The Last Patriot

“This is a cutaway of some sort focusing on a very unique set of gears. In all of Jefferson’s mechanical drawings, I’ve never seen gears that look like this. Also, gears are normally housed out of sight. You don’t usually see them. Yet these gears are intricately stylized and decorated.

“Also the schematic seems more like a set of directions for switching out or maybe rebalancing the gears. Does that make sense?”

Nichols shook his head. “Not really.”

“There’s something else,” said Ferguson as she handed the professor her magnifying glass. “If you look very closely at this particular gear here, you can see that it’s different from the ones above it.”

“It is?” said Nichols as he took the magnifying glass from her and looked where she was pointing. “I thought they all looked the same.”

The curator shook her head. “For the most part, they do, but the decoration changes ever so slightly on this one and its shape seems a little different than the others.”

“You’re right,” replied the professor.

Harvath had been listening to the exchange and approached the table. “May I?” he asked.

Nichols handed him the magnifying glass.

Harvath had not seen either document until a couple of hours ago and even then-in the wake of the break-in, with what had happened to Gary and deciding to leave for Monticello-he had not studied them that extensively and certainly not with a magnifying glass.

After studying the drawing of the gears for a few more seconds he called Ozbek over. “Take a look at this,” he said as he handed him the magnifying glass.

“What do you think?” asked Harvath as Ozbek studied the drawing and more importantly the gear in question. “Is that a rendering of the Basmala?”

Susan Ferguson didn’t know who Harvath and Ozbek were, but they definitely weren’t just the bodyguards. Her curiosity, though, was piqued. “What’s a Basmala?”

“Every sura or chapter of the Koran except for the ninth,” explained Harvath, “begins with the phrase In the name of Allah, the Most Gracious, the Most Merciful. In Arabic that phrase is known as the Basmala and it can be rendered artistically in different ways.”

“And that’s what’s on that gear?”

Harvath looked at Ozbek, who nodded.

“You said that the ninth chapter doesn’t start with ‘Allah the Most Gracious, the Most Merciful.’ Why not?” asked Ferguson.

“It’s Mohammed’s next-to-last known revelation and contains the most violent passages in the Koran. The peaceful passages that Muslims point to as indications of how tolerant and gentle their religion is come from the early part of Mohammed’s prophetic career only to be abrogated by the verses in sura nine.”

“So Jefferson was sketching a set of gears with Arabic writing on them?” said the curator, more to herself than anyone else.

“Do you know if Jefferson owned any Arabic or Islamic instruments or objects?” asked Nichols.

Ferguson shook her head. “Just the Koran that the Library of Congress has now.”

“Are you aware of him being given anything by the Marines or more specifically by a Lieutenant Presley O’Bannon after the First Barbary War?”

“No, I’m not.”

“Do you know if Jefferson ever referenced an inventor from the Islamic Golden Age named al-Jazari?” asked Harvath.

Ferguson paused. “What the hell is this all about?”

There was silence around the table.

“Unless you answer the question,” said the curator, “I’m not going to be able to do anything else for you.”

This time it was Harvath who looked at Nichols for guidance. He knew the professor had a lengthy history with her, but what Harvath needed to know was if Susan Ferguson could be trusted.

When the professor nodded, Harvath began speaking.

CHAPTER 77

Scot gave Susan Ferguson as many details as he dared, and as he spoke, the curator of Monticello sat riveted.

When he was finished, there were undoubtedly a million questions she wanted to ask, but Ferguson stayed focused. “So what you’re looking for is a mechanical item that uses gears, which was designed by this al-Jazari, and was brought back to Jefferson by the Marines who were at the Battle of Derna in 1805, correct?”

Everyone nodded as the curator reached for the other document and then said, “We also have a second set of drawings that look like architectural details of some sort.”

“Carpentry work?” said Harvath.

“Definitely carpentry work.”

“Does it look familiar at all?” asked Nichols.

Ferguson examined it under her magnifying glass again. “Monticello was a woodworker’s paradise. Jefferson designed every frieze, every cornice, and every pediment himself. They’re everywhere.”

“So you don’t recognize it, then?”

The curator reached for a book titled Les Édifices Antiques de Rome and opened it to page fifty. “This is a detail of the Corinthian temple of Antoninus and Faustina in Rome. Jefferson based the frieze in the entrance hall on this design.”

Harvath looked at the Jefferson drawing and the page in the book side-by-side. “They’re nearly identical.”