Da Vinci’s greatest and most dangerous legacy…
In the midst of a lovers’ quarrel on a Venetian bridge, a pair of art thieves loses a priceless, stolen Lorraine cross to the canal’s murky waters. Suspecting a connection between the cross, Joan of Arc and da Vinci, Annja Creed’s former mentor, Roux, sends the archaeologist to oversee the search for the missing artifact. But someone else knows about the cross…knows enough to kill for it.
Despite several vicious attacks during their underwater expedition, Annja and Roux’s hired diver recovers the cross. But when the diver’s loyalties are called into question and he disappears—along with the treasure—Annja is certain there’s more to the ancient object than Roux is letting on. She soon discovers the cross is only one piece in an intricate enigma—a key that, when combined with a series of musical notes, may unlock one of Leonardo da Vinci’s most fantastical inventions. But the price Annja must pay to stop this key from falling into the wrong hands may be her life.
“Have you heard of the devil’s chord, Annja?”
Interesting conversation change. But Annja could go with it. “Of course. It was a tritone of musical notes that the church banned from being played or used in musical scores in the Middle Ages. It was thought to be evil because it’s dissonant.”
“Diabolus in musica,” Roux recited.
“The devil in music,” Annja translated. “I’m not a musician, but I do know the chord is played quite a bit nowadays. The heavy metal bands pounced on the forbidden motif, liking the evil connotation, but a lot of other musicians have used it, too.”
“It’s not so evil.”
“It’s certainly not worthy of excommunication or death. So what does a bit of music have to do with
a cross that once belonged to Joan of Arc?”
“Nothing. And everything.”
Intrigued, Annja propped her elbows on the table, ready for the rest of the story.
The Devil’s Chord
Alex Archer
Contents
Milan, 1488
The night was young and the tavern stank like a hog barn, which was much preferable to the cart of rotting fish parked outside his studio near the park. Leonardo had sought escape from the stench. The tavern’s atmosphere of soused cheer always sharpened his senses. There was so much to take in and to record.
Upon choosing a seat, he’d sketched a study of the tavern keeper’s face as it had segued through the various stages of reception, duty and amiability. He’d just finished the resentful sneer the keeper cast toward the boastful gent adorned in rich velvet and Venetian lace.
When he’d spied the tall, lean man with a tankard in hand casting about for a place to sit, Leonardo had invited him to join him. Pleased by the invitation, the man sat across from him at the rough-hewn wood table. He had an open purse and enjoyed the taste of the local ale. And he was very willing to share that appetite with Leonardo.
Leonardo da Vinci sat back against the beam in the center of the tavern—his usual spot—and produced the notebook he always carried with him
“Do you mind?” he asked the man who had introduced himself as Roux. “I like to record things,” he explained, pointing at the notebook with his red chalk pencil. “Whatever passes before my eyes. People, places, things. Emotions. Designs. Ideas.”
“Don’t mind at all.” Roux tilted back the ale stein. The man had a French accent, but his sun-browned skin suggested Spanish heritage, perhaps. Leonardo had not visited France—or Spain, for that matter—enough to pick out the various dialects. “But how does one record emotions? Is it possible to draw them?”
“Oh, yes.”
Leonardo sketched