Bernard Cornwell - 1356 (Special Edition)

‘You know that?’

‘That’s what they said. That they would follow Father Calade to Avignon.’ She crossed herself again. ‘What would a priest from Avignon want here? Why would the English come to Mouthoumet?’

‘Because of this,’ Fra Ferdinand said, showing her the old blade.

‘If that’s all they want,’ she said scornfully, ‘then give it to them!’

The Count of Mouthoumet, fearing that the rampaging English would plunder the graves of Carcassonne, had begged the friar to rescue la Malice . Fra Ferdinand suspected that the old man really wanted to touch the blade himself, to see this miraculous thing that his ancestors had protected, a relic of such power that possession of it might take a man’s soul directly to heaven, and such was the old man’s desperate pleading that Fra Ferdinand had agreed. He had rescued la Malice , but his fellow friars were preaching that the sword was the key to paradise, and all across Christendom men were lusting after the blade. Why would they preach that? He suspected that he was to blame himself. After the count had told him the legend of la Malice , the friar had dutifully walked to Avignon and recounted the story to the master general of his order and the master general, a good man, had smiled, then said that

a thousand such tales were told each year and that none had

ever held the truth. ‘Do you remember ten years ago?’ the master general had asked, ‘when the pestilence came? And how all Christendom believed the Grail had been seen? And before that, what was it? Ah, the lance of Saint George! And that was a nonsense too, but I thank you, brother, for telling me.’ He had sent Fra Ferdinand away with a blessing, but maybe the master general had told others of the relic? And now, thanks to the Black Friars, the rumour had infested all Europe. ‘“He who must rule us will find it, and he shall be blessed,’’’ the friar said.

‘What does that mean?’ the old woman asked.

‘It means that some men go mad in search of God,’ Fra Ferdinand explained, ‘it means that every man who wants power seeks a sign from God.’

The old woman frowned, not understanding, but she believed Fra Ferdinand was strange anyway. ‘The world is mad,’ she said, picking on that one word. ‘They say the English devils have burned half of France! Where is the king?’

‘When the English come,’ Fra Ferdinand said, ‘or anyone else, tell them I have gone to the south.’

‘You’re leaving?’

‘It’s not safe for me here. Perhaps I will return when the madness is over, but for now I am going to the high hills by Spain. I shall hide there.’

‘To Spain! They have devils there!’

‘I shall go to the hills,’ Fra Ferdinand reassured her, ‘close to the angels,’ and next morning he walked southwards and only when he was well out of sight of the village and sure that no one watched him did he turn north. He had a long journey to make and a treasure to protect.

He would return la Malice to her rightful owner. He would go to Poitou.

A small man, dark-faced and scowling, with a paint-spattered shock of black hair, was perched on a high trestle and using a brush to touch brown pigment onto an arched ceiling. He said something in a language Thomas did not understand.

‘You speak French?’ Thomas asked.

‘We all have to speak French here,’ the painter said, changing to that language, which he spoke with an execrable accent, ‘of course we damned well speak French. Have you come to give me advice?’

‘On what?’

‘On the fresco, of course, you damned fool. You don’t like the colour of the clouds? The Virgin’s thighs are too big? The angels’ heads are too small? That’s what they told me yesterday,’ he pointed his paintbrush across the ceiling to where flying angels played trumpets in the Virgin’s honour, ‘their heads are too small, they said, but where were they looking from? From up one of my ladders! From the floor they look perfect. Of course they’re perfect. I painted them. I painted the Virgin’s toes too,’ he dabbed the brush angrily at the ceiling, ‘and the goddamned Dominicans told me that was heresy. Heresy! To show the Virgin’s toes? Sweet holy Christ, I painted her with naked tits in Siena, but no one threatened to burn me there.’ He dabbed with the brush, then leaned back. ‘I’m sorry, ma chérie ,’ he spoke to the image of Mary that he was painting onto the ceiling, ‘you’re not allowed to have tits and now you’ve lost your toes, but they’ll come back.’

‘They will?’ Thomas asked.

‘The plaster’s dry,’ the painter snarled as though the answer was obvious, ‘and if you paint over a fresco when it’s dry then that paint will peel off like a whore’s scabs. It will take a few years, but her heretical toes will reappear, but the Dominicans don’t know that because they are damned fools.’ He switched into his native Italian and screamed insults at his two assistants, who were using a giant pestle to mix fresh plaster in a barrel. ‘They are also fools,’ he added to Thomas.

‘You have to paint on wet plaster?’ Thomas asked.

‘You came here to have a lesson in how to paint? You damned well pay me. Who are you?’

‘My name is d’Evecque,’ Thomas said. He had no wish to be known by his real name in Avignon. He had enemies enough in the church, and Avignon was the home of the Pope, which meant the town was packed with priests, monks and friars. He had come here because the disagreeable woman in Mouthoumet had assured him that the mysterious Father Calade had come to Avignon, but Thomas now had a sinking feeling that his time was being wasted. He had enquired of a dozen priests if they knew of a Father Calade, and none had recognised the name, but equally no one had recognised Thomas either or knew he had been excommunicated. He was a heretic now, outside the church’s grace, a man to be hunted and burned, yet he could not resist visiting the great fortress-palace of the Papacy. There was a Pope in Rome too, because of the schism in the church, but Avignon held the power, and Thomas was astonished by the riches displayed in the vast building.

‘From your voice,’ the painter said, ‘I’d guess you’re a Norman? Or perhaps an Englishman, eh?’

‘A Norman,’ Thomas said.

‘So what is a Norman doing so far from home?’

‘I wish to see the Holy Father.’

‘Of course you damned well do. But what are you doing here? In the Salle des Herses?’

The Salle des Herses was a room that opened from the great audience chamber of the Papal palace, and it had once contained the mechanism that lowered the portcullis in the palace gate, though that winch and pulley system had long been taken out

so that, evidently, the room could become another chapel. Thomas hesitated before answering, then told the truth. ‘I wanted somewhere to piss.’

‘That corner,’ the painter gestured with his brush, ‘in that hole beneath the picture of Saint Joseph. It’s where the rats get in, so do me a favour and drown some of the bastards. So what do you want of the Holy Father? Sins remitted? A free pass to heaven? One of the choirboys?’

‘Just a blessing,’ Thomas said.

‘You ask for so little, Norman. Ask for much, then you might get a little. Or you might get nothing. This Holy Father is not susceptible to bribes.’ The painter scrambled down from the scaffold, grimaced at his new work, then went to a table covered with small pots of precious pigments. ‘It’s a good thing you’re not English! The Holy Father doesn’t like the English.’

Thomas buttoned up his breeches. ‘He doesn’t?’

‘He does not,’ the painter said, ‘and how do I know? Because I know everything. I paint and they ignore me because they can’t see me! I am Giacomo on the scaffold and they are talking beneath me. Not in here,’ he spat, as if the chamber he decorated was not worth the effort, ‘but I am also painting over the angels’ naked tits in the Conclave Chamber, and that’s where they talk. Chatter, chatter, chatter! They’re like birds, their heads together, twittering, and Giacomo is busy hiding tits on the scaffold above and so they forget I am up there.’