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 The Secret

        By Dr. Andrew F Akhdary

 

Introduction

 

In Florence, while in hiding, a holy young nun of French royal blood named Maria Josephine died mysteriously as she gave birth to a beautiful blonde, blue eyed boy she named Agnolo.  After her arrival to Florence less than a year prior, because of her beauty and holiness, Sister Maria Josephine was chosen to work at Cardinal Carafa’s residence where she served God and man.  The infant was adopted by Benvenuto and Francisca Cellini, a loving but barren couple who had served as surrogate parents to Michelangelo during his mother's ailment and after her death.  The Cellinis owned a marble quarry in Settignano, from which many artists acquired slabs for their statues.  

 

When the unique light complexion Agnolo was three, Francisca Cellini gave birth to a beautiful dark headed girl named Chola.  Agnolo and Chola were inseparable and Michelangelo was their loving brother.  Agnolo, a compulsive and prolific artist with talents that made masters envious, was “different”.  In addition to his uncommon physical appearance, he was hearing impaired, his speech was unclear, his left arm was partially lame and shook involuntarily, and he communicated with doves that surrounded him since his infancy.  

 

Through his childhood and adolescence, Agnolo was misunderstood, teased, ridiculed, and punished for well-intended infractions.  Because of his light complexion, his cruel classmates nicknamed him “Mezzo Cotto” or Half Baked.  But, Agnolo continued to bring life to the stone and create numerous marvelous statues while fulfilling his mission of expressing love to everyone.  To the dismay of many church leaders, Agnolo quoted the Bible saying: “The spirit of the Lord is upon me because the Lord has anointed me to bring good news to the afflicted; He has sent me to bind up the brokenhearted; to proclaim liberty to captives and freedom to prisoners.”  It was not clear whether the boy was demon possessed or a holy angel.  However, most people agreed that he was too compulsive, too erratic, and too strange.  He just did not fit the mold of a normal adolescent his age.  But, his innocence was his alibi and his holiness an excuse.

 

Chola was his great inspiration and the reason he continued to create.  She loved him and everything he said and everything he made. 

 

After an Easter celebration that went wrong, Agnolo was thought to be dead.  When he reappeared, Cardinal Carafa sought to see him, show kindness towards the misunderstood lad, and compensate him for his suffering.  Many resented Agnolo, blamed him for misfortune that others around him suffered, and never understood the cardinal’s overwhelming concerns for the welfare of the lad.

 

After a series of attempts to harm Agnolo, who continued to feed the needy, heal the sick, and provide comfort to many, Cardinal Carafa insisted that Agnolo becomes the model for a massive art project that was awarded to Michelangelo – the statue of David.  The idea of David was Agnolo’s, but Michelangelo ultimately managed to covertly steal the idea and convince Agnolo to refuse Cardinal Carafa’s offer to lead the project.  

 

Michelangelo, who was in love with Chola, had to conceal his feelings because of societal taboos.  He was also aware of the worrisome close relationship between Agnolo and Chola and how the two disappeared for long periods in a place that Agnolo had discovered – a place that he called the “palace”.  Despite his elaborate description of the heavenly beauty of the palace, no one believed him thinking that Agnolo, who had difficulty separating dreams from reality, was either describing a fictitious place or possibly an obscure or forsaken cave.

 

At the palace, Agnolo learned secret carving techniques and he created a heavenly family that awaited his visits to dance with him and fly in orbits while unimaginable beauty and peace surrounded the heaven-like place.   

 

At the plaza, where Michelangelo carved David and Agnolo modeled, conflicts rose. Michelangelo's love for Chola, who had consummated her relationship with Agnolo at the palace, was a source of great pain.  But with his worldly status, wealth, and fame, Michelangelo found a way to seduce Chola to his lavish apartment.

 

Michelangelo's inaccurate depiction of Agnolo’s genital, as that of an uncircumcised heathen boy, and Agnolo's mastery of new secret carving techniques strained the already tense relationship between the two brothers.

 

Before her death, Sister Teresa felt obligated to reveal to Francisca that Cardinal Carafa was Agnolo’s father.  Chola, who was found with child, inadvertently learned that Agnolo was not her brother.  Francisca and Chola had to decide whether to tell Agnolo that he was adopted and that Cardinal Carafa was his father.

 

When Cardinal Carafa was sacked, Agnolo became vulnerable.  In alliance with the rebel forces and the consent of the Vatican, Agnolo was tried in absentia and was condemned to die for heresy and witchcraft.  After a series of attempts on his life, Agnolo disappeared.

 

From a wide gap at the palace entrance, a large and mighty white dove flew over.  It looked down and made eye contact with Chola and her mother before it was escorted by two large and majestic white doves.  Where the three flew, bright light emanated.  Francisca and Chola watched the three doves as they disappeared to join the many stars in the endless dark skies.

 

Beneath a large boulder at the blocked palace gate lay a blood-stained white dove.  Under the wings of the slain dove, two unhatched eggs could barely be seen.

 

 

 Copyright Andrew F. Akhdary 2018

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