The letter was intended to press Adams and Franklin on the issue of slavery and to ensure that the practice would not be abolished in the Constitution. Jefferson reminded the two men of their earlier performance in Philadelphia in 1776 and the fact that Jefferson retained evidence of their former “investments in shipping enterprises” in New England.
But what makes the letter truly infamous is the revelation that the founders, including the three icons-Adams, Franklin, and Jefferson-had at the time of the debate on independence in 1776 entered into secret negotiations with powerful slaving interests in Britain to enlist their political support in convincing the Crown and the British government to let the American colonies go. The British slaving interests included shipowners and tycoons with highly profitable plantation holdings and investments in the West Indies. According to the letter, the secret deal that was offered to the British slaving interests was that if they could assist the colonies in securing their independence through political negotiations rather than war, the new government that was formed from the old colonies would agree to provide by treaty and by its “organic law”-what would first become the Articles of Confederation and later the Constitution-a perpetual safe haven for slave traffic and for the institution of slavery itself in every part of the new nation, even if Great Britain were to eventually abolish slavery in the British Empire.
When news of this last item in the letter hit the airwaves, it was as if someone had pushed a red button in Alamogordo. The nation erupted.
I look at the flickering images on my set.
Riots on the half screen, the news anchor in the foreground, talking over the swirling firestorm in Detroit, flipping to Chicago and then L.A., indistinguishable flames as the voice of the anchor intones:
“The ancient rust-colored ink, presumably in Jefferson’s own hand, revealing that the cornerstone of liberty, before it was pried from Britain with blood, had first been laid on the auction block in an attempted deal with the devil, is threatening to fracture the country’s confidence in its own national identity.”
I flip the channel and see another talking head.
“While the court tried to put distance between itself and the letter, it appears that the terrible proof may in fact be there, in God’s own hand, Jefferson’s words.
“The social experiment conceived in the Age of Reason by intellectual giants, men who labored against a flawed world, who struggled against all odds, and who in the end were forced by terrible circumstance to make an agonizing compromise that left slavery alive and crawling on American soil at its birth, may in fact be a myth.”
30
Because of the riots, Quinn has had to move the jury across town to a hotel where they deliberate in a conference room for two days while the police battle with rioters in the streets downtown.
Three days later they finally return to the courthouse where burned-out vehicles along Broadway are still smoldering. And they continue to deliberate.
It was that morning that Harry came into my office and reminded me that in our rush to the island, our search for Ginnis, and the forty-eight-hour forensic mayhem after the delivery of the Jefferson Letter, we had forgotten to follow up on one item. He had it in his hand.
It was a copy of the Post-it note on the inside of the jewel-case cover holding the DVD found by Jennifer in the police evidence locker, now nearly two months ago, the one with Ginnis’s name on it.
But it was the other name on the slip that Harry was talking about, the name Edgar Zobel. He hands me a stapled stack of pages, maybe twenty in all.
Edgar Zobel, a French émigré to the United States, came to Virginia with his parents as a young boy. Zobel had always had an interest in writing, not so much with an eye toward content as style. In his youth he had mastered the art of calligraphy. He actually held two U.S. copyrights for scripts that were later developed into type fonts first used on old Selectric typewriters and later incorporated in digitized type fonts for computers, but that would be later in life.
Growing up in Virginia, he was immersed in the Colonial history of the area. Museums in and around Washington often exhibited the private and public letters of historic figures. As a child Zobel marveled at the different colors of ink and the elegant flourishes of script, on paper yellowed by age, the edges of which were often frayed. He practiced the fine styles of penmanship employed by those composing letters that now rested under glass in the display cases of museums. By the time he was fifteen, he possessed his own collection of these in replica form. Several of them were mounted, framed, and hung on the walls of his room.
In an age before computers, when other kids were out playing baseball or swimming, Edgar was busy indulging his fetish, replicating more items for his collection of historic documents. He became adroit in the use of sealing wax and collected old metal stamps created to impress an image in the hot wax that sealed folded letters in the time before envelopes were invented.
By the time he was thirty, Zobel could copy the elegant freestyle script of more than eighteen of the early U.S. presidents so closely that even experienced handwriting experts would have difficulty identifying the replica from the real. Without a thorough analysis of the paper and ink, it would have been impossible to tell.
It was about that time that Zobel was approached by two men who owned a small shop in the historic district of Fredericksburg, Virginia. The shop dealt in antiquities, mostly Civil War memorabilia with an occasional item dating back to the Revolution. The men wanted Zobel to craft some elegant replicas of historic correspondence that they could sell to customers who either couldn’t afford to or didn’t want to pay the high prices of historic originals. To make a few bucks, Zobel was happy to do it.
The copied documents always carried a printed disclaimer, “Hand-Reproduced Replica,” on the back. Almost all of Zobel’s early copies were of well-known historic letters or documents, but they were different from the usual lithograph copy you might find in typical curio shops, much more authentic to the eye in terms of paper texture and ink. They had a kind of three-dimensional quality, including the folds in the paper and its frayed edges, that made them look astonishingly real. Each document was scripted on unique paper. For Colonial documents Zobel would use custom-made paper, large sheets similar to those used in the Colonial period, which were then either cut or torn into quarters to make traditional “quartos,” the quarter pages often used for writing. Sometimes he would employ a smaller “folio” size.
In time the owners of the shop where Zobel’s work was displayed came to realize that collectors of rare documents were traveling long distances, some from as far away as New York, Boston, and Chicago, to buy up everything that Zobel created, as fast as he could produce it. When the shop raised its prices for Zobel’s works, while the profits rose, the result was the same. Their inventory of his work was gone almost before it could be hung. Tony decorating salons in Georgetown and Manhattan began to call, asking if they could commission specific items. If the shop could have cloned Zobel, they would have made a fortune.
The problem was, there was a built-in economic ceiling for his work. The moment the prices started approaching the cost of an original, demand disappeared. It didn’t take long before it dawned on them that if people with money in New York and Boston were decorating the walls of their studies and libraries with Zobel’s elegant copies, how much more would they pay if they thought the article was real?