or it never existed. We have documentation of many of his pieces that are lost. Why not have a piece and not the documentation? The cartoon for the fresco for the Battle of Cascina. Lost. His bronze of Julius the Second, destroyed and melted down, many of his drawings apparently burned by his own hand shortly before his death.â
âHowever, we know they existed.â
â The Dark Lady exists. The age is right, the style is right, particularly in his early work. He would have been about eighteen when this was cast. Heâd already carved Madonna of the Stairs, Battle of the Lapiths and Centaurs . He had already shown genius.â
Considering herself a patient women, Elizabeth merely nodded. âThere is no argument that the bronze is superior work and of his style. This does not, however, prove it is his work.â
âHe lived in the Medici Palace, was treated like Lorenzoâs son. He knew her. There is documentation that they were acquainted. She was often used as a model. It wouldbe more unusual if he hadnât used her. You knew this possibility existed when you sent for me.â
âPossibility and fact are different issues, Miranda.â Elizabeth folded her hands. âAs you said on your first day here, you donât deal in possibilities.â
âIâm giving you fact. The formula of the bronze is correct, exactly correct, X rays verify that the tool work is authentic for the era. The clay core and scrapings have been dated. The tests reveal the deep downward corrosion growth. The patina is correct. The bronze is late-fifteenth-century. Most likely the last decade.â
She held up a hand before her mother could speak. âAs an expert in the field, and after a careful and objective study of the piece, itâs my conclusion that the bronze is the work of Michelangelo. All thatâs missing is his signature. And he didnât sign his pieces, with the exception of the Pietà in Rome.â
âI wonât argue with the results of your testing.â Elizabeth angled her head. âWith your conclusions, however, I hold reservations. We canât afford to let your enthusiasm weigh on either side. Youâre to say nothing of this to any of the staff at this point. And I must insist you say nothing at all outside the lab. If any rumors leak to the press, it would be disastrous.â
âIâm hardly going to call the newspapers and announce Iâve authenticated a lost Michelangelo. But I have.â She placed her hands on the desk and leaned forward. âI know it. And sooner or later, youâll have to admit it.â
âNothing would please me more, I promise you. But in the meantime, this must be kept quiet.â
âIâm not in this for glory.â Though she could taste it, on the tip of her tongue. She could feel it, tingling in the tips of her fingers.
âWeâre all in this for glory,â Elizabeth corrected with a small smile. âWhy pretend otherwise? If your theory proves out, youâll have plenty of it. If it doesnât, and youâre premature in your statement, youâll damage your reputation. And mine, and that of this facility. That, Miranda, I wonât allow. Continue the document search.â
âI intend to.â Miranda turned on her heel and stalked out. She would gather up a pile of books, take them back to the hotel, and by God, she told herself, sheâd find the link.
Â
At three A.M. , when the phone rang, she was sitting up in bed, surrounded by books and papers. The two-toned shrill jerked her out of some colorful dream of sunny hillsides and cool marble courtyards, musical fountains and harpsong.
Disoriented, she blinked against the glare of the lights sheâd left burning and groped for the phone.
â Pronto . Dr. Jones. Hello?â
âMiranda, I need you to come to my house as soon as possible.â
âWhat? Mother?â She stared bleary-eyed at
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