Sacred Hearts (7 page)
“In which case pull your shroud closer,” Zuana answers mildly. “You would not want to expire before the walk has ended.”
To keep the blood warm she quickens the pace. Above them a band of squabbling seagulls chased inland by bad weather wheel and scream before disappearing back into the mist. They cross through the open gardens down to the carp pond; clumps of frozen reed are caught upright inside thin floating islands of ice. In the distance to the left a few gray-robed figures digging in the vegetable plots rise out of the mist, then fade away again, like so many lost souls.
“Who are they?” The girl peers into the gloom after them.
“Converse. Lay servants to the choir nuns. Some of them work the gardens, some the laundry and kitchens. You will have your own assigned to you already to clean your cell and help you dress.”
She brings a hand involuntarily up to her head.
Which one have they given her, Zuana wonders, Augustina or Daniela? Malice or mischief, with a certain cruelty either way.
“How much did their fathers pay to put them here?” the girl mutters, almost to herself.
“Considerably less than yours. You’re lucky we are not one of those Poor Clare convents where the sisters rejoice in doing manual work themselves. Here Our Lord offers us many other ways to serve Him.”
“I am surprised you have to bolt the gates, then. Unless it is to prevent everyone from flocking in.”
The girl scowls, then bends down and grabs a great handful of stones. Zuana watches as she tosses them petulantly into the pond, the fatter ones sinking while a few others skitter and flash against the ice, and she thinks, not for the first time, that once this novice stops railing there are ways in which she might fit well in here. Under the guise of humility, the cloisters harbor more than their fair share of tart tongues.
They make their way through the orchard, with its army of pruned fruit trees stubby-fisted in the gloom, until they reach the convent wall, looming up in front of them to meet a leaden sky. The air is a thick gray now, the fog already swallowing up the buildings they have left behind.
“How big is this place?” The girl’s voice is dull with the scale of her incarceration.
“The walls mark out three blocks on each side. It is one of the largest convents in the city.”
So large, in fact, that girls from country families sometimes find solace in the amount of open ground and sky. Others, brought up on stories of court life and city streets, are less comforted, though even they can be surprised at the amount of land a rich convent can carve for itself in the middle of a town. How impressed was Zuana when she first walked here? All she remembers now is how small and ill-stocked the herb garden was, and how half the cuttings she’d brought with her, wrapped with the clothing inside her chest, had died in a freak snowstorm that first winter. Winter. Yes, always the most painful time of the novice’s first year.
“It takes maybe half an hour to walk the line of the walls all the way around. Of course, you can only do that from the inside, as the fourth wall is the river. You do not know any of this?”
The girl shrugs. If a prospective novice has not been a boarder, it is usual for them at least to visit the place where they are to spend the rest of their lives. But even this she has not done. Would it have made her passage any easier? Certainly the wealthy benefactors who come to see how their money is spent, or to reassure themselves about a daughter’s prospective future, are eager to be shown the wonders of it all, for Santa Caterina has a past as rich as its present. One of the first foundations in the city, it had originally been a small house for Benedictine monks on an island in the river, but over the years water fever scythed down so many souls that it fell into disuse, to be rebuilt and refounded only when trading money drained the marshes, rechanneling the river and with it the most deadly of the infections.
Every nun knows the litany of its current success: how, with better drainage and, now, the use of distilled oils and herbs for fumigants in all the main rooms and corridors (these additions are Zuana’s work, though the rules of modesty would prohibit singling her out for personal praise), the worst of the summer contagions are kept at bay, so that today Santa Caterina sustains a community of almost sixty choir nuns, eight or nine novices, a few young boarders, and twenty-five converse, all working so tirelessly together that most years the convent sends out baskets of early figs and pomegranates as gifts to the local bishop and as thanks—and encouragement—to its more generous patrons.
Not that they live on charity. Far from it. The river bordering the fourth side of the convent is its trade route as well as an extra form of security. Arriving by water, a visitor sees a dock carved out of the outer wall with a locked door, behind which are supply rooms, themselves locked again from the inner side so that all business can take place without the merchants or traders ever having to encounter the nuns directly. From here the convent takes in flour, fresh fish, whatever meat it does not rear itself, wine, spices, sugar, cloth, threads, inks, and paper. Some of the same barges that bring deliveries leave almost full again, with cases of hand-copied breviaries and hour books, embroidered cloths and church robes, medicines, liquors, and painted religious figurines. The convent’s cellars are packed with good wines for feast days and festivals, and the kitchens produce fresh bread daily, spiked with rosemary, along with bottles of the earliest pressings of olive oil, as green and fragrant as the pulp it is squeezed from. Add to this income the dowries of the choir nuns, the fees from the boarders, and the rents from a dozen or so properties bequeathed to the convent in perpetuity, and there are years when Santa Caterina boasts account books to rival a great estate.
Zuana offers Serafina morsels of this colorful picture as they pass along by the walls and the river storehouse, and there are moments when the young woman seems engaged enough even to ask questions. She would like to tell her more, but she knows there is no point.
It is always hard, understanding what is being gained in the moment at which something is also being taken away. For such a young woman to appreciate the different meanings of incarceration and freedom. How, for example, outside these walls free women will live their whole lives dictated by the decisions of others, yet inside, to a remarkable extent, they govern themselves. How here each and every nun has a voice and a vote (where else in Christendom would you find such a thing?), where they discuss and decide everything together, from the menu for the next saint’s day to the appointment of a new abbess or a choir mistress or a dozen other posts essential to the smooth governing of what is, in effect, a business as well as a spiritual refuge.
In this prison there are no fathers to bully or rage at the expensive uselessness of daughters, no brothers to tease and torment weaker sisters, no rutting drunken husbands poking constantly at tired or pious wives. Women live longer here: the plague finds it harder to jump the walls, and they are saved from all the scabby pus-filled diseases that pass from husband to wife through the marriage bed. Here no one’s womb drops out of her body from an excess of pregnancies, no one dies in the sweated agonies of childbirth or has to suffer the pain of burying half a dozen of her children. And if it is the sweetness of cherub flesh that pulls your heartstrings, there are young ones enough to coddle and nurture, either in the girl children sent to learn to read and write or in the newborn wide-eyed infants who pass through the parlatorio on family visits. Indeed, while angry new novices might laugh at the idea of leaving the gates open to the world, the fact is that for each half-dozen young women who come in howling, there is often an older one, newly widowed or longing to be so, eager for the moment when she might enter of her own accord.
But this is not the time for such special pleading, and Zuana keeps her thoughts to herself as she loops their course back toward the main buildings. As they reach the third quarter where the street begins again, there is sudden noise and chatter behind the walls: the rumble of carts on cobbles, snatches of laughter and raised voices, the everyday business of unsequestered life. Beside her, Serafina stiffens.
“Where are we? What is on the other side now?”
“Borgo San Bernardino,” Zuana says, orienting herself. At times when she was young, she accompanied her father on visits to his patients, and as a result she knows—or at least once knew—the city better than most. “It starts from the river and moves northwest toward the market square, the cathedral, and the palace.”
The girl looks confused.
“You don’t know the great d’Este Palace or the cathedral? They are the marvels of Ferrara. Those and the university, which has a medical school to rival Padua and Bologna in its teaching. The next time you are in chapel with time to spare, run your fingers over the backs of the choir stalls. The city is all there, fashioned through a thousand little cuts of the wood.”
But the girl is fading now, the cold and the disembodied life behind the walls suddenly pressing down on her.
“Come.” Zuara touches her arm. “It is time to go back inside.”
• • •
THEY REENTER THE
main cloisters to the sound of the chapel bell, marking out the end of rest time and the beginning of afternoon work. As they move up the corner staircase, the opening bars of a lute melody are joined by a single rising voice, pure as spring water.
The girl’s head lifts sharply, like an animal taking in new scent.
“It is a setting for the Feast of the Epiphany. You like to sing?” Zuana puts the question casually, then watches as a manufactured scowl comes over the girl’s face in response.
“I have no voice anymore,” she says hoarsely.
“Then we will all pray for its return—as should you. The convent’s choir mistress—who, you should know, is the abbess’s cousin—was taught composition by no less a man than the duke’s father’s chapelmaster, and her settings are famous throughout the city. She is eager to meet you. The best voices get to practice when others are working. You would be amazed at the privileges that come from being a songbird here.”
Their route to the music room takes them by way of the scriptorium, where a dozen desks are positioned to catch every last ray of daylight, with a dozen heads bent diligently over them, the silence broken only by the tapping of pens against inkwells and the scratching of nibs across paper. At the podium, Suora Scholastica, her face as large and bright as the full moon, smiles up at them as they stand in the doorway. Zuana nods back. When she is not copying holy words, Scholastica is writing ones of her own, dramatic plays of saints and sinners in rhyming couplets, the best of them produced at Carnival or on special saint’s days. Her dedication infuses the atmosphere. There are other workrooms where a certain restlessness is always present, but over the years Zuana has come to notice how those who choose books and manuscripts over other forms of labor become most absorbed in their work, for while the task is mostly to copy what already exists, there are great skills to be learned and a slow pleasure to be had in watching an empty page fill. During the first six months, when she had been frantic for the garden and her pestle and mortar, even she had sucked some sweetness here, not to mention the mischief of using only medicinal herbs as her border illustrations, drawn accurately enough to signal a cure for all manner of ills, if only the reader knew how to recognize them.
They move farther along the upper cloister, past the embroidery room, where an intermittent starling chatter slides out from underneath the door. Francesca, the supervising sister here, is lenient with high spirits, believing as she does that laughter is one of God’s methods of purifying the heart, and as a result some of the younger nuns congregate here and take advantage of her. While there are those who disapprove, Zuana is more forgiving: in her eyes small transgressions can often prevent bigger ones.
Today, though, the starlings can wait. That single pure voice has now become a dance between many, a shoal of silvered fish slipping in and over one another in a fast-flowing stream, and Serafina’s footsteps move faster in response. When they reach the music room, Zuana pushes open the door quietly and moves aside to let her in.
Given the color of the sound, it is almost a shock to find the room so monochrome. In the gray light a nun sits bent over a lute, while others stand grouped in fives and sixes. A few move their heads to the music but most are statue-still. They all hold texts in front of them, but their eyes are constantly pulled toward a small figure in front whose arms flutter up and down, fingers bent as if she were plucking each and every note from her own set of invisible strings in the air. The atmosphere is so charged with concentration that no one seems to notice them come in. Zuana glances toward Serafina. Though she might later spend a lifetime denying it, there is evident appetite in her now. And wonder.
Even Zuana herself, whose voice has always been more seagull than lark, cannot help but be affected. Every woman in this room is familiar to her; she has treated them all for a host of ailments that raked their throats or splintered their voices, not to mention the hundred other pains and boils and bad humors of the bowels or stomach to which human bodies are prone. With the exception of Suora Benedicta, all of them are remarkably unremarkable outside this room, no better, no worse, no farther from and certainly no closer to God than any other of the convent sisters. Yet here you only have to close your eyes on their faces (which, in effect, every citizen of Ferrara does when they sit in church and hear only disembodied voices through the altar grille), and such is their sound that you would be tempted to think you were in close proximity to a choir of angels.
In this respect, heaven and earth are excellently connected in Ferrara, since the sweeter the voices of its nuns, the closer to paradise a city begins to feel. And the closer to paradise, the greater the worldly gratitude its rich citizens send flowing back into the convents that house such angels. Even the least musical of novices learns this fast enough, just as it is common knowledge that some convents in Bologna or Siena or Venice attract so many high-ranking visitors that the best choir voices are excused from Matins in winter to save their throats from the chills of the night air. Of course, such overt favoritism can bring resentment, and in Santa Caterina the abbess is careful to keep the peace with a semblance of equality. Nevertheless, there are all manner of ways to show favor.
