2014you know me, miss?\" the old man sputtered.\n\n\"Only by sight, of course. But I must admit, I've found your constant bickering with Uncle over the years quite amusing.\"\n\n\"My apologies,\" said Mr. Grim. \"I forgot the two of you have yet to be introduced. Cleona, meet Lord Dreary. Lord Dreary, this is Cleona.\"\n\n\"A pleasure to officially make your acquaintance,\" Cleona said. \"I hope I didn't startle you, Lord Dreary. After all, now that you know the true nature of the Odditorium, I no longer thought it necessary to hide myself.\"\n\n\"Hide yourself?\" asked Lord Dreary, stunned.\n\n\"What Cleona is referring to,\" said Mr. Grim, \"is her annoying habit of making herself invisible in order to eavesdrop on our conversations in the library.\"\n\n\"You mean like this?\" Cleona said, and she vanished into thin air.\n\n\"Good heavens!\" cried Lord Dreary, and Mr. Grim rolled his eyes.\n\n\"Darling, please, we don't have time for this,\" he said, but Cleona only giggled, seemingly from nowhere. \"You see?\" said Mr. Grim, exasperated. \"This is what I get for indulging her eccentricities over the years. Case in point: her fixation on calling me Uncle when she knows very well that I am no such relation. This has been going on for\u2014well, what's it been, now, Nigel, ten years?\"\n\n\"Twelve,\" he said. \"I've been here ten myself, sir.\"\n\n\"Anyhow, if there's one thing I've learned since Cleona's arrival, the only way to neutralize a spirit's mischievous nature is to beat them at their own game.\"\n\n\"Did you say _spirit_ , Alistair Grim?\"\n\n\"That I did. And like most spirits, Cleona is very fond of playing tricks on people. For instance, drawing mustaches and writing nasty comments on my family portraits.\"\n\nAgain, Cleona giggled from nowhere.\n\n\"So you see,\" said Mr. Grim, \"in order to beat Cleona at her own game, I've hidden her comb and will only reveal its whereabouts when the portraits are clean. And speaking of games, Cleona, as we now have an evil necromancer on our tail, I humbly request that you end this game of hide-and-seek at once.\"\n\n\"Pshaw,\" she said, and appeared again where I last saw her, hovering just above the battlements between Mr. Grim and Lord Dreary.\n\n\"Then she _is_ a ghost!\" cried Lord Dreary.\n\n\"Not a ghost, but a banshee.\"\n\n\"A banshee?\"\n\n\"Yes, Lord Dreary,\" Mr. Grim said impatiently. \"You're familiar with the old Irish legends regarding such entities?\"\n\n\"Yes, well, if I remember correctly, a banshee is said to be a harbinger of death, is she not? Known for her excessive wailing just before someone is about to die?\"\n\n\"Just before or just afterward. In addition, banshees often attach themselves to a specific family, and are thus seen as messengers from the beyond\u2014a bridge, if you will, between our world and the Land of the Dead. However, when not in mourning, banshees are actually quite playful. Now, if there are no more questions, I'd like to move on to the matter at hand.\"\n\n\"I have a question,\" Cleona said, and Mr. Grim heaved a frustrated sigh. \"It's for Lord Dreary, actually.\"\n\n\"Er, uh\u2014yes, miss?\"\n\n\"Has Alistair Grim always had this annoying habit of talking about people in the third person when they are present?\"\n\n\"Well, I...\" Lord Dreary chuckled. \"Why, yes, I believe he has, miss.\"\n\n\"Peachy. I have a feeling you and I are going to get along quite smashingly, Lord Dreary.\" Then Cleona turned to me and said, \"And I have a feeling you and I are going to get along quite smashingly as well, Master Grubb.\"\n\n_You know me, too?_ I wanted to say, but my voice got stuck in my throat. And as Cleona's crystal-blue eyes met with mine, I felt a flutter in my stomach that said, _Banshee or no banshee, Cleona the trickster is the most beautiful girl I've ever seen._\n\n\"And look,\" Cleona said, pointing to my hand. \"You still have the pocket watch I gave you!\"\n\n\"Oh dear,\" Nigel said.\n\n\"Of course,\" said Mr. Grim. \"I should have known!\"\n\nIt was then my voice came back to me. \"You mean you\u2014?\"\n\n\"That's right, Grubb,\" Cleona said, giggling. \"This morning, I made myself invisible and slipped Mack inside your pocket while you were talking to Mrs. Pinch in the shop.\"\n\n\"Then Mack was telling the truth,\" I said\u2014when suddenly I remembered my dream from the night before. \"You!\" I cried. \"You asked to play a trick on me when I was asleep!\"\n\n\"That sounds like her,\" said Mr. Grim, and he leaned back wearily against the battlements. \"Cleona only plays tricks on her family.\"\n\n\"And quite an amusing trick this one was,\" she said, giggling. \"Especially when you went chasing after Mack in the library, Grubb.\"\n\n\"So I did hear someone giggling in there!\"\n\n\"Yes. I was in the library when Mack slipped under the door. I thought he might give me away, so I tapped him on his twelve to knock him out. Then I returned the book I borrowed and made myself invisible just before you came in.\"\n\nMr. Grim stiffened. \" _Book_ , did you say?\"\n\n\"I'm sorry, Uncle. I know the rule about borrowing books, but I just wanted to read up on fairies in the event you and Gwendolyn teamed up to play tricks on me.\"\n\nMr. Grim was silent, and Cleona gazed round at us.\n\n\"Why is everyone looking at me like that?\" she asked. \"It was just a trick.\"\n\n\"On the contrary,\" said Mr. Grim. \"Your little trick is what set this whole mess today in motion!\"\n\n\"Whatever do you mean, Uncle?\"\n\n\"Master Grubb?\" said Mr. Grim, gesturing for me to explain, and I quickly related the events leading up to Prince Nightshade's arrival in London.\n\n\"My apologies, everyone,\" Cleona said, when I'd finished. \"And especially to you, Master Grubb. I meant no harm by it.\" Then she sank guiltily back down to the roof and said, \"I'll go clean off the mustaches and your spotty bottom now, Uncle.\"\n\n\"Not so fast,\" said Mr. Grim, crossly. \"It seems that the prince's Shadesmen have attached a tracking mechanism to the Odditorium. I don't suppose you could find it in your heart to pass through the downstairs wall and dislodge it?\"\n\nCleona steeled herself, as if she was summoning up the courage to honor Mr. Grim's request. \"I'll do my best, Uncle,\" she said.\n\n\"Oh, no you don't,\" Nigel said firmly. \"Begging your pardon, Mr. Grim, but being that the Odditorium is over the ocean at present, if Cleona were to materialize beyond its walls, it would take nearly all her strength just to stay airborne, never mind trying to dislodge a tracking mechanism at the same time.\"\n\nMr. Grim heaved a heavy sigh. \"You're right, Nigel. What was I thinking....\"\n\n\"Perhaps if I hugged the Odditorium's outer shell,\" Cleona said, \"I might be able to pry off the tracking mechanism without losing too much of my strength. At least I can give it a try.\"\n\n\"Certainly not,\" said Mr. Grim, softening. \"It's too much of a risk in your present condition. Forgive me for even asking, love, and I thank you for your selflessness. As always.\"\n\n\"What on earth are you talking about?\" asked Lord Dreary.\n\n\"Being a land-dwelling spirit,\" Mr. Grim began, \"a banshee does not have the power to cross large bodies of water unless she is enclosed in something that protects her. The Odditorium's magic paint does just that, same as it protects us from the doom dogs. Without it, Cleona's life force would drain away and she would cease to exist.\"\n\n\"Good heavens,\" said Lord Dreary.\n\n\"The same goes for Gwendolyn. Just one of many laws of the supernatural universe that I'm afraid is unalterable.\"\n\n\"The magic paint is very powerful, Uncle,\" Cleona said. \"And really, I'm feeling quite myself again. Perhaps if I\u2014\"\n\n\"Out of the question,\" said Mr. Grim. \"Even if you were successful in dislodging the tracking mechanism, you'd be so drained afterward that it'd take you forever to regain your strength and transfer the animus.\"\n\n\"Wait a moment,\" said Lord Dreary. \"Are you saying that Cleona controls the source of the animus?\"\n\n\"No, old friend,\" said Mr. Grim. \"Cleona is the source of the animus.\"\n\nLord Dreary and I gasped.\n\n\"Hence,\" Mr. Grim went on, \"now that you have seen the conductor spheres for my other Odditoria, you understand in theory how I've been able to harness Cleona's supernatural essence to create the very spirit of the Odditorium itself.\"\n\n\"Odditoria,\" said Lord Dreary, thinking. \"Used to classify any magical object that is living, inanimate, or _otherwise_. That is what you said, Alistair. _Otherwise_ \u2014as in something that is neither alive nor dead.\"\n\n\"In Cleona's case, yes,\" said Mr. Grim. \"So you see, Lord Dreary, without our banshee here, the Odditorium's mechanical functions simply could not exist\u2014including the machine that facilitated the space jump.\"\n\n\"But the space jump,\" said Lord Dreary. \"How does Cleona\u2014?\"\n\n\"A banshee, by her nature, is a bridge between our world and the Land of the Dead. And so I've invented a machine that harnesses that nature to create an interdimensional bridge of my own. Unfortunately, the machine takes quite a toll on poor Cleona, and thus we find ourselves in our present situation.\"\n\n\"I don't mean to interrupt, sir,\" Nigel said. \"But getting back to the tracking mechanism?\"\n\n\"Thank you, Nigel,\" said Mr. Grim. \"Unfortunately, even if Cleona or Gwendolyn were successful in dislodging the tracking mechanism, it wouldn't do us much good if there are others flashing away out there.\"\n\n\"You mean\u2014?\"\n\n\"If Prince Nightshade allied himself with more than one Siren, then it's only logical to assume that he fashioned more than one tracking mechanism from their eggs.\"\n\n\"I'll do it,\" Nigel said. \"Tie a rope around my waist, and I'll climb down and start looking for them.\"\n\n\"A valiant proposition, Nigel. But it would take you much too long to make an adequate sweep of the Odditorium's perimeter. Speaking of sweeping, even Broom wouldn't have the strength to pry off something like that tracking mechanism. And given the fact that Mrs. Pinch's spectacles are smashed...\"\n\n_Broom?_ I said to myself. _Was Mr. Grim implying that Broom could fly as well as sweep? And what did Mrs. Pinch have to do with anything?_\n\n\"No,\" said Mr. Grim. \"The most efficient way to embark on our search-and-destroy mission would be to use\u2014\"\n\n\"The wasps!\" Nigel said.\n\n\"Very good, Nigel. My thoughts exactly.\"\n\n\"The wasps?\" said Lord Dreary, confused.\n\n\"Cleona,\" said Mr. Grim, ignoring him, \"do you think you're strong enough to charge the energy panels in your chambers?\"\n\n\"I think so, Uncle,\" she said. \"But since the space jump drained the Odditorium's systems almost entirely, I won't be able to give you much power for the reserves until I get all my strength back.\"\n\n\"Can you get the wasps going for us?\"\n\n\"Yes, but if you'd like me to charge the rest of the Odditorium too, I should think I'd have only enough energy left over for one.\"\n\n\"One wasp will be sufficient,\" said Mr. Grim.\n\nJust then we heard a loud screech above our heads. Lord Dreary let out a shriek and dove for the battlements, but the rest of us gazed upward and spied a cluster of tiny blue lights headed our way.\n\n\"The bats!\" I cried, and the entire colony screeched as if in reply.\n\n\"Good heavens!\" exclaimed Lord Dreary. \"We're under attack!\"\n\n\"Don't be afraid, old friend,\" said Mr. Grim. \"They work for us.\"\n\nThe bats circled the roof once, formed a single line, and then swooped down through the porthole and into the garret\u2014all except one, which broke off at the last moment and lighted on Nigel's shoulder.\n\n\"What do you have here?\" Nigel said, reaching into the bat's mouth. \"Look, sir,\" he said, handing it to Mr. Grim. \"It's a leaf.\"\n\n\"Yes,\" said Mr. Grim, examining it. \"A red-oak leaf, to be precise. We must be closer to land than I thought.\"\n\n\"Where to, child?\" Nigel asked, and the bat extended its wing to point the way.\n\n\"Due west by my calculations,\" said Mr. Grim, looking up at the stars. \"Very well, then. Cleona, you return to your chambers and begin charging the panels.\"\n\n\"Yes, Uncle,\" she said, and sank at once through the roof.\n\n\"As for the rest of us,\" said Mr. Grim, \"to the engine room!\"\n\nBy the time we arrived in the engine room, the wall sconces were burning bright again with blue animus. Everything else appeared to be normal too. The red fires in the ring of furnaces burned as before, and the crystal sphere still glowed yellow with fairy dust. Gwendolyn\u2014her eyes heavy, her face smeared with chocolate\u2014sat watching us from the front steps of her dollhouse.\n\n\"Is there something I can help you with, Pookie?\" she asked.\n\n_Pookie?_\n\n\"No thank you,\" said Mr. Grim, heading for the talkback. \"You just enjoy the rest of your chocolate.\"\n\nGwendolyn smiled wide and popped another piece of chocolate in her mouth. I stood there gaping. Surely this was not the same Yellow Fairy I'd met before, what with her sunny disposition and pet names for Mr. Grim.\n\nNoticing my surprise, Nigel whispered the word _chocolate_ in my ear. I looked at him quizzically and he said, \"How do you think Mr. Grim kept her from gobbling him up back there in the Black Forest?\"\n\n\"Chomp, chomp,\" said the Yellow Fairy, and she began cooing\u2014the same cooing I'd heard coming from Mr. Grim's coach just before we took flight over the countryside.\n\n\"Are you there, Uncle?\" called Cleona from the talkback.\n\n\"Yes, love,\" replied Mr. Grim. \"How are things progressing in your chambers?\"\n\n\"Very well, I think. All the systems are up and running, and I've charged the wasp in comb number one.\"\n\nFollowing Mr. Grim's gaze, I noticed for the first time that the engine room's ceiling resembled the inside of a wasp nest. All the combs were dark except for one, in which a pair of bulbous blue eyes shone brightly.\n\n\"And you've instructed the wasp what to look for?\" asked Mr. Grim.\n\n\"Yes, Uncle,\" Cleona replied. \"Its power should last you for quite some time\u2014that is, unless you plan on trying another space jump.\"\n\n\"I plan on no such thing. Now, get some sleep before you charge the reserves.\"\n\n\"Pshaw. My strength is coming back just fine now.\"\n\n\"Never mind that. You do as I say.\"\n\n\"Oh, very well, then.\"\n\nMr. Grim flicked off the talkback and then hurried over to a large panel near the furnaces. The panel itself was made up of rows of numbered buttons, and as Mr. Grim looked up at the ceiling, he pressed the button labeled 1.\n\nThe eyes above us grew brighter, and then a giant insect crawled out from the comb and buzzed its wings\u2014wings that, in the light from the crystal sphere below, flashed like plates of sparkling yellow glass.\n\n\"Great poppycock!\" Lord Dreary exclaimed. \"It really is a wasp!\"\n\n\"A mechanical wasp,\" said Mr. Grim, \"but a wasp nonetheless.\"\n\nAs if on cue, the insect lifted off, buzzed around the engine room once, then slowly descended to the floor. Other than its large blue eyes, polished steel wings, and black metal frame, this wasp was identical to a real wasp\u2014but it was also bigger than me.\n\n\"So that's how you built the Odditorium,\" Lord Dreary said in astonishment. \"The screens and curtains outside\u2014that was why no one ever saw any workers going in and out. You created these creatures to do the work for you!\"\n\nIt was then that I spied the large hammer and chisel in the wasp's front claws. And all at once I understood what I'd heard upon my arrival at the Odditorium. The loud blacksmith's hammering had been Mr. Grim's wasps at work in the engine room.\n\n\"An excellent deduction, Lord Dreary,\" said Mr. Grim. \"You see, old friend, one of the unique properties of the animus is that, as it is being transferred into a machine, one can instruct that machine to perform a specific task. And so this wasp and her deactivated sisters were charged with building the Odditorium.\"\n\n\"Incredible!\" said Lord Dreary.\n\nMr. Grim squatted down and spoke directly to the wasp. \"You understand your mission, Number One?\"\n\nThe wasp nodded its round head and batted its antennae.\n\n\"Very well, then,\" said Mr. Grim, rising. \"There is one problem, however.\"\n\n\"What's that?\" asked Lord Dreary.\n\n\"The wasp is only a machine, unable to think for itself. Given the fact that Cleona, in her transference of the animus, instructed the wasp to find and remove the tracking mechanism, the wasp in turn will only be able to recognize those things that Cleona recognizes.\"\n\n\"The Siren's egg, you mean?\"\n\n\"Or _eggs_ , yes. However, if something else is out there\u2014another type of tracking mechanism or perhaps something even more nefarious\u2014the wasp won't be able to distinguish such objects from, say, the battle damage caused by Nightshade's minions.\"\n\n\"So what shall we do?\" asked Lord Dreary.\n\n\"Well, I should think that the only way to be certain that the outside of the Odditorium is clean is to have a set of human eyes riding along with the wasp's.\"\n\n\"Great poppycock! You mean, you actually intend to ride that thing?\"\n\n\"I would if I could. However, I am much too heavy for the wasp to stay airborne. The same goes for you and Nigel. No, in order to make an adequate sweep of the outside, we would need a much smaller rider.\"\n\nWithout thinking, I raised my hand and said, \"I'll do it, sir.\"\n\nMr. Grim stiffened. \"No. Not you, Master Grubb. It's much too dangerous.\"\n\n\"I agree with the boss,\" Nigel said. \"Much, much too dangerous, Grubb.\"\n\n\"Please, sir,\" I said. \"It's the least I can do, being your apprentice and all.\"\n\n\"Out of the question,\" said Mr. Grim. \"We'll have to take our chances with just the wasp itself.\"\n\n\"I'm not afraid, sir. I'm quite accustomed to high places, and I'm very good at climbing and holding on tightly to things. Besides, if the wasp should need some help, I imagine that prying off a tracking mechanism couldn't be much different than scraping off soot from a chimney.\"\n\nMr. Grim studied me for a moment, and then, getting an idea, rushed over to the talkback. \"Cleona, are you still awake?\"\n\n\"I am now,\" she replied sleepily.\n\n\"Would you be so kind as to drop down into the engine room?\"\n\n\"What for?\"\n\n\"A matter of the utmost urgency.\"\n\n\"Has Gwendolyn had her chocolate?\" Cleona asked. \"I'm not in the mood for another quarrel.\"\n\n\"I assure you, Gwendolyn is quite amicable at present. Aren't you, Gwendolyn?\"\n\nThe Yellow Fairy cooed.\n\n\"There, you see, Cleona?\" said Mr. Grim. \"You needn't worry about a repeat of your introduction this morning. She did the same thing to Nigel before we left London, and now the two of them are the best of friends. Isn't that right, Nigel?\"\n\n\"If you say so, sir.\"\n\n\"Very well, then, Uncle. I'll be right down.\"\n\nMr. Grim flicked off the talkback and joined us again.\n\n\"But, Alistair,\" said Lord Dreary, \"surely you don't intend to ask Cleona to ride that thing. You said that if she stays too long over the water she'll cease to exist.\"\n\n\"I am well aware of that. And even though Number One's magic paint would most likely protect her, it would still be too much of a risk to send her out there. Which is why I intend on riding the wasp myself.\"\n\nNigel and I gasped.\n\n_\"You?\"_ cried Lord Dreary.\n\n\"Yes, old friend.\"\n\n\"But you just said that you're much too heavy.\"\n\n\"I am.\"\n\n\"But that means\u2014\"\n\n\"The wasp will not be able to hold me.\"\n\n\"Then you'll most certainly\u2014\n\n\"Fall into the ocean and drown, yes.\"\n\n\"But, Alistair\u2014that's suicide!\"\n\n\"Precisely!\"\n\n\"But\u2014\"\n\n\"Quiet, Lord Dreary!\" said Mr. Grim, gazing upward. \"Here she comes.\"\n\nCleona floated feet first through the ceiling and down to the floor. \"Here I am, Uncle.\"\n\n\"Thank you for coming, Cleona. I just wanted to inform you in person of my decision to ride Number One.\"\n\n\"What?\"\n\n\"At this moment, I fully intend to get on Number One's back and fly around outside the Odditorium in search of more tracking mechanisms.\"\n\n\"No tricks?\" Cleona asked, amazed.\n\n\"What does your instinct tell you?\" replied Mr. Grim.\n\nCleona began to tremble, and her eyes streamed with tears. She clawed at her hair and stretched her lips apart in a ghastly O, and from deep within her throat came a deafening wail of _\"AAAIIIEEEEEEEEEEEAAAAAAAAAAHHHHH!\"_\n\nAll of us, even Gwendolyn, pressed our hands to our ears, but it did little to block out the banshee's wailing\u2014a wail that sounded like a cross between a cat screeching and a wolf howling at the moon.\n\n_\"AAAIIIEEEEEEEEEEEAAAAAAAAAAHHHHH!\"_ Cleona cried again, and the entire Odditorium shook so violently that I was certain the engine room's ceiling would come crumbling down on us at any moment.\n\n\"I've changed my mind!\" Mr. Grim shouted. \"I will not ride the wasp but will allow Master Grubb to do so in my place!\"\n\nAnd just as quickly as she began, Cleona stopped her wailing. She blinked her eyes a couple of times, then wiped her cheeks with her sleeve and looked around as if nothing had happened.\n\n\"Good heavens!\" cried Lord Dreary.\n\n\"Forgive the experiment,\" said Mr. Grim. \"Are you all right, Cleona?\"\n\n\"Oh yes, Uncle. Perfectly fine now, thank you.\"\n\n\"Experiment?\" asked Lord Dreary.\n\n\"You see, as Cleona is a banshee who has attached herself to my family, based on my decision to ride the wasp, she foretold my doom. However, when I changed my mind and agreed to let Master Grubb ride the wasp, Cleona stopped wailing. But Master Grubb, you see, is now _also_ part of our family. And so\u2014well, do you see where I'm going with this, Lord Dreary?\"\n\n\"You mean, the fact that she stopped wailing when you agreed to let Grubb ride the wasp indicates that the boy will be safe on his mission?\"\n\n\"At this point in time, yes. However, as I just demonstrated, the future can be altered by even the most insignificant decisions made in the present. And so, Master Grubb, if for some reason Cleona should start wailing again, you must return inside at once. Do you understand, lad?\"\n\n\"Yes, sir.\"\n\n\"You must also be very careful and precise in your instructions to Number One. For example,\" he said, leaning over the wasp. \"Fly over to the sphere, Number One.\"\n\nImmediately the wasp buzzed its wings and lifted off. It flew directly to the crystal sphere, but then just hovered there, as if awaiting further instructions.\n\n\"So you see, Master Grubb,\" said Mr. Grim, \"if you wish Number One to land, you must tell it to do so.\"\n\nMr. Grim instructed the wasp to land on top of the sphere, and it obeyed.\n\n\"Now, Number One,\" he said, \"until I tell you otherwise, you will follow only Master Grubb's instructions. Do you understand?\"\n\nFrom atop the sphere, the wasp nodded its head and batted its antennae.\n\n\"Number One,\" said Mr. Grim, \"fly back to me and land at my feet.\"\n\nThe wasp did not move.\n\n\"Go ahead, then, Master Grubb. Tell it to fly back to you and land at your feet.\"\n\n\"Number One, fly back to me and land at my feet.\"\n\nThe wasp lifted off the sphere and did as I commanded.\n\n\"Very good,\" said Mr. Grim.\n\nHe crossed to a panel on the opposite wall and pulled a lever, whereupon a porthole opened in the floor, and a cool salt breeze flooded the engine room.\n\n\"Climb aboard,\" said Mr. Grim, and I mounted the wasp. \"Hold on tight to that joint casing there,\" he added, indicating the raised rim running across the wasp's middle segment. \"And be sure to keep your appendages clear of the wasp's wings.\"\n\n\"No need to worry, sir,\" I said. \"I don't have any appendages, far as I can tell.\"\n\n\"Your _arms_ and your _legs_ , lad,\" said Mr. Grim, and I swallowed hard and nodded. \"Now,\" Mr. Grim continued, \"despite the complexity of the Odditorium's inner workings, the outside is relatively simple. Number One should be able to spot the Sirens' eggs quite easily. However, if you should notice any other objects inconsistent with the rest of the exterior, direct Number One to fly toward it, and judge for yourself what belongs there and what doesn't. Understand?\"\n\n\"I hope so, Mr. Grim.\"\n\n\"Very well, then, my young apprentice. Command Number One to fly you 'round the outside of the Odditorium. And good luck to you, lad.\"\n\n\"Right-o,\" Nigel said. \"Good luck, Grubb.\"\n\n\"Good luck,\" said Lord Dreary and Cleona. Gwendolyn just cooed. And as I grabbed hold of the wasp's joint casing, I took a deep breath and said:\n\n\"Fly me 'round the outside of the Odditorium, Number One!\"\n\nThe wasp batted its antennae and crawled forward, and then all of a sudden it seemed as if I had fallen into a cold black well. And had I not lost my breath, I most certainly would have screamed. The moon was full, the sky clear and bright with all its stars, and I could easily make out the silver rolling waves rushing toward me.\n\nOnly then did I realize that Number One and I had dropped through the porthole.\n\n_Up, up!_ I tried to shout, but I could not find my voice.\n\nThe wasp's polished steel wings began to buzz frantically at my sides\u2014but still we kept dropping, the waves coming at me faster and faster. I closed my eyes, certain that at any moment we would crash. Then, at the last second it seemed, Number One veered sharply and we began to climb.\n\nI opened my eyes, and in an ice-cold whoosh my voice returned.\n\n\"I'm flying!\" I cried. \"I'm flying!\"\n\nNumber One leveled herself and picked up speed. The cold salt wind whipped at my cheeks, but my entire body felt on fire with excitement. And as I gazed out across the silver sea to the stars on the horizon, for a moment I forgot all about the tracking mechanisms.\n\nThen Number One swerved unexpectedly to her left, jolting me so hard that I nearly slid off her back. I shrieked and grabbed hold of her antennae, and the wasp gently bucked and hitched me back into place.\n\n\"My apologies, Number One,\" I said, panting with fear. \"I'll hang on tighter from now on.\"\n\nThe wasp nodded and batted her antennae, then banked into a steep climb. And as I tightened my grip on her joint casing, I caught sight of the Odditorium high above us.\n\nSilhouetted against the stars, Mr. Grim's mechanical wonder resembled a great black cannonball with a flowing tail of glistening yellow smoke. But as we drew closer, the outline of the Odditorium's legs and toothy battlements turned the cannonball into a crowned spider with a single, glowing blue eye.\n\n\"Well done, Grubb!\" Cleona called out, and I realized the spider's blue eye was in fact the light from the balcony. And there was Cleona, hovering just above Mr. Grim's pipe organ. \"Tell Number One to locate the tracking mechanisms!\" she shouted.\n\n\"You heard her,\" I said to Number One. \"You locate the tracking mechanisms, and I'll keep a lookout for anything else!\"\n\nThe wasp batted its antennae and leveled into our first pass. We hadn't far to travel before I caught sight of the Siren's egg flashing about ten feet below the battlements. Number One swooped in beside it, and in the blue light from her eyes we discovered a large black egg as big as my head.\n\n\"It must be attached with a clamp of some sort,\" I said, but the wasp just hovered there, her antennae waving back and forth as if examining it. Then the egg flashed and Number One began tapping away at it with her hammer and chisel. After a few moments the egg came loose and fell, flashing one more time just before it disappeared far below us with a splash.\n\n\"Well done, Number One,\" I said. \"Now, let's see if there are any more of those tracking mechanisms flashing about.\"\n\nAnd with that, Number One banked away from the Odditorium for another pass.\n\n\"Look!\" I exclaimed as we came round the front again. \"There's another one of those eggs lodged under the balcony!\"\n\nWithout being told, Number One swooped in toward it.\n\n\"Were you able to remove the tracking mechanism?\" asked Mr. Grim, rushing out onto the balcony. Nigel and Lord Dreary followed close behind.\n\n\"Yes, sir, but there's another one flashing just below your feet!\"\n\n\"Good heavens!\" cried Lord Dreary.\n\n\"Nice work, Grubb!\" Nigel shouted, and then the wasp and I were under the balcony.\n\n\"You know what to do,\" I said, and Number One quickly went to work. This egg took some coaxing to come loose, but finally it fell and plunged into the sea, flashing one last time just beneath the surface in a brilliant circle of red.\n\n\"Another job well done,\" I said. \"Now, Number One, rise up and hover before the balcony so I can speak to Mr. Grim.\"\n\nThe wasp pulled away from the Odditorium and did as I commanded.\n\n\"The egg is gone now, sir,\" I said.\n\n\"Are there others?\" asked Mr. Grim.\n\n\"I didn't see any, sir. But I'd need another pass or two to be certain.\"\n\n\"A worthy apprentice, indeed,\" said Mr. Grim. \"Very well, then, Master Grubb: another pass or two.\"\n\n\"Yes, sir, Mr. Grim!\"\n\n\"And try not to look so pleased with yourself, will you?\" he said, smiling.\n\n\"I will, sir. I mean, I won't, sir. I mean\u2014another pass, Number One!\"\n\nAnd just like that we were off again.\n\n\"Be careful, Grubb!\" Nigel called.\n\n\"And don't forget to look for other objects!\" shouted Mr. Grim.\n\n\"I won't forget, sir!\" I shouted back, and as Mr. Grim and the others disappeared around the side of the Odditorium, I leaned forward and said, \"Would you please shine your eyes a little brighter, Number One?\"\n\nThe wasp nodded her head and her eyes grew brighter.\n\n\"Very good, Number One. Turn your head toward the Odditorium and shine your light on the outside as we pass. I should think that if we travel from top to bottom and then from bottom to top, that would allow us to cover the most ground.\"\n\nNumber One nodded and quickly turned upward.\n\n\"Go slowly, Number One,\" I said. \"Other than those Sirens' eggs, I'm not quite sure what I'm looking for.\"\n\nNumber One nodded and batted her antennae. And as we crested the battlements at the rear of the Odditorium and turned downward again, in the blue light from her eyes I noticed a Shadesman's battle-ax lodged in one of the Odditorium's massive leg joints.\n\n\"That doesn't belong there,\" I said. \"Stop here, Number One, and see if you can't remove that battle-ax.\"\n\nNumber One pulled the battle-ax loose and let it drop.\n\n\"You're very strong, Number One. I certainly could have used a friend like you back home.\"\n\nThe wasp again batted her antennae and flew on. And when we reached the bottom of the Odditorium, I commanded Number One to circle the lower gunnery. Finding nothing unusual there, we turned upward again, careful to avoid the Odditorium's large rear-exhaust vent, out of which a trail of Gwendolyn's yellow energy fizzled and popped.\n\n\"As soon as the Odditorium is charged again,\" I said, \"the blue animus will come out of here too. Mr. Grim said the Yellow Fairy dust makes it safe. The blue controls the steering mechanisms and the yellow makes the Odditorium fly. They work together to become something better. Just like you and me, right, Number One?\"\n\nThe wasp nodded her head, and we continued on with our flight pattern\u2014up and down, down and up, my eyes combing every inch of the Odditorium's exterior. I did not find anything else other than what appeared to be battle damage, and by the time Number One and I came round to the front again, I saw that Mrs. Pinch and Broom had joined the others on the balcony.\n\n\"All clear, Master Grubb?\" asked Mr. Grim.\n\n\"Yes, sir,\" I replied, hovering before him. \"I believe we're finished now.\"\n\n\"Well, it's about time,\" said Mrs. Pinch, squinting at me over the balustrade. \"And blind me if I'm going to reheat your supper. Letting this boy fly around on wasps\u2014your heads need oiling, the lot of you!\"\n\nCleona giggled.\n\n\"You heard her,\" said Mr. Grim, smiling. \"Let's clear off the balcony so Master Grubb can land Number One, after which we shall retire to the dining room\u2014\"\n\nIt was then that I heard a woman singing\u2014soft and far away at first, but at the same time loud enough to drown out Mr. Grim and the buzzing from Number One's wings.\n\nWho could be singing out here? I wondered, and as I turned in the song's direction, in the distance I saw a flowing black shape coming toward me against the stars.\n\nThe inside of my head grew heavy, and I felt a tingling behind my eyeballs. Then all at once the singing grew louder and I felt myself being pulled forward.\n\n\"The song,\" I said. \"It's\u2014it's\u2014 _beautiful_.\"\n\n\"What's wrong, Grubb?\" Nigel called out from somewhere far behind me.\n\n\"What on earth?\" said Lord Dreary. \"Do you hear that singing, Alistair?\"\n\nThe black shape drew closer, and I thought I heard myself tell Number One to fly toward it, but the voice upon my lips seemed not to be my own.\n\n\"The song,\" I said to myself. \"The song...\"\n\n\"Good heavens!\" cried Mr. Grim. \"Stop your ears! All of you! Don't\u2014listen\u2014it's\u2014it's\u2014 _beautiful_!\"\n\n\"Beautiful!\" Nigel and Lord Dreary said together.\n\nAnd then I heard Mrs. Pinch cry out in horror.\n\nWonder what all the fuss is about, I thought. No matter. Just listen to the song.\n\nYes, all that mattered now was the song, and the shape\u2014no, not a shape, but a figure. Yes, that was it! A black figure of a bird flying toward me...\"Snap out of it, Mr. Grim!\" shouted Mrs. Pinch. \"All of you, snap out of it!\"\n\n\"It's too late!\" said Cleona. \"Look!\"\n\nIs it a bird? I wondered. Or is it a woman?\n\n\"Come back, Number One!\" Mrs. Pinch called from somewhere behind me. \"Oh, where did she fly off to? I can't see her!\"\n\n\"She'll only obey Grubb!\" cried Cleona. \"Only Uncle can command her otherwise!\"\n\nYes! I thought. It's a woman! But then the woman broke apart. \"No,\" I heard myself say. \"Not just one woman, but _five_!\"\n\n\"Don't listen to them, Grubb!\" shouted Mrs. Pinch, but her voice was far away. \"Where is the boy? Can you see the boy, Cleona?\"\n\n\"They've got him, too!\" Cleona cried. \"The samurai, Mrs. Pinch! Go get the samurai!\"\n\nIn the blue light from Number One's eyes I could clearly see the women as they fanned out beside the leader\u2014five _beautiful_ women, with ivory skin and flowing black hair, flying toward me on the wings of angels.\n\n\"Angels,\" I whispered.\n\nAnd their song...they were singing the most beautiful song I'd ever heard.\n\n\"Beautiful,\" was all I could say.\n\nThe women, one of whom carried a large black barrel, were closer now. Four of them flew past me toward the Odditorium while one remained behind\u2014hovering there in midair with her arms extended only a few feet away from Number One's antennae.\n\n\"Are you an angel?\" I asked.\n\n\"Come to me, child,\" she said, beckoning, but her singing continued in my head.\n\nHow can she speak and sing at the same time? I wondered.\n\n_It doesn't matter_ , I thought.\n\n\"Come to me, child,\" the angel said again, and only then did I realize I was standing on Number One's back.\n\n\"No, Cleona, you'll die!\" cried Mrs. Pinch from somewhere, but again the voice in my head told me it didn't matter.\n\n\"That's it,\" said the angel. \"Jump, my child. Jump!\"\n\nAnd so I jumped.\n\nTime seemed to slow down, and as I floated in slow motion toward the angel, her face dissolved into a horrible mask of slimy blue scales. Her eyes glowed as red as two burning coals, and her lips parted wide to reveal a forked serpent's tongue slithering out between a pair of fangs.\n\n\"You're mine!\" the angel hissed.\n\nNo, not an angel, I realized in horror, but a monster!\n\nAnd then her claws reached out to catch me.\n\nI tried to scream, but my throat would not allow it\u2014when suddenly a blinding blue light flashed across my eyes.\n\n_\"Noooooo!\"_ Cleona cried, close beside me now, and the monster hissed and shielded her eyes.\n\n\"Cleona?\" I whispered in a daze, and then there she was, looking down at me.\n\n\"Sirens,\" Cleona said, straining to speak. \"Trying to\u2014drown you\u2014\"\n\n\"Sirens?\" I muttered, shaking my head. The singing had stopped. And I was vaguely aware of being carried\u2014yes, that was it. Cleona had caught me and was now carrying me in her arms. But then everything\u2014the stars, the sea, the Odditorium\u2014began to swirl around me in a haze. I could see that I was heading back toward the balcony, but something was happening there. A brawl of some sort.\n\nThere were samurai everywhere, and Mr. Grim stood atop his pipe organ as if he meant to jump. Mrs. Pinch uttered a strange incantation, and then Broom flew of her own accord straight for one of the Sirens.\n\nThe Siren shrieked, and Broom began beating her in midair. Mrs. Pinch pulled Mr. Grim back onto the balcony, and the two of them fell out of sight behind the pipe organ. Nigel just stood there in a daze as the samurai slashed away at the Sirens. And Lord Dreary\u2014incredibly, Lord Dreary was brawling with a samurai too.\n\n\"Unhand me!\" he shouted as the warrior wrestled him back inside the library. \"I want to go with them! I want to go!\"\n\nThe Sirens darted this way and that, screeching and batting their claws, and then one of them grabbed hold of Broom and snapped her in half.\n\nAt the same time, a samurai warrior leaped atop Mr. Grim's pipe organ and cut the Siren down. The Siren shrieked and plummeted toward the sea\u2014her great black barrel and the broken broomstick plummeting into the water after her with a splash.\n\n\"Water?\" I said, my head beginning to clear. \"What was that again about banshees and water?\"\n\n\"Cleona!\" cried Mrs. Pinch, popping her head over the balustrade. \"Come back, Cleona!\"\n\n\"Cleona?\" I muttered, trying to remember what Mr. Grim had said. But when I saw the look of sorrow in Cleona's eyes, when I saw the pain in her face and her blue light begin to dim, in a rush my senses returned to me.\n\n\"No!\" I cried. \"You're not supposed to fly over water!\"\n\nBut the tears flowing down her cheeks told me it was too late.\n\n\"I'm sorry,\" she said, her voice weak and raspy. \"I don't even have the strength to wail for you.\"\n\n\"The banshee!\" hissed one of the Sirens.\n\n\"The barrel!\" hissed another. \"Get the barrel before it sinks!\"\n\nCleona's glow began to flicker and flash. I could see the stars behind her eyes. And then the two of us were falling.\n\n\"Cleona!\" I cried again, reaching out, but my hands passed right through her!\n\nThe Sirens screeched and Mrs. Pinch cried out, but all I could see was Cleona, flickering and slipping away from me as we fell.\n\n\"Grab hold of me, Cleona!\"\n\n\"I\u2014I can't,\" she whispered, and without thinking I shouted:\n\n\"Catch us, Number One!\"\n\nWhereas time had seemed to slow down when I'd jumped toward the Siren, time now seemed to speed up. And as Cleona and I tumbled together toward the sea, she used the very last bit of her strength to solidify her hand and grab hold of my coat. But as she did so, the rest of her began to dissolve before my eyes.\n\n\"Hold on, Cleona!\" I said. \"Hold on!\"\n\nThe silver waves rushed up at us with maddening speed\u2014when finally, just as we were about to hit the water, Number One's claws clamped round my shoulders.\n\n\"Hurry, Number One!\" I said as she whisked us away. \"Throw us on your back and fly higher!\"\n\n\"It's too late,\" Cleona moaned, her face now invisible beneath her hair. But then Number One flung us over her shoulders and we landed safely between her wings.\n\n\"Cleona!\" I cried, grasping her hand. \"Come back!\"\n\n\"Grubb...\" she croaked, and then all but her hand flickered out.\n\n\"Come back! You're safe now! Number One's magic paint will protect you!\"\n\nCleona's hand flickered once inside my own, and then my fingers closed around the empty air.\n\n\"No!\" I screamed, the tears beginning to flow. \"You can't die, Cleona! You can't\u2014\"\n\nMiraculously, Cleona's hand reappeared at my side.\n\n\"Cleona!\" I cried with relief.\n\nAnd with that the rest of her began to take shape\u2014foggy and dim, but at the same time clear enough for me to see that she was sleeping with her head on my chest. I could not feel her body against my own, but I cradled her in my arms as if I could.\n\n\"That's it, Cleona,\" I said, her light growing brighter, her features more defined. \"You're safe now. We'll get you back to the Odditorium so you can\u2014\"\n\n\"Grubb!\" screamed Mrs. Pinch, but when I looked up from Cleona's sleeping face, instead of the Odditorium, I saw that we were surrounded by the Sirens.\n\nI gasped.\n\nAnd then the monsters swept Cleona and me up into their big black barrel.\n\nCome on, lad,\" the man said. \"Wake up, now.\"\n\n\"Coming, Mr. Smears,\" I said groggily, but a sinking feeling in my head told me I'd be much better off if I just stayed asleep.\n\n\"No, no, no,\" said the man, and he gently slapped my cheeks. \"Come around, now, lad.\"\n\nThe sinking feeling at once turned to orange-colored waking. I blinked open my eyes and immediately gasped in horror when I saw the face staring down at me.\n\n\"Judge Hurst!\" I cried. But as I tried to back away, my head bumped against something hard.\n\n\"That'll wake you,\" the judge chuckled. \"Unless you knock yourself out again.\"\n\nI rubbed my head and, gazing round, discovered that I was lying on the floor in a dark, windowless prison cell. The walls were black, like the Odditorium's, but the red glow streaming in through a porthole in the door told me I was someplace else.\n\nAnd then there was the man sitting next to me\u2014a man who Mr. Grim would never allow inside the Odditorium, a man who Mr. Grim suspected not only of murdering Abel Wortley, but also of being Prince Nightshade himself.\n\nI began to panic.\n\n\"Where am I?\" I cried. \"What have you done with Cleona?\"\n\n\"Cleona?\" said Judge Hurst. \"Who is Cleona?\"\n\n\"Don't pretend! I know you know where she is!\"\n\n\"I don't know what you're\u2014\"\n\n\"Cleona!\"\n\n\"Quiet, lad!\"\n\nI tried to get up, but the judge pulled me back down.\n\n\"Do you want them to come back?\" he hissed.\n\n\"Let go!\" I said, struggling. \"I know who you are! I know what you did to\u2014\"\n\nThankfully, the judge clamped his hand over my mouth before I said, _William Stout_. Yes, I thought, given his habit of hanging people, the less Judge Hurst knew about what Nigel had told me the better.\n\n\"Now, you listen to me,\" the judge said. \"I don't know any Cleona, but I do know that if you don't pipe down, those armored skeletons will come back. And believe me, lad, you don't want them to come back.\"\n\nThe judge turned his face to show me his cheek. It was badly bruised, and I could see traces of dried blood in his beard. His hair stuck out from his head in dirty gray clumps, and his clothes were soiled and ragged.\n\n\"Now,\" he said, \"if you wish to find this Cleona, you've got to keep your head. If you promise to keep your voice down, I'll let you go, all right?\"\n\nI nodded, and the judge removed his hand from my mouth.\n\n\"That's better,\" he said. \"Now, first things first. As you seem to know who I am, would you mind telling me who you are?\"\n\n\"My name is Grubb, sir,\" I said warily.\n\n\"Grubb?\"\n\n\"That's right, sir. No first or last name, just Grubb with a double _b_.\"\n\n\"Ah yes. You're the boy from the Odditorium, aren't you? The one who caused all that fuss with the handbills?\"\n\n\"Yes, sir, I'm afraid I am.\"\n\n\"I thought I recognized you when they dropped you off in here. Wish we could have met under different circumstances, but a pleasure to make your acquaintance, Mr. Grubb.\"\n\n\"Where are we, sir?\"\n\nJudge Hurst made a grand, sweeping gesture with his hand. \"Why, a castle dungeon in the clouds, of course,\" he said mockingly. \"I've been a prisoner here since yesterday. Or has it been two days? I can't seem to remember. Ever since that winged monster whisked me away from London, I've had a hard go keeping track of the time.\"\n\n\"The Black Fairy.\"\n\n\"Come again?\"\n\n\"The Black Fairy, sir. He's the one who brought you here.\"\n\n\"Fairy, did you say?\" the judge asked, and I nodded. \"Well, how about that. Not what I'd expect from a fairy. Although, he's a peach compared to those skeleton soldiers. Ill-mannered chaps, the lot of them, and certainly not ones for London Prize Ring rules.\"\n\nJudge Hurst rubbed the bruise on his cheek. If the old man really was Prince Nightshade, what would he be doing all battered up in a dungeon?\n\n\"Why did the Black Fairy take you prisoner, sir?\" I asked cautiously.\n\n\"I haven't the foggiest idea. But I must admit I was happy to see you come tumbling out of that barrel. Was afraid I'd go mad spending another night down here alone.\"\n\nIn my mind I saw myself again being surrounded by the Sirens. And although I couldn't remember anything that had happened after we were captured, I somehow knew that Cleona had gone inside the barrel with me, safe and sound.\n\nBut how could that be? I wondered. After all, there was no way Cleona could have survived over the ocean without the protection of Number One's magic paint.\n\nUnless, of course, the barrel in question was no ordinary barrel.\n\n\"Cor,\" I gasped, the light finally dawning. \"The barrel was painted black\u2014just like Number One.\"\n\n\"What's all that about the barrel, lad?\"\n\n\"Er, uh,\" I sputtered. Prince or no prince, I certainly wasn't about to tell Judge Hurst how magic paint could protect a spirit from water. \"The Sirens, sir,\" I said quickly. \"They used that barrel to capture Cleona and me.\"\n\n\"You mean to tell me those hideous women were Sirens?\"\n\n\"I'm afraid so, sir. They work for Prince Nightshade.\"\n\n\"What's next?\" said the judge, rubbing his forehead. \"Evil fairies that spit black fire, Sirens with snake faces, and skeletons who like to take cheap shots. Any other fantastical delights of which I should be aware, Mr. Grubb?\"\n\n\"I'm sure there are, sir. But begging your pardon, sir. You didn't happen to see anyone else come tumbling out of that barrel along with me?\"\n\n\"I'm afraid not, lad. The Sirens only dropped you in here.\"\n\nI frowned and looked at my shoes\u2014I needed to find Cleona.\n\n\"And who is this Cleona, anyway?\" asked the judge.\n\n\"Er, uh,\" I sputtered again, \"Cleona is my friend, sir.\"\n\n\"Another resident of the Odditorium, I assume?\" I nodded. \"Ah well, I should have known something like this would happen. That Odditorium has been nothing but trouble since the start. But rest assured, if I ever get out of this dungeon alive, Alistair Grim is going to pay dearly for what he's done.\"\n\n\"Oh please, sir, don't blame Mr. Grim. It's partly my fault we're in this mess. In fact, had I not popped down the wrong chimney and stowed away in Mr. Grim's trunk, Prince Nightshade would never have known about the Odditorium in the first place.\"\n\n\"What on earth are you talking about, lad?\"\n\nI gave the judge a brief account of my life, including how I arrived at the Odditorium and the events leading up to my capture. Of course I dodged around the bits about the animus, the doom dogs, and anything having to do with Odditoria. But still, at the end of my tale the judge eyed me suspiciously and said:\n\n\"You're not telling me the whole story, are you? Particularly, why this Nightshade character would be interested in Alistair Grim's Odditorium to begin with.\"\n\nMy heart hammered\u2014surely Judge Hurst would know if I tried to lie to him\u2014but as I fumbled for a reply, he gently placed his hand on my shoulder and smiled.\n\n\"Let us speak plain, lad,\" he said. \"Given my history with Mr. Grim and the Stout brothers, I can understand why you'd be disinclined to trust me. However, as you and I are now pickles in the same jar, I should think that we'd have a better chance of getting out of here alive if we worked together. Wouldn't you agree?\"\n\n\"Yes, sir,\" I said, but my mind was spinning. If Judge Hurst was shrewd enough to murder Abel Wortley and get away with it\u2014or even worse, if he was Prince Nightshade himself\u2014I would not be able to dodge his questions for much longer. At the same time, even if I was wrong, and the old judge was as blameless as a newborn babe, I still couldn't trust him\u2014not to mention that I was Mr. Grim's apprentice and would never reveal to _anyone_ the secrets of his Odditorium.\n\n\"Well, what do you say, Mr. Grubb?\" asked the judge. \"You have my word as a gentleman that this conversation shall remain confidential. And so I'll ask you again: why would a devil like Prince Nightshade want the Odditorium for himself? If you tell me its secrets, I might be able to bargain with him for our release.\"\n\nI was just about to explain how I'd been sworn to secrecy, when a woman's voice cried out: \"Hold your tongue, Grubb!\"\n\n\"What the\u2014?\" said the judge, gazing around. \"Did you hear that, Mr. Grubb?\"\n\n\"Yes, I did, sir,\" I said, gazing around too.\n\n\"Hello?\" the judge called. \"Is there someone here? Who said that?\"\n\n\"I did,\" said the woman. Her voice\u2014gentle but firm, and marked by a strange accent\u2014seemed to come from just outside our cell. Judge Hurst and I scrambled over to the door. The barred porthole was too high for me, but the judge peered out and said:\n\n\"There appears to be someone in the cell across the way.\" He pressed his face between the bars. \"You, there, who are you?\"\n\n\"Someone who knows better than to talk to judges.\"\n\n\"I beg your pardon!\" Judge Hurst exclaimed. \"What kind of talk is that?\"\n\n\"Take care in whom you confide, Grubb,\" the woman said, ignoring him. \"Your secrets are your only advantage here.\"\n\nJudge Hurst gasped. \"Do you mean to tell me that you've been listening to our entire conversation?\"\n\n\"Your secrets are your only advantage, Grubb,\" the woman repeated.\n\nI stretched up onto my tippy-toes in an attempt to see out the porthole, but Judge Hurst elbowed me away from the door.\n\n\"Now see here, woman,\" he said. \"I don't know who you are, but I assure you that I have nothing but this boy's best interests in mind.\"\n\n\"The Black Fairy was wise to take you hostage, eh, Judge?\" the woman said. \"A man like yourself who knows the Odditorium inside and out. Isn't that what you told him?\"\n\nMy mouth dropped open in shock.\n\n\"What the\u2014?\" said Judge Hurst. \"How did you hear that?\"\n\n\"I also heard you bargaining with the prince,\" the woman said. \"Heard you offer to help him find Alistair Grim in exchange for your life.\"\n\n\"What?\" I exclaimed.\n\n\"Hold your tongue, woman!\" the judge shouted, kicking the door. \"You heard nothing of the sort!\"\n\n\"You said you'd help destroy the Odditorium. Said you'd been inside and knew its secrets.\"\n\n\"That's a lie!\" I cried, backing away. \"Mr. Grim would never allow Judge Hurst inside the Odditorium!\"\n\nThe judge whirled from the door. \"You keep your mouth shut! You hear me, boy? Keep it shut!\"\n\n\"You lied!\" I shouted. \"You knew all along why the Black Fairy took you here. He thought you belonged with us at the Odditorium!\"\n\n\"I told you the truth! I had no idea why\u2014\"\n\n\"The best liars mix the truth with fiction,\" the woman called from across the passageway. \"It'll serve you well to remember that, Grubb.\"\n\n\"Shut your trap!\" the judge screamed through the porthole.\n\n\"That's why you wanted me to be quiet,\" I cried. \"You were afraid I'd blow your cover!\"\n\nAnd with that the judge came for me, screaming at the top of his lungs and flailing his hands in the air. He knocked me down to the ground, straddled my belly, and was about to pummel me, but then the door swung open and a pair of Shadesmen rushed into the cell.\n\n\"Let go of me!\" the judge cried, struggling, and the Shadesmen pulled him off me. \"Tell them I'm Alistair Grim's friend! Tell them I've been inside the Odditorium!\"\n\nMy mouth froze in terror, my heart in my throat.\n\n\"Tell them, Grubb!\" the judge screamed as the Shadesmen dragged him out. \"Tell them I've been inside! Tell them I've been inside!\"\n\nThe Shadesmen slammed the cell door and locked me in, the judge's screams trailing off as they dragged him down the passageway.\n\nI ran to the door and listened. But then the slam from another door echoed loudly through the dungeon, then all was silent.\n\n\"Do not feel sad, Grubb,\" the woman said after a moment. \"He would have betrayed you in the end. It'll do your conscience well to remember that.\"\n\nI grabbed hold of the porthole's iron bars and pulled myself up. The porthole to the cell across the passageway was dark, but still I could make out the woman's eyes staring back at me. They were almond-shaped and sparkled with an almost feline intelligence.\n\n\"Your strength is impressive,\" the woman said. \"Being a chimney sweep has made you stronger than you realize. Both inside and out.\"\n\n\"Who are you?\"\n\n\"My name is Kiyoko, and I am a prisoner here like you.\"\n\n\"Do you know what's going to happen now to Judge Hurst?\"\n\n\"I suspect the prince will keep him alive until the banshee's animus is extracted.\"\n\n\"You know about Cleona?\" I asked, and Kiyoko nodded. \"Where is she?\"\n\n\"She is resting in another part of the castle. Doing fine, from what I gather.\"\n\n\"What about Mr. Grim and the others?\"\n\n\"They were not brought here, but the banshee was very weak when she arrived. And so the prince must wait until she regains her strength before he can extract her animus. Do you know why he wants her animus, Grubb?\"\n\n\"The prince wants to make purple-eyed Shadesmen. His army is limited right now to the ancient legions he's brought back from the dead with the Eye of Mars. But with the animus, he'll be able to mix it with the Eye's red energy to make as many purple-eyed Shadesmen as he desires. Red and blue make purple.\"\n\n\"This Mr. Grim has taught you well. I should like to meet him someday. If we ever get out of this dungeon alive.\"\n\n\"How did you get here?\"\n\n\"The prince captured me the same as the others.\"\n\n\"Others?\"\n\n\"The magical beings that serve him. Some, like the Black Fairy and the Sirens, do so willingly. While others, well...even the unwilling are forced to serve him in the end.\"\n\n\"Then are you a magical being, too, Miss Kiyoko?\"\n\n\"No, I am human like you, Grubb, but a fierce warrior. The prince brought me here to help him capture a spirit, but I refused. The prince needs animus from a spirit that is pure and uncorrupted by its own selfish intentions.\"\n\n\"A banshee\u2014Cleona!\"\n\n\"Yes. Banshees exist only to serve those to whom they are attached. Fortunately, the prince has been unsuccessful in capturing one\u2014that is, until he found Cleona.\"\n\n\"We've got to rescue her!\"\n\n\"I agree, Grubb. Now that Prince Nightshade has acquired a source for his animus, he won't have much use for you and me anymore.\"\n\n\"But how shall we escape?\"\n\n\"I've been thinking about that for ages. The prince's fortress is impenetrable. The keys to the dungeon are kept in a room at the end of this passageway, but we have no way of fetching them.\"\n\nSuddenly I felt a rumbling in my chummy coat.\n\n\"Mack!\" I cried, and dropped to the floor.\n\n\"Mack? What is Mack?\"\n\n\"Mr. Grim's pocket watch,\" I said, fishing him from my coat\u2014when a bolt of terror shot through my body. If I opened him, Mack's animus, unprotected by Mr. Grim's magic paint, would surely summon the doom dogs.\n\n\"Hang on,\" I said, scanning the prison cell walls. They were painted black like the Odditorium's. Of course! If the prince planned on using the animus\u2014and if, as Nigel said, the doom dogs work on their own and show allegiance to no one\u2014then Nightshade would need to protect himself just like Mr. Grim.\n\n\"Is everything all right over there, Grubb?\" Kiyoko called from her cell.\n\n\"Yes, miss,\" I said, and I took a deep breath and opened Mack.\n\n\"What time is it?\" he cried.\n\n\"We need your help, Mack.\"\n\n\"What the\u2014?\" Mack said, spinning around in my hand. \"Where are we, Grubb? This doesn't look like the Odditorium to me.\"\n\n\"We've been captured by Prince Nightshade. We're in his dungeon.\"\n\n\"Prince Nightshade?\"\n\n\"There's no time to explain. We need you to get us out of here!\"\n\n\"We? Who's we?\"\n\n\"I've made a new friend in another cell. My plan is to slip you under the door so you can sneak down the passageway outside, fetch the keys, and set us free.\"\n\n\"Keys?\" Mack said, chuckling. \"Ya silly bam. Who needs keys when you've got ol' McClintock?\"\n\n\"What do you mean?\"\n\n\"Hold me closer to that keyhole, will ya, laddie?\" I did as he requested. \"A little more to the left and\u2014ah yes, that's it. Just as I suspected.\"\n\nAnd with that Mack shot a bolt of animus from his eyes into the keyhole.\n\nThe door unlocked at once.\n\n\"You did it, Mack!\" I whispered\u2014but then I saw his eyes had gone dark. \"Mack,\" I said, tapping his XII, and he immediately crackled to life again.\n\n\"What the _buh duh-buh_ ,\" he moaned in a daze, his eyes fading in and out.\n\n\"Are you all right, Mack? You opened the door but then fizzled out again.\"\n\nMack wobbled his case and shook himself until his eyes glowed normally again.\n\n\"Ach,\" he said. \"I forgot how much shootin' me animus knocks me for a loop.\"\n\n\"Do you think you've got one more in you?\"\n\n\"Of course, laddie! I didn't get to be the chief of the Chronometrical Clan McClintock because of me looks!\"\n\n\"All right, then,\" I said, cracking open the door. \"But we've got to be quiet. When I hold you to the lock, you'll know what to do?\"\n\nMack wobbled his case to say yes, and I slipped my head outside. Checking both ways down the dimly lit corridor, I spied a red burning sconce at each end, as well as more cells running along the sides of the passage.\n\n\"There's no one left down here except you and me,\" Kiyoko said. \"Hurry, Grubb, before the guards return.\"\n\nI tiptoed across the passageway and positioned Mack in front of Kiyoko's keyhole, whereupon he shot another bolt of animus from his eyes. The door unlocked and Mack's eyes went dark\u2014when without warning Kiyoko burst forth from her cell.\n\nIn a streak of rushing black, she darted around behind me and clamped her hands over my mouth. I tried to scream, but Kiyoko dragged me backward into my cell, threw me to the floor, and quietly shut us inside.\n\nScrambling to my feet, I discovered a beautiful young woman listening intently by the door. She was dressed in a short black robe cinched at the waist and a pair of black trousers tucked into tight-fitting boots. Her hair was black, too, and rested in a thick braid upon her shoulder.\n\n\"Kiyoko?\"\n\n\"Quiet, Grubb,\" she whispered, her finger to her mouth, and I noticed that her hands and ankles were in irons. \"The guards are returning.\"\n\n\"But I don't hear\u2014\"\n\n\"The watch,\" Kiyoko said, shuffling toward me with her hands outstretched. \"Use the watch again to unlock these shackles.\"\n\nI hesitated.\n\n\"Do it!\" she commanded, and I immediately tapped Mack on his XII.\n\n_\"Duh buh,\"_ Mack said groggily. But when he caught sight of Kiyoko, his senses quickly returned and he said, \"Well, well, who might you be, lassie?\"\n\n\"This is Kiyoko,\" I said. \"My friend from the other cell. She needs you to free her from her shackles.\"\n\n\"Say no more, laddie.\"\n\nMack shot a bolt of animus into Kiyoko's shackles, and they instantly dropped to the floor. I squatted down at her feet and tapped Mack awake again, and he shot another of his bolts into Kiyoko's leg irons.\n\n\"That's some watch,\" Kiyoko said, eyeing Mack warily. \"Is he all right?\"\n\n\"Yes and no, miss. Mack runs on the animus. He fizzles out from time to time, but the upside is he never needs to be recharged. Even Mr. Grim can't figure out why.\"\n\nA door clanged loudly from somewhere outside.\n\n\"Thank you,\" Kiyoko whispered. \"Now turn around and face the wall, Grubb.\"\n\n\"The wall, miss?\"\n\n\"Trust me; it's better if you don't see this.\"\n\nI was about to protest, but Kiyoko motioned with her finger for me to turn around. I returned Mack to my pocket and faced the wall.\n\n\"Help!\" Kiyoko called out through the cell's porthole. \"I can't take it anymore! I want out, do you hear? Out, out!\"\n\nA moment later the Shadesmen were coming, the sound of their clanging armor growing louder as they approached from the passageway outside. The cell door opened and the Shadesmen entered, and Kiyoko let out a piercing cry of _\"EEEEYYAA!\"_\n\nStartled, I shut my eyes as the scuffle broke out behind me\u2014the clash of swords and the clanging of armor echoing through the chamber in a frenzied wall of sound. Then I heard a grunt and a growl and a loud _swish-clang-ping!_ And all was quiet again.\n\n\"You may face me now, Grubb,\" Kiyoko said.\n\nI turned around to find her with a sword in one hand and a Shadesman's helmeted skull in the other\u2014its eyes blinking red, its jaw flapping open and shut as if silently jabbering. The rest of him and his companion lay in armor-clad pieces on the floor, the whole lot of them squirming about like a cluster of lively maggots.\n\nMy mouth fell open in amazement.\n\n\"Snap out of it, Grubb,\" Kiyoko said.\n\n\"But how did you\u2014?\"\n\n\"First things first,\" Kiyoko said, handing me the sword. She picked up the other Shadesman's head and moved to the door. The skulls stared back at me with their blinking red eyes and jabbering jaws\u2014when suddenly I felt something grab my ankle.\n\nA Shadesman's severed hand, arm and all, had crawled across the floor and latched on to me.\n\nGasping in terror, I kicked it away. I could hardly believe my eyes. The Shadesmen's body parts were beginning to join back together.\n\n\"Even I cannot destroy the armies of Romulus and Remus,\" Kiyoko said as she hopped over the scattered body parts. \"However, if we keep their bodies out of sight of their heads, they'll have a harder time regenerating.\"\n\nKiyoko dashed across to her cell, tossed the Shadesmen's heads inside, and closed the door. Then she took back her sword and motioned for me to follow.\n\n\"Are you coming?\" she asked with a smile.\n\nAnd without a word more the two of us fled from the dungeon.\n\nWhat is it?\" I asked.\n\nKiyoko motioned for me to be quiet and pressed her ear against the large iron door. By my count, this was the sixth iron door at which she had pressed her ear since we escaped the dungeon. Usually she listened only for a moment and then either entered or moved on. However, it was clear from her expression that this particular door had caught her interest.\n\n\"Is Cleona in there?\" I whispered.\n\n\"No,\" Kiyoko said. \"She is in the tower with the great machine.\"\n\n\"The great machine?\"\n\n\"The one they will use to extract her animus.\"\n\n\"We've got to hurry!\" I said, and Kiyoko again motioned for me to be silent.\n\nI was growing impatient. We'd been traveling for quite some time\u2014ever upward through a maze of narrow, red-lit passages that always ended in a flight of stairs or a door like this one. Many times we heard the clanging of armor echoing in the distance. And on one occasion, Kiyoko and I ducked into a small chamber just in time to avoid a regiment of Shadesmen marching past us.\n\nThat had been at least ten minutes ago. And since then we hadn't heard anything except our own footsteps and the moan of the wind through the passageways.\n\n\"Yes,\" Kiyoko said, running her hand along the door frame. \"The wind is stronger here. On the other side of this door we shall find the Great Hall, at the end of which is the armory. I will need to stop there first and find my sword.\"\n\n\"But you already have the sword you took from the Shadesmen.\"\n\nKiyoko looked down at her blade and then narrowed her eyes at me.\n\n\"You call this clumsy piece of metal a sword?\" she said. \"When we get to the armory, I'll show you a real sword. I might even teach you how to use it someday. That is, if we ever get out of this castle alive.\"\n\nWithout a sound, Kiyoko opened the door just far enough for us to squeeze through into the Great Hall.\n\nThe cavernous black chamber was long and narrow, with great stone pillars that stretched up the walls and across the arched roof like a giant rib cage. High above us, shafts of red light cut downward through the gloom, and the massive hearth at the center of the hall blazed with a roaring red fire.\n\n_I'll wager all that red light is from the prince's Eye of Mars,_ I said to myself. _I'll also wager there are other Odditoria around here too\u2014Odditoria from which the prince harnesses power just as Mr. Grim does._\n\nGazing around, I discovered that we had entered the Great Hall through one of its many side doors. At one end of the chamber, a pair of wooden gates stood almost as tall as the ceiling itself; at the other end was a high, stepped dais, on top of which sat a great black throne. The prince's throne, I knew at once, and I shivered.\n\n\"We haven't much time, Grubb,\" Kiyoko said, moving quickly. \"When the banshee's strength returns, the prince will begin to extract her animus.\"\n\n\"How do you know you're going the right way?\" I asked, following closely.\n\n\"I have been a prisoner here for some time now. I studied the layout of the castle outside during the tournaments.\"\n\n\"Tournaments, miss?\"\n\n\"Yes, Grubb. There were once others from my clan here\u2014powerful warriors like me who refused to help the prince. And so he made us fight his minions.\"\n\n\"His minions, miss?\"\n\n\"The evil creatures that have joined forces with him here in his castle.\"\n\nI swallowed hard upon the recollection of Mr. Grim's notebook\u2014the trolls, the dragons, the goblins\u2014and followed Kiyoko to a door at the far corner of the hall. Kiyoko listened for a moment, and then, without a word, the two of us slipped inside.\n\nWhat I saw took my breath away.\n\nThe armory was packed from floor to ceiling with every sort of weapon imaginable. Racks of swords and spears and battle-axes stood in the center of the room, while stacks of helmets and shields and other bits of armor rose up in great piles against the walls.\n\nKiyoko and I immediately began zigzagging our way through a maze of even more weapons\u2014crossbows and long bows and maces and flails\u2014as well as high stacks of crates labeled with words and symbols I did not understand.\n\n\"Where are you, Ikari?\" Kiyoko whispered, darting this way and that.\n\n\"Who are you talking to, miss?\"\n\n\"My sword. The prince stole Ikari from me when he captured my clan. She is in here somewhere. I can feel it.\"\n\nI was growing impatient. We needed to find Cleona, and here we were looking for a scraper in a mound of soot.\n\n\"Begging your pardon, miss,\" I said, \"but what's so special about this sword? I should think you could have your pick of the litter in this place.\"\n\n\"A shinobi warrior trains with one sword her entire life, and so Ikari is an extension of my spirit.\"\n\n\"Shinobi, did you say?\"\n\n\"Some call us ninja, but names mean nothing in combat. My people are known as the fiercest warriors in Japan.\"\n\n\"The same Japan from where the samurai hail?\"\n\nKiyoko stopped and turned to me. \"How does a chimney sweep know about samurai?\" she asked suspiciously.\n\n\"Mr. Grim uses them to guard the Odditorium. Their armor is powered by the animus.\"\n\nKiyoko nodded approvingly. \"I would indeed like to meet this Mr. Grim.\"\n\n\"Mr. Grim says the samurai are the fiercest warriors in the world, but I'm certain he'd change his mind if he met you. Which makes me wonder, how on earth did the prince manage to capture you, miss?\"\n\n\"The prince and the Black Fairy surprised my clan in our secret mountain fortress. We were no match for their magic. The Red Dragons, you see, led them straight to us.\"\n\n\"Red Dragons?\"\n\n\"A clan of winged serpents that have allied themselves with the prince. They were men once, long ago, but so evil that the ancient gods saw fit to turn them into half-human, half-demon monsters. They have plagued the shinobi for centuries, but we have had our revenge on them in the tournaments.\"\n\n\"You mean, the prince made you fight these dragons?\"\n\n\"Dragons and other monsters. I am the last of my clan to survive. There are many such beasts in this castle, but I have no intention of introducing you to them.\"\n\n\"That's fine by me, miss.\"\n\nKiyoko gazed round the room with her hands on her hips. I followed suit, and through a tiny space in a stand of long rifles, I spied a rack of swords in the next aisle.\n\n\"Mr. Grim's samurai use swords like those,\" I said, pointing. \"Perhaps yours is among them.\"\n\nKiyoko dropped her Shadesman's sword and, in a flash, leaped over the rifles and landed on the other side. Dashing after her, I joined Kiyoko just as she was unsheathing a sword from its scabbard. It was much plainer than all the other swords nearby\u2014and for a moment I thought the shinobi would go on searching\u2014but then she closed her eyes, dropped to her knees, and cradled the sword to her breast.\n\n\"Avenge me, Ikari,\" Kiyoko whispered, and then quickly sheathed the sword and tied the scabbard to her back. \"You are full of surprises, Grubb. If not for you, I might never have found Ikari.\"\n\n\"Your sword, it isn't much to look at when compared to the fancier swords here. But Mr. Grim says the most powerful Odditoria are usually those things that, on the surface at least, appear ordinary.\"\n\n\"You are wise beyond your years, Grubb,\" Kiyoko said, rising. \"And so I shall be forever in your debt for helping me find Ikari.\"\n\nKiyoko bowed her head in gratitude, and I felt my cheeks go hot. Then she began removing other objects from the rack\u2014black darts and knives and spikes and strange-looking star-shaped disks that she inserted into hidden sleeves throughout her garment.\n\n\"Begging your pardon, miss,\" I said. \"But are Ikari and all those other weapons magical?\"\n\n\"No,\" Kiyoko said as she slipped on a pair of black open-fingered gloves. \"But in the hands of a shinobi, such weapons are the next best thing.\"\n\nFrom inside her robe, Kiyoko produced a black stocking and slipped it over her head. Then she donned her hood and tied it off under her chin. She was now covered completely from head to toe in black, save for a narrow opening through which her piercing eyes gleamed back at me.\n\n\"How do I look?\" she asked.\n\n\"I wouldn't want to fight you, that's for certain. Which reminds me, miss: shouldn't I have a sword too?\"\n\n\"Have you ever used one?\"\n\n\"I'm afraid not, miss.\"\n\n\"Then the answer is no.\"\n\n\"But miss, what if we run into more of Nightshade's minions?\"\n\n\"Then you stay close to me or keep running. You'll know what to do when it's time. Either way, you'll fare better by using your wits instead of a sword.\"\n\n\"Yes, but\u2014\"\n\n\"The first weapon a shinobi learns to use is the mind,\" Kiyoko said with a hand on my shoulder. \"Master that first, Grubb, and you have my word that someday I'll teach you how to use a sword.\"\n\nKiyoko winked, and despite my disappointment, I smiled back.\n\nAnd with that we were off, the two of us dashing back through the maze of weapons the way we had come. Upon reaching the armory door, Kiyoko cracked it open ever so slightly and listened.\n\n\"There is movement,\" she said after a moment. \"Breathing in the castle's old receiving chamber just outside the Great Hall gates.\"\n\n\"But that's on the other side of the hall, miss,\" I said, listening too. \"How could you possibly hear anything that far away?\"\n\n\"The second weapon a shinobi learns to use is the senses,\" Kiyoko said, her eyes smiling, and then we slipped through the door and dashed across the Great Hall to its tall wooden gates.\n\n\"Breathing, yes,\" Kiyoko whispered with her ear upon the gates. \"They're still sleeping, but we'll have to be quiet as mice to make it past them.\"\n\n\"Who are you talking about, miss?\"\n\n\"The Red Dragons,\" Kiyoko said, and I gasped. \"Remember, stay close, Grubb. But if you feel the need to run, then by all means do so and don't look back.\"\n\nKiyoko cracked open the gates, reached back over her shoulder and gripped her sword, and slipped into the next room. She just stood there listening for a moment and then motioned for me to follow. With my heart hammering, I obeyed.\n\nThe receiving chamber was not nearly as large as the Great Hall, but just as high. And in the red light from the ceiling grates, I could see the sleeping dragons hanging by their tails from the rafters\u2014their scaly wings wrapped tightly around their bodies, giving them the appearance of a cluster of crimson caterpillar cocoons.\n\nWithout a sound, Kiyoko headed for the doors at the far end of the chamber. I followed close behind, shadowing her every step\u2014when suddenly I felt a rumbling in my chummy coat.\n\n\"Not now, Mack!\" I whispered.\n\n_\"Ssh!\"_ Kiyoko said with a finger to her lips, but Mack would not cease shaking. Indeed, he was shaking so violently that I thought at any moment he might leap from my coat and fall on the floor.\n\nWithout thinking, I quickly snatched him from my pocket and tapped him on his XII before he had time to speak. Sighing with relief, I was about to slip him back inside my coat when, much to my surprise, Mack began to shake again!\n\n\"No!\" I cried, bobbling him between my hands.\n\nMack tumbled to the floor with a loud, echoing _clack!_\n\n\"What time is it?\" he cried as his case sprang open.\n\nI scooped him up immediately, tapped him on his XII, and thrust him back inside my pocket. The receiving chamber was painted black like the rest of Nightshade's castle, so I wasn't worried about the doom dogs. However, when I saw the look in Kiyoko's eyes as she gazed up at the rafters, I knew that something just as terrifying was about to come for us.\n\n\"The doors!\" Kiyoko cried, unsheathing Ikari. \"Run for the doors!\"\n\nBut I just stood there gazing upward, my legs frozen in terror, as one of the dragons unfurled its monstrous wings to reveal a hideous serpent's snout and pair of glowing red eyes.\n\n\"Shinobi!\" the dragon hissed. The creature arched its long neck and growled, and then the other dragons spread open their wings and began growling too\u2014their forked tongues lashing out like whips from between their sharp teeth.\n\n\"Run, Grubb!\" Kiyoko shouted, and thankfully this time my legs obeyed.\n\nThe dragons took flight from the rafters. And as I ran for the door, the chamber became a bedlam of howling and rushing wind from the creatures' wings. Certain that one of the dragons would swoop down upon me at any moment, I glanced over my shoulder just in time to see Kiyoko jump up into the air.\n\n_\"EEEEYYAAA!\"_ she cried, her sword flashing like lightning, and two of the dragons exploded in a burst of blinding red light, their bodies instantly vaporized.\n\nKiyoko flipped over and landed on her feet, but immediately another dragon was upon her. She slashed at it with Ikari, but the creature dodged her and, with a swipe of its great tail, sent her flying across the room.\n\n\"Kiyoko!\" I cried, and she scrambled to her feet.\n\n\"Run, Grubb! I can handle them!\"\n\nI whirled around. The doors were only a few yards away from me now\u2014yes, I was almost there\u2014but then a dragon landed in front of me and blocked my path.\n\nThe monster hissed and gnashed its teeth, and it was then that I got my first good look at the beast. True to Kiyoko's tale, the Red Dragons retained some of their human characteristics. They had the upper body of a man and two muscular arms, at the ends of which was a pair of three-toed talons that the creatures used to drag along their fronded serpent's tails.\n\n\"Where do you think you're going?\" the dragon hissed.\n\nI spun on my heels and made to run in the other direction, but another dragon swooped down and blocked my path too. It swiped at me with its talons, missing my face by inches, and then Kiyoko leaped between us.\n\n_\"EEEEYYAA!\"_ she cried, and before the two dragons even realized she was there, the shinobi vaporized them in a whirl of flashing steel.\n\n\"Thank you, miss!\" I said.\n\nKiyoko's eyes met mine for an instant, when another dragon swooped down from the rafters and tackled her.\n\nIn one moment I saw Ikari go skidding across the floor; in the next, I saw the dragon wrap its tail around Kiyoko's neck\u2014her legs kicking helplessly as the creature lifted her into the air.\n\n\"No!\" I cried, and before I could think twice about it, I picked up Kiyoko's sword and buried the blade deep within the dragon's side.\n\nThe creature yelped in pain and swiped at me with its talons, but I jumped back, and the monster caught the side of my coat, shredding it to bits. The dragon swiped at me again, but this time I dove forward, slicing Kiyoko's sword entirely by accident along the monster's foreleg as I tumbled past.\n\nThe Red Dragon flung Kiyoko across the room like a rag doll and made to charge me\u2014when I felt the fiery hot breath of another dragon swooping down and snatching me up in its talons.\n\nFor a brief moment I could see Kiyoko scrambling on the floor below. But then the dragon knocked Ikari from my hand, tossed me up toward the rafters, and, catching me by the collar, spun me around to face its snarling muzzle.\n\n_\"Bottoms up!\"_ the dragon growled, its forked serpent's tongue lashing at my face. There was something familiar in its expression\u2014relishing and cruel, like how Mr. Smears often looked when he knocked me down. I cried out in horror, but just as the dragon opened its jaws to eat me, Ikari sailed through the air and pierced the creature's head.\n\nThe dragon exploded instantly in a burst of brilliant red light.\n\nAnd then I was falling.\n\nI closed my eyes, bracing myself for the impact on the hard stone floor. But just before I hit, Kiyoko caught me in her arms.\n\n\"Thank you again, miss,\" I said, sighing with relief However, as Kiyoko set me down, I spied the dragon I'd wounded opening the gates to the Great Hall. I could also see a blue light flashing between its talons.\n\n\"Look!\" I cried. \"The dragon's escaping!\"\n\nKiyoko snatched up Ikari from the floor and hurled it across the room. But the dragon was already too far gone, and just as the monster slipped inside the Great Hall, Kiyoko's sword buried itself in the wooden gates behind it.\n\n\"Come on!\" I said. \"We can't let it get away!\"\n\n\"There's no time. We're already too late.\"\n\n\"What do you mean?\"\n\nKiyoko pointed at my chummy coat. One of my pockets had been completely torn away. Instinctively I reached inside the other, but when I found it empty, I knew at once what had happened.\n\nThe blue light I'd seen flashing in the dragon's talons\u2014the monster had somehow snatched Mack from my pocket!\n\n\"Mack!\" I cried.\n\n\"It's no use, Grubb. The dragon must have stolen him during the battle.\"\n\nKiyoko freed her sword from the gate and slipped it back inside the scabbard on her back.\n\n\"But we've got to find him!\" I cried.\n\n\"The Black Fairy will be here any minute. There is only one chance for us now, but you have to trust me.\"\n\nMy head was spinning\u2014Cleona, Mack\u2014what was I going to do?\n\n\"Grubb!\" Kiyoko hissed. \"It's now or never!\"\n\nAnd then Kiyoko and I were running for the doors.\n\nAs we slipped out into the castle's inner yard, I spied the outline of a tall tower against the early morning sky. Cleona was in there. I just knew it. But instead of heading for the tower, Kiyoko made a beeline for a large, red-lit archway at the opposite side of the yard.\n\n\"But Cleona is over there!\" I cried.\n\n\"There's no time to explain!\"\n\nI followed Kiyoko through the archway and gasped when I realized where she'd led me. We were in the prince's stables, and there in the stalls were the massive, red-eyed steeds that had drawn the prince's chariot when he attacked the Odditorium.\n\n\"What are you doing?\" I asked. \"These are the prince's horses!\"\n\n\"Would you rather ride one of those skeleton steeds instead?\"\n\nKiyoko snatched a bridle from its hook and leaped up onto one of the stalls. The horse inside whinnied and shot smoke from its nostrils. There were four horses in all, each with its name emblazoned above its stall. The steed Kiyoko had chosen was called Phantom.\n\n\"You're going to steal one of the prince's horses?\" I asked in amazement.\n\nIgnoring me, Kiyoko jumped onto Phantom's back. The beast reared and shot fire from his mouth. I ducked for cover behind a post, but Kiyoko remained calm and quickly slipped the bridle onto the horse's great black head.\n\n\"There, there, Phantom,\" Kiyoko said soothingly. \"You remember me, don't you? We've ridden together many times in the tournaments.\"\n\nAnd with that the horse settled down.\n\n\"But what about Cleona and Mack?\" I asked. \"Shouldn't we find them first?\"\n\n\"My fighting skills are useless against the Black Fairy,\" Kiyoko said. She drew Ikari and with it deftly unlatched the door to Phantom's stall. \"We need to flee before he comes after us.\"\n\nPhantom reared up on his hind legs and shot fire from his mouth. The door to his stall flew open, and the steed quickly trotted out under Kiyoko's command.\n\n\"You mean you intend to leave without Mack and Cleona?\"\n\n\"We have no choice, Grubb.\"\n\n\"No!\" I cried, backing away.\n\n\"Mack is powered by the animus, is he not?\"\n\n\"Yes, but\u2014\"\n\n\"And you said he does not need to be recharged?\"\n\n\"Yes, but\u2014no, I\u2014\"\n\n\"Don't you see, Grubb?\" Kiyoko said, trotting toward me. \"Now that Nightshade has the pocket watch, he has his source of animus. He won't need Cleona anymore to make his army of purple-eyed Shadesmen.\"\n\n\"But I can't leave Mack and Cleona behind!\"\n\n\"Climb up, Grubb,\" Kiyoko said, holding out her hand. \"If we don't leave now, the prince will kill us both!\"\n\n\"No!\" I cried. I ran for the stable door. Cleona! I had to rescue Cleona! But as soon as I stepped out into the yard, I spied a pair of empty white eyes staring down at me in the dark.\n\n\"The Black Fairy!\" I gasped, stopping dead in my tracks, and then there appeared the jagged, black-and-white crescent of the demon's smile.\n\n\"Run, Grubb!\" Kiyoko called from somewhere behind me, but my legs would not budge. And as the Black Fairy stood up to his full height and spread his wings, I lost all sight of the tower's silhouette behind him.\n\n_\"Shinobi!\"_ the Black Fairy hissed, turning his eyes toward the stables, and then he arched back his head in preparation to spit.\n\n\"Leave her alone!\" I cried. And I ran straight for him.\n\n\"No, Grubb!\" Kiyoko screamed, but I was already swinging for the Black Fairy's legs. My knuckles exploded with pain as if I'd punched an oak tree, but the Black Fairy only laughed and swatted me away like a beetle, sending me tumbling head over heels in the dirt until I came to a stop on my bottom.\n\nSuddenly Kiyoko shot out of the stables and galloped past him.\n\nThe Black Fairy screeched and spit his black fire, striking the ground and causing a spray of rubble only inches from Phantom's forelegs. The great steed reared and whinnied, but Kiyoko quickly gained control of him and sped off across the courtyard in the opposite direction.\n\nNow the Shadesmen were coming\u2014their armor clanging, their glowing red eyes bobbing to and fro in the shadows as they poured out of the barracks.\n\nI scrambled to my feet, searching for Kiyoko amidst the gloom, and caught sight of her galloping away on the far side of the yard.\n\nThe Black Fairy arched his head back and spit another bolt of black fire straight for her\u2014but at the last moment Phantom flew up into the air and carried Kiyoko over the castle walls. I saw them outlined briefly against the early morning sky, and then the Black Fairy's fire slammed into the battlements in an explosion of smoke and stone.\n\n\"No!\" I cried\u2014but as the dust quickly began to settle, Kiyoko and Phantom were nowhere to be found.\n\nDid they make it over the wall in time? I wondered in horror.\n\nThe Black Fairy arched back his head, spread his wings, and screeched up at the sky in frustration. Then he whirled his empty eyes on me and bared his teeth.\n\n_\"Take him to the prince!\"_ he hissed. _\"The shinobi is mine!\"_\n\nAnd with that the Black Fairy took flight and disappeared over the castle walls.\n\n\"Fly, Phantom!\" I screamed. \"Carry Kiyoko away as fast as you can!\"\n\nBut then a host of bony hands clamped down upon me, and I was dragged away kicking and screaming, amidst a sea of glowing red eyes.\n\nFor a long time afterward I was made to kneel before the prince's throne with my nose pressed against the Great Hall's cold stone floor. If I dared so much as breathe, it seemed, the Shadesmen would poke me in the ribs with their ax handles and growl at me to stay down.\n\nBut that didn't stop me from hearing.\n\nThe first thing that caught my attention was the distant toll of a church bell, followed by the sounds of the castle coming to life outside. Doors slammed and footsteps echoed all around. There was a swelling sense of everything drawing closer, and then all at once the Great Hall was filled with the din of an angry mob.\n\nHooting and jeering came at me from every direction, along with grunts and growls and words I didn't understand. The chamber took on a putrid stench of livestock and rotting trash, making me sick to my stomach. I raised my head, seeking relief. There was no poke from the Shadesmen this time, and as I gazed about the Great Hall, I understood why.\n\nI was surrounded by a horde of horrible monsters, all of them pushing and shoving to get a look at me. The Shadesmen had formed a line to keep them at bay, but through their ranks I spied a group of short, fat creatures scuffling for position at the fore. I recognized their enormous heads and wide slobbering lips from the drawings in Mr. Grim's notebook. Trolls. And upon their shoulders? Dozens of green, yellow-eyed fiends with toadlike mouths and snapping tongues. I recognized them, too. Goblins.\n\nThe sickness in my stomach was promptly replaced with ice-cold terror. Scores of other creatures had gathered around me too, but before I could take them all in, I was startled by the loud clang of an iron door. The crowd fell silent, and a dozen more of the troll creatures spilled out onto the dais. Each carried a large, animal skin\u2013covered drum, and as they lined up on either side of the throne, they began a slow, steady beat like a death march.\n\nThe drums echoed low and ominous throughout the chamber, and whereas before the only fear I had felt in the Great Hall had been my own, I became aware of a growing apprehension amongst the crowd.\n\nA loud cranking began overhead, and I gazed upward to find one of the massive iron grates sliding open in the ceiling. The entire hall seemed to grow darker, the air thick with fear, and then a black-armored figure in a billowy black cape emerged from between the rafters.\n\nMy whole body froze in terror. It was Prince Nightshade.\n\nLike an enormous spider on an invisible thread, the prince descended slowly from above. And when his boots lighted on the dais, the trolls stopped their drumming, and a pair of goblin attendants caught the corners of his cape. The Great Hall was deathly silent, the fear pounding in my ears as Prince Nightshade's burning red eyes stared down at me from beneath his spike-crowned helmet.\n\n\"Welcome,\" said the prince, sitting down on his throne. The red gash that was his mouth broke apart in jagged strands as he spoke, and his voice was deep, at once both near and far away as it echoed forth from the empty black pit of his face.\n\n\"You may rise, young Grubb,\" said the prince\u2014but I was too frightened to move. \"Go ahead, lad. You have nothing to fear. _Yet._ \"\n\nThe monsters snickered and snarled behind me.\n\nSlowly\u2014knees aching, my legs like jelly\u2014I rose to my feet.\n\n\"How old are you, boy?\" asked the prince.\n\n\"Twelve or thereabouts, sir.\"\n\n\"Impressive. A boy of twelve or thereabouts who at once proves himself more useful than any of my subjects here.\"\n\nThe monsters grumbled crossly, but the prince raised a hand to silence them.\n\n\"Turn around, Grubb,\" he said. \"Turn around so your admirers can look at you.\" I obeyed, and the prince shouted: \"Behold the bringer of the animus!\"\n\nThe monsters gasped and looked at each other in amazement. Then the lot of them drew closer, teeth bared, their eyes bulging with hatred behind the line of Shadesmen that held them at bay.\n\nPrince Nightshade chuckled\u2014a guttural, menacing chuckle that sent a chill down my spine. \"That will do, Grubb,\" he said. \"You may turn around again.\"\n\nI obeyed, and the prince leaned forward on his throne.\n\n\"Tell me, lad,\" he said, \"does Alistair Grim know why I want the animus?\"\n\n\"Yes, sir\u2014\"\n\n\"Yes, _sire_ ,\" said the prince, gently correcting me, and I gulped.\n\n\"Yes, sire,\" I said. \"Mr. Grim says you want to mix the blue animus with your red Eye of Mars energy to make an army of purple-eyed Shadesmen.\"\n\n\"Your candor is much appreciated,\" said the prince with a smile. \"And so I will assume that Alistair Grim also knows about our archaeological rivalry these last ten years\u2014a rivalry of which I had been entirely unaware until the unexpected discovery of the animus in London. Alistair Grim has you to thank for that little mishap, does he not?\"\n\nI looked down guiltily at my shoes.\n\n\"How deliciously ironic,\" said the prince. \"Alistair Grim covers the walls of his Odditorium with magic paint, just as I have done my castle, then has me gadding about the world chasing doom dogs\u2014all the while the animus was right there under my nose!\"\n\nThe prince chuckled loudly, and the monsters mumbled and grumbled behind me.\n\n\"And as if that wasn't enough,\" the prince went on, \"who would've thought Alistair Grim a collector of _magicalia_ , too? He never gave the slightest indication that he was interested in such things. Then again, knowing Alistair Grim, I'm certain he would never use an ordinary word like _magicalia_.\"\n\nI swallowed hard and shifted uncomfortably. But despite my terror, the prince's comments about \"knowing Alistair Grim\" were not lost on me.\n\nNigel was right, I thought. Whoever this Prince Nightshade was, not only had he murdered Abel Wortley ten years ago, but he must also have been one of Mr. Grim's society friends from London!\n\n_\"Magicalia,\"_ the Prince muttered to himself. \"No, no, no, Alistair Grim would think a word like that too ordinary, indeed. And given the name of his establishment, let's see...how about _Odditoria_? That seems like something Alistair Grim might say.\"\n\nI gazed up at him in disbelief.\n\n\"Ah yes,\" said the prince. \"The answer is in your eyes, young Grubb. Odditoria it is then. Has a pleasant ring to it, I must admit. Odd-ih- _tor_ -ee-ahhh...\"\n\nThe prince's eyes dimmed slightly, as if he was lost in thought. A heavy silence fell over the hall, and then one of his goblin attendants whispered something in his ear.\n\n\"But of course,\" said the prince. \"You see, Grubb, since for over a decade now I have been unsuccessful in acquiring a spirit that would give me its animus, I am thus forever in your debt for bringing me something much, much better.\"\n\nThe prince reached into his belt and pulled out McClintock.\n\n\"Mack!\" I cried, rushing forward, but the Shadesmen immediately restrained me. \"Give him back!\" I shouted, struggling. \"He belongs to Mr. Grim!\"\n\n\"Not anymore,\" said the prince. He opened Mack and tapped him on his XII.\n\n\"What time is it?\" Mack cried, and the prince held him up for all his subjects to see. A chorus of gasps exploded behind me.\n\n\"What the\u2014?\" Mack sputtered when he saw me with the Shadesmen. \"What are you bone bags doing to Grubb?\"\n\n\"Behold the _animus_!\" shouted the prince, and the monsters oohed and aahed.\n\nMack spun around in the prince's hand. \"Not you again!\" he cried upon seeing who held him. \"Run, Grubb, run! He'll turn you into a purple-eyed Shadesman!\"\n\nPrince Nightshade chuckled and tapped Mack out on his XII.\n\n\"Extraordinary,\" said the prince. \"I suspected something like this when the doom dogs led me to the street urchins. But a pocket watch that radiates an unlimited supply of animus? Even I dared not dream of such a device!\"\n\n\"Don't you touch him!\" I cried, struggling against the Shadesmen's grip. But the prince just ignored me, and upon returning McClintock to his belt, he shouted up at the ceiling:\n\n\"Bring him!\"\n\nSomething roared and hissed above my head, and then a Red Dragon emerged from the opening between the rafters. It appeared to be carrying something\u2014or _someone_ , I realized as it swooped down toward the dais. The trolls made room for the beast, and as it landed with its quarry beside the prince's throne, I gasped with horror.\n\nThe dragon was carrying Judge Hurst!\n\n\"Oh no,\" I moaned, my heart sinking. The judge's face was deathly white, his lips curled in a bloodred snarl. And his eyes, ringed with black circles, glowed a devilish purple. Judge Mortimer Hurst had been turned into a Shadesman!\n\n\"A fitting end for the old judge,\" the prince announced to his subjects. \"In life, he made a career of turning people into corpses. Now in death he shall do the same!\"\n\nThe prince and the monsters howled with laughter\u2014cheering and clapping as Judge Hurst, oblivious to it all, just stood there staring vacantly ahead.\n\n\"So you see, young Grubb,\" said the prince, silencing the crowd, \"this dragon and I owe you much gratitude. By bringing along Alistair Grim's pocket watch, you have not only guaranteed me my army of purple-eyed Shadesmen, but you have also secured this dragon here a promotion to general.\"\n\nThe dragon lowered its head and growled at me.\n\n\"In addition,\" the prince said, \"you have saved me the arduous task of extracting the banshee's animus by force. And for that I am most grateful.\"\n\n\"Where is she?\" I cried, rushing for the steps. \"What have you done with Cleona, you devil!\"\n\nThe Shadesmen pulled me back and forced me to my knees.\n\n\"Watch your tongue,\" said the prince. \"Remember to whom you're speaking.\"\n\nJudge Hurst hissed at me and lurched forward, but the Red Dragon batted him aside and said, \"Let me kill him for this impudence, Your Highness. He helped the shinobi slaughter my brothers!\"\n\n\" _Kill_ him?\" said the prince. \"Is that how you treat a fellow soldier in our army?\"\n\n\"Fellow soldier?\" the dragon gasped.\n\n\"But of course. After all, the boy brought the animus, did he not? Therefore, you and Grubb shall serve your prince together.\"\n\n\"Serve with my brothers' murderer?\" the Red Dragon snarled. \"Never!\"\n\n\"As you wish,\" said the prince, and in a flash he flew straight for the dragon. The beast gasped with terror, but before it had time to escape, the prince drew a sword from his belt and cut the creature down.\n\n\"MINE!\" the prince roared, and the dragon was reduced to a shimmering explosion of bright red light.\n\nBut then something strange happened. The explosion immediately appeared to reverse itself. The light contracted, getting smaller and smaller in front of the prince's face as if he was inhaling what was left of the Red Dragon into his mouth.\n\nMr. Grim was right, I realized with horror. Prince Nightshade is absorbing the dragon's magic!\n\nAnd with that the last of the red light disappeared between the jagged edges of the prince's mouth. His eyes brightened, and then Prince Nightshade let out a long, satisfied _\"Buuurrrp!\"_\n\n\"That takes care of that,\" he said, sheathing his sword, and he sat back down on his throne. The Great Hall was silent as a tomb, and the monsters, even the most fearsome of them, cast their eyes down at the floor.\n\n\"Very well, then, Grubb,\" said the prince. \"Looks like you shall serve in our army without the dragon.\"\n\n\"I'll never serve you,\" I said, bracing myself for an attack. But Prince Nightshade only nodded his head and smiled wide.\n\n\"So there you have it!\" he shouted, addressing his court. \"By refusing to serve in our army, young Grubb has proven himself a traitor and is thus sentenced to fight in the tournament!\"\n\nThe crowd of monsters hooted and cheered. The Shadesmen released me, and I staggered to my feet, confused.\n\n\"Don't look so bewildered, lad,\" said the prince, silencing his court. \"Since your pocket watch radiates its animus perpetually, I no longer have need of the banshee. And thus, as you might expect, I shall consume her magic as I did the dragon's. _Publicly._ \"\n\n\"Cleona,\" I whispered, my heart in my throat.\n\n\"Your death in the tournament shall be our main event,\" the prince said. \"And of course, the banshee shall provide your funeral dirge.\"\n\nThe crowd of monsters laughed.\n\n\"I wonder if Alistair Grim will mourn the loss of you as he did Elizabeth,\" the prince said thoughtfully. \"A bit of a sentimental fool, he always was.\"\n\nI gazed up at the prince in shock. Did he just say _Elizabeth_?\n\n\"Sentimental and selfish,\" the prince went on, more to himself. \"All that time and effort spent to get her back, when all poor Elizabeth wanted was to get away from him.\"\n\nMy mind was spinning with confusion, but my tongue got the best of me. \"You take that back,\" I said. \"Mr. Grim is not selfish. He gave me a home. He\u2014\"\n\nPrince Nightshade chuckled. \"Your loyalty to your master is charming, young Grubb, but naive nonetheless. Alistair Grim would never have given you a home if he didn't think he could get something in return for it. Same with the banshee and everything else at the Odditorium.\" The prince sighed remorsefully. \"All of it for Elizabeth.\"\n\nI just stood there, fumbling for a reply.\n\n\"How delicious,\" said the prince, noticing my confusion. \"Alistair Grim didn't tell you\u2014did he\u2014the reason why he acquired the banshee in the first place?\" I shook my head. \"Well, I must confess, I had no idea myself until I learned that the Odditorium was actually a ship that could transport him to the Land of the Dead.\"\n\n\"The Land of the Dead?\" I gasped.\n\n\"But of course, lad. That nasty little hole in the sky through which you escaped. Why else would Alistair Grim invent an interdimensional Sky Ripper if not to travel to the Land of the Dead?\"\n\nI did not know how to answer.\n\n\"You mean, Alistair Grim didn't tell you about all that, either?\"\n\nI said nothing, but at the same time remembered Mr. Grim exclaiming, _I'm here!_ during our space jump. And hadn't he whispered, _I was there, Elizabeth,_ upon our return to Earth?\n\n_Who was this Elizabeth?_\n\n\"Nevertheless,\" said the prince, \"given that the Land of the Dead is merely another dimension that occasionally intersects with this one, it's quite obvious that Alistair Grim should use the banshee's animus to create a bridge between the two. And why else would he want to go there if not to bring back Elizabeth's spirit and keep her in the Odditorium, safe from the doom dogs and protected by his magic paint?\"\n\n\"But who is Elizabeth?\" I asked.\n\n\"Why, Elizabeth O'Grady, of course. The woman Alistair Grim was to marry.\"\n\nI gasped. Mr. Grim was to be married? Could Elizabeth O'Grady be the Lady in Black, the woman from the portrait in the parlor?\n\n\"Then again,\" said the prince, \"in order to put the pieces together, one would have to have known the circumstances surrounding Elizabeth's disappearance in the North Country twelve years ago.\"\n\n\"The North Country?\" I asked.\n\n\"Of course,\" said the prince. \"That is where Elizabeth's family settled when they came from Ireland. So, naturally, that is where her family's banshee settled too.\"\n\nI could only stare back at him dumbfounded.\n\n\"A tragic story,\" the prince went on, sighing. \"Then again, all the best love stories are. A broken engagement, a scandalous affair, and a terrible misunderstanding that sent Elizabeth fleeing London in despair. Rumor had it she was already heavy with Alistair Grim's child, and for months he searched for her in the North Country, until one day word came that her body had washed up on a beach near Blackpool. Drowned, they said. The child, if there ever was one, was never found.\"\n\n\"Poor Mr. Grim,\" I whispered, my heart breaking.\n\n\"Something must have happened during Alistair's search in the North Country,\" said the prince. \"Something that compelled the banshee to join him back in London. Sly devil, that Alistair Grim. Always was.\"\n\nThe prince chuckled malevolently, and I clenched my fists, the anger burning in my stomach at his making light of Mr. Grim's tragedy.\n\nPresently, the Great Hall gates swung open and a loud screech echoed through the chamber. It was the Black Fairy, the wind from his wings caressing my cheeks as he flew overhead and lighted on the dais beside Prince Nightshade.\n\nThen I saw what he was carrying.\n\n\"No!\" I gasped, for there in the demon's inky black claws was Kiyoko's sword, Ikari, its naked blade flashing red in the light shining down from above.\n\nMy heart sank and the tears welled in my eyes. Kiyoko would never give up Ikari unless she was dead. And as if reading my mind, the Black Fairy smiled at me and handed Ikari to the prince.\n\n\"If you're as sentimental as Alistair Grim,\" said the prince, \"you might want to use the shinobi's sword in the tournament. There'd be a certain poignancy in that, don't you think?\"\n\nThe prince tossed Ikari at my feet.\n\n\"Besides,\" he added dryly, \"she won't have much use for it now.\"\n\nThe entire court once again erupted with laughter, but I just swallowed back my tears and picked up Kiyoko's sword.\n\n\"Why not just finish me here?\" I said. \"Why go through all the trouble of a tournament when I surely won't be able to give you much of a fight?\"\n\n\"Because I'm sentimental too,\" said the prince. \"Chalk it up to the _old gladiator_ in me!\"\n\nThe prince for some reason thought this comical, and he and the Black Fairy again laughed heartily. The other monsters joined in, but I sensed they didn't understand what they were laughing at any more than I did.\n\n\"But seriously,\" said the prince, regaining his composure. \"This will be the last tournament for quite some time, for now that I have the animus, my subjects and I are going to be quite busy gathering up our army and preparing for war\u2014the first step of which, I assure you, will be the destruction of Alistair Grim's Odditorium.\"\n\nAn icy chill whipped through my body. \"You'll have to find someone for your tournament elsewhere,\" I said defiantly. \"I won't fight.\"\n\n\"Oh, but you _will_ ,\" said the prince. \"If you are victorious, your life shall be spared and you are free to leave this castle. However, the victor also has the choice to free someone else in his place.\"\n\n\"Cor,\" I said, suspicious. \"You expect me to believe that if I win, you'll spare Cleona and set her free?\"\n\n\"If that's your wish. You have my word on that.\"\n\nI looked down at Kiyoko's sword, thinking.\n\n\"You see, Grubb,\" said the prince, \"as it was during the gladiatorial contests of ancient Rome, a man fights hard for his own life, but he fights even harder for the life of someone he loves. The shinobi understood this, which is why they refused to fight each other but fought so valiantly when given the chance to free one of their own. Kiyoko was the only one ever successful. As for the others...\"\n\nThe prince chuckled, and his court joined him.\n\n\"How do I know you'll keep your word?\" I asked. \"How do I know that you won't absorb Cleona's magic if I win?\"\n\n\"You don't,\" said the prince. \"But you know for certain that I will absorb her magic if you lose.\"\n\n\"Then it is decided!\" the prince announced, rising. \"Young Grubb shall give us our tournament!\"\n\nThe crowd cheered, and then a loud wailing rang out above the din. The entire court turned at once in its direction.\n\n_\"AAAIIIEEEEEEEEEEEAAAAAAAAAAHHHHH!\"_ Cleona wailed in the distance.\n\nBut rather than feel frightened at her foretelling my doom, a wave of relief washed over me. Cleona was all right.\n\n_\"AAAIIIEEEEEEEEEEEAAAAAAAAAAHHHHH!\"_ she wailed again, and Prince Nightshade cupped his hand to his ear as if he was straining to hear.\n\n\"Do you hear that, lad?\" he said. \"Your funeral dirge has begun.\"\n\nFortunately, the tournament began at once. I say fortunately because there was no time for me to be frightened as the court prepared for the festivities.\n\nPrince Nightshade gave the order, and the trolls again commenced their slow, steady drumming. The monsters joined in with chants of \"Fight! Fight! Fight!\" all the while clapping their hands and stomping their feet to keep the time.\n\nI could no longer hear Cleona above the din, nor could I hear what Prince Nightshade said to the Black Fairy before the prince flew up and vanished back into the ceiling whence he came. The Black Fairy gave a deafening screech, and then took off like a shot across the Great Hall and out into the yard. Sirens and other winged creatures set off after him, and then the monsters began moving in a single mass before me.\n\n\"Fight! Fight! Fight!\" they chanted, pushing and shoving one another as they led me from the hall\u2014the Shadesmen in a protective circle around me, the trolls bringing up the rear with their low, steady death march.\n\nJudge Hurst and the prince's attendants were behind me too, and as the crowd of monsters spilled out from the castle, on the far side of the yard I spied a massive drawbridge closing into the castle walls. The prince's crows were perched atop the tower, and a group of goblins was already in position on the nearby battlements. Each goblin held a long, skinny horn, and upon seeing me, they raised them to their slobbering lips and blew a drawn-out, groaning _buhwaaahmp!_\n\nThe drums beat on, and the monsters continued to chant \"Fight! Fight! Fight!\" as they formed a wide, open circle in the middle of the yard. The Shadesmen escorted me to its center, and then left me there alone with Kiyoko's sword.\n\n_Buhwaaahmp!_ groaned the horns again, and the chanting crowd broke into cheers. I followed the monsters' gaze and discovered Prince Nightshade standing on the balcony above the castle doors.\n\n\"Fight! Fight! Fight!\" cried the prince, pumping his fist, and his subjects immediately took up the chant again.\n\nThe drummer-trolls now flanked the entrance to the stables, out of which emerged the prince's chariot, drawn by four black steeds. My heart sank. Phantom was among them\u2014the Black Fairy must have brought him back to the castle after he killed Kiyoko.\n\n_Buhwaaahmp!_ groaned the horns. Phantom and the other steeds reared, and a goblin attendant rushed over to settle them. A wave of panic rippled through me, and I gripped Ikari tightly with both hands.\n\nI might be Mr. Grim's apprentice, I thought, but when it comes right down to it, I am still just a humble chummy. What chance could a lad like me possibly have against these monsters?\n\n_The first weapon a shinobi learns to use is her mind,_ I heard Kiyoko say in my head. She was right. If I was going to save Cleona, I stood a much better chance using my wits than a sword.\n\nThe prince raised his hand, the drumming stopped, and the crowd of monsters immediately fell silent. Indeed, _everything_ was silent, except for the wind in the battlements.\n\nThat's odd, I thought. If I were going to die, wouldn't I hear Cleona wailing?\n\nAs if reading my thoughts, the prince shouted, _\"Bring me the banshee!\"_\n\nEveryone turned their eyes toward the tower as a loud cranking noise began overhead. Near the top of the tower, an entire section of the wall split apart and a small platform extended out over the yard. On top of the platform was a large conductor sphere like the one in the Odditorium's engine room. But instead of glowing yellow, this sphere flashed and crackled with red and purple light.\n\n\"Cleona,\" I gasped. I could see the vague outline of her form inside, but I could not see how she was faring, nor could I hear her wailing.\n\nNo matter, I thought. I am still going to die. I just can't hear her wailing because she's stuck in that sphere.\n\n_But maybe something has changed,_ I answered back in my head. _Like when Mr. Grim changed his mind about riding the wasp. The future can be altered by even the most insignificant decisions made in the present, he said._\n\nBut the only decision I made was to use my wits instead of Ikari.\n\n\"The banshee!\" the Black Fairy hissed, and he stepped out onto the platform beside the sphere. The crowd cheered, and the Black Fairy spread his wings and took off across the yard. All eyes followed him as he circled the battlements\u2014but something else had caught my attention.\n\nNeither the ground nor the castle's outer walls were covered in magic paint. The sun was still low in the sky, so the majority of the yard was engulfed in shadow. And the stench\u2014I would not have though it possible, but the stench out here seemed even worse than in the Great Hall.\n\n\"Mack,\" I muttered, glancing over at the prince. I could see that the pocket watch was still tucked in his belt. And just like that I knew what I had to do.\n\nThe Black Fairy swooped down into the yard, snatched up Judge Hurst, and landed with him on the prince's balcony. A handful of goblin attendants stepped out beside them, and then Prince Nightshade, leaning over the balustrade, addressed the crowd below.\n\n\"Today dawn's a new age,\" he began. \"An age in which the old kingdoms shall be destroyed, and the new kingdom, _our kingdom_ , shall rise up to rule both the land of the living and the Land of the Dead!\"\n\nThe crowd of monsters cheered.\n\n\"And so, to celebrate this auspicious occasion, I give you a very special tournament. A tournament that shall mark the beginning of the _Age of Animus_!\"\n\n_Buhwaaahmp!_ groaned the horns, and the crowd cheered. The prince nodded proudly and let them go on for a bit, then he raised his hand and all was silent.\n\n\"And now, I have the great honor of introducing our three eligible combatants. First, one of our fiercest competitors of all time, this giant of gore comes to us from the fjords of Norway with an impressive record of seventeen kills. That's right, the most terrible troll of them all, _Borg Gorallup_!\"\n\nThe monsters cheered, and a squat, pear-headed troll with an eye patch and a pronounced underbite stepped forward from the crowd. His shoulders were as broad as Nigel Stout was tall, his legs and arms as thick as tree trunks. And he was naked, save for an animal skin around his waist and a pair of spiked leather bands around his massive forearms. In one hand he carried a large mallet; in the other, a studded wooden shield.\n\n\"Gorallup!\" the troll croaked, and he pounded his mallet in the dirt. The earth shook and the crowd cheered, and then the prince raised his hand and all was silent.\n\n\"Our next combatant,\" he announced, \"comes to us from deep within the caves of Lascaux, France. Boasting an unparalleled record of twenty kills even, and known in these parts as 'the Scourge of the Shinobi,' your favorite goblin and mine, _Moosh-Moosh_!\"\n\nThe crowd went wild, and one of the larger, toad-faced goblins leaped over the heads of the other monsters and landed next to Borg Gorallup. His green, sinewy frame stood only as high as the troll's waist, but his yellow eyes glowed fiercely, and between his pointy ears stretched a mouth littered with fangs. The goblin carried no weapons, but given the long, sharp claws on his hands and feet, I could understand why he didn't need them.\n\n\"And finally,\" said the prince, silencing the crowd, \"I give you one of the newest additions to our menacing menagerie. An up-and-comer who has already racked up an impressive nine kills, each in less than a minute!\" The crowd murmured excitedly. \"Here he is, that mysterious, entomological nightmare from the Americas\u2014 _Moth Man_!\"\n\nThe monsters cheered as Moth Man spread his enormous insect wings and lifted off the battlements. From where I was standing I could see that the black-eyed creature was carrying a spear, but when he landed next to Moosh-Moosh I noticed that\u2014well, with a name like Moth Man, perhaps no further description is necessary.\n\n\"There you are, then, Grubb,\" said the prince. \"Choose your opponent and give us our tournament.\"\n\n\"I choose none of them,\" I said, and the crowd grumbled with confusion.\n\n\"None of them?\" asked the prince. \"But surely you know what will happen to the banshee if you choose not to fight.\"\n\n\"I do, sire,\" I said. \"Which is why I choose to fight _you_.\"\n\nThe monsters gasped.\n\n\" _Me?_ \" asked the prince, amazed. \"You choose to fight _me_?\"\n\n\"Yes, sire.\"\n\n\"But don't you know who I am, lad? Don't you know that there is not a creature on this planet, magical or otherwise, who has ever proven a match for me?\"\n\n\"Perhaps, sire. But if it's all the same to you, I'd like to take my chances. Unless, of course, you're a coward.\"\n\nThe monsters gasped and the prince stiffened. The air hung tensely for a moment\u2014but then the prince threw back his head and laughed heartily. The Black Fairy and the rest of the crowd joined him, and for a moment I thought the whole castle might come crashing down from all their belly shaking.\n\n\"Very well,\" said the prince, regaining his composure, and his subjects immediately grew silent. \"How can I resist such insolence?\" Then he leaned over the balustrade and whispered: \"Besides, it will make snuffing out Alistair Grim all the more enjoyable when I tell him it was I who broke your neck for you.\"\n\nThe prince smiled widely and then jumped down from the balcony.\n\nThe Black Fairy screeched, the monsters cheered, and Gorallup, Moosh-Moosh, and Moth Man scattered back into the crowd.\n\nThe prince landed in the yard, and a cloud of dust billowed up around him\u2014his bright red eyes shining through like a pair of lanterns in the fog. Prince Nightshade lowered the visor on his helmet, and as the dust began to settle, he drew his fiery-tipped whip.\n\nA bolt of terror shot through me, and with my heart in my throat, I raised Ikari as I had seen Kiyoko do against the dragons. As if in reply, the prince raised his whip and cracked it over his head. Lightning flashed and thunder rumbled, and then the goblins gave the signal for the tournament to begin.\n\n_Buhwaaahmp!_\n\n\"Fight! Fight! Fight!\" cheered the crowd.\n\nI held the blade out in front of me in expectation of the prince's attack. But instead of advancing, Prince Nightshade fell to his knees, stretched his arms out wide, and said: \"Go ahead, boy! Strike me anywhere you wish.\"\n\nI hesitated, unsure of what to do.\n\n\"No need to be afraid,\" said the prince. \"You have my word as a gentleman. I give you the honor of first strike as a reward for your courage.\"\n\nThis had to be a trick, I thought, and held my ground.\n\n\"Does everyone here distrust me so?\" the prince asked with mock offense, and the monsters laughed. \"Very well, then, Grubb. I shall allow another to strike first in your place.\" The prince surveyed his subjects and shouted, _\"Gorallup!\"_\n\nThe troll stepped forward from the crowd.\n\n\"Oh, Borg, dear,\" said the prince. \"Would you be so kind as to show young Grubb that my word is still that of a gentleman?\"\n\n\"Gorallup!\" croaked the troll, and without hesitation, he lumbered over to the prince, raised his enormous mallet, and brought it down hard upon the prince's head!\n\nI gasped, unable to believe what I was seeing, but as soon the troll's mallet struck the prince's helmet, it snapped back, lifting the troll off his feet and sending him flying backward into the crowd.\n\nThe monsters laughed and applauded, and then the prince stood up as if nothing had happened.\n\n\"Thank you, Borg,\" he said. \"Consider the first blow yours, young Grubb. And so, without further ado, it is my turn.\"\n\nInstinctively I backed away, and then the prince came rushing toward me. He looked as if he was about to leap into the air, but at the last moment he skidded to a halt in the dirt, cocked his whip, and let it fly.\n\nI dove out of the way just in time, and the fiery tip exploded somewhere behind me. Lightning flashed and thunder cracked, and the air was sucked from my lungs as I landed face-first in the dirt.\n\nCoughing, I quickly rose to my feet and turned around. The prince was upon me at once, swiping his black-armored fist straight for my head.\n\nI ducked and rolled away as fast as I could. And before I even had time to regain my footing, the prince's whip came for me again.\n\nSomehow I scrambled out of the way, and Prince Nightshade's whip cracked near my bottom and sent me tumbling head over heels. Finally I landed on my feet, and the monsters burst into raucous applause. Even the prince himself let out a howl of laughter upon seeing me standing there on guard with Ikari.\n\n\"Splendid!\" he said. \"This is proving to be quite entertaining after all!\"\n\nThen the prince raised his whip again, and just as its tip crested above his head, in a split second I decided that it was time to make my move.\n\nI tossed aside Ikari and took off like a shot. The crowd cheered\u2014and I heard the whip come cracking down\u2014but I dove between the prince's legs and sprang to my feet behind him. Hidden beneath his cape, I grabbed hold of his sword belt and pulled myself up to his waist.\n\nPrince Nightshade whirled around and gasped at seeing me gone. But then the monsters began to laugh and point at him, and he understood where I was. The prince twisted and turned and batted blindly at his back, but his chunky black armor made it impossible for him to reach me. Still, he cackled heartily and, to please the crowd, shook his bottom as if dancing a jig. The monsters nearly fell over with laughter, but I quickly slipped my hand around his waist and snatched Mack from his belt.\n\nThen, without warning, Prince Nightshade fell backward in an attempt to squash me, but I let go of him just in time and tumbled away in the dirt. The prince landed square on his bottom, shaking the ground, and as the crowd was distracted by his antics, I opened Mack and tapped him on his XII.\n\n\"What time is it?\" he cried, crackling to life.\n\n\"No time to explain, old friend,\" I said. \"Just stick to the shadows for as long as you can and try not to fizzle out.\"\n\n\"What the\u2014?\" Mack said, spinning round. \"Where are we, Grubb?\"\n\nI promise I'll get you back,\" I said.\n\nThe monsters began pointing and shouting, \"Animus! The boy has the animus!\" Confused, Prince Nightshade rose to his feet and groped at his belt, but upon catching sight of me with Mack, he let out a deafening roar of, \"MINE!\"\n\n\"My apologies, Mack,\" I said.\n\nAnd with that I promptly hurled Mack into the crowd.\n\n_\"McClintock!\"_ he cried as he sailed through the air. The monsters gaped and gasped, and then one of the goblins reached up and caught Mack in its claws.\n\n\"Give me back the animus!\" the prince screamed, but the monsters ignored him and began fighting with one another for possession of Mack.\n\n\"Let go of me, ya ugly neep!\" Mack shouted, his blue light illuminating the monsters' faces as they tossed him about. And then old McClintock was swallowed up into the crowd.\n\n\"MINE!\" cried the prince, pushing his way amongst them, and the Black Fairy swooped down from the balcony and joined the fray too.\n\nIt's now or never, I thought, and I retrieved Ikari and raced across the yard. It sounded as if total bedlam had broken out behind me, but I dared not look back, and quickly dashed over to the prince's chariot. I climbed up onto Phantom's back, and when the stallion reared, I grabbed hold of the stable roof and pulled myself up. From there, I somehow managed to hoist myself up onto the battlements, sword and all.\n\nIt was then that I saw the first of the doom dogs take shape in a darkened corner of the yard below. I'd remembered from our previous encounter that it took nearly a minute for them to appear after Mack was opened. And as if on cue, another of the hounds materialized in the shadows nearby. And then another. And another\u2014their burning red eyes brightening as they picked up on the animus and set off toward the crowd of scuffling monsters.\n\nA chill shot through my body\u2014I was counting on those smelly monsters to throw the doom dogs off my scent. After all, if the doom dogs tracked people who touched the animus, wouldn't they track monsters, too? That was my hope, anyway.\n\nI dashed across the battlements as fast as I could, and just as I reached the corner of the castle wall, a cry of anguish from the yard told me my plan was working.\n\n\"Get it off me!\" a monster screamed. \"Get it off me!\"\n\nGazing down from the battlements, I saw Moosh-Moosh come tumbling out from the crowd. He landed in a sunny portion of the yard, screaming and thrashing about in an all-out brawl with his shadow\u2014which, to my horror, had taken on the shape of a large, black hound. Nigel's warning from the marketplace echoed through my mind.\n\n_Sunlight or no sunlight, once a doom dog latches on to you, you're as good as done for._\n\nMore monsters began tumbling out into the sunlight, each screaming and wrestling with a doom dog. But the prince and the Black Fairy ignored them, and just batted the others out of the way as they searched for Mack amidst the crowd. My heart squeezed with worry for my mate, but my plan demanded that I rescue Cleona first.\n\nBesides, I thought, it'll take more than a gang of monsters to scrap old Mack.\n\nI took off again across the battlements. The horn-blowing goblins had also joined the ruckus, so I had a clear shot across to the tower\u2014but then something in the yard again caught my attention, and I stopped dead in my tracks.\n\nPrince Nightshade seized McClintock from the crowd and punched one of the trolls in the face. The troll went flying backward, taking out at least a dozen or so of his mates along the way as the doom dogs dragged more monsters into the sunlight. I counted seven of the hounds in all\u2014their victims screaming and writhing in agony as the other creatures backed away in terror.\n\nThe prince, on the other hand, seemed unafraid. He stormed over to Moosh-Moosh and, lifting the visor on his helmet, shot the goblin with a bolt of red lightning from his eyes. For a brief moment Moosh-Moosh was engulfed in a shower of shimmering sparkles, but then the light dissolved, and with it, the goblin's doom dog too.\n\n\"Rise,\" said the prince, and Moosh-Moosh stood up and stared vacantly ahead. His eyes were no longer yellow, but glowed with the evil of a purple-eyed Shadesman.\n\nI gasped in amazement. So that's how the prince uses the animus to make his Shadesmen. He shoots his magic at them just before the doom dogs take their souls!\n\nThen a voice in my head told me it was no time for gawking.\n\nMy legs sprang into action, and as I climbed up onto a parapet, I was aware of the prince shooting more of his red lighting in the yard below. My heart sank at the idea of him making more purple-eyed Shadesmen, but still, my thoughts had room for only the tower. The jump from the battlements to the platform that held Cleona's sphere was much farther than it had appeared from the ground.\n\n\"I'll never make it,\" I said to myself, and then the Black Fairy landed on the battlements beside me. My blood froze.\n\n\"THE BANSHEE!\" roared the prince, and I glanced down into the yard to find Nightshade and his entire court of monsters staring up at me.\n\nThe Black Fairy screeched and reared back his head to spit.\n\n_Jump!_ I told myself. And before I could think twice about it, I did.\n\nThe Black Fairy spewed his bolt of thick black fire\u2014I could feel its heat through the soles of my shoes\u2014but thankfully I had jumped just in time and the bolt blew apart a section of the battlements instead.\n\nAs I feared, however, my landing came up short, and I hit the platform with my lower half dangling over the side.\n\n\"No!\" the prince shouted at the Black Fairy from below. \"You'll hit the banshee!\"\n\nI grabbed one of the sphere's conductor pipes and pulled myself up onto the platform. I took in the whole of the contraption at once. Unlike the sphere in the Odditorium's engine room, its polished steel pipes twisted back into the sphere itself. And there was Cleona inside, staring back at me amidst the crackling red and purple light. My heart soared. She was all right!\n\n\"Thank goodness you're safe,\" I said. Cleona pounded her fists against the inside of the sphere. I could see that she was trying to tell me something, but I couldn't hear her through the red and purple flashing glass.\n\n\"Don't worry, Cleona,\" I said. \"I'll get you out!\"\n\nBut then, in the reflection of the polished steel pipes, I saw the figure of the Black Fairy rise up behind me.\n\nWithout thinking, I struck the sphere as hard as I could with Ikari\u2014but the blade merely bounced off, the force of it spinning me round. At the same time, the Black Fairy swung his fist for my head. Happily, I still had enough wits about me to duck, and the demon smashed one of the conductor pipes instead, tearing it free.\n\nA freezing blast of air hit my cheek. The Black Fairy screeched and raised his fist to pound me. But then, in a streak of bright blue light, Cleona shot out from the ruptured pipe like a cannonball.\n\n_\"AAAIIIEEEEEEEEEEEAAAAAAAAAAHHHHH!\"_ she cried, and slammed headfirst into the Black Fairy's chest. The creature screamed, his arms and legs pinwheeling as he fell backward off the platform and out of sight onto the battlements below.\n\n\"Behind you, Grubb!\" Cleona cried, zooming back in my direction, and I spun round to find Prince Nightshade standing above me atop the sphere. In one hand he held McClintock; in the other, his fiery-tipped whip.\n\n\"MINE!\" roared the prince, readying to strike, but then Cleona whizzed past me and slammed smack-dab into his face. Nightshade howled with surprise, and as he tumbled off the sphere and into the yard below, Mack went flying from his hands.\n\n\"Mack!\" I cried. And in a blur of streaking blue, Cleona darted upward and snatched him from the air.\n\n\"Quick, Grubb, we've got to get out of here!\" she said, and she traded me Mack for Ikari. I slipped Mack into my remaining pocket, and Cleona stood with her back to me. \"Wrap your arms about my neck,\" she said. I obeyed, and in a flash Cleona took flight, soaring up and over the yard with me hanging on behind her.\n\n_\"After them!\"_ Prince Nightshade shouted. He leaped into the air and cracked his whip, but Cleona had already flown us much too high for him to reach, and the prince tumbled back to earth with a roar of frustration.\n\n_\"Bring me the animus!\"_ he cried, dashing for his chariot. Scores of Shadesmen mounted their skeleton steeds, while other monsters scrambled for weapons and shouted for the drawbridge to be lowered.\n\nHigher and higher we climbed. And as Cleona flew us out beyond the battlements, I could see that the castle moat was completely empty. Farther off, all around the moat was a rocky cliff that dropped off abruptly into a sea of dark clouds, giving one the impression that Prince Nightshade's fortress had been ripped from the earth, ground and all.\n\nThe sound of a tolling church bell drew my attention back to the castle. The heavy wooden drawbridge was being lowered over the moat.\n\n\"They're coming!\" I cried.\n\n\"I am well aware of that, thank you,\" Cleona said.\n\nAs we dove toward the clouds, I looked behind me just in time to see the first wave of Shadesmen galloping out of the castle, and then everything went dark. I held my breath for what felt like hours, certain that at any moment the Shadesmen's arrows would tear into the clouds after us, until finally Cleona and I burst out into a clear blue sky.\n\n\"Look!\" I shouted. Far below us rolled a land unlike any I had ever seen\u2014rugged hills covered with thick forests and crystal-blue streams that zigzagged toward the horizon in every direction. \"Where are we?\" I asked.\n\n\"I don't know,\" Cleona said. \"But I can't carry you on my back like this forever!\"\n\nThunder and lightning crashed behind me, and I glanced over my shoulder to see Prince Nightshade's chariot burst forth from the clouds\u2014the steeds galloping hard and spitting fire. The Black Fairy and Moth Man emerged close behind, followed by the Sirens and then the Shadesmen on their horses\u2014all of them gaining on us quickly as the prince led the charge.\n\n\"Hurry, Cleona!\" I cried. The prince cracked his whip. And with a crash of thunder and lightning, the Black Fairy and Moth Man pulled ahead of him.\n\n\"The trees,\" Cleona said. \"Maybe we can lose them in the forests below!\"\n\n\"We'll never make it,\" I said, gazing down. \"We're still too high, and they're coming too fast.\"\n\n\"It's our only hope.\"\n\n\"I'm slowing you down,\" I cried. \"Take Mack and let me go!\"\n\n\"Pshaw,\" Cleona said, and she fell into a steep dive.\n\nThe Black Fairy screeched, and I peered behind me to discover that both he and Moth Man were diving straight for us. The Black Fairy arched back his head to spit, and Moth Man readied to throw his spear.\n\n\"Look out, Cleona!\" I screamed. But then a shimmering ball of yellow light streaked across the sky and smacked the Black Fairy square in the chest.\n\n_\"Aaaggghhhh!\"_ he screeched, tumbling upward into the clouds\u2014his wings useless in the glowing yellow bubble.\n\nMoth Man looked around in confusion, and then out of nowhere a giant black hawk swooped down from the sky and snatched him up in its beak.\n\n\"NOOOOO!\" roared the prince in the distance.\n\nAnd with that the great black bird gobbled up Moth Man whole.\n\n\"Gwendolyn!\" I cried.\n\nYes, there was the Yellow Fairy, tucked snugly in the feathery nape of the giant hawk's neck. She waved at me and then hurled another ball of fairy dust at the prince.\n\nThe prince, however, smacked it with his whip, and in a flash of thunder and lightning Gwendolyn's ball exploded in a shower of sparkles.\n\n\"Look!\" Cleona cried.\n\nI turned round and could hardly believe my eyes.\n\nAn entire flock of the enormous birds was coming straight for us. And at the head of the charge was Mr. Grim, mounted upon the lead hawk's back.\n\n\"Climb aboard!\" he shouted, swooping in beside us. Cleona grabbed hold of his outstretched hand and Mr. Grim swung us up onto the bird behind him.\n\nAs we climbed higher and pulled away from the prince, I saw there were about a dozen more of the great black birds following us. On some rode the samurai, but on one of the birds in particular rode\u2014but that was impossible!\n\n\"Kiyoko!\" I cried.\n\n\"You look as if you've seen a ghost,\" she said, steering her bird alongside Mr. Grim's. Her hood and mask were gone, and her long braid thrashed about wildly in the wind.\n\n\"But the Black Fairy said you were dead!\"\n\n\"He thought I was,\" Kiyoko said. \"He clipped me with his fire and sent me falling into the clouds. Luckily Gwendolyn had gone looking for you, and she caught me in one of her big yellow bubbles.\"\n\n\"I believe this is yours, miss,\" Cleona said, and she handed Kiyoko her sword. \"The prince gave it to Grubb to use in the tournament.\"\n\n\"Once again I am in your debt, Grubb,\" Kiyoko said with a bow of her head.\n\nMr. Grim must have thought we were talking about our birds, for he nodded his head and with a smile shouted, \"That's right! They're called Thunderbirds! A species of Odditoria indigenous to the Americas!\" He pointed at Gwendolyn's bird. \"They just love to eat moths!\"\n\nGwendolyn swung her bird beside us, and the other Thunderbirds screeched.\n\n\"The Americas?\" I asked, amazed. \"You mean, down there is\u2014?\"\n\n\"We were close to the shore when the Sirens attacked!\" shouted Mr. Grim. \"The reserves and Number One got us inland, and then I sent Gwendolyn and the bats out looking for you! They found Miss Kiyoko instead.\"\n\n\"But how did you\u2014\"\n\n\"You needn't worry about the others!\" said Mr. Grim, interrupting me. \"Lord Dreary and Mrs. Pinch are holding down the fort!\"\n\n\"Why are you shouting, Mr. Grim?\"\n\n\"I can't hear you!\" he hollered back, pointing to his ears. \"Beeswax! A precaution against the Sirens!\"\n\n\"That reminds me,\" I said to Cleona. \"Why weren't you and Mrs. Pinch\u2014\"\n\n\"Silly, Grubb,\" she said. \"Only men are enchanted by the Sirens' song. Everyone knows that.\"\n\n\"But how did Mr. Grim get the Thunderbirds?\"\n\n\"Beats me,\" Cleona said. \"But I should think if he could convince the Yellow Fairy to join him, a flock of big black birds would be child's play for Alistair Grim.\"\n\nCleona giggled, and as we sped through the air, I gazed back over my shoulder to discover Prince Nightshade and his army gaining on us. Mr. Grim saw it too.\n\n\"Samurai!\" he shouted. \"You take the Shadesmen! Shinobi, you take the Sirens!\"\n\n\"With pleasure!\" Kiyoko replied, and then she and the samurai flew off on their Thunderbirds toward Nightshade's minions.\n\n\"Gwendolyn!\" shouted Mr. Grim. \"You know what to do!\"\n\n\"Get to gobbling,\" she shouted back. \"Chomp, chomp!\"\n\n\"No!\" Cleona cried. \"Prince Nightshade will absorb your magic if you try that!\"\n\n\"Shut your gob, banshee! I'm not afraid of him!\"\n\n\"Be sure to aim for the horses, Gwendolyn!\" shouted Mr. Grim, oblivious to their bickering. \"Your fairy dust will have no effect on the prince!\"\n\n\"I know what I'm doing, twig!\" Gwendolyn shouted, and she quickly banked her Thunderbird away from us. Mr. Grim just nodded and smiled, unable to hear her.\n\n\"He's gaining on us!\" I cried.\n\nKiyoko and the samurai had already split off into two groups, and were now approaching the Shadesmen at their flanks. The prince pulled ahead with the Sirens, and the armies crashed into each other behind them\u2014the sound of clanging metal and screeching Thunderbirds echoing across the skies. For a moment I lost sight of Kiyoko amidst the fray, but then the first of the Shadesmen and their skeleton steeds began falling toward the forest below.\n\n_\"EEEEYYAA!\"_ Kiyoko cried victoriously, and she emerged from the mass of clashing soldiers with Ikari held high above her head.\n\nThe battle raged on with frightening speed, the samurai slashing the Shadesmen into smoke with their animus-infused swords as Kiyoko banked her Thunderbird in pursuit of the Sirens. She came upon them quickly and cut down two of the monsters at once, their bodies exploding against the clear blue sky in a flash of brilliant red light.\n\nThe remaining two Sirens screamed in terror and began their retreat toward the clouds. But before Kiyoko could pursue them, Gwendolyn swooped past the shinobi on her Thunderbird and leveled a ball of fairy dust at the prince.\n\n\"Aim for the horses!\" shouted Mr. Grim, pulling out the wads of beeswax from his ears. \"Don't get too close!\"\n\nBut Gwendolyn ignored him. \"Eat this, you blighter!\" she shouted, and hurled her sparkling dust ball straight for the prince. The prince, however, easily destroyed it with his whip, and in a flash of thunder and lighting, caught Gwendolyn with its fiery tip.\n\n\"Gwendolyn!\" cried Mr. Grim.\n\nBut the Yellow Fairy and her Thunderbird were already falling.\n\n\"MINE!\" roared the Prince, and he steered his chariot into a steep dive after them.\n\nMr. Grim swung his Thunderbird around and dove after them too\u2014when without warning, Cleona left us and went streaking through the air.\n\n\"Cleona!\" I cried as she raced downward.\n\nThe prince's horses closed in fast on Gwendolyn, who was gently spiraling toward the earth along with the feathers from her fallen Thunderbird. Prince Nightshade raised his whip and snapped it down\u2014but at the last moment Cleona snatched Gwendolyn out of the way, and the tip exploded against the empty air.\n\nPrince Nightshade howled with frustration as Cleona flew skyward with Gwendolyn in her arms. Pulling hard on his reins, the prince swung his chariot around and gave chase. He was upon them almost at once, but before he could raise his whip, out of nowhere Kiyoko leaped from her Thunderbird and landed beside him on his chariot.\n\nThe shinobi slashed Ikari in vain against the prince's armor, and in return Nightshade let go of his reins and swung his fist for her head. Kiyoko ducked and scrambled to the front of the chariot. And with a single swipe of her sword, she cut loose the prince's team of horses, and the chariot began falling from the sky.\n\nAt the same time, Cleona lighted on our Thunderbird with Gwendolyn.\n\n\"Don't look, Grubb,\" Cleona said, but I could not turn away. And as the prince's horses flew back toward his castle in the clouds, Nightshade knocked Kiyoko's sword from her hand, grabbed her by the neck, and then leaped from his chariot with the shinobi in his arms.\n\n\"Kiyoko!\" I gasped in horror. But Kiyoko fought on, fiercely punching and kicking the prince all the while she plummeted with him toward the ground. The chariot crashed and disappeared into the forest canopy below, and then Kiyoko and Prince Nightshade, still in their violent embrace, were swallowed up into the trees too.\n\n\"We've got to save her!\" I cried.\n\n\"A human could not survive that fall,\" said Mr. Grim, steering our Thunderbird skyward. \"Prince Nightshade, on the other hand, _could_.\"\n\n\"But, Mr. Grim\u2014\"\n\n\"I'm sorry, lad, but she's gone.\"\n\nI swallowed hard, the tears welling in my eyes.\n\n\"Besides,\" said Mr. Grim, \"if we're going to have a chance of saving Gwendolyn, we need to get back to the Odditorium now.\"\n\nCleona cradled the Yellow Fairy in the crook of her elbow. Gwendolyn's eyes were closed, and her skin, as well as the once-bright halo of yellow light surrounding her, now glowed a sickly white.\n\n\"Fall back!\" Mr. Grim called out to the samurai, and in the distance I saw the Shadesmen retreating into the clouds with the samurai and their Thunderbirds close on their tails. Indeed, it seemed to me that now that Prince Nightshade and the Black Fairy were gone, the Shadesmen no longer wished to fight at all. Their numbers had dwindled considerably, but unfortunately our boys had lost a warrior or two from their ranks as well.\n\n\"Fall back!\" Mr. Grim called again, and the samurai dropped their pursuit of the Shadesmen and fell in line with the Thunderbirds behind us.\n\n\"Shouldn't the samurai go after them, Uncle?\" Cleona asked. \"If they attack the castle, perhaps they can defeat Nightshade's minions once and for all.\"\n\n\"That's exactly what the Shadesmen want,\" said Mr. Grim. \"The shinobi told us that Nightshade's castle is fortified with lightning cannons that I suspect are powered by his Eye of Mars. Add to that his archers and an entire army of evil creatures\u2014no, the samurai wouldn't stand a chance, even with the Thunderbirds and Gwendolyn at full strength.\"\n\n\"But we've got them on the run!\"\n\n\"We've lost the element of surprise, making a siege on Nightshade's castle at this point impossible. Besides, if my suspicions are correct, the prince's armor will have enabled him to survive that fall. Thus, once his forces regroup and rescue him, he should prove even more impenetrable than his castle.\"\n\n\"Yes, but\u2014\"\n\n\"I'm sorry, Cleona. I simply don't have the weapons to defeat him. Not yet, anyway.\"\n\nCleona sighed, unconvinced, and Gwendolyn's eyes fluttered open.\n\n\"Chomp, chomp,\" she whispered. \"Stand and fight, you lily-livers.\"\n\n\"Ssh,\" Cleona said. \"Save your strength, Gwendolyn.\"\n\n\"Shut\u2014your\u2014gob,\" she replied weakly.\n\nAnd then the Yellow Fairy slipped away again into sleep.\n\nLosing Kiyoko once was hard enough, but losing her a second time left me feeling as if half my heart had fallen with her from the sky. She had saved us from Prince Nightshade, and Mr. Grim said the best way to show our gratitude was to make certain that her death had not been in vain.\n\n\"We haven't seen the last of Prince Nightshade,\" he said. \"Therefore, we mustn't cheapen the shinobi's sacrifice by giving him time to catch up with us.\"\n\nMr. Grim's words, however, did little to ease my sorrow. And as the Thunderbirds flew us farther and farther into the wilderness, it was all I could do to keep from weeping. Finally, we came to a high, rocky cliff pockmarked with caves. At the base of the cliff, hidden amongst the trees in a small grove, was the Odditorium.\n\nThe samurai leaped from their birds and took up position on the roof, while our Thunderbird dropped us off on the balcony. Cleona handed Gwendolyn to Mr. Grim and immediately flew up to her chamber to begin charging the Odditorium's systems.\n\nJust then I felt a rumbling in my chummy coat.\n\n\"Begging your pardon, Mr. Grim,\" I said, handing him McClintock. \"But please don't scrap old Mack, sir. We couldn't have escaped Prince Nightshade's castle if it wasn't for him.\"\n\n\"Oh, nonsense,\" said Mr. Grim, and he opened the pocket watch.\n\n\"What time is it?\" Mack exclaimed, but then he saw who was looking down at him. \"Ach! You're not going to scrap me now, are you, sir?\"\n\n\"On the contrary, old friend. You shall be rewarded for your bravery.\"\n\n\"Rewarded for me bravery?\" Mack asked, amazed.\n\n\"No time for particulars,\" said Mr. Grim, tapping Mack on his XII. Then he slipped him into his waistcoat, and we rushed Gwendolyn into the library. Mrs. Pinch and Lord Dreary were already waiting for us.\n\n\"Blind me!\" Mrs. Pinch said, squinting. \"Is that Gwendolyn?\"\n\n\"She ran into the wrong end of a whip,\" said Mr. Grim.\n\n\"Good heavens!\" cried Lord Dreary.\n\nThe Yellow Fairy's color had gone nearly white, and she was shivering and mumbling incoherently. Mr. Grim prepared a makeshift bed for her on one of the armchairs and then instructed Mrs. Pinch to fix her something from the kitchen.\n\n\"I know just the thing,\" said Mrs. Pinch, and she was gone.\n\n\"You stay with her, Master Grubb,\" said Mr. Grim. \"She's fond of you, and your presence will undoubtedly do her good.\"\n\nMr. Grim hurried back out onto the balcony, and Lord Dreary followed him, waving his arms frantically.\n\n\"Great poppycock, man!\" he cried. \"Aren't you going to tell me what happened?\"\n\nAs the gentlemen exchanged heated words outside, I knelt down and took Gwendolyn's tiny hand in my own. Her breathing was shallow and her skin ice-cold.\n\n\"Chin up, Gwendolyn,\" I whispered. \"If anyone can take a crack from the prince's whip, it's you.\"\n\n\"Chomp, chomp...\" she muttered.\n\nA moment later, Lord Dreary returned.\n\n\"How does Alistair do it?\" he said to himself, sitting down at Mr. Grim's desk.\n\n\"Begging your pardon, sir?\"\n\n\"He's out there right now with the leader of the Thunderbirds. Asked me to excuse him, he did, so they could speak in private. And then there's the banshee and the Yellow Fairy. How does he find them? How does he convince them to help him?\"\n\nOther than what Nigel told me about Mr. Grim giving Gwendolyn some chocolate, I really had no idea. Come to think of it, where _was_ Nigel?\n\n\"It boggles the mind, I tell you,\" Lord Dreary went on, more to himself. \"He uses star charts to calculate our position off the coast of the Americas, lands the Odditorium in its present position, then sets off up that cliff with a mirror and comes back an hour later with a flock of Thunderbirds!\"\n\n\"A mirror, sir, did you say?\"\n\nMr. Grim entered from the balcony. \"We're not out of the woods yet,\" he said, but upon seeing Lord Dreary sitting at his desk, he cleared his throat with an irritated, _\"Ahem!\"_\n\nLord Dreary rolled his eyes and moved away to the bookshelf. And as the old man was busy wiping his head with his handkerchief, Mr. Grim quickly slipped the Lady in Black's mirror from inside his coat to its case upon the desk.\n\n\"Now, then,\" said Mr. Grim, sitting down, \"despite the loss of their friend, the Thunderbirds have agreed to assist us if we're unable to get the Odditorium flying again.\"\n\n\"I'm not going to bother asking again how you secured their services,\" said Lord Dreary. \"However, I do think I am owed an explanation as to how you rescued the boy and the banshee!\"\n\n\"Everything shall be explained in good time. But there are more pressing matters at hand\u2014the first being the unfortunate task of deciding what Odditoria to take with us in the event Gwendolyn does not recover.\"\n\n\"You mean, you're planning on abandoning the Odditorium?\"\n\n\"Yes and no. It's only a matter of time before Prince Nightshade discovers the location of the Thunderbirds' caves for himself. And if he should find the Odditorium abandoned here, in addition to pillaging its contents, he would also learn its many secrets. And that is something I simply cannot allow to happen.\"\n\n\"But that means you'd have to\u2014\"\n\n\"Yes, Lord Dreary. If Gwendolyn does not recover, the Odditorium will be unable to fly. And therefore I will have to destroy it.\"\n\nI gasped, and Lord Dreary cried, \"Great poppycock!\"\n\n\"It's my own fault,\" said Mr. Grim, rubbing his forehead. \"If only I hadn't been so preoccupied with things here, I might have discovered Prince Nightshade's identity. Consequently, I might've been able to stop him in his tracks years ago.\"\n\n\"So then,\" Lord Dreary said, approaching the desk, \"the story you told me during our journey here\u2014you're saying you've found proof to support your theory that Abel Wortley's murderer and Prince Nightshade are the same person?\"\n\n\"Proof?\" said Mr. Grim. \"What I wouldn't give for an ounce of proof. Nothing but hypotheses and supposition at this point, never mind the fact that Judge Hurst is still missing.\"\n\n\"Begging your pardon, sir,\" I said tentatively. \"But Judge Hurst can't be Prince Nightshade. We were prisoners together in the prince's dungeon. The judge ran afoul of him, and Prince Nightshade turned him into a purple-eyed Shadesman.\"\n\n\"Good heavens!\" cried Lord Dreary. \"Are you certain, lad?\"\n\n\"I'm afraid I am, sir.\"\n\n\"Well there you have it, then,\" said Mr. Grim. \"After all these years, my prime suspect in the murder of Abel Wortley has been proved innocent.\"\n\n\"But at what cost?\" said Lord Dreary, wiping his brow. \"Judge Mortimer Hurst a Shadesman? I wouldn't wish that fate on anyone.\"\n\n\"Tell me, Master Grubb,\" said Mr. Grim. \"Did you learn anything else during your imprisonment at Nightshade's castle?\"\n\nMy throat tightened and my stomach sank. Given everything Prince Nightshade had told me about Elizabeth O'Grady, I felt ashamed for knowing things about Mr. Grim's past that I shouldn't\u2014not to mention that I didn't want to hurt his feelings or embarrass him in front of Lord Dreary. At the same time, however, I knew that I had to tell him what Prince Nightshade had said\u2014or at the very least, the nub of it.\n\n\"Well, sir,\" I began. \"The prince went on a bit about knowing you\u2014about your past and such. Said he never guessed you for a collector of magical objects, since you never showed much interest in such things.\"\n\n\"Is that so?\" said Mr. Grim, leaning forward intently. \"And what else did the prince say he knew about me?\"\n\nMy heart began to hammer, and my eyes flitted to Lord Dreary. Hadn't _he_ spoken of Elizabeth O'Grady to Mr. Grim yesterday, in this very room?\n\n\"You can speak plain in front of Lord Dreary, lad,\" said Mr. Grim, reading my thoughts. \"I trust him with my life.\"\n\nIt was clear there was no avoiding it now, but how could I tell Mr. Grim everything without causing him grief? I didn't think it possible, but after sputtering about nervously for a moment, it all came tumbling out anyway.\n\n\"Begging your pardon, sir,\" I said. \"But Prince Nightshade made light of your loss, sir.\"\n\n\"My loss?\"\n\n\"Of Elizabeth O'Grady, sir.\"\n\nLord Dreary stiffened and looked anxiously at Mr. Grim. I expected at least the same reaction I'd witnessed in secret the day before, but much to my surprise, Mr. Grim appeared unmoved.\n\n\"I see,\" was all he said, and he sat back in his chair, thinking.\n\n\"Alistair, I\u2014\" Lord Dreary began uncomfortably, but Mr. Grim held up his hand, and the old man was silent.\n\n\"All that was common knowledge twelve years ago,\" said Mr. Grim. \"Still is, apparently. Nevertheless, a job well done, my young apprentice.\"\n\nI swallowed guiltily and looked at my shoes. Despite Mr. Grim's approval, it didn't feel like a job well done at all. A heavy silence hung about the room as Lord Dreary searched for something to say. But then Mr. Grim hopped up from his desk and crossed to a bookshelf.\n\n\"Well, no use getting all gobby eyed about it,\" he said with a smile. \"We're on an adventure, after all, and thus haven't the time for such things.\"\n\n\"But, Alistair,\" said Lord Dreary, \"given what this lad just told us, it appears as if your theory about Nightshade being one of our old antiquities associates is true.\"\n\n\"I'd wager my life on it,\" said Mr. Grim, scanning his books. \"And yet, even if we knew for sure the prince's identity, it wouldn't do us much good unless we could pry him out of that armor.\"\n\n\"Yes,\" said Lord Dreary. \"It appears to be impenetrable.\"\n\n\"Nothing is impenetrable, old friend. Not even the secrets of the universe. You just need the right tools.\"\n\nMr. Grim pointed to his head and winked. And then, with a low humming sound, the library's lamps and wall sconces came alive with blue animus.\n\n\"Ah,\" said Mr. Grim. \"Looks as if Cleona is doing her part; now all we need to worry about is Gwendolyn.\"\n\n\"Chomp, chomp...\" she muttered deliriously. And as if on cue, Mrs. Pinch entered with a bowl of steaming brown soup and a tiny spoon.\n\n\"Here we are, then,\" she said. \"This should get her going again.\"\n\nMr. Grim and Lord Dreary came over to the armchair, and Mrs. Pinch took my place next to Gwendolyn. She set down the bowl on the end table and, gently propping up the Yellow Fairy's head, spooned some of the soup into her mouth.\n\n\"Mmm,\" Gwendolyn said at once. \"Chomp, chomp.\"\n\n\"It's seems to be working,\" said Mr. Grim, relieved.\n\n\"Well, of course it is,\" said Mrs. Pinch. \"What kind of witch would I be if I didn't know how to cure a fairy?\"\n\n\"You mean\u2014\" I sputtered in amazement. \"You mean Mack wasn't just calling you names? You really are a witch, Mrs. Pinch?\"\n\n\"But of course! Who else but a witch could run Alistair Grim's Odditorium?\"\n\n\"Cor blimey!\" I gasped. \"Then that makes you\u2014\"\n\n\"Yes, Master Grubb,\" said Mr. Grim. \"Mrs. Pinch is Odditoria, too.\"\n\n\"Great poppycock!\" said Lord Dreary.\n\n\"I think Master Grubb agrees with you, old friend.\"\n\n\"Her color is coming back now,\" said Mrs. Pinch. And as the old woman fed her some more soup, Gwendolyn's glow turned yellow again and she blinked open her eyes.\n\n\"Where am I?\" Gwendolyn asked.\n\n\"Back where you belong,\" said Mr. Grim. \"You gave us quite a scare there, going head-to-head with the prince like that.\"\n\n\"A big bully he is,\" said the Yellow Fairy. \"But the boy is all right?\"\n\n\"Yes, miss,\" I said, stepping forward. \"Thanks to you.\"\n\nGwendolyn smiled and tried to sit up. \"Right, then, let's get on with round two.\"\n\n\"There, there,\" said Mrs. Pinch. \"You need to eat and regain your strength.\"\n\n\"Yes,\" Gwendolyn said, shaking her head. \"I'm afraid I still feel a bit loopy.\"\n\nMrs. Pinch gave her another spoonful of soup. Gwendolyn's eyes grew heavy and a look of peace came over her face.\n\n\"What's in that soup?\" asked Lord Dreary.\n\n\"Most of it's secret,\" said Mrs. Pinch. \"Except for the chocolate. Never met a fairy who didn't like chocolate. Never met a boy who didn't like chocolate either.\"\n\nAnd with that Mrs. Pinch produced a normal-size spoon from her apron and gestured for me to take it.\n\n\"For me?\" I asked.\n\n\"Of course,\" said Mrs. Pinch. \"Fairies will eat anything made of chocolate. But since this old witch had to make her brew without her spectacles, I need a taster to tell me if I got the recipe right.\"\n\nMrs. Pinch winked and I took the spoon.\n\n\"Oh, thank you, ma'am!\" I said, and served myself a mouthful.\n\n\"Well?\" she asked. \"Is it good?\"\n\n\"It's delightful, ma'am. I haven't had chocolate since before Mrs. Smears died. And never in my life have I had chocolate soup!\"\n\n\"Mrs. Smears, did you say?\" asked the Yellow Fairy.\n\n\"That's right, miss. The wife of my former master. She died when I was six or thereabouts, and Mr. Smears wouldn't allow me sweets for fear I might grow too fat for the chimneys.\"\n\n\"I thought I recognized you!\" Gwendolyn said.\n\n\"Miss?\"\n\n\"You're the lad I left on the Smearses' doorstep twelve years ago!\"\n\n\"You mean,\" I sputtered, astonished, \"you mean Mrs. Smears was telling the truth about where I came from?\"\n\n\"Well, of course,\" said Gwendolyn. \"A woman like Mrs. Smears wouldn't lie. And after all, she'd been coming into the Black Forest for years asking me for a child.\"\n\n\"Well, blind me!\" said Mrs. Pinch.\n\n\"Great poppycock!\" cried Lord Dreary.\n\n\"An intriguing turn of events!\" said Mr. Grim.\n\n\"But how,\" I stammered, \"who\u2014\"\n\n\"You were given to me by your mother,\" Gwendolyn said. \"The hooded sorceress, I called her.\"\n\n\"Hooded sorceress, miss?\"\n\n\"I never saw her face, you see. And I don't know if she really was a sorceress, but she knew how to summon me in the language of the ancients.\"\n\n\"Who was she?\" I asked.\n\n\"Beats me,\" Gwendolyn said. \"But she told me she was dying and asked me to find you a good home.\"\n\nA wave of sorrow gripped my heart. \"Then my real mother is dead?\" I asked.\n\n\"I would think so, lad,\" Gwendolyn said gently. \"But had I known that Mrs. Smears was dead too, and had I known that her bully husband had treated you so unkindly, well, I would've snatched you back and chomped him up right quick!\"\n\nThe adults laughed, but all I could do was gaze round at them, wide-eyed and gaping. I felt sad at learning about my mother, but then Nigel appeared with Broom in the parlor doorway, and my heart filled with joy.\n\n\"Nigel!\" I exclaimed, running to hug him. \"And Broom! You're all right too!\"\n\nBroom, whose stick had been mended with a bandage, gave a quick curtsy and set about tidying up the library.\n\n\"Number One fetched her from the water,\" Nigel said, scooping me up in his big arms. \"And sorry I couldn't join the fight, Grubb, but I used the last of my animus to charge up the bats.\"\n\n\"You mean\u2014\"\n\n\"That's right, Grubb. I only had enough left to send them off before I fizzled out. Cleona just finished recharging me, in fact. So I should be right as rain for a while now.\"\n\n\"Yes,\" said Lord Dreary. \"It's good to have you back, William\u2014er, uh\u2014\"\n\n\"Nigel, sir,\" the big man said, smiling. \"Less confusing that way, isn't it?\"\n\n\"Well, well,\" said Mrs. Pinch, rising with Gwendolyn in her arms. \"Given the day so far, I should think that all of us could use an early lunch.\"\n\n\"Come to think of it,\" said Lord Dreary, \"I _am_ a bit hungry.\"\n\n\"Me too,\" Nigel said.\n\n\"Chomp, chomp!\" Gwendolyn said, and she began to coo.\n\n\"All of us downstairs to the kitchen,\" said Mrs. Pinch, squinting as she carried the Yellow Fairy to the door. \"Master Grubb, you take along Gwendolyn's soup.\"\n\n\"Yes, ma'am,\" I said, hopping from Nigel's arms.\n\n\"Oh dear,\" Nigel said. \"I almost forgot. Cleona asked to see you, Grubb.\"\n\n\"Me?\"\n\n\"That's right. Her chamber is upstairs, two doors down from Mr. Grim's. You think you can find your way up and back down again to the kitchen without my help?\"\n\n\"Yes, Nigel. One landing up the spiral staircase, through the secret panel next to the lift, and then two doors down from Mr. Grim's chamber.\"\n\n\"Right-o,\" Nigel said. He took from me the bowl of chocolate soup, and all of us made for the parlor except Mr. Grim.\n\n\"I'll be down in a moment,\" he said, moving to his desk. He looked as if he was thinking very hard about something.\n\n\"Everything all right, sir?\" Nigel asked.\n\n\"Oh yes, Nigel,\" said Mr. Grim, smiling thinly. \"We've got quite an adventure ahead of us once we get the Odditorium up and flying again. I just want to make sure everything is in order.\"\n\n\"Humph,\" said Mrs. Pinch, annoyed. \"Well, blind me if I'm going to keep your lunch hot for you!\"\n\nAnd so we left Mr. Grim in his library. The others traveled down in the lift to the kitchen, while I dashed up the spiral staircase and slipped through the secret panel. The portraits that lined the upstairs gallery had yet to be cleaned of Cleona's chalk mustaches and nasty comments, but still I found no humor in them. On the contrary, a wave of sadness rippled through me as I passed by the portrait of Mr. Grim as a child.\n\n_Kiyoko,_ I said to myself. _She had wanted so badly to meet him._\n\nI took a deep breath and swallowed back my tears\u2014no time to get gobby eyed when on an adventure, Mr. Grim had said. I hurried down to the end of the hallway, counted backward two doors from Mr. Grim's chamber, and knocked.\n\n\"Come in,\" Cleona said, and I opened the door.\n\nThe first thing I saw in the wall opposite me was a large porthole cover with a wheel at its center. Hanging from a mechanical arm above it was a strange machine that looked like a giant silver egg that had been sawed in half lengthwise. Pipes zigzagged from it and into the ceiling in every direction, and sticking out from the egg's belly was a wide, stubby cannon. The rest of the room, including the floor, was covered with hundreds of paneled mirrors. And as I closed the door behind me, it looked as if a thousand other Grubbs closed the door behind them too.\n\n\"Over here, Grubb,\" Cleona said.\n\nI discovered her lying on her back, closer to the floor in another one of the strange egg machines. A mechanical arm connected it to the wall on one side, while a dozen or so pipes connected it to the wall on the other.\n\n\"Cor blimey, miss. Is this where you charge the Odditorium?\"\n\n\"Yes. The mirrors store my animus, and that machine over there with the cannon is Uncle's Sky Ripper.\"\n\n\"That's what Prince Nightshade called it too. A Sky Ripper.\"\n\n\"Speaking of Prince Nightshade, I never got a chance to thank you for rescuing me from that sphere of his. The energy surrounding it prevented me from escaping. So, thank you, Grubb.\"\n\n\"You're welcome, miss, but I should be the one thanking you. You saved me from Nightshade's Sirens, and then you saved me again back there at the castle.\"\n\n\"Pshaw. That's what family's for, and you're part of our family now, aren't you?\"\n\nI looked down at my shoes.\n\n\"What is it, Grubb?\"\n\n\"Begging your pardon, miss, but it's not my place to talk to you about it.\"\n\n\"Why not? If you can't tell your family things, to whom can you tell them?\"\n\n\"I suppose you're right, miss.\"\n\n\"Well, then?\"\n\n\"Well, miss. While you were stuck in that sphere, Prince Nightshade told me about Mr. Grim and Elizabeth O'Grady.\"\n\n\"Oh,\" Cleona said, looking away. \"I see.\"\n\n\"Then it's true what the prince said? Mr. Grim built the Odditorium to travel to the Land of the Dead and bring back her spirit?\"\n\n\"Yes,\" Cleona said quietly. \"I'm afraid it is.\"\n\n\"And you agreed to help him, miss?\"\n\n\"Well, of course. After all, he helped me, didn't he?\"\n\n\"Helped _you_ , miss?\"\n\n\"Yes, Grubb. Although we banshees can foretell the death of a person to whom we're attached, we cannot tell exactly how or when it will happen. And even if we could, supernatural law dictates that we are not allowed to interfere. If we do, we are doomed to walk the earth in anguish for eternity, and without a family to whom we may attach ourselves. Have you ever heard the wind wail on a dark and stormy night?\"\n\n\"Yes, I have.\"\n\n\"Those are the cries of banshees who have broken our sacred law of noninterference.\"\n\n\"Good heavens,\" I said, swallowing hard. \"So\u2014if I'm following you correctly, miss\u2014are you saying you tried to interfere with the death of Elizabeth O'Grady?\"\n\n\"I tried, yes. I was still a novice back then, and had only recently been attached to her family. And when I started wailing, I didn't even know which of the O'Gradys it was for until I saw Elizabeth standing atop that cliff. It was impetuous of me, I know, but before I could think twice about it, I dove into the water after her.\"\n\n\"You mean, she threw herself from the cliff?\"\n\n\"Threw herself from the cliff and drowned.\"\n\n\"But the sea\u2014you can't fly over water.\"\n\n\"Not for long, no. And struggle as I did, I could not save her before I had to go back to land. But, you see, even though I failed, the fact that I tried to save Elizabeth from drowning was enough for the banshee elders to cast me out. And so there I was, roaming the earth in anguish, until Alistair Grim saved me.\"\n\n\"How did he save you?\"\n\n\"He found my silver comb.\"\n\n\"Your comb?\"\n\n\"All banshees have hair like mine, and so they always carry a silver comb tucked in their robes. I lost my comb when I tried to save Elizabeth, and Uncle later discovered it snagged in her petticoats. Most people would have thought it just a silver comb, but not Alistair Grim. He knew the legend of the O'Grady banshees, and concluded that the comb must belong to one of them.\"\n\n\"But how did Mr. Grim save you from your banishment?\"\n\nCleona smiling knowingly. \"Alistair Grim: inventor, fortune hunter...and some say, mad sorcerer.\"\n\n\"You mean he used his magic, don't you.\"\n\n\"That's right, Grubb. He used my comb and a magical spell to draw me out of banishment and attach me to his family. You see, back then, there was no Odditorium. But still, I thought the least I could do was help him bring back Elizabeth.\"\n\n\"From the Land of the Dead, you mean?\"\n\n\"It didn't start out that way,\" Cleona said. \"About ten years ago, Uncle originally built a machine to transfer my spirit energy into a dead body\u2014Nigel was his first successful experiment with that. But Elizabeth O'Grady had been dead for two years at that point. And when Uncle realized she wouldn't come back to him as she was in life, he built the Odditorium so that her spirit could live with him here.\"\n\n\"The magic paint. If he took Elizabeth someplace that wasn't protected, the doom dogs would snatch her spirit back to the Land of the Dead.\"\n\n\"That's right, Grubb.\"\n\n\"But why did Elizabeth run away from Mr. Grim in the first place?\"\n\n\"I don't know. Uncle never told me. However, everything he has done here at the Odditorium has been out of love for her. After all, love is the most powerful Odditoria of them all, is it not?\"\n\n\"I suppose it is, miss.\"\n\n\"Grubb?\" Nigel called from somewhere. \"Are you still there, Grubb?\"\n\nI gazed round, and Cleona pointed to the talkback beside the door.\n\n\"Yes, Nigel,\" I said, flicking the switch. \"I'm here.\"\n\n\"On your way down, would you mind seeing what's keeping the boss? He won't answer on the talkback, and Mrs. Pinch is growing impatient.\"\n\n\"Yes, Nigel. I'm on my way now.\"\n\nI flicked off the talkback and turned back to Cleona. \"Thank you for telling me all this, miss.\"\n\n\"You're welcome, Grubb. As far as I'm concerned, there shall be no secrets between us. Agreed?\"\n\n\"Agreed, miss.\"\n\n\"However,\" Cleona said, smiling, \"I can't promise there shall be no tricks.\"\n\n\"Neither can I, miss,\" I said, smiling back. \"Which is why, being Mr. Grim's apprentice, I think it best not to tell you where your comb is at present.\"\n\n\"You mean, you know where Uncle hid it?\" Cleona asked, amazed.\n\n\"Maybe I do and maybe I don't. Either way, I should think the trick's on _you,_ miss.\"\n\n\"Why, you little\u2014!\" Cleona cried, but I didn't hang around to hear the rest. I dashed laughing from the room and down the hall, bounded down the spiral staircase and through the parlor, and came to a stop in the library doorway.\n\nThe wall behind Mr. Grim's desk was still open, so I had a clear view of him out on the balcony. He stood with his back to me, shoulders hunched, his head tilted down as if he were looking at something on his pipe organ.\n\n\"Mr. Grim?\" I called tentatively.\n\nBut he did not respond.\n\nAs I approached him, all the questions that I'd never dare ask flooded my head at once. However, as I stepped out onto the balcony, I became aware of a bright light flashing up at Mr. Grim's face.\n\n\"Mr. Grim?\" I called again.\n\nHe stiffened and lifted his head. And as he slowly turned, I spied the Lady in Black's mirror in his hand. The glass was no longer dark, but fizzled and popped in a kaleidoscope of swirling colors.\n\nMy eyes grew wide and my mouth fell open\u2014when suddenly the mirror crackled and flashed, and in its glass I saw my own face staring back at me.\n\n\"What an odd mirror,\" my reflection said, my voice hollow and distorted. \"I should think the Lady in Black would have a hard time seeing herself.\"\n\nI heard Cleona giggle and saw myself spin around, and all at once I understood what I was witnessing. The mirror was somehow playing back the moment when I first discovered it in the library. And just as I saw myself setting the mirror down on its box, the scene dissolved and the glass grew dark again.\n\nI gazed up at Mr. Grim in disbelief, and imagine my surprise to find him weeping.\n\n\"It is you,\" was all he said. \"It is you.\"\n\nThe odd was the ordinary at Alistair Grim's. And so, I suppose it's only natural that a lowly chimney sweep like yours truly should wind up being the secret son of a distinguished inventor, fortune hunter, and purveyor of antiquities\u2014not to mention a master sorcerer.\n\nIndeed, Mr. Grim\u2014begging your pardon, _my father_ \u2014welcomed me as his son with open arms. We had a lot of catching up to do, he said, but as is so often the case when on an adventure, there was little time to get all gobby eyed about it.\n\nYes, I'm afraid there were many more secrets to be revealed in the days to come, not the least of which had to do with the Lady in Black's mirror, the return of an old friend, and the quest for more Odditoria.\n\nAnd yet, if the word _Odditoria_ , at once both singular and plural, is used to classify any object living, inanimate, or otherwise that is believed to possess magical powers, perhaps the greatest secret I learned back then is that love truly is the most powerful Odditoria of them all.\n\nYou'll have to take my word on that for now.\n\nAnd who am I that you should do so?\n\nWhy I'm Grubb Grim, of course. Spelled like a worm that's unhappy, but with a double _b_. However, as I'm sure you've guessed, I was anything _but_ unhappy back then. Come to think of it, I wouldn't have traded my new life at the Odditorium for all the gold in the Lady of the Lake's castle.\n\nGood heavens! There I go getting ahead of myself again.\n\nMy apologies, but I'm afraid you'll have to take my word on all that Lady of the Lake business too. At least for now. Father is calling. Time for my organ lesson, you see.\n\nAfter all, if one is going to inherit the Odditorium, one must learn to fly it.\n\nAn intriguing turn of events, wouldn't you agree?\n**Character List**\n\n**Some folks in the North Country**\n\n**Grubb:** Name spelled like the worm but with a double _b_ , Grubb is twelve years old or thereabouts and the narrator of our story. A chimney sweep by trade, he can also read a bit and count higher than his fingers and toes.\n\n**Mr. Smears:** Grubb's brutal master, his favorite pastimes include drinking beer and knocking down Grubb for no reason in particular.\n\n**Mrs. Smears:** Gentle and kind, she died when Grubb was six or thereabouts.\n\n**Mr. Crumbsby:** A swindler and the proprietor of the Lamb's Inn, he is fat, has red whiskers, and spoils his twin sons rotten.\n\n**Tom & Terrance Crumbsby:** Fat, redheaded devils like their father, the Crumbsby twins eat loads of jam and enjoy beating up Grubb when they catch him.\n\n**The Crumbsby Women:** Mrs. Crumbsby and her two daughters, Anne and Emily. They are very fond of Grubb and sneak him food when the others are not around.\n\n**Old Joe:** A donkey that sometimes shares its stable with Grubb.\n\n**A number of relevant persons in and around London**\n\n**Alistair Grim:** Fortune hunter, purveyor of antiquities, and, some say, mad sorcerer. He is the inventor of the Odditorium, a house of mechanical wonders, and thus the chap after whom our story is named.\n\n**Prince Nightshade:** Mr. Grim's nemesis and antiquities rival, the self-proclaimed prince is an evil necromancer capable of absorbing magical power.\n\n**Nigel Stout:** Alistair Grim's coachman and all-around right-hand man, he is big and bald and wears a pair of thick black goggles.\n\n**Mrs. Pinch:** Mr. Grim's nearsighted housekeeper and cook.\n\n**Lord Dreary:** Mr. Grim's business partner and longtime friend.\n\n**Kiyoko:** A fierce shinobi warrior and prisoner in Nightshade's castle.\n\n**Judge Mortimer Hurst:** An enemy of Mr. Grim's, he sentenced Nigel's brother to hang a decade earlier.\n\n**Noah the Pickpocket:** A dapper thief about Grubb's age.\n\n**Frog Eyes & Flat Nose:** His not-so-dapper mates.\n\n**And, of course, a few who are either dead or just talked about**\n\n**Abel Wortley:** An elderly philanthropist, purveyor of antiquities, and dear friend of Alistair Grim's, Mr. Wortley and his housekeeper were murdered in London ten years before our story begins.\n\n**William Stout:** Nigel's twin brother, who was hanged for the crime.\n\n**Maggie Stout:** William's daughter, Maggie, was sent to live in the country after her father was hanged.\n\n**Elizabeth O'Grady:** Mr. Grim's long-lost love, she died under mysterious circumstances twelve years ago. Grubb often refers to her as the Lady in Black.\nGlossary of Odditoria\n\nNot to be confused with Mr. Grim's Odditorium (which ends with an \"um\"), loosely defined, the word _Odditoria_ , at once both singular and plural, is used to classify any object living, inanimate, or otherwise that is believed to possess magical powers.\n\n**Some relevant Odditoria at Mr. Grim's**\n\n**Dougal \"Mack\" McClintock:** Chief of the Chronometrical Clan McClintock, Mack is a Scottish pocket watch who likes a good brawl now and then.\n\n**Gwendolyn, the Yellow Fairy:** A wood nymph who is very fond of chocolate and gobbling up nasty grown-ups.\n\n**Cleona:** A mischievous banshee prone to wailing and playing tricks on people.\n\n**Animus:** The mysterious blue energy that powers the Odditorium's mechanics.\n\n**Broom:** The Odditorium's maid, she is just that, a broom.\n\n**Samurai:** Legendary Japanese warriors; Mr. Grim uses their magic-infused armor to guard his Odditorium.\n\n**Doom dogs:** A pack of vicious shadow hounds charged with fetching escaped spirits back to the Land of the Dead.\n\n**The Eyes of Mars:** A pair of magical orbs that the Roman god of war gave to his twin sons, Romulus and Remus. Alistair Grim has one Eye, and Prince Nightshade has the other.\n\n**The Lady in Black's Mirror:** A silver-handled mirror with dark glass that Mr. Grim keeps on his desk.\n\n**Number One:** A large mechanical wasp.\n\n**Thunderbirds:** An even larger species of bird indigenous to North America.\n\n**Some relevant Odditoria at Prince Nightshade's**\n\n**The Black Fairy:** An evil winged demon and Nightshade's second in command, he excels at blowing up things by spitting bolts of nasty black fire.\n\n**Shadesmen:** The long-dead armies of Romulus and Remus resurrected by Prince Nightshade.\n\n**Sirens:** Beautiful but dangerous sea witches whose songs lured ancient sailors to their deaths.\n\n**Red Dragons:** A clan of half-human serpents that are enemies of the shinobi.\n\n**Phantom:** One of Prince Nightshade's horses, he can fly and shoot fire from his mouth.\n\n**Borg Gorallup:** A large Norwegian troll and oft-featured gladiator in Prince Nightshade's tournaments, he holds an impressive record of seventeen kills.\n\n**Moth Man:** This newcomer from the Americas boasts a record of nine kills, each in less than a minute.\n\n**Moosh-Moosh:** A pint-sized goblin that tops off the prince's fighting roster with an unparalleled record of twenty kills even.\n\n**Various other monsters:** Including more goblins and trolls that have allied themselves with the prince.\n\n#### Acknowledgments\n\nFirst and foremost, I must thank my superhuman agent Bill Contardi at Brandt & Hochman Literary Agents, as well as my brilliant editors Emily Meehan, Laura Schreiber, and Elizabeth Law. Words cannot possibly express my gratitude for their enthusiasm and guidance throughout this process, and I am truly honored and humbled to have worked with them. A mountain of thanks must also be heaped upon the magical team at Disney-Hyperion who helped bring this book to life: the amazing Whitney Manger, Su Blackwell, and Colin Crisford for their stunning cover, my keen-eyed copy editor Brian Luster, and the remarkably talented Vivienne To, whose illustrations ended up exceeding my wildest expectations.\n\nAs always, I am eternally grateful to my wife, Angela, and my family for their unwavering love and support. Further appreciation goes out to Jessica Purdy and her son, Jack Schneider, whose obsession with Grubb and his adventures made me believe again. Loads of thanks to my colleagues John Shearin, Jill Matarelli-Carlson, Patch Clark, Natalie Stewart, and Robert Caprio for always taking the time out of their busy lives to read my work, as well as to my former students Malcolm Armwood, Jason Brown, Victoria Kite, Bobby Cassell, McKenna Cox, Andrew Britt, Grayson Sandford, Devan Mitchell, Nick Iyoob, Tyler McAuley, and John Barnick\u2014all of whom unwittingly helped me develop Grubb's voice as I read to them in class. Thanks also to Jim McCarthy at Dystel & Goderich, my old mentor John C. Edwards for turning me on to all things Dickens, and my dear friend Michael Combs, whose insight and collaborative spirit never cease to amaze me.\n\nAnd last but not least, a long overdue thank-you must go out to my ninth grade English teacher, Mrs. LaFauci. You planted the seed all those years ago; my sincerest apologies that it took so long to bear fruit.\n\n### **Keep reading for a sneak peek at _Alistair Grim's Odd Aquaticum_ , the next book in the Odditorium series! **\n\nGo ahead,\" Father said, and he passed me the Black Mirror.\n\nThe handle was warm to the touch, and I could barely make out my reflection in the mirror's polished black glass. My eyes narrowed and my lips pressed together tightly. This was not the first time I'd gazed upon this strange black mirror. But unlike on previous occasions, I now knew what to say.\n\n\"There's nothing to fear,\" Father said. \"All you have to do is ask.\"\n\nI swallowed hard. \"Show me my mother,\" I said, and the glass burst to life in a swirl of sparkling colors. I gaped in disbelief, my heart hammering as the colors began to churn faster and faster. The mirror flashed, and in its glass appeared the face of a woman weeping. I recognized her from the portrait in the parlor.\n\nElizabeth O'Grady, the Lady in Black.\n\n_\"I'm sorry, my love,\"_ she said, her voice hollow and distorted. She turned as if something caught her attention, and then her image dissolved and the glass went dark again. A heavy silence hung about the room.\n\n\"There, you see?\" Father said finally. \"Among other things, the Black Mirror is capable of holding the last reflection of anyone who gazes into it, words and all.\"\n\n\"So that's how you knew,\" I said in amazement. \"Because I'd looked into the mirror before, you saw my reflection when you asked to see your son.\"\n\n\"An excellent deduction, my young apprentice.\" Father took the mirror and slipped it into a wooden case upon the desk. It was nighttime, and yet, in the soft blue glow of the library's lamplight, I could see his eyes had grown misty.\n\n\"Begging your pardon, Mr. Grim\u2014\"\n\n_\"Father,\"_ he said gently. It had been nearly a month since I learned that the man sitting across the desk from me was my father. But still, I hadn't gotten used to saying it out loud.\n\n\"Begging your pardon\u2014Father\u2014but how did you come by this mirror?\"\n\n\"It was a gift from Elizabeth O'Grady upon our engagement. Legend has it one of her ancestors stole the Black Mirror from a sorceress, after which it was handed down in her family for generations. What you saw was your mother's last message to me before she died.\"\n\nA long silence passed between us. \"I wish I'd known her,\" I said finally.\n\n\"I wish you had too,\" Father said.\n\nI stared down at my shoes. There were still so many questions I wanted to ask, but Father was not the sort to talk about such things. Besides, we were on an adventure. And when one is on an adventure, there is little time to get gobby-eyed about the past.\n\n\"Now, on to more pressing matters,\" Father said, \"the first of which is preparing you to inherit the Odditorium.\" He pointed to the notebook of spells on the desk before me. \"Let's hear it, then.\"\n\n\"Sumer...te...sulumor,\" I read aloud, slowly, and Father snapped his fingers.\n\n\"The correct pronunciation is _suh-meer teh suh-loo-mahr_. It's 'Romulus et Remus' in Latin, spelled backward.\"\n\n\"Of course!\" I exclaimed, the light dawning, and I uttered the spell again, this time properly.\n\nFather nodded, then crossed to the hearth and pressed a secret button on the mantel. Above it, a large lion's head with glowing red eyes swung open to reveal a hidden compartment in the wall. At the center of the compartment was a small crystal conductor sphere with a tangle of pipes branching out from it in every direction. And inside the sphere floated the light source for the lion's eyes: a fiery glass ball called the Eye of Mars.\n\nStanding on his tippy toes, Father opened the conductor sphere's porthole and removed the Eye.\n\n\"There are essentially two types of magical objects in this world,\" he said. \"Ones that are activated by simple physical actions or verbal commands, such as the Black Mirror; and ones that can be activated only by the precise utterance of a magic spell, such as the Eye of Mars.\"\n\nFather waved his hand over the glowing red ball. \"Sumer te sulumor,\" he said, and the light went out. I'd seen him do this dozens of times, and yet the simple act of turning the Eye of Mars on and off never ceased to amaze me.\n\n\"Go ahead, lad,\" Father said, passing it to me. I swallowed hard and waved my hand over the Eye.\n\n\"Sumer...te...sulumor,\" I said\u2014but nothing happened.\n\n\"Try it again. A magical spell is only as strong as the belief of the person who utters it.\"\n\nI took a deep breath. \"Sumer te sulumor,\" I said with conviction, and the Eye of Mars ignited, its red glow warm in my hands.\n\n\"I done it, sir!\" I cried, and Father mussed my hair.\n\n\"That you _did_. Now do it a hundred times more and we'll move on.\"\n\n\"Cor blimey, sir! A hundred times?\"\n\n\"Consistency is everything in sorcery. Whining is not. Thus, if you wish to inherit the Odditorium someday, I suggest you carry on with your lesson.\"\n\nFather winked and, raking his fingers back through his long black hair, stepped out through the library's wide-open archway and onto the balcony.\n\n\"Sumer te sulumor,\" I said with a wave of my hand. And as the Eye of Mars went dim again, Father sat down at his pipe organ and began to play. I could barely see him out there in the dark\u2014his long, slender back just a smudge of shadow against the starless sky. And yet the tune he played\u2014\"Ode to Joy,\" I believe it was called\u2014was so festive and cheerful, I could tell how proud of me he was just the same.\n\nMy heart swelled, and I tried to carry on with my lesson as best I could, but as Father shifted into a series of expertly fingered flourishes, my eyes began to wander about the library's fantastic contents.\n\nNot much had changed since my arrival at the Odditorium, and yet I could hardly believe that someday it would all be mine. The countless books and clocks and mechanicals. The priceless antiquities. The suits of samurai armor and the lion's head above the hearth\u2014not to mention the Eye of Mars and all the other magical objects about the place.\n\nAnd yet, for all the wonders I'd encountered, none was nearly so wondrous as the tall, dark man playing the organ out on the balcony.\n\nI suppose every lad thinks his father special\u2014save, of course, for the poor wretch with a father prone to drink and beating him now and then. My father was prone to neither, thank you very much, but to me he was much more than special. In fact, I'd wager there wasn't another father like mine in the whole wide world.\n\n_Since when did_ you _become an expert on fathers?_ you might be asking. And for those of you who know me, I must say I can't blame you. After all, when last we left each other, I'd only known my father a short while\u2014not to mention that I caused him quite a bit of trouble back then. However, for those of you joining me on this adventure for the first time, I suppose a bit of catching up is in order.\n\nYou might say that it began with a pocket watch and ended with a prince. And somewhere in the middle, a runaway chimney sweep learned that he was the secret son of an inventor, fortune hunter, and sorcerer all rolled into one. That son, of course, was me, and my name is Grubb. That's right, Grubb. Spelled like the worm but with a double _b_ , in case you plan on writing it down. And my father was none other than Alistair Grim.\n\nI say \"none other\" because, had you lived in London at the time, you no doubt would have heard of Alistair Grim. Had you lived in some other place, you might have heard of him there too. Or at least caught a glimpse of him flying about in his Odditorium\u2014a house of mechanical wonders that looked like a big black spider with a tail of sparkling green smoke.\n\nIf you didn't see the Odditorium flying about, you most certainly would have heard it. _Where's that organ music coming from?_ you might have remarked, upon which (had I been on the ground with you) I'd have replied, _The Odditorium, of course._ You see, that's how Alistair Grim used to fly his house of mechanical wonders: by playing its pipe organ.\n\nThe organ sat upon the Odditorium's balcony and faced outward so that its massive pipes twisted up and down the front of the building like dozens of hollow-steel tree roots. I must confess, I found it very difficult to play the organ properly at first, but eventually I learned how to make the Odditorium go where I wanted it to\u2014except when traveling underwater.\n\nGood heavens! There I go getting ahead of myself. I suppose if I'm going to tell you about all that underwater business, I best back up and tell you how we got there in the first place. Come to think of it, for those of you unfamiliar with my tale, I best back up to the beginning. Otherwise you might get confused and abandon this adventure altogether.\n\nAll right, then: the beginning.\n\nTwelve years before I arrived at the Odditorium, Alistair Grim's bride-to-be, Elizabeth O'Grady, fled London under mysterious circumstances and drowned in the North Country. Before she died, however, Elizabeth gave birth to a son and entrusted him in the care of Gwendolyn, the Yellow Fairy. That son was yours truly, and the Yellow Fairy dropped me off on the doorstep of a kind childless woman by the name of Smears. Unfortunately, she passed away when I was six or thereabouts, and for the next half of my life I had the miserable lot of being apprenticed to her nasty chimney sweep husband, Mr. Smears.\n\nUnbeknownst to me at the time, while I was busy collecting soot for Mr. Smears, my father, Alistair Grim, was busy gadding about the world collecting Odditoria. Not to be confused with his mechanical marvel the Odditorium (which, as you can see, ends with an _um_ ), the word _Odditoria_ , at once both singular and plural, is used to classify any object\u2014living, inanimate, or otherwise\u2014that's believed to possess magical powers.\n\nIn other words, the Odditori _um_ is the place, and Odditori _a_ are the magical things _inside_ the place.\n\nOut of all the Odditoria Alistair Grim collected over the years, there are only three from which he harnesses magical energy to power his Odditorium. The first is none other than the Yellow Fairy herself, whose magic yellow dust enables the Odditorium to fly. The second is the red Eye of Mars, which powers the Odditorium's lightning cannons. The third is a mischievous banshee by the name of Cleona, who provides the Odditorium with a blue spirit energy called animus.\n\nCleona's animus is by far the most important of Alistair Grim's colored energies; for it's the blue animus that gives life to the Odditorium's various mechanical functions.\n\nHowever, there was _someone else_ gadding about the world collecting Odditoria too: a wicked necromancer by the name of Prince Nightshade. And not only did this Nightshade bloke harness power from his magical objects just as Alistair Grim did, but he'd also gathered about himself an army of nearly every evil creature imaginable: dragons, trolls, goblins, and, most terrifying of all, the Black Fairy.\n\nBut for all the prince's success at collecting Odditoria, there remained one magical object that continued to elude him: a source of the animus from which he could create an army of the walking dead.\n\nI suppose that's where I come in. I got into some trouble while sweeping chimneys at an inn with Mr. Smears and, fearing for my life, hid myself in a trunk belonging to one of the guests. That guest turned out to be Alistair Grim, who whisked me away on a flying coach and took me on as his apprentice. My entire life had changed in an instant\u2014not to mention that I made loads of new friends, including Father's right-hand man, Nigel, and an animus-powered pocket watch named Mack (short for McClintock). An odd one, that Mack is, for not only does he never run out of animus, he also stops ticking now and then for no apparent reason.\n\nIn fact, it was Mack who kicked off this entire adventure. My first day on the job, I accidentally brought him outside the Odditorium, whereupon Prince Nightshade picked up on his animus and came after us with his army of skeleton Shadesmen. However, Nightshade didn't have many of those bone bags left, so he wanted the animus to turn flesh-and-blood people into Shadesmen too. I'd seen him do it myself\u2014to Judge Hurst, Father's old enemy from London\u2014and let me tell you it was not a pretty sight.\n\nSo that's the nub of it, and right about where you found me during my lesson. Cleona and I had narrowly escaped captivity in Nightshade's castle a few weeks earlier, and Father had since come up with a plan to defeat him. The only catch? He wouldn't tell anyone except Nigel what he was up to. The fewer people who knew about his plan the better, in case the prince caught up to us before we arrived at our final destination.\n\nOur final destination. I hadn't a clue where it was, but I got the sense that if we didn't get there quickly, Father's secret plan to defeat Prince Nightshade would fail. After all, the evil prince was still out there, plotting his next move to steal Mack's animus and create his army of purple-eyed Shadesmen.\n\nCoincidentally, as I was gazing around the library thinking about Mack's animus, the old pocket watch began shaking in my waistcoat. I'd since traded my raggedy old clothes for an entire wardrobe that Mr. Grim\u2014er, my _father_ \u2014had lying about since he was a child. If only my mates back in the North Country could see me now, I thought, they'd think me on my way to being a right proper gentleman.\n\nI slipped Mack from my pocket and opened his red-and-gold-checkered case.\n\n\"What time is it?\" he cried. His mechanical eyes flashed blue, and his thick, curved hands twirled to VIII and IV so they formed a mustache atop his smiling mouth.\n\n\"Quiet, Mack,\" I whispered. \"I'm in the midst of my lesson.\"\n\n\"Sorry to disturb ya, laddie,\" he said. \"But if ya wouldn't mind setting me next to me chronometrical cousin there, I'll shut me gob so's ya can carry on.\"\n\nI glanced over at Father. He was still playing up a storm out on the balcony, so I placed Mack beside the clock on his desk.\n\n\"Ten past eight!\" Mack exclaimed, and he twirled his hands to the proper time. \"I tell ya, Grubb, now that I always know what time it is, I feel like a lad of yer age. Why, I remember when I was\u2014\"\n\n\"You best quit your jabbering, or Father might ban you from the library again.\"\n\n\"But passing the time with me clock cousins is me reward for helping ya escape Nightshade's castle. Mr. Grim said so himself!\"\n\n\"I don't mean he'd ban for you good, Mack. Just until my lesson's over. I've got to do this a hundred times, he says.\"\n\nWaving my hand over the Eye, I spoke the magic spell and the glass ball ignited.\n\n\"Well done, laddie,\" Mack said. \"Tell ya what. You do that ninety-nine more times and I'll keep count for ya. After all, what good's the chief of the Chronometrical Clan McClintock if he can't help his best friend become a sorcerer?\"\n\n\"Why, that's a splendid idea, Mack. I should think it much easier to concentrate on what I'm doing if I don't have to keep track of how many times I'm doing it.\"\n\n\"All right, then, laddie. Off ya go!\"\n\n\"Sumer te sulumor,\" I said, waving my hand, and the Eye of Mars went out.\n\n\"That's two,\" Mack said. \"Now try again.\"\n\n\"Sumer te sulumor,\" I repeated\u2014but as the Eye caught fire, it floated out of my hand and hovered in the air just above my head!\n\n\"Aye, yer getting good at this sorcery business, laddie,\" Mack said. \"I didn't know you could make things fly.\"\n\n\"But I'm not doing that!\" I cried. I rose to my feet and tried to snatch back the Eye, but it darted away from me and began floating toward the hearth\u2014slowly now, as if daring me to follow.\n\n\"Father!\" I called out in panic. Father ceased his playing at once and came in from the balcony.\n\n\"Done already?\" he asked, when the sight of the Eye of Mars hovering near the mantel stopped him dead in his tracks. Father's face grew dark and his fists clenched. A long, tense moment of only clock ticking hung about the library, and then Alistair Grim crossed fearlessly to the center of the room.\n\n\"Show yourself,\" he commanded.\n\nAnd to my horror, someone actually _did_.\n**Gregory Funaro** grew up in Cranston, Rhode Island, and wrote his first story, \"The Ghost in the Window,\" in the fourth grade. He considers this to be his finest work, but unfortunately it has been lost to time. Following high school, Greg majored in theatre at the University of New Hampshire and, after various acting gigs, received his AM in theatre arts from Brown University and an MFA in acting from the FSU\/Asolo Conservatory. Greg teaches drama at East Carolina University and is busy working on the next book in the Odditorium series.\n","meta":{"redpajama_set_name":"RedPajamaBook"}}
+{"text":"\n\nE-text prepared by sp1nd, Matthew Wheaton, and the Online Distributed\nProofreading Team (http:\/\/www.pgdp.net) from page images generously made\navailable by Internet Archive (https:\/\/archive.org)\n\n\n\nNote: Project Gutenberg also has an HTML version of this\n      file which includes the original illustrations.\n      See 43068-h.htm or 43068-h.zip:\n      (http:\/\/www.gutenberg.org\/files\/43068\/43068-h\/43068-h.htm)\n      or\n      (http:\/\/www.gutenberg.org\/files\/43068\/43068-h.zip)\n\n\n      Images of the original pages are available through\n      Internet Archive. See\n      https:\/\/archive.org\/details\/milletocad00turnuoft\n\n\n\n\n\nMasterpieces in Colour\n\nEdited by--T. Leman Hare\n\nMILLET\n\n1814-1875\n\n\n       *       *       *       *       *\n\n    \"MASTERPIECES IN COLOUR\" SERIES\n\n\n       ARTIST.                   AUTHOR.\n    VELAZQUEZ.                S. L. BENSUSAN.\n    REYNOLDS.                 S. L. BENSUSAN.\n    TURNER.                   C. LEWIS HIND.\n    ROMNEY.                   C. LEWIS HIND.\n    GREUZE.                   ALYS EYRE MACKLIN.\n    BOTTICELLI.               HENRY B. BINNS.\n    ROSSETTI.                 LUCIEN PISSARRO.\n    BELLINI.                  GEORGE HAY.\n    FRA ANGELICO.             JAMES MASON.\n    REMBRANDT.                JOSEF ISRAELS.\n    LEIGHTON.                 A. LYS BALDRY.\n    RAPHAEL.                  PAUL G. KONODY.\n    HOLMAN HUNT.              MARY E. COLERIDGE.\n    TITIAN.                   S. L. BENSUSAN.\n    MILLAIS.                  A. LYS BALDRY.\n    CARLO DOLCI.              GEORGE HAY.\n    GAINSBOROUGH.             MAX ROTHSCHILD.\n    TINTORETTO.               S. L. BENSUSAN.\n    LUINI.                    JAMES MASON.\n    FRANZ HALS.               EDGCUMBE STALEY.\n    VAN DYCK.                 PERCY M. TURNER.\n    LEONARDO DA VINCI.        M. W. BROCKWELL.\n    RUBENS.                   S. L. BENSUSAN.\n    WHISTLER.                 T. MARTIN WOOD.\n    HOLBEIN.                  S. L. BENSUSAN.\n    BURNE-JONES.              A. LYS BALDRY.\n    VIGEE LE BRUN.            C. HALDANE MACFALL.\n    CHARDIN.                  PAUL G. KONODY.\n    FRAGONARD.                C. HALDANE MACFALL.\n    MEMLINC.                  W. H. J. & J. C. WEALE.\n    CONSTABLE.                C. LEWIS HIND.\n    RAEBURN.                  JAMES L. CAW.\n    JOHN S. SARGENT.          T. MARTIN WOOD.\n    LAWRENCE.                 S. L. BENSUSAN.\n    DUERER.                   H. E. A. FURST.\n    MILLET.                   PERCY M. TURNER.\n    WATTEAU.                  C. LEWIS HIND.\n    HOGARTH.                  C. LEWIS HIND.\n    MURILLO.                  S. L. BENSUSAN.\n    WATTS.                    W. LOFTUS HARE.\n    INGRES.                   A. J. FINBERG.\n\n        _Others in Preparation._\n\n       *       *       *       *       *\n\n\n    [Illustration: PLATE I.--THE WOOD-CUTTER. Frontispiece\n\n    (In the Louvre)\n\n    An instance of Millet in a less pessimistic mood than we\n    generally find him. The wood-cutter, pursuing his vocation on a\n    warm sunny day, full of life and vigour, brings before us the\n    joyous side of peasant life. We feel that he is happy and\n    contented, and if his lot is somewhat hard, he has none of those\n    distracting ambitions which mar the enjoyment in life to all who\n    fall a prey to them. The wood in the background is a good\n    example of Millet's powers in this direction.]\n\n\nMILLET\n\nby\n\nPERCY M. TURNER\n\nIllustrated with Eight Reproductions in Colour\n\n\n\n\n\n\n\n[Illustration: IN SEMPITERNUM.]\n\nLondon: T. C. & E. C. Jack\nNew York: Frederick A. Stokes Co.\n\n\n\n\nCONTENTS\n\n\n                                         Page\n      I. Introduction                      11\n     II. Millet's Early Life               29\n    III. The Migration to Paris            41\n     IV. The Struggle for Recognition      52\n      V. Millet in his Maturity            57\n     VI. The Man and his Art               72\n\n\n\n\n    LIST OF ILLUSTRATIONS\n\n\n    Plate                                                 Page\n       I. The Wood-Cutter                         Frontispiece\n             In the Louvre\n\n      II. The Weed-burner                                   14\n             In the Louvre\n\n     III. The Church at Greville                            24\n             In the Louvre\n\n      IV. The Gleaners                                      34\n             In the Louvre\n\n       V. The Straw-binders                                 40\n             In the Louvre\n\n      VI. Spring                                            50\n             In the Louvre\n\n     VII. The Sawyers                                       60\n             In the South Kensington Museum\n\n    VIII. The Sheep-fold                                    70\n             In the Glasgow Corporation Art Galleries\n\n\n\n\nI\n\nINTRODUCTION\n\n\nAmongst the great painters of peasant life the name of Jean Francois\nMillet stands out prominently. A long interval elapsed betwixt the\ndeath of Adrian van Ostade and the birth of Millet, unbroken by a\nsingle name, with the solitary exception of Chardin, of a painter who\ngrasped the profundity of peasant life. In Holland and Flanders in\nthe sixteenth and seventeenth centuries we find many painters who,\nwhilst living the humblest lives themselves, saw in their surroundings\nsuch material for treatment as has handed their names down to\nposterity. It is only quite recently that one of the greatest of all,\nPieter Brueghel the Elder, has come to occupy his proper position in\nthe world of art. Formerly he was looked upon as an eccentric painter,\nwhose subjects were generally of rather a coarse nature; who,\nmoreover, contented himself with depicting the droller side of the\nvillage life of his period, and consequently was not to be taken\nseriously. Of late years, however, an exhaustive research into his\nlife and works have revealed him as one of the greatest masters in his\nown sphere of any time. The wonderful series of pictures in Vienna,\nand the solitary examples scattered about the great collections of\nEurope, proclaim him not only a painter, but a philosopher as well.\nHis peasants, grotesque as they may now appear to us, possess a\nfidelity and vigour of handling such as none of his contemporaries\npossess. To him, consequently, we must look as the fountain-head of\nall peasant painting. His influence was immediately felt in the\nLow Countries, and there sprang up that wonderful school of which\nAdrian Brouwer, Jan Steen, and Adrian van Ostade are such brilliant\nexponents. In their more recent prototype--Millet--the same profound\nand sympathetic rendering of the everyday life of the simple peasant\nis to be found, tinged with the melancholy fervour of his temperament.\nTheir temperament bears the same relation to his as the seventeenth\ncentury does to the nineteenth. A more subdued temper had come over\nall classes of the community, a less boisterous attitude towards life,\nbut the struggle for existence was none the less strenuous or\nunending. The rollicking and reckless joy of Brouwer's peasants, with\ntheir hard drinking and lusty bawling, was an essential feature of\nDutch life of the period. But they are every whit as precious from an\nartistic and historical standpoint as are the placid interiors of\nMillet.\n\n    [Illustration: PLATE II.--THE WEED-BURNER\n\n    (In the Louvre)\n\n    A notable example of the simplicity of motive which\n    characterises Millet's finest works. The treatment of the\n    peasant figure in the centre of the picture is dominated by\n    sincerity and sympathy. The half suggested landscape forming the\n    background is symbolical of man's hard struggle with Nature. The\n    colour scheme is very subdued, and serves to accentuate the\n    wonderful outline and natural pose of the woman.]\n\nDuring the two centuries which elapsed between these great masters\nmany changes had come over the lives of European people. The spread of\neducation, permeating down even to the lowest classes, had tended to\nthe sobering of habits; and the French peasant, with the partial\nuplifting and greater contact through more equitable distribution of\nthe land which the Revolution had bestowed upon him, was a quieter man\nthan his Dutch prototype who had preceded him by a couple of\ncenturies.\n\nIn Millet's rendering of the life he found around him, the same\nincisive truth and absorbing sincerity is to be found as in the\nDutchmen with whom I have compared him, and consequently Millet can be\nconsidered as a direct lineal descendant of the mighty Brueghel.\n\nThe entire absence of the Dutchmen's brutality in Millet's work is to\nbe accounted for, firstly, by the extreme gentleness of his own\ndisposition; and, secondly, by his study of some of the greatest\nmasters of the Italian renaissance. His keenness of perception can be\ngauged by his enthusiastic appreciation of Andrea Mantegna at a time\nwhen the merits of that master were not understood as they are to-day.\nMany of his noblest inspirations were conceived under the Paduan\npainter's influence, and one could cite many compositions in which the\ntrain of thought of the two masters seems to run upon parallel lines.\n\nUpon first regarding a picture of Millet's mature years, one wonders\nfrom whence come those subtleties of line and tone. There is nothing\nanalogous to them in the works of his contemporaries. The difference\ntoo between his early efforts and those of his later years is\nstupendous, but the lines which his development pursued are\nessentially due to the simplicity of the life he led and the high\nideal he invariably kept before him. Living, as he always did, a life\nof struggle, a never-ending battle against seemingly overwhelming\nodds, he was in a position to grasp the sorrows and troubles of the\nsimple folk by whom he was surrounded. He further saw that work,\nalthough they themselves were not aware of it, alone made life\nliveable to them. He shared their struggles in their most intense and\npoignant form. In fact when one contemplates the life which Millet\nled, both at Greville and at Barbizon, with its strenuousness and\nearnestness, faced, moreover, with the ever-present dread of want, it\nis to be wondered that he had the courage to live his life as he did.\n\nIt has become the fashion lately to decry certain phases of his art. A\ncharge of sentimentality is urged against some of his most popular\nworks. The \"Angelus,\" about which many hard things have lately been\nsaid, is a case in point. It must be remembered that modern life,\nparticularly as lived in great cities such as London or Paris, does\nnot tend to foster those simple ideas upon religion, which the\npeasant, far removed from great centres of population, implicitly\naccepts. He is, as a rule, a man of but little education, who has\nheard nothing of the doubts and scepticisms with which townspeople of\nevery grade of society are so familiar. His ideas on religion are\nexactly those which have come to him from his parents, and he is\nincapable of doubting the elementary truths he was first taught. Such\nsimple ideas have departed from even the peasantry in most parts of\nFrance. Only in Brittany and in La Vendee could one to-day encounter\nthe types Millet has portrayed for us in the \"Angelus.\"\n\nThe two figures in the foreground are symbolical of all that is most\ntouching in French peasant life. The end of the day has arrived, and\nafter many hours of unremitting toil, the ringing of the bell in the\ndistant tower proclaims the finish of another day. The wonderful still\natmosphere which envelops the far-stretching plain, the whole suffused\nwith the effects of a placid and glorious sunset, lends an intensity\nof poetical feeling which harmoniously blends with the placid nature\nof the theme. All around us we have evidence of man's perpetual\nstruggle with nature, the grim fight for subsistence, for life itself.\nThe ploughed field has yielded many a crop, the reward of arduous\nlabour expended in sowing and reaping. The small recompense to the\nlabourer himself is symbolised by the extreme poverty with which the\nman and woman are clothed, whilst the degrading nature of the toil, as\nin the far famous \"Man with the Hoe,\" is brought before us in the\nrugged types of the labourer and his wife. The only softening\ninfluence in their lives is that imparted by religion, and in choosing\nthis moment of the angelus for depicting them, Millet has brought\nbefore us in the most forcible form not only the degrading character\nof much of the toil which is entailed in producing the necessities of\nexistence, but also the danger of removing by any sudden change, no\nmatter how well intentioned, the consoling influence of religious\nbelief. A work into which such intense earnestness and melancholy\ntruth is infused can never be designated sentimental, except by those\nwho have not freely grasped the immense import of these qualities in\nthe production of great and enduring art. Brilliancy of technique and\nextraordinary facilities, if unsupported by a determination to convey\nsome message, will inevitably find its own level, whilst the painter\nwho possesses this supreme quality will assuredly come into his own.\n\nIt must never be forgotten that in considering the oil paintings of\nMillet, the subtleties of atmosphere and line can never be appreciated\nif one is not acquainted with the country he painted. No two countries\nare alike in atmospheric effect, and it is necessary, therefore, in\norder to appreciate an artist to the full, to have studied the country\nhe has chosen to depict. The outlines of the landscape, the very shape\nof the trees, the colour imparted by sunshine and clouds, differ\nmaterially in various districts, and consequently it behoves one to\nexercise caution before condemning this or that effect as being untrue\nto nature.\n\nIt may safely be said that as a painter, purely and simply, Millet\nwill never occupy a very high position in the world of art. He never\nbursts forth into any of those pyrotechnics which distinguished many\nof his contemporaries and some of the painters of our own days. His\nmanner of handling the brush is always restrained to the point of\ntimidity. By this I do not mean to imply that he could not paint in a\nlarge and bold manner; indeed on many occasions, as for example in the\n\"Sawyers,\" he has attained an astonishing degree of power. But as his\nwhole thoughts were directed to suppressing any tendencies towards\nvirtuosity, which might divert attention from the point he wished to\nillustrate, he frequently appears to achieve his ends by holding\nhimself in restraint.\n\nAnother dominant characteristic of Millet's art is that the instant he\nthrows off his sadly philosophic mood, he is no longer a great artist.\nFor example, in the well-known picture of \"La Baigneuse,\" he\nendeavours to draw himself into depicting the brighter side of life.\nIn a wood resplendent with the sunlit foliage of a glorious summer\nday, a young girl is about to enter the small river which runs\nplacidly between the moss-covered banks. In the distance a number of\nducks are disporting themselves in the water. Here is a theme which\nwould appeal irresistibly to a man of the temperament of Diaz; he\ncould impart the glories of colour as they were reflected from the\nmirror-like surface of the water, the shimmering of the trees and the\ndelicious effect of the balmy breeze as it rustled through the\nbranches. But in the hands of Millet it is nothing but a sad\ncomposition; the figure is well drawn; the ducks are admirably placed\nin the composition, and the trees treated with studious fidelity, but\nthere is that great indefinable something lacking which attracts us\ntowards the master when working in a sadder mood.\n\nMillet can be described as being more a philosopher than a painter.\nNot only in his great paintings, which by the way are not very\nnumerous, but in his drawings and etchings, we discover the mind of a\nman who has grappled with, and understood the great problems of life.\nPoor as he was, and remained all his life, it is doubtful whether\nriches or an improvement in circumstances would have brought him any\nincreased happiness. He loved the open country, and still more the\nsolitary peasant whom he found working in the fields, earning a bare\nsubsistence for himself and his little _menage_ in the neighbouring\nvillage. His interest was divided between the man at his work and his\nwife and children in the _menage_. The simplest incidents of their\neveryday life did not escape him, and the smallest duty which would\nhave left unaffected a less observant nature has been made the subject\nof many a fine canvas.\n\n    [Illustration: PLATE III.--THE CHURCH AT GREVILLE\n\n    (In the Louvre)\n\n    One of the subtlest landscapes by Millet in existence. It shows\n    that on occasions he could leave the beaten track and still\n    remain as great a master as ever. Everybody who knows the\n    atmosphere of Normandy will appreciate its truth and poetry. The\n    marvellous results he has achieved with such a simple theme is\n    worthy of our praise. The whole effect is so natural that we are\n    apt to forget the keen sense of composition that was needed to\n    present the subject in such an attractive form.]\n\nMillet seems particularly to have been impressed with the loneliness\nof the peasant's labour. Take, for example, that wonderfully luminous\ncanvas, \"The Sheep Pen.\" Here, in the midst of a vast plain, a large\nspace is marked out in which to enclose the sheep for the night. The\nsun, sinking low in the horizon, warns the shepherd that the time has\narrived for him to call together his flock and place them in safe\nquarters for the night. Accompanied by his faithful dog, he stands at\nthe opening of the pen allowing the sheep to enter two or three at a\ntime. There is no other living soul in sight. Alone he has kept guard\nover the flock during the long day, with no other company than his dog\nand his own thoughts. He is dead to the beauties of the landscape\naround him, and sees nothing more in a field than how much corn can be\nraised each year from it, or in the sheep he tends so carefully how\nmuch mutton it will make. He feels nothing of the glorious beauties of\nthe sunset, of which he is so often a witness; how it softens the\nlines of the horizon and suffuses the distant woods and plain with its\ngolden rays. He sees nothing of the changes momentarily occurring in\nthe sky: how the blues get fainter and fainter, how the clouds are\ntinged with opalescent hues, the shadows prolonging themselves as the\norb sinks deeper and deeper; or how, finally, when the sun has\ndisappeared, the whole heavens are lighted up in one blaze of glory.\nYet Millet would have us understand that in spite of this, the\nshepherd is performing a duty to humanity not to be underrated. The\nsheep he has so carefully and conscientiously reared will form food\nto-morrow for many a hungry town-dweller. Further, he would have us\nfollow the peasant as he closes the pen for the night and traces his\ntired steps towards his simple home in the village. The frugal and\nhard-earned meal, prepared for him by his wife, who like himself has\nhad her share of duties to occupy her during the day, is partaken of\nsurrounded by a hungry and joyous group of children. Such themes\nsuggested by the simplicity of his own life appealed to him with\nirresistible force, and it is in their portrayal that his greatness is\nmanifested.\n\nPerhaps no season of the year presented the same attraction for Millet\nas the spring. The period when all the earth after its long winter\nsleep is about to waken into new life seems to have always been a\nsource of inspiration to him. In \"The Sower\" he emphasises the fact\nthat the fruits of the harvest are not to be had without due labour\nbeing expended upon the earth. The sloping field, barren of\nvegetation, and crowned at the top with a small clump of trees, is\nbeing broken up by the distant plough drawn by two horses and guided\nby a peasant. The latter figure is one of the noblest of Millet's\ncreations. By his strained and ever-attentive attitude, by his\ncontinuous tramp over the rough and broken ground, he shows us the\nmonotony of his toil. He crosses the field in one direction, only to\nreturn at an interval of a few feet. In the foreground we have the\nsower, a middle-aged man of typical peasant type, on whose left side a\nbag of seeds is slung. With automatic precision he withdraws a\nhandful, and strews it into the furrows open to receive it. So long as\nhe continues in the same track his labour will be well performed, and\nhence his task is just as monotonous as that of his fellow-worker\nhigher up in the field. The silhouetting of these two figures against\nthe light is symbolical of the labour to be expended in life before\nresults are forthcoming.\n\nFrom these remarks it will be seen that in considering the works of\nMillet, one must not judge him from the standpoint of a mere painter.\nHis brush is only the means to an end, and by its means he is enabled\nto bring the fruits of his philosophic observation before us in\npermanent form. It has been charged against the \"Angelus\" that it was\nnot a remarkably fine piece of painting, that many a young artist of\nthe present generation is infinitely better equipped, technically\nspeaking, than the master who wrought this celebrated canvas. This may\nin a measure be true, but it must never be forgotten that Millet\nbrought into play exactly the means which could illustrate his meaning\nin the clearest terms. He had not intended, in painting such a\npicture, to produce a work which would astonish his fellow artists\nwith its brilliancy of handling or magnificence of colour. He wanted\nto make the beholder forget the painter and absorb the lesson. This\nquality runs right through the art of Millet, and it is from this\nstandpoint that we are obliged to weigh his merits.\n\n\n\n\nII\n\nMILLET'S EARLY LIFE\n\n\nJean Francois Millet was born on October 4, 1814, that is at the\nperiod when French art, at any rate as far as landscape painting is\nconcerned, had reached its lowest ebb. Throughout the eighteenth\ncentury the landscape painter had been hard put to make a living. The\ntaste of connoisseurs throughout the century had been for portraits\nand interiors, or for those numerous pastoral subjects which were\ncarried out with so much decorative charm by such men as Watteau and\nBoucher. Such landscape painting as existed was of the type\npopularised by Vernet; it was built upon a curious mixture of Italian\ninfluence coming from Panini and Salvator Rosa. The only evidence of\nrevolt against such a state of affairs we find in the works of Hubert\nRobert and Moreau. These two, and more especially would I direct the\nreader's attention to the latter, struggled hard to break down the\nconventionalities of the time. They endeavoured to infuse some sense\nof atmosphere into their pictures, and whilst frequently their trees\nand figures are painfully formal, they yet stand alone in the French\nschool as the pioneers of a phase of art which was to attain its\nzenith in the middle of the nineteenth century.\n\nBut after the Revolution, and during the whole of the time that France\nwas under the domination of Napoleon, very rigid principles indeed\nwere enforced with regard to the direction that art should take. The\ninnovation which had its commencement in the reign of Louis XVI. swept\neverything before it as it gained force. Classical art and traditions\ndominated the whole French school, and no artist, however great his\nreputation, attempted for many years to swim against the stream. In\nspite of the principles of liberty and equality which were claimed for\nall under the new _regime_, a terribly strict eye was kept upon any\ninnovations which might break out in the form of a naturalistic art.\nThe directors of this new movement failed to see that the conditions\nwhich had produced the great Greek and Roman sculptors had passed\naway, and that the latter's supremacy was due to the fact that their\nproductions were symbolical of the loftiest thoughts of their own\nepoch. The art which expresses the ambitions and noblest thoughts of\nits time will alone endure. These expressions are not applicable to\nany other condition than those which called them forth, and hence in\nattempting to purify the rococo which had existed up to the middle of\nthe eighteenth century, by a return to classical traditions, they were\nonly copying that which their predecessors had done, and in so doing\nleft us without any original expression of their own time.\n\nInto such a condition of affairs was Millet born, and he was numbered\namongst that little band of men which included Rousseau, Corot, Dupre,\nDiaz, and Daumier, who were to lay the foundations of the modern\nnaturalistic school. At the outset it was seemingly a hopeless\nstruggle they undertook; a struggle against prejudice and influence\nwhich was only to be brought to a victorious culmination after years\nof struggle and disappointment. Of this little band, Millet was\nperhaps the best equipped for the privations which were necessary. He\ncame of a peasant stock who inhabited Gruchy, a small village\nsituated in the commune of Greville, close to Cherbourg. Grouped\nunderneath the humble roof was the grandmother, who had been left a\nwidow fifteen years before; her son, Jean Louis Nicolas Millet, and\nhis wife and eight children, of which our artist was the second. His\ngrandmother appears to have been a pious old lady, whose chief delight\nwas in her grandchildren, to whom she taught those religious\nprinciples which stood them in good stead in after life. We are told\nthat Millet's father possessed a force of character one does not often\nfind amongst men in his rank of life. He was of a contemplative\ndisposition, and had a keenly developed feeling for natural beauty. He\npossessed moreover a keen appreciation of music, which unfortunately\nhe does not appear to have had much opportunity of cultivating. His\nwife was an excellent housewife and of a religious turn of mind. The\nhouse they occupied, situated quite a short distance from the sea, was\nplaced in a tract of country which, whilst it had rugged and\npicturesque features, was not of a nature which would yield\nextraordinary results under cultivation. It was, therefore, a hard\nstruggle for existence which Millet in his first years saw going\non around him. Not that the family were any the less happy for having\nto work laboriously for their livelihood. They had been brought up\namidst such surroundings; their wants were simple and easily\ngratified, and the tranquillity of the _menage_ more than\ncounterbalanced those doubtful luxuries which easier circumstances\nwould have brought their way. Throughout his life Millet maintained\nthe extreme simplicity he had seen practised in the home of his\nchildhood, and long years afterwards he was accustomed to look back\nwith pleasureable memories upon his early years.\n\n    [Illustration: PLATE IV.--THE GLEANERS\n\n    (In the Louvre)\n\n    One of the most popular pictures of the master, and by many\n    considered his masterpiece. We know that this work involved an\n    unusually large amount of thought and work on the part of the\n    artist. Separate studies exist of all the figures in many\n    different poses. Not the least wonderful part is the background,\n    with its crowd of harvesters, enveloped in the golden sunlight\n    of a warm summer afternoon. \"The Gleaners\" is one of the best\n    preserved of the large canvases of Millet.]\n\nGruchy, situated in one of the wildest parts of Normandy, feels the\nfull effect of every storm which blows up from the Atlantic. There is\nnothing to shelter the exposed hamlets studded along the coast from\nthe fury of the western gale, and the rocks are but too often strewn\nwith the wrecks of vessels which have come to grief in that terrible\nsea. Millet in his youth must have witnessed many of these\ncatastrophes. Quite a number of drawings by him are extant\nrepresenting succour being extended to some vessel in difficulties, or\nthe hauling up of some wreckage on to the rocks. The studious boy\nmust have been impressed as he saw the sternness of the combat in his\nnative country between men and nature; the wind-swept fields, and\nhills bare to the point of savageness. The very trees themselves\ndwarfed and gnarled; in their struggle with the elements they have\nbeen made tough and hardy as the inhabitants of the country\nthemselves, and, stunted as they are, yet show well that they can\nresist the force of the fiercest storm. The brooding and contemplative\ncharacter of the father having descended to the son, we can quite\nimagine the effect such surroundings would have upon him. As he looked\nback in after years upon his roamings in his native country, he\nappreciated the awe-inspiring character of the scenery in which he had\nbeen born. He would doubtless recall many a walk amidst the fields\nwith the wind blowing in his face as it rushed in from the Atlantic,\nthe rain beating hard upon the freshly ploughed fields, and the\ndistant figure of the ploughman struggling hard with his team against\nthe stiff sou'wester. The great mass of vapour overhead whirled before\nthe violence of the storm, casting grey and pearly light over the\nwhole scene, whilst far away on the top of the hill a clump of trees,\nbent with their resistance to the wind, are silhouetted against the\nsky. Many a drawing of this kind we encounter in the later work of\nMillet, which shows how his thoughts harked back in certain moments to\nthe scenes he had left behind him for ever.\n\nWe know that on one or two occasions he returned to Gruchy. Once or\ntwice he had urgent business which took him back, but sometimes he\nwent with no other purpose than to renew acquaintance with the scenes\nof yore.\n\nLittle Jean Francois was his grandmother's favourite. It was she who\ntaught him the names of things which surrounded him, and perhaps\ndirected his thoughts in the channels to which they were finally to be\ndevoted. Her brother Charles, who formed one of the family, used to\ntake him for walks, telling him stories on the way. Millet was\ndevotedly attached to this old man, and when at the age of seven years\nhe lost him, the gap in his life thus left made an impression upon his\nmemory never to be effaced.\n\nFive years afterwards he was placed in the hands of the vicar for the\npurpose of preparing him for his first communion. The good man seems\nto have been taken with the child; he found him so attentive to all\nnatural phenomenon which was passing around him and intelligent in an\nunusual degree. He quickly learnt a considerable amount of Latin,\nwhich introduced him to the great classics. Unfortunately for Millet,\nthe vicar accepted an offer of transference to a better parish in the\nvicinity. The boy had made such progress with his master that it was\ndecided that he should go with him to his new abode. He was, however,\nso missed in his own home, that when he came back for his first\nholidays it was decided that he should not return.\n\nHe now gave serious attention to the agricultural pursuits of his\nfather. He threw himself heartily into the work of the farm, and\nassisted in the work of sowing and harvesting, of pruning and\nthrashing according to the season. His spare time was occupied in\nreading with avidity various masterpieces of literature. The authors\nhe found at hand were such as Fenelon and Bossuet, but he developed a\ndecided preference, which lasted till the end of his life, for Virgil\nand the Bible.\n\nIt was at this time that his taste for art began to be developed.\nHe drew the objects he found around him, and soon acquired sufficient\nconfidence in his skill to execute a large drawing representing two\nshepherds keeping guard over their sheep. These first efforts date\nfrom about his seventeenth year, and foretell the advent of the style\nin which he was later to become pre-eminent.\n\n    [Illustration: PLATE V.--THE STRAW-BINDERS\n\n    (In the Louvre)\n\n    The wonderful capacity of Millet for portraying action is\n    demonstrated to the full in this canvas. Hard, unremitting toil\n    is the theme Millet has wished to bring before us. The heat is\n    intense, but the work goes on with unrelaxing vigour. The\n    masculine energy of the two bending figures are in striking\n    contrast with the figure of the young girl on the left of the\n    picture. The artist shows that he was quite capable of infusing\n    charm into his peasant studies as well as bringing the\n    brutalising aspect of their labour before the spectator.]\n\n\n\n\nIII\n\nTHE MIGRATION TO PARIS\n\n\nHow frequently has it happened that the first years in the life of a\ngenius have been employed in labour quite different from that to which\nthey should have been directed. Such a state of affairs the more often\noccurs when the sense of duty has been strong enough to overcome\ntemporarily the inclination to pursue the natural bent. In the case of\nMillet, however, the early years which he devoted to the farm and its\npursuits were by no means wasted. It is on record that he became very\nproficient in the various duties in which he was engaged, but at the\nsame time we can be quite sure that his extraordinary faculties of\nobservation were constantly being brought into play, and the fruits of\nhis observations are to be seen in the pictures of his mature period.\n\nA considerable portion of his spare time was taken up with drawing,\nnot only the persons and objects he found around him, but also\nsubjects suggested to him by the books he was in the habit of reading.\nHis family, so far from throwing any obstacles in his way, encouraged\nhim. In fact it was his father who took him first to Cherbourg in\norder to show a painter of that town, named Mouchel, the early\nproducts of his son's genius. The decision at which Millet _pere_ had\narrived was prompted by a drawing in charcoal of an old peasant\nwalking along the road, which had struck him forcibly as being a work\nof extraordinary merit. It says much for Mouchel's breadth of mind\nthat he was equally impressed with the drawings. A man who had been\nbrought up in the school of David, and who had lived in one of the\nmost reactionary periods of French art, was hardly to be expected to\ntake kindly to a style so diametrically opposed to all the traditions\ninto which he himself had been inculcated; certainly the young\nMillet, who had now arrived at the age of eighteen, had not developed\nthe extraordinary freedom which his works of ten years later\ndemonstrate. But there was sufficient originality even in his early\ndrawings to call forth condemnation from a man who had been so\nsaturated with the teaching of David.\n\nHe prevailed upon Millet to leave his son with him, and set him to\nwork to copy many well-known works of art which he brought before his\npupil by means of engravings. Two months were spent in this way when\nnews reached Millet that his father had been seized with sudden\nillness, and he was obliged in the circumstances to return to\nGreville. He arrived to find the old man unconscious, and very shortly\nafterwards he died.\n\nThis misfortune awoke in Millet a sense of duty which compelled him to\ndesert his studies in Cherbourg and superintend the management of the\nfarm. For some time he devoted himself entirely to his new duties, but\nthe struggle betwixt duty and genius continued; he gave himself to his\nwork with all the energy at his disposal, but his thoughts were ever\nwandering to his art.\n\nAdded to his own inclinations, his grandmother, who perceived his\nextraordinary gifts, strongly persuaded him to devote his attention\nentirely to art, and consequently after some little time he decided to\nreturn to Cherbourg. Here he entered the studio of M. Langlois, an\nartist whose reputation in the town was considerable. Again in this\nworthy man he came in contact with a painter who had been brought up\nentirely under classical influence. Langlois, who had in his early\ndays been a pupil of Gros, had absorbed the classical tradition to\nsuch an extent as to be incapable of appreciating any other style. He\nappears to have endeavoured to mould Millet in his own method rather\nthan develop the latent genius which the latter possessed. The\nincompatibility of these two men speedily caused the younger to strike\nout in his own way. He saw more good in frequenting the museums and\nmaking copies of such works as appealed to him than in listening to\nthe advice of his teacher. All this occurred, however, without any\nbreach of friendship occurring. On the contrary, Langlois, after\nperceiving the futility of inducing his pupil to follow in his\nfootsteps, did all he could to advance his interests.\n\nBy means of his influence some of Millet's drawings were brought\nbefore the Municipal Council, and Langlois suggested that Millet\nshould be sent to Paris in order to further his development, and that\nthe Council should set aside a modest pension to meet his requirements\nin that city. The discussion appears to have been very prolonged, and\nupon the question being put to a vote it was only carried by means of\nthe casting vote of the mayor. Four hundred francs was at first\nallotted to him in this way, which was further increased shortly\nafterwards to six hundred. Such encouragement, meagre though it was,\nwas sufficient to give him a foothold in the metropolis. He left\nCherbourg in January 1837, on a cold and raw day, the snow falling\nheavily throughout the entire journey, and arrived in Paris in a very\ndisheartened condition. The miserable weather, coupled with the long\njourney in which he had had time to think of the small sum which lay\nbetween him and starvation, going to a city which he had never seen\nbefore, had all served to work upon his nerves, and he entered the\ngreat city sick at heart and very despondent.\n\nOne of the first visits he made after he was somewhat settled down in\nParis was to the Louvre. Here he was brought into contact for the\nfirst time with many masters, who were to mould his yet plastic\ntemperament into the form which enabled him to give to the world, in\nlater years, so many masterpieces. As I have said before, it was\nMantegna who first captivated him, and the influence of the mighty\nPaduan was never finally to be shaken off. Michel Angelo awed him with\nhis sublimity; his classical severity tempered with intense humanism,\nhis masculine strength, were bound to have their effect upon so\nserious a character as Millet. Strange as it may seem to those who are\nbut superficially acquainted with his art, and are only too apt to\njudge him by the influence he has had upon modern French painting, he\nwas fascinated with the antique. The traditions of Phidias and\nPraxiteles, in the form in which they had been transmitted through the\ngreatest minds of the Renaissance, were ever the factors which guided\nhim throughout his career. It was this same spirit which impelled his\nfervid admiration for Nicolas Poussin, a master who to-day is sadly\nunderrated and but little understood. It was the mysteries of line,\nthe wonders of pose and composition rather than the magic of colour\nwhich appealed to him. He had a profound admiration for the glowing\ncanvases of Titian and Rubens, but he could never overlook entirely\ntheir defects of drawing or, in the case of Rubens, the tendency to\nvulgarity. From his remarks in after years it would appear that he was\nbaffled with the mysticisms of Velazquez and Rembrandt; pure painting\nitself could never hold him. He needed to grasp the message which lay\nbehind it before he felt fully taken into the confidence of the\npainter; and as the minds of the Dutchman and the Spaniard ran in\nquite different channels to his own, they spoke with a language he\nnever understood. That he had a perceptive and critically independent\nmind may be gauged from his enthusiasm for Delacroix, whose work he\nencountered for the first time at the Luxembourg.\n\nDuring this period of study he was carefully considering under what\nmaster he should place himself. His choice unhappily fell upon\nDelaroche. To any one acquainted with the work of the latter master,\na more unsuitable selection could not have been made. Delaroche and\nthe painters who surrounded him can be appropriately described as\nconstituting the back-wash of the Empire style, which had reached its\nclimax with David. His subjects were always treated with academic\nreserve. No pyrotechnics were permitted; on the contrary, an\neverlasting and mistaken striving for finish was encouraged:\noriginality was sternly suppressed. To paint human life as it really\nwas, was too vulgar for any of the painters of this time. They held\nthe public taste enslaved for years. An innovator such as Millet was\ndestined to become found his position almost untenable. The band of\ncritics and painters formed a monopoly which it seemed almost\nimpossible to break down, and it was only after years of bitter and\ndetermined struggle that the school of nature finally routed its\nopponent.\n\nDelaroche doubtlessly found the peasant painter a little rude both in\nhis person and in his ideas about art. He paid but little attention to\nthe young man who had placed himself in his hands, and devoted all his\ntime to students who were more amenable to his influence. A\ntemperament so sensitive as Millet's was bound to notice this\nneglect, and consequently after a time he became so discouraged that\nhe ceased to frequent Delaroche's studio. Another very good reason for\nthis action was the lack of resources to continue his payments. Even\nduring the time he had been with Delaroche he lost no opportunity of\nturning a few honest francs by painting the portraits of any who could\nbe got to sit to him. Delaroche, however, had a more kindly heart than\nMillet imagined. He seems to have found out the real distress of the\nyoung artist, and to have assisted him pecuniarily in many ways, and\nthere is no doubt that he appreciated the talent of the young Norman\nmuch more than he cared to own. Many of his remarks on record would\nserve to show that Delaroche already felt that his pupil was destined\nto be one of the leaders of the movement which was finally to\noverthrow his own style, and doubtlessly felt a great admiration for a\nman who had the courage and strength to swim against rather than with\nthe current.\n\n    [Illustration: PLATE VI.--SPRING\n\n    (In the Louvre)\n\n    It is probable that Millet wished this picture to be regarded\n    rather as a symbolical representation of Spring, than as an\n    actual study from Nature. The storm that has just passed over\n    has been severe, but of short duration. The sun, breaking\n    through the dense banks of clouds, reveals the splendours of the\n    water-sodden landscape; the apple-trees full of bloom, the\n    verdantly green grass, the young foliage on the distant trees,\n    all reveal the benefit they have received from the downpour.]\n\n\n\n\nIV\n\nTHE STRUGGLE FOR RECOGNITION\n\n\nFreed from all encumbrances save poverty, Millet was now to work out\nhis own destiny according to the dictates of his genius. He joined a\nfriend named Marolle, and the two together occupying a very small\napartment endeavoured to eke out an existence. It was only too soon\napparent that young as he was, and the taste of the public being not\nyet ready for development upon the lines his genius directed him, that\nhis livelihood could not be secured by endeavouring to sell such\nsubjects as appealed to him. In these straits he turned to\nportrait-painting, just as many great painters before and since him\nhave done. That the struggle was very keen can well be imagined by the\nfact that he was unable to obtain more than five to ten francs apiece;\nand, as commissions were very scarce, he was hard put to gain the\nmeans of subsistence. This state of affairs lasted until 1840, in\nwhich year he endeavoured to obtain admission to the Salon with two\nportraits, one of which was that of his friend. This, however, was\nrejected, and the other picture, although accepted, was unnoticed by\neither the critics or the public.\n\nHaving occasion the next year to pay a visit to Cherbourg, he felt\nobliged to report himself to the Municipal Council who had had the\ngenerosity to send him in the first place to Paris. Its worthy members\nexpressed themselves as but little satisfied with the result of their\ninvestment; they claimed that they had had as yet but little to show\nfor their money, and they suggested, partly as a means of\ndemonstrating that they had had some little return, and also, in order\nto see of what stuff their _protege_ was made, that he should paint a\nportrait of the recently deceased mayor. As Millet had not been\npersonally acquainted with that worthy citizen, and as the only guide\nwhich could be supplied him was a portrait made in miniature when he\nwas a young man of some twenty-three or twenty-four years of age, the\ntask was by no means easy. However, the artist set to work with a\nwill, and finally accomplished the picture to his own satisfaction.\nUpon it being shown to the Council, one and all declared, as any one\nwith the slightest knowledge of such matters could have told them\nbefore it was commenced, that it bore not the least resemblance to the\ndefunct magistrate. They therefore demurred at the three hundred\nfrancs they had agreed to pay him for the portrait, and offered him\none-third of that amount instead. Millet was deeply offended by the\ninsult, and informed the Council that he made them a present of the\npicture.\n\nIt was during this short visit to his native country that he met his\nfirst wife, a Mlle. Ono, whose portrait he had painted. From the first\nshe was very delicate, and he lost her after much suffering, three\nyears later. His second wife was Mlle. Catherine Lemaire, who was\ndestined to be the companion of his struggles until the end of his\nlife.\n\nMeanwhile Millet was occupied with subjects which he thought would\nappeal to the general public. A number of classical pictures date from\nthis epoch. It was an endeavour on his part to fall in as far as\npossible with the current taste, and so supply means of subsistence\nfor his family. At the same time he did not neglect his favourite\nsubjects, and many are the wonderful studies of peasant life which\ndate from these years. His reputation had so far advanced that he was\noffered the position of teacher of drawing in the college at\nCherbourg. It must have been only after prolonged deliberation that he\nrefused the proffered post. Here a certain annual stipend was assured\nhim, and if it was not large in itself it would at any rate suffice to\nkeep the wolf from the door. He preferred, however, to return to Paris\nand work out his own destiny as best he might.\n\nMillet, who lived at this time in the Rue Rochechouart, began to\nsurround himself with that little group of friends who remained\nfaithful to him until the end of his career. Amongst the earliest were\nCharles Jacque and Diaz: the latter had several clients amongst the\nsmall dealers, whom he induced to visit Millet's studio and make now\nand again a small purchase.\n\nMillet now became a fairly regular contributor to the Salon, but\ngenerally sent some classical or religious picture as well as one of\nhis peasant subjects. For example, in 1848 he sent the marvellous\nstudy of \"The Winnower,\" which we all know so well, accompanied by a\ncanvas, \"The Captivity of the Jews at Babylon.\" The latter, however,\nwas so badly received that he utilised the canvas upon its return for\na large picture of a \"Shepherdess tending her Sheep.\"\n\nIn spite of the headway that he was making, the struggle for existence\nseemed keener than ever, and but for the kindness of friends he and\nhis family would frequently have actually wanted for food. A timely\nadvance of one hundred francs obtained for him from the Minister of\nFine Arts, together with a commission from the State, for which he was\npaid the sum of eighteen hundred francs, were for some time the only\nrelief he obtained from his embarrassments. That he was not particular\nas to how he earned his daily bread is apparent from the fact that he\ndid not despise an order for a shop sign for a midwife, for which he\nwas paid the miserable amount of thirty francs.\n\nThe year 1848 was not an encouraging one for a painter who was\nstanding on the threshold of his career. The whole of Europe was\nseething with revolution. A repetition of the fearful year of 1792 was\neverywhere expected. The struggle betwixt reaction and property on the\none hand, and lawlessness and revolution on the other, was being waged\nwith grim determination. The issue was for long in the balance. One\nnever knew from one day to another what was going to happen. In such a\ndeplorable state of affairs men's minds were running on politics and\nwars rather than upon art. Millet amongst the rest was called upon to\nshoulder the musket, and it can be easily imagined with what\nreluctance he did so.\n\nParis, the great centre of art, had yet not afforded him much\nencouragement. Life was dear in the big city, and surrounded on all\nsides by bricks and mortar he was not free to go out into the fields\nand study the objects which were uppermost in his mind. He resolved to\nescape from it, and once having put the plan into execution he never\nreturned.\n\n\n\n\nV\n\nMILLET IN HIS MATURITY\n\n\nThe Barbizon of 1850 was a very different place from the Barbizon of\nto-day. The world fame of the men who passed a quiet and strenuous\nexistence in the little village has transformed it into a tourist\nresort, with restaurants and cafes, the stopping-places for\nwaggonettes which in summer bring their daily load of sightseers,\neager to see the homes of the painters whose names are now household\nwords.\n\nIt would have been well-nigh impossible for the little band to have\nchosen a more suitable spot for their labours. Rousseau and Millet,\nmuch as they were drawn towards each other by the tie of a sympathetic\ndisposition and by their common interest in art, yet were widely\ndissimilar from one another in their outlook upon art and their\nmethods of worship at the common shrine. Rousseau--one can see it from\nevery picture he painted--loved with all the yearning of a passionate\nand restless temperament the inanimate in Nature. Observe with what\nfidelity he draws his trees, with what caressing tenderness his clouds\nand skies are treated; solitude appealed to him above all things, and\nif here and there he was obliged to insert a few figures to complete\nhis composition, one instinctively feels that he would rather have\nsubstituted a group of cattle or a flock of sheep. In the glades of\nthe forest, far from the busy haunts of men, with the glorious\nsunlight penetrating from above, the breeze moaning through the\nbranches, he was happy. A wild and turbulent temperament such as his\nnot infrequently discovers exquisite enjoyment amidst such perfect\ntranquillity.\n\n    [Illustration: PLATE VII.--THE SAWYERS\n\n    (In the South Kensington Museum)\n\n    Very few of Millet's works can rival this superb picture in\n    vigour of handling and magic of line. He has succeeded in\n    infusing an enormous amount of energy into the two figures,\n    without sacrificing refinement. The absolute stillness of the\n    wood beyond is unbroken, save by the monotonous hacking of the\n    wood-cutter, who, axe in hand, is making a determined onslaught\n    upon a venerable tree. As an example of Millet's powers as a\n    painter it would be hard to beat, and in it he has preserved\n    those rare qualities of freedom and rhythm of line we find in\n    his best drawings.]\n\nBarbizon, situated on the fringe of the great forest of Fontainebleau,\ntherefore, permitted Rousseau to come into daily contact with the\nscenes which so appealed to him.\n\nMillet, on the other hand, was absorbed in the peasant. The man who\ntilled the soil and raised the produce humanity requires for its\nsubsistence by the sweat of his brow; the manifold duties of the\nlabourer, his life and sorrows, appealed to him with irresistible\nforce. An unpeopled track of wild and uncultivated land would not call\nforth any emotion in him, no matter how sublime the scenery might be.\nThe life of the village, spreading itself into the vast and fertile\nplain behind, held him absorbed; a peasant himself and living amongst\nthe people he so loved, he was in a position to bring before an\nunthinking world the poignant monotony of their useful lives.\n\nUpon their first arrival at Barbizon, the two artists put up at a\nsmall inn, working all day in a tiny place they had rented from some\npeasants and fitted up as a studio. The inconveniences of this\narrangement were soon apparent, and shortly afterwards Millet took a\nsmall house which was destined to be his abode for the remainder of\nhis life; an old barn in the immediate vicinity meanwhile provided him\nwith an excellent studio.\n\nFrom this period onward we must date the greatest productions of the\nmaster, the works which have induced more thought than those of any\nother peasant painter. A peasant among peasants, his life was of the\nmost rigid simplicity. Behind his little abode a large garden\nstretched away almost to the fringe of the forest itself, and here he\nwas accustomed to work every morning, growing a portion of the food\nnecessary to the sustenance of his family. The afternoon he devoted to\npainting, whilst the evening was given over to intercourse with his\nlittle circle of friends. The simplicity and tranquillity of his life\naroused the whole of his powers to action, and surrounded with\neverything he valued in life he was supremely happy.\n\nThe country around Barbizon appealed to him irresistibly. The\ntimber-studded plains, the gently undulating, highly cultivated\nfields, presented a strange contrast to the wild and rugged country\namidst which he had spent his childhood, and no doubt conduced to the\ndevelopment of a more refined and contemplative style than he would\notherwise have acquired. Upon his few visits to his native country he\nappears to have been more impressed than ever with its austerity, and\nthe drawings which these journeys called forth bore ample evidence of\nthis feeling in him.\n\nLack of the necessary funds to carry on even his simple _menage_ was\never the bane of Millet's life. On many occasions Sensier, his\nintimate friend and afterwards his biographer, informs us he dissuaded\nhim from suicide.\n\nThe sums that he owed, small though they were, rendered him in\nconstant fear of the brokers. With creditors so importunate in their\ndemands for satisfaction, and with the constant lack of recognition,\nwhich was his lot, it is astonishing that Millet achieved so much. He\nwas relieved more than once by the kind-hearted and ever faithful\nRousseau, who when his friend was sorest pressed found some delicately\nhidden means to relieve him. It was he who acquired for 4000 francs\nthe wonderful \"Peasant grafting a Tree,\" when the picture failed to\nfind a purchaser; and in order that Millet should not be aware of his\ngenerosity, he made the offer in the name of an imaginary American.\nThis sort of goodness he repeated more than once, and it redounds\nstill more to his credit when we remember that Rousseau himself was\nnot infrequently in pecuniary difficulties.\n\nA constant succession of important works made their appearance during\nthe first ten years Millet spent at Barbizon. The first was the\nwell-known \"Sower,\" which has ever been one of the most popular of his\npictures. Then came the far finer \"Peasants going to Work,\" which for\nmany years was in an English Collection. The \"Gleaners,\" perhaps the\nnoblest canvas the master ever painted, dates from 1857, in which year\nit was seen at the Salon; the celebrated \"Angelus\" followed it two\nyears later. The prices which Millet obtained for this series of\nremarkable works was fantastically small. The \"Gleaners\" brought him a\npaltry 2000 francs, whilst he accounted himself lucky to encounter an\namateur who gave him the same sum for the small \"Woman feeding Fowls.\"\nThe \"Angelus,\" which was never exhibited, was sold in the year it was\npainted to a Monsieur Feydeau, an architect, for 1800 francs. It then\npassed through several hands before the late Monsieur Secretan\ncompeted up to 160,000 francs before he became possessed of the prize\nat the John Wilson sale.\n\nThe purchase, however, proved a sound investment, for upon the\ndispersal of his collection it was knocked down for 553,000 francs to\na Monsieur Proust, acting on behalf of the French Government. The\nlatter, however, when they gave the commission to buy the picture, had\nno idea that such a high value would be placed upon it, and\nconsequently refused to ratify the sale; a syndicate now came upon the\nscene, who took it to America. The price, however, proved greater than\neven the millionaires of the States were prepared to give, and the\ncanvas again returned to France, where it found a resting-place in the\ncollection of Monsieur Chauchard, who paid the enormous sum of 800,000\nfrancs for its possession.\n\nIn 1859 Millet sent two works to the Salon, a \"Woman grazing her Cow,\"\nand \"Death and the Woodman.\" The latter, one of the most\nphilosophical of Millet's pictures, which to-day is the principal\nattraction of the Jacobsen Museum at Copenhagen, was rejected.\nDisappointments of this kind came with such systematic regularity to\nthe painter that he must have become proof against them. He always had\nbitter enemies amongst the critics, who never failed to pour abuse\nupon his method and his subjects. Even a number of his fellow artists\njoined in the chorus of disapproval. But the vehemence with which he\nwas attacked was striking evidence of the impression he was making and\nthe inward sense of his own powers; and the fact that he was working\nout his destiny according to the dictates of his own genius supported\nhim against this outpouring of prejudice and malice. The social side\nof life appealed to him more strongly as the years rolled on, and the\nmurmurings which had been heard in 1859 as to the socialistic\ntendencies of \"Death and the Woodman\" swelled to a roar when the\nstupendous \"Man with the Hoe\" was exhibited fourteen years later. The\nlatter, one of the most virile studies of depraved humanity which the\nworld has ever seen, has always been a favourite with social\nreformers, and has inspired one remarkable poem. Even his most\nimplacable critics were disarmed before this canvas; its power was\nmagnetic; it was an inspiration, soul moving and trenchant.\n\nHis financial difficulties never completely dispersed. At one time, in\norder to insure himself a little tranquillity, he made a contract with\ntwo speculators, whereby they were to become possessors of all the\nwork he produced for three years, in consideration of their assuring\nhim a thousand francs a month. A great number of Millet's finest\nproductions passed thus through their hands, including the \"Return\nfrom the Fields\" and the \"Man with the Hoe.\" The partners were not\nlong in quarrelling, and after a lawsuit had been fought, Millet was\nleft in the hands of a man who frequently would not or could not pay\nhim in ready money, and whose bills he was frequently forced to\ndiscount at considerable loss.\n\nOne little gleam of sunshine rendered his later days happy. This was a\ncommission from a Colmar banker, Monsieur Thomas by name, who required\nfour allegorical compositions representing the Seasons, to decorate\nhis rooms. The artist was overjoyed by this piece of good fortune,\nand immediately commenced a most conscientious study of such mural\ndecoration as was within reach, in order that he might do full justice\nto his patron. He paid frequent visits to Fontainebleau and the\nLouvre, and even desired a friend to inquire if he could not obtain\nreproductions of the frescoes at Herculaneum and Pompeii. In spite of\nall this elaborate preparation, the subjects were not such as appealed\nto his genius, and in spite of them being well and soundly painted, we\nare told that they presented no features which called for special\ncomment.\n\nHe found, however, a much more genial occupation in accomplishing a\nseries of drawings ordered by a Monsieur Gavet, who paid the artist\n1000, 700, and 450 francs each, according to their size. He made\naltogether ninety-five drawings in this way, and it is said that this\ngentleman had in his possession the finest work in black and white and\nwater-colour the artist ever executed.\n\nTowards the latter end of his life the death of dear relatives and\nfriends cast a sorrowful gloom over him. Amongst the latter Rousseau,\nwho expired in his presence on the 22nd of December 1867, was\nperhaps the loss which seemed to him hardest to bear. A staunch and\ntrusty friend, who was to be relied upon when his prospects seemed the\nmost hopeless, he had been one of the very few who had appreciated\nMillet's talents at their full worth, and who, moreover, scanty as his\nown means were, was ever ready to stretch out his hand to assist his\nstruggling friend.\n\n    [Illustration: PLATE VIII.-THE SHEEP-FOLD\n\n    (In the Glasgow Corporation Art Galleries)\n\n    The poetry of moonlight has never been better realised than by\n    Millet. The lonely watch of the shepherd, the huddling together\n    of the sheep, the dreary mystical plain stretching away to the\n    horizon, losing itself finally in the vaporous atmosphere of the\n    chilly night, are all rendered with astonishing fidelity. It is\n    in such works as these that the master reveals his sympathy with\n    the solitude of many phases of peasant life.]\n\nShortly afterwards Millet paid a visit to his patron, Herr Hartmann,\nat Muenster, and from here he went for a short time into Switzerland.\nUpon his return he devoted himself with great earnestness to work, and\nachieved a certain success at the Salons with his exhibits. The\noutbreak of the war with Germany caused him to migrate with his family\nto Cherbourg, where he thought he might continue to work, removed as\nfar as possible from the scenes of carnage and struggle which were\ngoing on farther east. Transported once more amongst the scenes of his\nchildhood, he felt an increased impetus to production, and when he\nreturned to Barbizon late in 1871, he brought with him a number of\ncanvases of the highest quality; conspicuous amongst them was the\nwonderful \"Greville Church,\" now in the Louvre.\n\nThe anxieties of his troublous life were, however, beginning to show\ntheir effect upon his constitution; a persistent cough developed, and\nalthough an amelioration would occasionally occur, it was always\nsucceeded by a worse condition than before. His health suffered a\ngeneral decline, and he finally breathed his last on the 20th of\nJanuary 1875. He was buried in the little cemetery of Chailly, beside\nhis friend Rousseau, amidst the scenery they both loved so well.\n\n\n\n\nVI\n\nTHE MAN AND HIS ART\n\n\nMillet is an instance of an artist working out his own destiny,\nimpelled by irresistible genius, in the teeth of seemingly\ninsurmountable obstacles. He started life with enormous disadvantages;\nwithout friends in influential circles to spread his fame or plead his\ncause; without money to enable him to outlive and triumph over the\nignorant fanaticism of critics and artists, so soaked in the\nconventionalised art of their time that they had not perception enough\nto appreciate the full meaning of that naturalistic movement, which\nwas finally to sweep away the quasi-classic art they boasted of with\nsuch bombastic effusion. The path was hard and thorny, and his triumph\nwas not finally consummated until after his death. He himself found\nhis only satisfaction in the fact that he had lived his life according\nto the dictates of his genius, and had achieved the maximum of which\nhe was capable.\n\nMillet and our own Cotman were somewhat kindred spirits; there is much\nmore affinity between the work of the two men than is apparent to any\none who has not closely studied them. The marvellous \"Breaking the\nClod,\" now happily permanently housed at the British Museum, betrays\nthe same tremendous conception and broad outlook which characterises\nmany a drawing of Millet's. Both highly strung to a painful extent,\nthey were each conscious of their inability to curb the power which\nprescribed a certain course for them, and in spite of pecuniary\ndifficulties and unpopularity, an inevitable result of their intense\noriginality, they pursued a steady course to the end of their lives.\n\nThe socialistic doctrines which have been read into the work of Millet\nare rather the outcome of the world's uneasy conscience being brought\nface to face with a crushing indictment of existing conditions, than\nof any design on the artist's part to further the cause of a political\npropaganda by means of his art. This somewhat extravagant reading into\nhis art has certainly been carried to excess. Particularly has such\nbeen the case in America, where a large number of his finest works are\nat present to be found, curiously enough in the hands of enormously\nwealthy people, who are frequently perhaps the least able to\nunderstand the real meaning of his message.\n\nComing from a peasant stock, his sympathies were always with the\npeasant; it was the only class he understood or cared for. He lived as\none of them, and shared to a large extent in their labour. He has been\ndesignated, not inappropriately, the philosopher in sabots. Rightly or\nwrongly he has come to be looked upon as one of the high priests of\ncommunistic doctrines. Few pictures have been so anathematised as the\n\"Man with the Hoe,\" and perhaps none have done more to inculcate\nsympathy with the degradation of the lower orders of the human race.\nThe revolting brutality and vacancy of that face haunts the\nimagination. Is it possible that fellow-creatures so utterly debased\nby toil and neglect exist? Millet dispels any doubt upon the question\nby bequeathing to humanity this trenchant portrait. By no means\nlimited to Barbizon or France, these poor creatures exist in every\ncountry, and curiously enough are considered an essential element in\neach country's development.\n\nThis poignantly human note is observable in almost every work Millet\nwrought; his passionate sympathy with his fellow-man is the keynote of\nhis art. The wood-cutter in his arduous toil, the shepherd in his\nsolitariness, the labourer turning the soil with unvarying and\nlaborious monotony, the mother caring for her children--all carry the\nsame message for him of that strange and incomprehensible mingling of\njoy and sadness we call life. Like many great minds before and since\nhis time, our artist found the greatest joy in life in a placid and\nnever changing melancholy. But the peasants he chose knew nothing of\nthe sadness he saw in them. Completely inured to their toil, and\nsubdued by it, with no refining or uplifting influence to stimulate\nthem, they knew nothing, aspired to nothing beyond what they were; it\nwas left to Millet to supply the \"might have been.\" He saw the inky\nblackness of the mind of the \"Man with the Hoe,\" the pathetic\ninequality between the mounted farmer directing the safe storage of\nhis crop, and the stooping figures of the \"Gleaners\" eager to scrape\nup the miserable crumbs which had fallen from the rich man's table. He\ntraced the lives of these simple folk until we arrive at the grim and\ngaunt figure of Death, who, as he grasps the woodman by the shoulder,\nreminds him that his course is finished and that he, in common with\nall his fellow-men, must enter the great unknown land from which there\nis no return. It is a sad and melancholy art, vibrating with purity\nand truth, the outpouring of a great soul yearning to express itself\nto the utmost of its power. The mind and character of the man can be\nread in every line and in every touch of the brush. His drawings and\netchings are even more searching in their virility than his pictures.\nThere is a spontaneousness about them we search for in vain in his\nwork in oil and pastel. In black and white his intensely emotional\nmind found a swift method of expression; in the laboriousness of oil\npainting he was fettered with the complications of the medium. It can\nbe fairly said that only in one or two paintings--a notable example\ncan be cited in the wondrous \"Sawyers\" at South Kensington--does he\nrise to the height of a great painter. Millet was a poet, a\nphilosopher, a great thinker, and the means he chose for expressing\nhimself were those which were best fitted to his purpose. His\npredilections in art were concentrated upon the greatest, and\nconsequently the men who appealed to him were the thinkers of the\nages. Mantegna and Correggio, Michel Angelo and the mighty Greeks,\nthese were the masters who left their impress upon his mind and art.\n\nThe influence of so sincere and profound an artist has necessarily\nbeen profound. He has moulded men who have achieved world-wide fame;\nSegantini, for example, would never have risen to the heights he did\nhad the example of Millet not been ever before him. There have been\nmany who, without possessing his genius, have endeavoured to follow\nin his footsteps, but successfully as his imitators have sometimes\ncaught his style, their productions can never live alongside his,\nbecause they lack the real ring of sincerity.\n\n\nThe plates are printed by BEMROSE & SONS, LTD., Derby and London\n\nThe text at the BALLANTYNE PRESS, Edinburgh\n\n\n\n***","meta":{"redpajama_set_name":"RedPajamaBook"}}