No. Better for them both to be alone. When the convent wakes up—as it will—to find her gone, she wouldn’t want the blame to fall on the one person who has shown her kindness, the one who has, without knowing it, already given her much— though not yet all—of what she needs to get out.
She lifts up the mattress and slides her hands under until she locates the tear in the material. Inside, deep within the straw and padding, her fingers find a lump of material. She extracts it carefully. The petticoat silk is stained dark and oily. She unwraps it to reveal a roughly fashioned pad of waxy ointment, scooped from the pan when it was cool enough to be touched but not yet set too hard, and squirreled away under her robes. In chapel the morning she had taken it, the smell of the rancid pork fat had been so strong she had been terrified someone would know, and she had had to press herself close to the gumless old bat with the vicious breath to cover up her own stink. Thank God, she has a new seat in chapel now, while the smell of the pork has faded as the ointment set harder.
Under the light she puts the pad on the table and presses the nail of her index finger deep into it. The surface gives a little to take the imprint. When she lifts it off, the shape of her nail is etched perfectly, even down to the slight ridge of skin around the cuticle. She rubs hard to make it smooth again. Then from under her shift she pulls out a silver medallion of the Virgin on a chain around her neck. She takes it off and embeds it facedown into the ointment, pressing it heavily, equally on all sides. When she pries it loose, the image of the metal face in the candlelight is clear, each line and the curve perfectly reproduced.
Thank God for the bishop’s pustules and the mad correspondences of figwort and pork fat. It can indeed cure all manner of things.
He has come. He is waiting. They will find a way.
CHAPTER SEVENTEEN
WHEN ZUANA MEETS the abbess in her chamber that afternoon it is the first time since Suora Magdalena’s ecstasy that the two women have been alone together.
Inside the old nun’s cell, the routine of prayer and sleep has returned and she has been largely forgotten again. Whatever the initial excitement, the rumors of some kind of transcendence have been extinguished by the lack of firm facts plus the drama of Vespers and the death of Suora Imbersaga, with no less a figure than the abbess herself encouraging the distractions. Letizia still keeps her fed and watered as before and reports to Zuana that though she grows weaker, there are times when the old woman will close her eyes and rock to and fro, suffused with what seems like quiet joy, after which she often asks about the young novice and how it goes with her. But when Zuana visits, as often as her duties allow, there is no such excitement. Instead, Magdalena lies silently on her pallet, her expression dreamy, as if she is only half present. Her flesh is now so paper-thin that Zuana is almost afraid to touch her in case bits of it might peel away in her hands. If the decision were hers she would move Magdalena to the infirmary now, for a soul so close to death deserves better care. She wonders if, when Suora Scholastica comes to inscribe this particular entry in the convent necrology, her life might warrant more or different words.
The abbess welcomes her in and seems pleased to see her. The formerly errant curls are now scooped back under the wimple, but then she has hosted a number of eminent visitors recently and is always careful to fit her style to their differing expectations.
“I am glad you are come. I have been concerned that the work might be proving too much for you. I had wanted to see you earlier, but the passing of Suora Imbersaga and the communication with her family took up my time, along with everything else. You did a fine job of tending her.”
“I did nothing except fail to stop the bleeding. It was Suora Umiliana who eased her passage into the light.”
“You are hard on yourself. You have also been managing an onslaught of fever. We are grateful to you for your dedication.”
“I would do it better if I had my assistant back.”
“I am sure. And I would be the first to send her to you if the demand from the choir mistress was not so great.”
“Does it take so long to learn a few psalm settings? She has an excellent memory.”
“You are very forthright today,” the abbess says mildly. “Would you like to sit down? Or take a small refreshment of wine, perhaps?” She gestures to a decanter that sits on the table, its ruby color lit up by the firelight. “It is from the duke’s own vineyard.”
“No. Thank you.” Zuana bows her head. “I am sorry for my open tongue, Madonna Abbess. My mind is somewhat beset by problems.”
“I am sure it is. And let me assure you if it were only Carnival I would give the novice back to you now, for you did a wondrous job with her.” She pours herself a glass, then holds it up before taking a sip, as if raising it in Zuana’s praise. “But as you know, after Carnival comes Lent and then Easter. We will have full churches for quite a while and Suora Benedicta is up all night scribbling.” She pauses. “Sometimes I wonder if God has somehow singled Santa Caterina out—unworthy as we are—for special responsibilities: Suora Scholastica with her writings, Suora Benedicta with her passion for music, you with your pursuit of dispensary knowledge.”
It is a subtle reminder—which Zuana does not fail to register—that not every convent offers such freedoms. But while the words are humble they are also fat with pride. How could they not be? Following Saint Agnes’s Vespers her chambers have been filled with visitors: relatives come to share the triumph (any accomplishment of the convent is also a success for the family that runs it), benefactors from the court, representation from the bishop, even a wealthy father from Bologna who had been visiting friends and is thinking of where he might place his second daughter—a young girl whose voice, he assures her, is as sweet as her disposition. Then the letters start arriving, from other abbesses and more notably from her own brother in Rome, secretary to Cardinal Luigi d’Este, rich with church gossip and congratulations to his little sister for keeping such a wondrous songbird in hiding until the perfect moment for her debut. In this way, Santa Caterina has stolen a march on all the other convents around. With each appearance at Vespers the story grows. For a city that prides itself on its musical sophistication, the talk now is more of the simple wonder of God’s instrument than of the novelty of men with no balls. And through all this, Madonna Chiara must keep her feet on the ground, though she must surely be allowed a little pleasure.
“While I appreciate your plight—and will, as soon as I can, find you another conversa to help with your nursing—my first duty must be to the interests of the convent. I cannot allow the novice to risk infection or wear herself out with other work as well as all the extra hours in the choir room.”
“And the interests of the convent are also the interests of the novice herself?”
Zuana intends this as a statement, though the question is there for both of them to hear. She surprises herself with her own forthrightness.