by Ian Caldwell
Of the three of them, it was Taft who had the darkest mind. The parts of the Hypnerotomachia that fascinated him were the bloodiest and most arcane. He devised systems of interpretation to understand the meaning of sacrifices in the story—the way animals’ necks were cut, the way characters died—to impose meaning onto the violence. He labored over the dimensions of buildings mentioned in the story, manipulating them to find numerological patterns, cross-checking them with astrological tables and calendars from Colonna’s time, hoping to find matches. From where he stood, the best approach was to confront the book head-on, match wits with its author, and defeat him. According to my father, Taft had always believed that he would one day outsmart Francesco Colonna. That day, as far as we knew, had never come.
My father’s approach could not have been more different. What fascinated him most about the Hypnerotomachia was its candid sexual dimension. In the more prudish centuries after its publication, pictures from the book were censored, blacked out, or torn up entirely, the same way many Renaissance nudes were repainted with fig leaves when tastes changed and sensibilities were offended. In the case of Michelangelo, it seems fair to cry foul. But even today, some of the prints from the Hypnerotomachia seem a little shocking.
Parades of naked men and women are only the beginning. Poliphilo follows a gaggle of nymphs to a springtime party—and there, hovering in the middle of the festivities, is the enormous penis of the god Priapus, the focal point of the entire picture. Earlier, the mythological queen Leda is caught in the heat of passion with Zeus, who is shown lodged between her thighs in the shape of a swan. The text is even more explicit, describing encounters too bizarre for the woodcuts. When Poliphilo is overcome with physical attraction to the architecture he sees, he admits to having sex with buildings. At least once, he claims the pleasure was mutual.
All of it fascinated my father, whose view of the book understandably shared little with Taft’s. Instead of considering it a rigid, mathematical treatise, my father viewed the Hypnerotomachia as a tribute to the love of a man for a woman. It was the only work of art he knew that mimicked the beautiful chaos of that emotion. The dreaminess of the story, the unrelenting confusion of its characters, and the desperate wandering of a man in search of love all resonated with him.
As a result, my father—and, at the beginning of his research, Paul—felt that Taft’s approach was misguided. The day you figure out love, my father told me once, you’ll understand what Colonna meant. If there was truly anything to be known about it, my father believed it must be found outside the book: in diaries, letters, family documents. He never told me as much, but I think he always suspected that there was a great secret locked inside the pages. Against Taft’s formulations, though, my father felt it was a secret about love: an affair between Colonna and a woman below his station; a political powder keg; an illegitimate heir; a romance of the kind teenagers imagine before the ugly bride of adulthood comes and snuffs out childish things.
However much his approach differed from Taft’s, though, when my father arrived in Manhattan for a research year away from the University of Chicago, he sensed that the two men were making great strides. Curry insisted that his old friend join them in their work, and my father agreed. Like three animals in a single cage, the men struggled to accommodate one another, circling in suspicion until new lines were drawn and new balances struck. Nevertheless, time was their ally in those days, and all three shared faith in the Hypnerotomachia. Like a cosmic ombudsman, old Francesco Colonna watched over and guided them, whitewashing dissent with layers of hope. And for a while, at least, the veneer of unity endured.
For more than ten months, Curry, Taft, and my father worked together. Only then did Curry make the discovery that would prove fatal for their partnership. By then he had gravitated out of the galleries and into the auction houses, where the larger stakes of the art world lay; and it was as he prepared his first estate sale that he came across a ragged notebook that had once belonged to a collector of antiquities, recently deceased.
The notebook belonged to the Genoese portmaster, an old man with a crabbed hand who made a habit of remarking on the state of the weather and his failing health, but who also kept a daily record of all goings-on at the docks in the spring and summer of 1497, including the peculiar events surrounding the arrival of a man named Francesco Colonna.
The portmaster—whom Curry called Genovese, for he never gave his name—gathered the rumors about Colonna circling through the wharf. He made a point of overhearing the conversations Colonna had with his local men, and learned that the wealthy Roman had come to Genoa to oversee the arrival of an important ship, whose cargo only Colonna knew. Genovese began bringing news of incoming ships to Colonna’s day lodgings, where he once caught Colonna scribbling notes, which the Roman hid as soon as Genovese entered.
Had it been left at that, the portmaster’s diary would’ve shed little light on the Hypnerotomachia. But the portmaster was a curious man, and as he grew impatient waiting for Colonna’s ship to arrive, he sensed that the only way to discover the nobleman’s intentions was to see Francesco’s shipping documents listing the contents of the cargo. Finally he went to ask his brother-in-law, Antonio, a merchant who sometimes trafficked in pirated goods, if a thief might be hired to enter Colonna’s lodgings and copy whatever could be found there. Antonio, in exchange for Genovese’s help in another shipping scheme, agreed to help.
What Antonio found was that even the most desperate men would refuse the job upon mention of Colonna’s name. The only one willing to do it was an illiterate pickpocket. As it happened, though, the pickpocket did his job well. He copied all three documents in Colonna’s possession: the first was part of a story, which the portmaster found of no interest and never fully described; the second was a scrap of leather with a complicated diagram drawn on it, which was inscrutable to Genovese; and the third was a peculiar sort of map, consisting of the four cardinal directions, each followed by a set of units, which Genovese struggled in vain to understand. The portmaster was beginning to regret hiring the thief, when an event transpired that quickly made him fear for his life.
Upon his return home at night, Genovese found his wife weeping. She explained that her brother, Antonio, had been poisoned at dinner in his own home, his body discovered by an errand boy. A similar fate had befallen the pickpocket: while drinking at a tavern, the illiterate thief had been stabbed in the thigh by a passing stranger. Almost before the tavern keeper noticed, the man had bled to death, and the stranger had disappeared.
Genovese lived the following days in a sweat, hardly able to perform his duties at the docks. He never returned to Colonna’s lodgings, but in his diary he recorded every useful detail of what the thief had found, and he waited nervously for the arrival of Colonna’s ship, hoping the nobleman would depart with his cargo. His concerns became so dire that large merchant vessels came and went with hardly a mention. When Francesco’s ship finally did come to port, old Genovese could hardly believe his eyes.
Why would a nobleman trouble himself over such a trivial little bark, he wrote, this grubby runt-duckling of a boat? What could it be carrying that a man of quality would possibly give a dirty damn about?
And when he learned that it had come around Gibraltar, carrying goods from the north, Genovese was nearly apoplectic. He filled his little book with filthy swears, saying that Colonna was a syphilitic madman, and that only a dunce or a lunatic would believe that anything of value had ever come from a place like Paris.
According to Richard Curry, only two other entries referred to Colonna. In the first, Genovese recorded a conversation he overheard between Colonna and a Florentine architect who was the Roman’s only regular visitor. In it, Francesco alluded to a book he was writing, in which he chronicled the turmoil of recent days. Genovese, still gripped with fear, made a careful note of it.
The second entry, made three days later, was more cryptic, but even more reminiscent of the letter I found with my father. By the
n, Genovese had convinced himself that Colonna was truly mad. The Roman refused to let his men unload the ship in daylight, insisting that the freight could only be moved safely at dusk. Many of the wooden cargo cases, the portmaster observed, were light enough to be carried by a woman or an old man, and he taxed himself to think of a spice or metal that would be shipped in this way. Gradually Genovese began to suspect that Colonna’s associates—the architect and a pair of brothers, also from Florence—were henchmen or mercenaries in some dark plot. When a rumor seemed to confirm his fear, he feverishly wrote it down.
It is said that Antonio and the thief are not this man’s first victims, but that Colonna has had two other men killed at his whim. I do not know who they are, and have not yet heard their names spoken, but I am sure it must be about this cargo of his. They learned of its contents, and he feared their betrayal. I am convinced of it now: fear is the thing that moves this man. His eyes betray him, even if his men do not.
According to my father, Curry made less of the second entry than of the first, which he believed might be a reference to the writing of the Hypnerotomachia. If true, then the story the thief had discovered among Colonna’s belongings, the details of which Genovese never bothered to record, might have been an early draft of the manuscript.
But Taft, who by then was pursuing the Hypnerotomachia from his own angles, assembling huge catalogs of textual references into a concordance, so that every word of Colonna’s could be traced to its origins, failed to see any possible relevance to the chicken-scratch notes the portmaster claimed to see Colonna keeping. Such a ridiculous story, he said, could never shed light on the profound mystery of the great book. He quickly treated the discovery the same way he’d treated every other book he’d read on the subject: as kindling for the fire.
His frustration, I think, was rooted in more than his feelings about the diary. He had seen the balance of power shift against him, the chemistry of his work with Richard Curry decompose as my father lured Curry into new approaches and alternative possibilities.
And so a struggle ensued, a battle of influence, in which my father and Vincent Taft conceived the hatred for each other that would last until the end of my father’s life. Taft, feeling that he had nothing to lose, vilified my father’s work in an attempt to win Curry back to his side. My father, feeling that Curry was withering under Taft’s pressure, responded in kind. In one month, the work of the previous ten was undone. Whatever progress the three men had made together unraveled into separate ownerships, neither Taft nor my father wanting anything to do with what the other had contributed.
Curry, through it all, clung to Genovese’s diary. It mystified him, how his friends had let petty grudges compromise their focus. He possessed, in his youth, the same virtue he would later see and admire in Paul: a commitment to truth, and a great impatience with distraction. Of the three men, I think it was Curry who’d fallen hardest for Colonna’s book, Curry who wanted most of all to solve it. Maybe because my father and Taft were still university men, they saw something academic in the Hypnerotomachia. They knew a scholar’s life could be spent in the service of a single book, and it dulled their sense of urgency. Only Richard Curry, the art dealer, maintained his furious pace. He must have sensed his future even then. His life in books was fleeting.
Not one but two events brought matters to a head. The first occurred when my father went back to Columbus to clear his head. Three days before returning to New York he stumbled, quite literally, across a coed from Ohio State. She and her Pi Beta Phi sisters were in the midst of a book drive, soliciting donations from local shops as part of a yearly charity event, and at the door to my grandfather’s bookstore their paths crossed before either of them realized it. In a feathery explosion of pages and paperbacks, my mother and father fell to the floor, and the needle of destiny tightened its stitch and shuttled on.
By the time he arrived back in Manhattan, my father was irretrievably lost, thunderstruck by his encounter with the long-haired, azure-eyed sorority girl who called him Tiger and was alluding not to Princeton but to Blake. Even before meeting her, he knew that he’d had enough of Taft. He also knew that Richard Curry had struck out on a path of his own, fixated on the portmaster’s diary. Now the call of home nagged. With his father ailing, and with a woman in his one true port, my father returned to Manhattan only to gather his belongings and say good-bye. His years on the East Coast, which had begun so promisingly at Princeton with Richard Curry, were drawing to a close.
When he arrived at their weekly meeting place, though, prepared to deliver the news, my father found himself in the wake of another bombshell. During his absence, Taft and Curry had argued the first night, and fought physically the next. The old football captain proved no match for bear-size Vincent Taft, who took one swing at the younger man and broke his nose. Then, on the evening before my father returned, Curry left his apartment, eyes black and nose bandaged, to have dinner with a woman from his gallery. When he returned to the apartment that night, documents from the auction house, along with all of his Hypnerotomachia research, were gone. His most carefully guarded possession, the portmaster’s diary, had vanished with them.
Curry was quick with accusations, but Taft denied each one. The police, citing a string of local burglaries, took little interest in the disappearance of a few old books. But my father, arriving in the middle of it all, sided instantly with Curry. Both of them told Taft that they wanted nothing more to do with him; my father then explained that he had a ticket for Columbus in the morning, and that he intended not to return. He and Richard Curry spoke their farewells even as Taft looked silently on.
So ended the formative period in my father’s life, the single year that set in motion all the clockwork of his future identity. Thinking back on it, I wonder if it isn’t the same for all of us. Adulthood is a glacier encroaching quietly on youth. When it arrives, the stamp of childhood suddenly freezes, capturing us for good in the image of our last act, the pose we struck when the ice of age set in. The three dimensions of Patrick Sullivan, when the cold began to claim him, were husband, father, and scholar. They defined him until the end.
After the theft of the portmaster’s diary, Taft vanished from the story of my father’s life, only to resurface as the gadfly of his career, biting from behind the scholar’s veil. Curry would not be in touch with my father for more than three years, until the occasion of my parents’ wedding. The letter he wrote then was an uneasy thing, dwelling mainly in the shadow of darker days. The first few words offered his congratulations to the bride and groom; everything after was about the Hypnerotomachia.
Time passed; worlds diverged. Taft, carried by the momentum of those early years, was offered a permanent fellowship at the prestigious Institute for Advanced Study, where Einstein had worked while living near Princeton. It was an honor my father surely envied, and one that freed Taft from all the obligations of a college professor: other than agreeing to advise Bill Stein and Paul, the old bear never suffered another student or taught another class. Curry took a prominent job at Skinner’s Auction House in Boston, and rose on toward professional success. In the Columbus bookshop where my father learned to walk, three new children kept him occupied enough to forget, for a while, that his experience in New York had left a permanent impression. All three men, wedged from each other by pride and circumstance, found surrogates for the Hypnerotomachia, ersatz love affairs to stand in for a quest left incomplete. The generational clock ground out another revolution, and time turned friends to strangers. Francesco Colonna, who kept the key that wound the watch, must have thought his secret safe.
Chapter 7
“Which way?” I ask Paul as the library fades behind us.
“Toward the art museum,” he says, hunched over to keep the bundle of cloths dry.
To get there we pass Murray-Dodge, a stony blister of a building in the thick of north campus. Inside, a student theater company is performing Tom Stoppard’s Arcadia, the last play Charlie had to read in Eng
lish 151w, and the first one he and I will see together. We have tickets to Sunday night’s show. Bubbling over the cauldronlike walls of the stage comes the voice of Thomasina, the thirteen-year-old prodigy of the play, who reminded me of Paul the first time I read it.
If you could stop every atom in its position and direction, she is saying, and if your mind could comprehend all the actions thus suspended, then if you were really, really good at algebra you could write the formula for all the future.
Yes, stammers her tutor, who is exhausted by the engine of her mind. Yes, as far as I know, you are the first person to have thought of this.
From a distance, the front entrance to the art museum appears to be open, a small miracle on a holiday night. The museum curators are a strange lot, half of them mousy as librarians, the other half moody as artists, and I get the impression most would rather let kindergartners fingerpaint on the Monets than let an undergrad into the museum when it wasn’t strictly necessary.
McCormick Hall, home of the art history department, sits slightly in front of the museum proper, the wall of its entrance paneled in glass. As we approach, security guards eye us through the fishbowl. Like one of the avant-garde exhibits Katie took me to see, which I never understood, they have all the trappings of being real, but are perfectly, silently motionless. A sign on the door says MEETING OF PRINCETON ART MUSEUM TRUSTEES. In smaller letters it adds: Museum Closed to Public. I hesitate, but Paul barges in.
“Richard,” he calls out into the main hall.
A handful of patrons turn to gawk, but no familiar faces. Canvases punctuate the walls of the main floor, windows of color in this dreary white house. Reconstructed Greek vases sit on waist-high pillars in a nearby room.