Sacred Hearts

by Sarah Dunant

  “I wonder they let you do all this,” she says, looking around.

  “What? You think because nuns serve God we should have to die sooner or hurt more?”

  “No. I mean …well, there is not much praying about it.”

  “Oh, but you are wrong.” Of course she has heard it before, this blindness to finding God in anything that does not involve praying or suffering. “This room is full of prayer. Look around you. Everything here—every herb, every juice, every ingredient of every remedy—comes from nature and the earth, which along with the heavens has been created by Him for us to worship. Even our capacity to understand it is given by Him. Honor the physician for the need one has of him. For the most High has created him. Ecclesiasticus 38, verse 1.”

  The girl stares at her, then laughs nervously, as if they have changed places and now she is the solid one to Zuana’s madness.

  Of course. When she first arrived it was the nuns who spoke in rivers of scriptures who were the worst company, the sheer intensity of their absorption making her feel even more abandoned. She is easier with them now. Sometimes they even bring her texts about herbs they have found in the scriptures, though they have yet to show her one she did not know before.

  “You know a lot. Did you learn it all here?”

  “No. My father taught me much of it. The rest I learned from books—or have found out myself.”

  “Your father? Was he the one who put you inside?”

  “No. Yes.” She pauses. “When he died there was nowhere else for me to go.”

  “And what about you? Did you want to be here?”

  “I—” She stops. Which is the worse sin: to lie or to encourage despair? “There was nowhere else for me to go.”

  Serafina stares at her. “How long ago was that?”

  “Sixteen years.”

  Zuana registers her shocked intake of breath. The pity is palpable. She, of course, never intends to be so old or so defeated.

  She has turned and is looking out the window. Upright now, she will be able to see the edge of the graveyard beyond the herb garden wall. Zuana watches as she stands transfixed. Then she turns back.

  “She says I have to work with you.”

  “Madonna Chiara?”

  “Yes. She says the Lord brings each of us to Him in different ways. And that you are a good and loving nun.”

  “Then you must listen to her. She is the abbess, picked for her humility and learning.”

  “Really. Is that why she wears bits of her hair curled like a court lady?”

  Once again Zuana admires the nimbleness of the girl’s mind. When she stops yearning for what she cannot have, such wit will add texture to the quotidian nature of convent life, which can seem so barren when you first experience it.

  “Maybe it is her way of trying to make you feel at home.” “What, by wearing yesterday’s style?” she retorts sourly.

  “Anyway, I will never, ever feel that way here.”

  But in fact the process has started already. She just doesn’t know it yet.

  CHAPTER SIX

  SHE PULLS THE stones out of her pocket. What if none of them are big enough? They had been easy enough to scoop up into her sleeve as she tossed the handful into the pond, but there had been no time to sort out the heavy from the light. She rubs off the dirt and lays them down on one of the sheets of paper taken from her breviary. She does not need to read the words to know what is written there.

  Who hath not gazed into my lady’s eyes nor gathered her sweet glances here on earth, he knoweth not love’s hell nor paradise who never heard her sighs as light as air, the gentle music of her speech and mirth.

  She sings quietly keeping the sound within her own head. Yes, her voice is still there, thank God. If she opened her mouth now they would all hear it. Ha! If she chose she could pierce the very stones of the cell with it. That would bring the choir mistress running fast enough, her mad music gushing out of her like a broken water pipe. “Oh, our great city is filled with music lovers.” Well, let them wait. All of them: nobles and nuns. Hell will freeze before she opens her mouth for them.

  On the table the tallow candle sputters and she has to coax it back to life, protecting the flame with her hands. No, no, the stones are too small! She takes the biggest and tries to fold the paper around it. It wraps around four times, but stiffly, and when she throws it up into the air toward the bed the paper is already uncurled and falling off before it lands. Heavier stones (where would she get them?) would help, but she will still need something to secure the edges. And even if she finds them—the right stone and the right kind of glue—even if she somehow manages to get out into the gardens and lob it over into the street, how in God’s name will she know where to throw it?

  When they talked about it—that one snatched, desperate conversation through her bedroom door as it was all coming apart around them—she had imagined a building with windows or a bell tower; at worst a finite run of wall so he would know where to look. But this place is so endless you could walk around the perimeter for a month and still not recognize one bit from the next. What if she mistook the measurements and threw it into the river? Or it landed in some pothole or gutter where it would just rot and get lost? Maybe the gutters were full of them: notes of longing hurled out by women long since bearded and forgotten.

  But how else could she respond to him when he came? How could she possibly get any message out? The outside façade has barely more windows than a prison, and those that exist are so high that the only thing that can reach them is light—and God knows, there is little enough of that either. At least in the gardens you can see and breathe. Though it’s like taking water into your lungs, the air is so damp. This whole city is thick with perpetual gloom. Ugh. What had the jailer sister said about all the old monks dying of swamp infection? No wonder. In Milan in winter, even when it got cold enough to make you cry, you could still look out the window and see the blue of the sky. But here there is not even real sky, just a swollen ceiling the color of dead rat fur and heavy as stone.

  She can feel the tears smarting at the back of her eyes and makes herself take deep breaths. When they first closed the door on her tonight, she had started howling again, the panic welling up like sudden sickness, but with the drug still curdling her stomach she couldn’t keep it going for long. Oh, if she could have found the energy she would have yelled and screamed and smashed her fists against the door all night every night, so they would all be driven mad by her madness. Only she is scared that if she does that they will drug her again and maybe—who knows? — this time there will be blood and crow’s egg in it so she might be sent into fits. That slimy abbess had said as much when she had been pretending not to listen: how a convent kept awake at night was a bad-tempered place and if the alternative was a novice kept under lock and key too drugged to enjoy any recreation, then so be it, sad though it was.

  Well, she would not give them that satisfaction. Not when there were other ways to make her mark.

  For all her cunning she had not planned it—the refusal to sing. She had not really thought about it until the afternoon, when they had entered the cloisters and heard the voices practicing and the dispensary sister had asked her if she liked to sing. But then the closer they got to the room, the more perfect it had seemed: how if they wanted her for her voice (and God knows they were in need of it if that scrawny nun with her motet was anything to go by—far too much breath and thinness on the high notes), if singing was important to them, singing was what she would deny them. Though they might have her body, they would never have her voice. Which meant they had nothing of her, for it is in her voice where she is most herself. As he—of all people in her life—had understood.

  Here she sang so sweetly, Here with lovely eyes she pierced my heart… My soul bereft that thinks of nothing else, my ears gone deaf, with nothing left to hear when her sweet words have vanished from our midst.

  No, she will not sing for them. Of course she will have to talk sometime
s, but as long as she makes her voice raw as she did today she can fool most of them. The dispensary bird will be the hardest. She is clever, even has some wit in her, though God knows how she keeps it flowering in this tomb of dried-up old flesh. Sixteen years! Imagine! Locked in that cell for sixteen years with just books and stinking bottles for company. And all that strange poetry about heaven and earth and divine remedies …

  Still, if she had to work anywhere in this prison, the dispensary would do well enough (better than a lifetime spent blind and hunched with a pen in your hand—most of the magpies in the scriptorium looked dead already from the effort). At least on her shelves there are some wonders to be learned, if you could tell the consistency of blood from poppy syrup. You could put a whole convent to sleep if you knew the right recipe. She sees an image of a line of nuns, sipping deep from the communion wine, then keeling over one by one. The sheer viciousness of the thought makes her smile. The only one who might survive is that young gargoyle with the harelip that runs like a dredged canal from her mouth into her nostrils. She can barely drink at all. Ugh. At dinner she has to bend her head back at an angle to make sure the water in her mug doesn’t dribble into her bowl.

  It makes her sick even to think about it. Maybe her father chose this place deliberately, knowing it to be packed with monstrosities: hunchbacks, idiots who smile when there’s nothing to smile about, the one whose right foot follows half an hour after her left, and—the most scary one of all—the novice with the poxy face, the scars so angry she might even have been lovely not so long ago.

  The girl from the Dominici family who lived not far from her had suffered the same horror: one Sunday flicking lizard tongues at the boys beneath her veil in church, six weeks later so foul and pitted that her headdress at mass was thick as a winter curtain and everyone who sat near to her said they could hear her sobbing behind it. The story was that she asked to be put into a convent because she could not bear to be among sweet faces anymore. For who would possibly want her now? Oh, dear God, what if this one still has the disease, or some other kind of pox slides in through the windows here? They would all be dead or maimed within weeks. No. Please, please, Virgin Mother, don’t let such a thing happen!

  Love opened my left side with his right hand, and there within my very heart he planted a laurel tree, so green that its rich hue exceeds the color of all emeralds.

  She can feel hot tears flowing again. Ha! Outside she registers the footsteps of the watch sister moving into the cloisters on her rounds, and she moves swiftly to blow out the candle, so swiftly that the wax from the flame spatters onto her fingers.

  She winces from its heat, then registers the change as it coagulates and sticks to her fingers. Hot wax. Like a seal. Of course! A seal. Yes!

  As soon as she finds bigger stones, she will use the candle to seal the paper around them. At least that way she will be ready when he comes. Because come he will. She is sure of it.

  CHAPTER SEVEN

  THESE THINGS ZUANA has never seen and probably never will:

  The ocean

  The great veins underneath the earth where precious metals grow

  The monster known as the lamia

  A newborn baby

  The insides of a dead person

  Though when it comes to the last she has been closer than most.

  HER FATHER WAS by no means the first to take his knife publicly to a human corpse. By the time he stood up in the lecture hall of Ferrara University his butcher’s apron tied around him, anatomical dissection was already an accepted part of medical education in cities such as Bologna and Padua. (The great Vesalius himself worked for many years in Padua, and it was there that he laid the foundation for his book on the fabric of the human body; this is a fact Zuana has known for so long that she cannot remember anymore when she was told it first.) But thanks to scholars like Mancardi and Brasalola, Ferrara was not far behind, and by the time she was old enough to understand the difference between a vein and a muscle a public dissection was taking place under the auspices of the university every other year: an audience of a hundred or more medical students bundled into thick cloaks and hats, packed alongside a few strong-stomached Ferrarese citizens with the curiosity and appetite to look inside themselves.

  The event was held either in one of the regular lecture rooms, makeshift stacked seating arranged as best they could to allow as many people as possible to see the corpse espaliered on the table, or, later, when the crowd grew too large, in a nearby church specially commandeered for the process. In both cases the spaces were bitterly cold, the tang of preserving alcohol a persistent incense in the air. Dissection was, by necessity, a winter business, with windows and doors kept open so the bodies remained fresh over the two or three days it took to complete the process (though when it came to work on living dogs and pigs, it meant you could hear their terror and agony halfway round the town).

  At moments when convent weather spikes to the bone—as it does now—or a task in the dispensary demands the same preserving fluid, or some feast day calls for the slaughtering of one of the pigs, their high-pitched squealing echoing through the cloisters, then Zuana is instantly pulled back: imagining herself as a young woman, beside herself with anticipation as she peers down at the table, her father’s voice booming out across the hall as he makes the first incision along the collarbone and down the side to create the skin flap which, when lifted, will expose the breastbone and the lungs and finally the heart underneath.

  Alas, it is a dream that never happened. Oh, the sensations were real enough: the smells (her father stank of them when he returned that night), the cold, the hysteria of the penned waiting animals, which always seemed to know what was to happen to them, and the parallel sense of rising excitement in the streets as the students queued and then finally dispersed after the spectacle. But the rest took place behind closed doors for her. It was not for want of trying. By the age of fourteen she knew enough in theory to recognize most of the organs the knife would have revealed. And by sixteen she was tall and broad enough that with a cap and gown she might even have got lost in the crowd. But her father was adamant. While she might stand next to him in the study measuring and mixing, or help him in the gardens gathering herbs and roots—even down to the mandrake, which looked like a miniature human body as it was pulled squealing from the earth—while together they might trace a man’s insides through the study of a hundred woodcuts, when it came to witnessing the actual flesh flayed back to reveal the wonders beneath, to understand this divine creation in all its glory as God had made it, that could never be woman’s work, even to a mind as big as his.

  She had come close to defying him once. Had got as far as hiding a cloak and a hat, left over by different visitors, ready to slip out as soon as he was gone. But he seemed to sense her excitement and chose not to leave the house until the dissection was almost due to begin, so that by the time she could get out, the lecture hall was already exploding with bodies and the waiting line stretched halfway down the street. Later, when his death had them all running in circles working out what to do with her, she wondered if he had already begun to question whether the young woman he had so lovingly filled with his knowledge might not be becoming a liability to herself as much as a treasure to him.

  Perhaps he had thought he would live forever. She certainly had.

  Thus her medical experience had been severely circumscribed, so that now in order to penetrate the insides of the human body she must rely on books: muscles, sinews, viscera, bones, and blood, all reduced to flat patterns of black lines on a white page. Had she kept the volumes of Vesalius’s great anatomical work—oh, if only! — she might have been able to educate herself afresh each time she opened its pages, for there was nowhere his knife and his curiosity had not penetrated. But when the scavengers descended after her father’s death, a few key treasures had walked out of his study before she had had the time or wit to hide them; Vesalius’s fat volumes had been the greatest loss. As for the bodies in the fles
h—well, though she might feel swellings or catch glimpses through or under the habits of the convent women when their pain was great enough to disturb their modesty, any understanding of a man’s body was to be forever denied to her.

  Except, that is, for one.

  For she, like every one of her sisters, spends each and every day in the presence of the most singular, perfect male body: that of God Himself made flesh.

  In this—although it would, no doubt, shock those in the church hierarchy to hear it—the convent has been, for Zuana, its own medical school. Because Christ’s body is everywhere: in the altars and nave of the main church, open to the nuns when it is closed to the city; in their own chapel behind the altar, where they pray eight times day and night; on the walls of the cloisters where they walk, in the refectory where they eat, even in the cells where they sleep. Everywhere. And in each and every stage of life and death: from the rosy plumpness of the holy baby reaching, arms outstretched, from Mary’s lap, through the beauty of a grave young man, broad-shouldered and slim-hipped under gathered robes, to the brutal step-by-step destruction of that same perfect body in its most exquisite state of manhood.

  It is its destruction, however, that makes the greatest impact.

  Over the years Christ’s naked, broken body has become more familiar to Zuana than her own, for not only is it everywhere, it is also lovingly, truthfully, anatomically depicted. She had recognized this in the very first days of her confinement: how the men who carved and sculpted the two most powerful crucifixes in Santa Caterina—the great wooden one that hangs above the altar and the more modest one set on the wall at the end of the main cloisters—were as informed about the human body as any anatomist, since for many years now any painter or sculptor with blood in his veins had made it his business to find his way into charnel houses or even those same lecture theaters that she had been denied, in order to perfect his craft.