Showing posts with label historical mystery. Show all posts
Showing posts with label historical mystery. Show all posts

01 October 2015

Excerpt Thursday: THE BUTCHER OF AVIGNON by Cassandra Clark

This week, we're pleased to welcome author CASSANDRA CLARK with her latest release, THE BUTCHER OF AVIGNON, book six of the Hildegard of Meaux medieval crime series. Join us again on Sunday for an author interview, with more details about the story behind the story. One lucky visitor will get a free  copy of The Butcher of Avignon. Be sure to leave your email address in the comments of today's post or Sunday's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb.


When Hildegard is sent on a mission to the fabulous papal palace in Avignon, she is well aware that Clement VII is known throughout Europe as the Butcher of Cesena and, with England at war, she will have to watch her step while inside the very stronghold of the enemy. Shortly after arriving, an English knight and his brutal bodyguards turn up. He is a vassal of one of young King Richard's deadliest rivals. What is his purpose in Avignon? Why has he abducted two innocent men from the streets of London and smuggled them into the palace? And, worse for Hildegard, two other Englishmen are here, one close to her heart but a traitor to the king and the other a violent and dangerous obsessive. When the body of a chorister is found stabbed on a sack of gold inside Clement's most secret and private treasury, Hildegard cannot walk away from the troop of young pages who seek her help in finding his killer. Can she solve the puzzle of the murder before the murderer finds her? Danger follows the intrepid nun every step of the way to a final and gruesome reckoning.


**An Excerpt from The Butcher of Avignon**

When news of the battle at Cesena comes through every man, woman and child in England is sickened by the violence inflicted on the innocent inhabitants of the town. Their own countryman, Sir John Hawkwood, an Essex foot soldier who has become the most infamous mercenary in all Europe, has committed an atrocious crime regarding a nun at Cesena.  It is rumoured to be so vile that even the most brutal fighting men had vomited on the battlefield in revulsion.  But that was not the worst of it.
            Hawkwood is outdone in brutality by Robert of Geneva.  A churchman.
            Robert, a papal legate, so the story goes, pays Hawkwood for the use of his troops.  His idea is he will use military force to make Cesena’s inhabitants accept papal rule.  They value their freedom and refuse his offer.  Not to be thwarted Robert commands his troops to surround the town.  He will starve the inhabitants until they welcome his rule.  The citizens resist.  Now news comes that Robert has ordered the massacre of everyone in Cesena, women, children, the old, the infirm.  The men have already been slaughtered.
They say there were over 3,000 unarmed citizens within the walls.  Three thousand?  Others claim it is more like eight thousand - whichever, the entire population of this little walled town in the region of Forli is massacred.
            A few months later the same Robert, victor at Cesena, son of the Count of Geneva, is chosen as Pope Clement VII by the French cardinals in opposition to the elected Pope Urban VI who sits in Rome.  So begins the Schism and the rule of two popes in Europe.
            That was ten years ago.  And still the Butcher of Cesena, as Clement is known, is Pope in Avignon. 
                                                                      **
 Hildegard.  Getting dressed in the dark.  Sickly smell of the other nun, sweating unwashed in her straw.  Found her winter shift and pulled it on over her linen. Fumbled for her boots.  One, but where was the other one?  Fingers closing over the stout leather when she scrabbled under the bed.  Thrusting in her foot, rapidly tightening the laces then pulling her cloak from the tangle of blankets, straightening as she dragged it over her shoulders. 
            A courier had ridden into the palace in Avignon as night fell.  Ahead of the pack.  With fresh news from England. 
            It is utterly unbelievable.
            Appalling. 
            If what he said were true it was truly the End Days.  At first Hildegard dismissed his words as nothing but malicious tittle-tattle.  Heard the gloating delight in his voice.  Then, just now, the clatter of hooves in the forecourt had drummed into a dream where she was riding out with Hubert on a hunting day, his hawk regarding her with sombre jealousy, and the tumult of hooves on the cobbles and the shouts of English voices jerked her fully awake.  Through the window slit she saw a tumult of horsemen in the yard.  Banners.  Flaring cressets.  Smoke.  Steel.  And she knew at once, last night’s rumour was true. 
            Something momentous had happened.
            The door creaked as she opened it and her cell sister muttered something about cats but Hildegard was already out in the freezing corridor, treading as swiftly as she could over the flag stones, guessing her way through the palace labyrinth, Clement VII, a black spider at its heart, crouching over his gold. 
            She was stopped at the outer doors by the sentry. 
            ‘More news from England?’ she asked in French.
            ‘More than that, a knight and his retinue. I trust we’re not at war, domina.’ 
            ‘Pray it’s a problem we can overcome.’
            He let her pass, his fear not, my lady echoing down the passage after her.
            As she hurried down the wide steps leading into the Great Courtyard her thoughts were running wildly over the facts.
            The first attack against King Richard was aimed at his chancellor Michael de la Pole, impeached at the behest of the King’s Council.  That was one thing. The King, however, had given his liegemen a good Christmas at Windsor, seating him on his right to show what he thought to his uncles’ arrogance in calling de la Pole into court and, against all the evidence, daring to accuse him of embezzlement.  But what had come next, according to last night’s courier, was a thousand times worse. 
            Sir Simon Burley, the renowned war hero and the kings’ personal tutor, now indicted on a charge of treason? 
            The Chief Justiciar, Tresillian, also accused of treason? 
            The Archbishop of York indicted on the same charge?
            Archbishop Neville?
            It was beyond belief. 
            But this was what the courier had announced.  Gleeful.  England on the brink of civil war!
            Only last year Hildegard had travelled down with the Archbishop from his diocese of York to attend the Westminster parliament King Richard had called to counter a threatened French invasion. The archbishop had been at the height of his powers then.  Even so, he told her of fears for the future, warned her to return to her nunnery and live a quiet and blameless life. The king’s enemies will not sleep until they have his crown. 
            And now he was under arrest? 
            It was known that King Richard’s uncle, the royal prince,Thomas of Woodstock,  wanted to isolate the young king so that he could force him to submit to his will. 
            But surely it could not be true that Woodstock, acting in the name of the King’s Council, had summarily arrested such loyal men as these? 
            Woodstock, desperate for the crown of England?
            She could not believe the king’s youngest uncle would go so far in his lust for power. 
            Last night, the courier had been jubilant.  Picking up his information at Calais.  Riding south to Avignon. Galloping his mud-stained horse under the Porte des Champeaux into the Great Courtyard of the palace.  Knowing he had valuable news for Pope Clement, that England was further weakened.  Clement must be hymning with joy.  Confidant he would soon drag the English into his power.  With Prince Thomas as an ally how could he fail?
            Hildegard glanced up at the forbidding towers of the Old Palace where high up the single window slit of Clement’s private chambers gleamed with light. Cressets burned in other windows in the private apartments.  Shadows crossed and recrossed.
            Down the last of the steps into the main courtyard.  Breathless with fear. The tumult echoed within the walls.  A crowd had gathered round the retinue still riding in even now under the portcullis.  Stable hands, attending the horses, night servants, monks and a cardinal or two with their pages, everyone dragged from sleep, night cloaks pulled round shoulders, wind swirling in eddies across the yard.  A miserable January night.  Monastics irritable at being dragged from their beds between the offices.  Little enough sleep.  Ill tempers later.  And here, now, at the centre of this turmoil, an Englishman and his retinue. 
            Hildegard stared at the blazon on the surcoats of his men-at-arms.  Unconsciously she pulled her hood lower to conceal her face. I know that badge.  It depicted the arms of a prince of the blood royal.  Red, blue, gold. The light glittered over the crowned leopards, the fleur de lys, the silver border.
            Her worst fears were confirmed.  It was the blazon of Prince Thomas of Woodstock.
            She melted in among the people milling round to hear what was being said.
            Torches stuttered light into the faces of the riders.  Mail glinted.  Weapons were visible as flashes of lethal steel. There was a smell of naptha.  Flames sizzled into the night.  Smoke hung in a pall over the yard.  The knight at the head of this raucous crowd gripped the reins of his caparisoned mount with one mailed hand as the glare from the torches sent his face into dark then light and back to dark.  He raised his other fist in a salute of triumph.  Hildegard stared.
            I know you.  You’re Sir John Fitzjohn. 
            Roaring with laughter at a quip by one of his men, with a sneer against the French to please his hosts - who were a fiefdom on their own and not subject to any French king but vassals only to the King of Heaven himself - he managed to express the physical superiority of a military man against unarmed monastics with every gesture.  He made it clear he was not here to beg.  Sir John, blond, big-boned, battle-scarred. Sure of his welcome.        
            Hildegard took in the value of his armour, the worth of his horse, the nobility of his  hounds.
            His mother had been one of John of Gaunt’s many mistresses.  Royal blood, therefore, ran in his veins. Duke John had allowed him the name Fitzjohn to give his bastard some status, siring several more children by the same woman before meeting Katharine Swynford who cajoled her way into the role of first concubine after his wife, the saintly Duchess Blanche, died of the plague.  The children he fathered on Katharine became known as the little Beauforts.  Now nearing adulthood they preceded the Fitzjohns in all matters of importance which naturally led to friction.  In fact, the younger brother of Sir John Fitzjohn had turned out badly.  Escrick Fitzjohn was a name that still aroused in Hildegard a feeling of fear and revulsion.
            Sir John was laughing out loud while his eyes searched the crowd in the glare from the swinging lanterns.  He was handsome in a bold, strong-boned manner, no doubt about that.  His mother had been a renowned beauty like all Gaunt’s mistresses, but haughty, despite her origins, a quality she had obviously passed on to her eldest son. The arduous journey from England had not daunted his spirits.  He was searching the crowd more closely now as if for a particular face.  Hildegard noticed one of the foreign cardinals being conducted through the milling onlookers, his pages carving a path for him, then Fitzjohn swung down from his horse and extended his arms in greeting.  They embraced.  The Englishman knelt to receive a blessing.  Straightened at once, by no means humbled. Towering over the elderly cardinal. All smiles.
            She tried to get closer but managed to hear only a few floating phrases, could hear the chuckles of the men standing near to Fitzjohn.  A name or two hovered on the air. She edged further into the crowd.
            Simon Burley, she heard, ears straining. That old war horse...in the knackers’ yard at last.  A rumble of complacent laughter from those nearest.  Hildegard burned with fury. 
            When she turned away as the crowd drifted towards the palace she had heard enough to be stunned by the rumours now confirmed:  Burley, Tresillian, Neville.  All three impeached.  Two other knights she knew to be as loyal to King Richard also on the list.  And the final outrage, the condemnation of the mayor of London, Nick Brembre.  A man more loyal to the king could not anywhere be found.
            She walked in appalled fury after the heedless mob.  The only crime of the accused was loyalty to the young king.  The so called King’s Council was controlled by Richard’s uncle, Thomas of Woodstock.  And now the Council had spoken.
            If they are accused of being traitors it will lead us to civil war - unless opposition is suppressed as it was during the Peasants’ Revolt.  She recalled the bloodbath that had followed the people’s demands for bread and liberty. 
            Horror stricken she paced the yard as the rest of the onlookers flocked into the gaping entrance to the palace.


Learn more about author Cassandra Clark

www.cassandraclark.co.uk
amazon.com/author/cassandraclark

23 March 2015

A Dreadful Punishment – looking into the crime of “Petty Treason” and the beliefs surrounding it.

By Lindsay Townsend

There were a series of crimes in the Middle Ages that were thought so dreadful they were considered to be a form of treason. High treason is the offence of attempting to injure or kill the king or queen, and little or petty treason involves any “underling” killing his or her superior Under the law of petty treason, codified in 1351, wives accused of murdering their husbands, or clergy killing their prelates, or a servant killing his or her master or mistress could be tried under this charge.
                                                  
Why were such crimes considered treason? In the Middle Ages, hierarchy was seen as natural, as part of good order, created and ordained by God.  God was always seen as male and at the apex of creation. Earth mirrored heaven, it was believed, and so man was held above woman. To a medieval man, a wife should obey her husband and be inferior to him, and the same was believed to be true for servants and their masters and mistresses.

Attitudes held at the time and the the demands of the church reinforced such ideas. One of the most popular lay stories of the fourteenth century was that of Patient Griselda, who submits to her odious husband while he takes her children from her, tells her he has killed them and finally tells Griselda he has divorced her. As an ideal, patient wife, Griselda then forgives him when her bullying husband reveals that all these ordeals have been fake and a test of her obedience. The church may have raised the Virgin Mary as a perfect woman but all other females and wives were said to be tainted by the sin of Eve, tempted by Satan in the guise of a serpent into stealing an apple from the tree of knowledge and then tempting her husband Adam into sharing it with her. For that sin, the church believed women should be subservient to their husbands.

The message was clear: wives must obey. To murder one’s husband (whom a medieval wife had promised to obey in the marriage ceremony) was seen as the ultimate betrayal, a deadly, intimate act. Servants, too, were encouraged to be servile, especially since they lived with the family, inside the family.

Writing as I do about relationships and romance, I am particularly appalled by the crime of petty treason. For a wife convicted of it, the punishment was dreadful – she was burnt at the stake. It was a crime where the same act – murder of a spouse – was treated in different ways. A man could kill his wife and be tried for murder, but a wife killing her husband was committing treason. A man was allowed to beat his wife because, it was believed by philosophers like Thomas Aquinas that women were less capable of reason than men. This last did mean, strangely enough, that women could be acquitted of the crime of Petty Treason if it was discovered that she had no “accomplices”. Women were not considered able to murder their husbands alone! So in 49 cases of husband killing brought before the justices in medieval Yorkshire and Essex, 32 were released. For those desperate women who were convicted however, a terrible fate awaited. In one of my novels, A Taste of Evil, I have my heroine Alyson accused of the crime of petty treason, with that barbaric threat hanging over her.
  
This horrific punishment was the same as for relapsed heretics and for the same reason. For a wife to kill her husband was seen as a form of heresy, a move against God’s order. Some “mercy” could be offered by the executioner’s choking the woman by cords before the flames touched her, but that often went wrong as the cords could also be burnt by the fire. The law was finally repealed in 1790.

[Renaissance image of Patient Griselda from Wikimedia Commons]

http://www.lindsaytownsend.co.uk

18 January 2015

Author Interview & Book Giveaway: Laura Rahme on THE MASCHERARI: A NOVEL OF VENICE

This week, we're welcoming author Laura Rahme again, whose latest title is THE MASCHERARI: A NOVEL OF VENICE. One lucky visitor will get a free copy of The MascherariBe sure to leave your email address in the comments of today's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb. 

VENEZIA, 1422.
   Doge Tommaso Mocenigo lies on his death bed. 
An evil has come to Venice. An evil that will set the course for the future of La Serenissima.
   On the eve of Carnivale, five wealthy Venetian merchants set upon a mask maker in the ancient district of Santa Croce. They are led by Giacomo Contarini, a ruthless patrician.
   The following day, the Venice Republic's security council, the most feared Council of Ten, summons Florentine inquisitor, Antonio da Parma, to hold an inquest on a most baffling case.  During a sumptuous banquet, Giacomo Contarini and his partners have met a chilling death.
   In the throes of this macabre investigation Antonio da Parma is lured by his dreams and visions and by the mysterious silver pendant that he discovers on one of the dead merchants.
   Noble Catarina Contarini has a sad tale to tell. Her husband's death weighs upon her and so too, do the scandalous accusations that have been raised against him. In her grief, she confides in Antonio and reveals her shocking secrets.
But Catarina's darkest secret concerns a witch; a Napoletana named Magdalena.
   Antonio is drawn ever closer to the magnetic Magdalena. He unveils the truth behind the merchants' murders and comes face to face with a machination of monstrous evil.
   Through this fascinating Magdalena, an enchanter of admirals and merchants alike, Antonio begins to realize that his true quest is one he could never have imagined.
    Weaving historical mystery and the supernatural, The Mascherari evokes a Venice that will leave your breathless.


**Q&A with Laura Rahme**

Why did you set your novel in Venice?


Venice holds a special fascination for both writers and readers because it is such an unusual place both architecturally and culturally. Thanks partly to existing literature and films, it evokes mystery and romance like no other city. I believe its slightly claustrophobic, labyrinthine architecture lends itself well to secrets and to concealment while the ever present water, be it turquoise or dark and murky, contributes to emotional themes or to horror.

After writing The Ming Storytellers which is set in 15th century China, I originally wanted to create a detective series set in the Ming Dynasty. But for some reason I was lured by the Venice Republic and that project never came to light. Venice became my obsession until I could no longer resist.

How does The Mascherari differ from other historical novels set in Venice?

Author Jan Moran has compiled a fantastic list of 27 great novels set in Venice which includes authors Daphne du Maurier, Wilkie Collins, Shakespeare, Ernest Hemingway and Thomas Mann. The list is by far not exhaustive, nor is it the only one. I personally would add Mirella Patzer’s The Contessa’s Vendetta which I loved – think, Return to Eden set in 17th century Venice, and you are in for a delicious treat.

My current impression is that existing literature focuses on the periods starting from the 16th to the 19th century, the majority of stories being set in the post-Napoleonic era which gave birth to our modern conception of Venice.

Beyond historical fiction, if we look at historical crime and mystery, we see many novels set in a more contemporary Venice, like Dona Leon’s exceptional crime series featuring Commissario Guido Brunetti and which is set in 20th century Venice. Then there is this great favorite of film fans and book lovers alike: Patricia Highsmith’s The Talented Mr. Ripley, which is partly set in Venice.

The first aspect of The Mascherari that differentiates it from existing books is that it is set much earlier. Its story unravels in the late medieval period, in 1422, just prior to the birth of the Renaissance. I was greatly influenced by the atmosphere in Umberto Eco’s The Name of the Rose and enjoyed setting my novel in less enlightened times. The Mascherari also merges three of my favorite genres – historical fiction, mystery and the supernatural.

And finally, it features The Council of Ten. Secretive organizations fascinate me and that is probably something readers of The Ming Storytellers would have already gathered. I chose to portray The Council of Ten in a mostly negative light, a position that I borrowed from Byron’s The Two Foscari, and which was partly born of the French propaganda that followed Napoleon’s conquest of Venice.

What is it about late medieval Venice that appealed to you?

As soon as we delve earlier than the 18th century, we discover a Venice that is less a fabrication of its conquerors (that is, France, Austria, and later tourism) and more true to itself. What arises is an interesting culture that invites speculations about the psychology of Venice’s inhabitants at the time. From the 14th century, and right up until Napoleon marched into Venice in 1798, Venice’s security and morality was once governed by an extremely secretive council called The Council of Ten. Within the community, social order and righteousness was kept in check by hundreds of local parishes, by various professional guilds and yes, even by gossip, and over the years, the Council of Ten encouraged public denunciations of improper conduct.  

The period of Carnivale, during which this novel is set, actually belies the rampant repression and moral enforcements of the times. From a socio-political point of view, social order – or ‘serenity’ – was important in Venice because it allowed a wealthy oligarchy to thrive and to maintain control over a large majority worker population. That, in itself, is not only captivating, but it is extremely significant because some people would say it mirrors our modern reality.

Beyond this, it is the medieval Venetian psyche itself that is unusual and provides the perfect backdrop for a supernatural mystery. The ever present fear of being denounced, of being the subject of gossip, of being watched by a secretive police, while living in cramped dwellings where little sunlight permeates, encourages certain individual behaviors. Setting the novel in late medieval Venice also allowed me to highlight the superstitions and repressed mentalities of the time, and to weave these through the story in a manner that could not function if the novel were set in later centuries.

What did you enjoy while writing this novel?

I am very passionate about research. It is true pleasure.

When I want to study a place, it is important for me to understand that place’s relationship with the world at the time. What stands out in the 15th century, is that Venice was a world power as the Western world was known. It would remain so until 1509 and some would say for a century more. Venice had the most powerful navy in the Western world and was made wealthy through trade with Byzantine Constantinople, Egypt and Syria, and through its many colonies including Crete, Mykonos and Santorini. The Venetian ducat was overtaking the Florentine currency as the leading currency in Europe. To put it bluntly, the rest of the world feared Venice. To conceive Venice, not as a tourist theme park but as a world power, was a shift in paradigm that actually became quite fun.

But let’s not forget the supernatural color of The Mascherari. I loved researching Italian charms, Roman mythologies, stregheria (Italian witchcraft) and the vecchia religione.
It was also through research that I met intriguing historical figures like Doge Tommaso Mocenigo who seems to have predicted his successor’s mistakes and the downfall of Venice, and about the extremely talented Alberti Leone Battista who was a genius long before Leonardo da Vinci. I just had to feature these men in my story!

Do you think it necessary to travel to a place in order to write about it?

Some people say you do. For me, that depends. I think Venice is very different from what it was in 1422. The nature of historical fiction demands that we filter out the modern from what actually existed at the time, so modern travel can sometimes make it harder to write authentically if one is not careful. Still I couldn’t resist flying to Venice a couple of years ago. 
While there, I explored the Council of Ten registers at the Archivio di Stato and I completed the obligatory Secret Itinerary tour of the Ducal Palace which was fantastic. But as I mentioned, the palace is much changed from what it was in 1422. So I supplemented my visit to the palace with research.

One thing I could not do at all is learn martial arts. I am a little disappointed about that because I strive to enrich my combat scenes – these passages take me the longest to write! I would have loved to learn from the great 14th century sword master, Fiore dei Liberi.

Tell us a little bit about the main characters from The Mascherari.

My protagonist, Antonio da Parma, is one who keeps much to himself. He is a man of great intuition and a meticulous scriber of all events. Yet, while it is he who pens most of the diary entries in the novel and who steers the reader through the story, revealing each character’s secrets along the way, he is perhaps the most enigmatic of them all. He has a vague past. What we do know of him is that he was never baptized and it soon becomes clear that he can communicate with the other world, or at least, glimpse beyond the living. I like to inject mysteries within mysteries and creating Antonio da Parma was a thrill.

Catarina Contarini is a wealthy patrician woman who has just lost her husband and daughter in a series of senseless murders. She is in mourning when Antonio da Parma begins his investigation. We know from her diary that she is distraught. Something is tormenting her, something beyond her recent loss. Drawing out Catarina’s secrets and imagining the life of a dissatisfied patrician woman was great fun but what was most satisfactory was unveiling her psychology, layer by layer.

Esteban del Valle is by far my favorite character. I will not say more but he is truly special. I hope readers will also like him.

Laura Rahme was born in Dakar, Senegal where she spent her early childhood. Dakar's poverty and raw beauty left a strong impression on Laura. Deeply inspired by her Lebanese, French and Vietnamese heritage, she has a passion for covering historical and cultural ground in her writing. Laura holds degrees in Engineering and Psychology. Her non-writing career has seen her in the role of web developer, analyst programmer and business analyst. She lives in Australia but calls the world her home. She is the author of The Ming Storytellers and The Mascherari.
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15 January 2015

Excerpt Thursday: THE MASCHERARI: A NOVEL OF VENICE by Laura Rahme

This week, we're welcoming author Laura Rahme again, whose latest title is THE MASCHERARI: A NOVEL OF VENICE. Join us again on Sunday for an author interview, with more details about the story behind the story. One lucky visitor will get a free copy of The MascherariBe sure to leave your email address in the comments of today's post or Sunday's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb. 

VENEZIA, 1422.
   Doge Tommaso Mocenigo lies on his death bed. 
An evil has come to Venice. An evil that will set the course for the future of La Serenissima.
   On the eve of Carnivale, five wealthy Venetian merchants set upon a mask maker in the ancient district of Santa Croce. They are led by Giacomo Contarini, a ruthless patrician.
   The following day, the Venice Republic's security council, the most feared Council of Ten, summons Florentine inquisitor, Antonio da Parma, to hold an inquest on a most baffling case.  During a sumptuous banquet, Giacomo Contarini and his partners have met a chilling death.
   In the throes of this macabre investigation Antonio da Parma is lured by his dreams and visions and by the mysterious silver pendant that he discovers on one of the dead merchants.
   Noble Catarina Contarini has a sad tale to tell. Her husband's death weighs upon her and so too, do the scandalous accusations that have been raised against him. In her grief, she confides in Antonio and reveals her shocking secrets.
But Catarina's darkest secret concerns a witch; a Napoletana named Magdalena.
   Antonio is drawn ever closer to the magnetic Magdalena. He unveils the truth behind the merchants' murders and comes face to face with a machination of monstrous evil.
   Through this fascinating Magdalena, an enchanter of admirals and merchants alike, Antonio begins to realize that his true quest is one he could never have imagined.
   Weaving historical mystery and the supernatural, The Mascherari evokes a Venice that will leave your breathless.
** An Excerpt from The Mascherari**

Letter from Catarina Contarini to Antonio da Parma
25 December 1422

[..]
What is jealousy in a woman, inquisitor? You who have delved into the hearts of men and purged them from their errors. You would understand the dark matters that move us humans, perhaps better than priests. Do you know what jealousy can do to a woman, Signor da Parma? Men who laugh at our weakness would soon scorn and punish us if they knew to what ends we were driven by it.
The first time I saw them, it was at Mass.  Francesco Visconti and his wife, his cloak of scarlet velvet merely hiding the dire misery that had brought him to Venice, and the trail of her gown, black on the campo’s snow, like the stains she would soon wreak into my life.  In the early days, they’d not yet settled in the parish of San Giacomo dell’Orio. They lived in a rented house in north Castello and visited the Church of San Lorenzo every Sunday.  In manner of servants, they could afford little, save for one Armenian slave.
I remember that Giacomo’s wife never took part in the service, and remained outside, by the well.  She said that the incense made her ill. She also did not engage the women of the parish and I understood it to be because she would soon join another.  I did not begrudge her. It is difficult enough to make new friends in Venezia let alone to have to belong to two parishes.
I can still see her tall silhouette standing on the white pavement, peering into the well of the campo. She had the sort of grace that gives one chills. She was a woman of maybe thirty years. Her name was Magdalena. I do not relish describing to you what she looked like because it wrongs me to think again, of her charms. But did she have charms, you ask? 
Magdalena, she had charms in abundance. Here, the women who light a flame in men’s hearts are the fairest of skin, they are those with noble high brows, long gold locks, a carmine mouth–neither too small nor too large–with a hint of crimson on their pale cheekbones.  And still, even though she looked nothing like the ideal I have described, the Magdalena had charms. Not just the sort you were sure to find in her languorous dark eyes and carnal lips, or in the haunting perfume she left behind and which drove men to despair. There were charms of another sort, too, in the gold and silver of her bracelets and chains.
As for me, I likened the din of these metallic charms to a serenade from hell.  When the parish members congregated in the campo, gossiping of this and that, the noise grew thick around me. Still, I could hear her.  It was the metal round her wrists that rose me most. The incessant din of those chains drove me insane. I was tense through the parish meetings.
And long before Giacomo placed his hand on his heart when he saluted her after the service, I saw the knowing glint in his eyes when they first rested upon her.  I knew its meaning just as I knew him on my wedding night.
I was not yet jealous. Not yet. I was foolish enough, then, to still believe in my own charms as his lawful wife. I would have permitted him daily visits to the brothels of Castello, if he so wished, in the belief that he loved me and that the dreams he built were for our happiness.
“Magdalena Visconti has very little of a Milanese woman,” I told my husband.
Even then, I spoke with gaiety. You may not know the Venetian well.  Still you would have heard what they say about our manners. How we can affect this gaiety even as we seethe and scheme and what not.  It is not for naught that even French diplomats think of us as duplicitous. A Venetian, Antonio, is not easily read. But I assure you that even then, I spoke without spite, and nothing my husband would say could shake my belief that I was the pride of his hearth, and that this newcomer, with all her gold and jewelry, was mere distraction for his curiosity.
“Magdalena is not a Milanese,” came his curt reply. “She is the Napoli woman I once told you about, Cara Catarina. The woman I met in Verona…”
The long forgotten Napoletana. And she had returned in his life. Why did my husband’s gaze falter under mine? And why do we women persist with questions that will not be answered. His response had lessened my confidence for a short instant. But only for a short moment.


Laura Rahme was born in Dakar, Senegal where she spent her early childhood. Dakar's poverty and raw beauty left a strong impression on Laura. Deeply inspired by her Lebanese, French and Vietnamese heritage, she has a passion for covering historical and cultural ground in her writing. Laura holds degrees in Engineering and Psychology. Her non-writing career has seen her in the role of web developer, analyst programmer and business analyst. She lives in Australia but calls the world her home. She is the author of The Ming Storytellers and The Mascherari.
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