1356. Bernard Cornwell

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СКАЧАТЬ painting faded on the wall. ‘For a blessing,’ he said, ‘and to look for a man.’

      ‘Ah! Who?’

      ‘Father Calade?’

      ‘Calade!’ Giacomo shook his head. ‘I know of a Father Callait, but not Calade.’

      ‘You’re from Italy?’ Thomas asked.

      ‘By the Grace of God I come from Corbola, which is a Venetian city,’ Giacomo said, then nimbly descended the scaffolding and went to the table where he wiped his hands on a rag. ‘Of course I come from Italy! If you want something painted, you ask an Italian. If you want something daubed, smeared or splattered, you ask a Frenchman. Or you ask those two fools,’ he gestured at his assistants, ‘idiots! Keep stirring the plaster! They might be Italians, but they have the brains of Frenchmen. Nothing but spinach between their ears!’ He picked up a leather quirt as if to strike one of his assistants, then abruptly fell to one knee. The two assistants also knelt, and then Thomas saw who had entered the room and he also snatched off his hat and knelt.

      The Holy Father had come into the chamber, accompanied by four cardinals and a dozen other priests. Pope Innocent smiled absently at the painter, then stared up at the newly painted frescoes.

      Thomas raised his head to look at the Pope. Innocent VI, Pope now for three years, was an old man with wispy hair, a drawn face, and hands that shook. He wore a red cloak, edged with white fur, and he was slightly bent as if his spine was crippled. He dragged his left foot as he walked, but his voice was strong enough. ‘You’re doing good work, my son,’ he said to the Italian, ‘most excellent work! Why, those clouds look more real than real clouds!’

      ‘All for the glory of God,’ Giacomo muttered, ‘and your own renown, Holy Father.’

      ‘And for your own glory, my son,’ the Pope said, and sketched a vague blessing towards the two assistants. ‘And are you a painter too, my son?’ he asked Thomas.

      ‘I am a soldier, Holy Father,’ Thomas said.

      ‘From where?’

      ‘From Normandy, Holy Father.’

      ‘Ah!’ Innocent seemed delighted. ‘You have a name, my son?’

      ‘Guillaume d’Evecque, Holy Father.’

      One of the cardinals, his red robe belted tightly about a glutton’s belly, turned fast from examining the ceiling and looked as if he was about to protest. Then he shut his mouth, but went on glaring at Thomas. ‘And tell me, my son,’ Innocent was oblivious of the cardinal’s reaction, ‘whether you have sworn fealty to the English?’

      ‘No, Holy Father.’

      ‘So many Normans have! But I don’t need to tell you that. I weep for France! Too many have died and it is time there was peace in Christendom. My blessing, Guillaume.’ He held out his hand and Thomas stood, walked to him, knelt again and kissed the fisherman’s ring that the Pope wore above his embroidered glove. ‘You have my blessing,’ Innocent said, laying a hand on Thomas’s bare head, ‘and my prayers.’

      ‘As I shall pray for you, Holy Father,’ Thomas said, wondering if he was the first excommunicate ever to be blessed by a pope. ‘I shall pray for your long life,’ he added the polite phrase.

      The hand on his head quivered. ‘I am an old man, my son,’ the Pope said, ‘and my physician tells me I have many years left! But physicians lie, don’t they?’ He chuckled. ‘Father Marchant says his calade would tell me I have a long life yet, but I would rather trust my lying physicians.’

      Thomas held his breath, conscious suddenly of his heartbeat. There seemed a chill in the room, then a quiver of the Pope’s hand made Thomas breathe again. ‘Calade, Holy Father?’ he asked.

      ‘A bird that tells the future,’ the Pope said, taking his hand from Thomas’s. ‘We do indeed live in an age of miracles when birds deliver prophecies! Isn’t that so, Father Marchant?’

      A tall priest bowed to the Pope. ‘Your Holiness is miracle enough.’

      ‘Ah no! The miracle is in here! In the painting! It is superb. I congratulate you, my son,’ the Pope spoke to Giacomo.

      Thomas stole a glance at Father Marchant, seeing a slim, dark-faced man with eyes that seemed to glitter; green eyes, forceful eyes, frightening eyes that suddenly looked straight at Thomas, who dropped his gaze to stare at the Pope’s slippers, which were embroidered with Saint Peter’s keys.

      The Pope blessed Giacomo and then, pleased with the progress of the new frescoes, limped from the room. His entourage followed him, all but for the fat cardinal and the green-eyed priest, who stayed. Thomas was about to rise, but the cardinal placed a heavy hand on Thomas’s bare head and pressed him back down. ‘Say your name again,’ the cardinal demanded.

      ‘Guillaume d’Evecque, Your Eminence.’

      ‘And I am Cardinal Bessières,’ the red-robed man said, keeping his hand on Thomas’s head, ‘Cardinal Bessières, Cardinal Archbishop of Livorno, Papal Legate to King Jean of France, whom God bless above all earthly monarchs.’ He paused, plainly wanting Thomas to echo his last words.

      ‘May God bless His Majesty,’ Thomas said dutifully.

      ‘I heard Guillaume d’Evecque died,’ the cardinal said in a dangerous tone.

      ‘My cousin, Your Eminence.’

      ‘How did he die?’

      ‘The plague,’ Thomas said vaguely. Sire Guillaume d’Evecque had been Thomas’s enemy, then his friend, and he had died of the plague, but not before he had fought on Thomas’s side.

      ‘He fought for the English,’ the cardinal said.

      ‘I have heard as much, Your Eminence, and it is to our family’s shame. But I hardly knew my cousin.’

      The cardinal withdrew his hand and Thomas stood. The priest with the green eyes was staring at the faded painting on the end wall. ‘Did you paint this?’ he demanded of Giacomo.

      ‘No, father,’ Giacomo answered, ‘it is a very old painting and very badly done, so it was probably daubed there by a Frenchman or perhaps a Burgundian? The Holy Father wants me to replace it.’

      ‘Make sure you do.’

      The priest’s tone drew the attention of the cardinal who now stared at the old painting. He had been looking at Thomas, frowning as if he doubted the truth of what Thomas had said, but the sight of the painting distracted him. The faded picture showed Saint Peter, identifiable because in one hand he held two golden keys, offering a sword towards a kneeling monk. The two men were in a snow-covered field, though the patch of ground about the kneeling man had been cleared of snow. The monk was reaching for the sword, watched by a second monk who peered apprehensively through the half-opened shutter of a small snow-covered house. The cardinal gazed at it for a long time and looked surprised at first, but then shuddered in anger. ‘Who is the monk?’ he demanded of Giacomo.

      ‘I don’t know, Your Eminence,’ the Italian answered.

      The cardinal glanced quizzically at the green-eyed priest, СКАЧАТЬ