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The Colour of Heaven
James Runcie
From the author of THE DISCOVERY OF CHOCOLATE – a romantic historical quest set in Renaissance Florence and China surrounding the search for ultramarine.THE COLOUR OF HEAVEN is a fictional account of a young man who travelled to what are now Afghanistan and China to discover lapis lazuli, the precious stone that when turned into ultramarine changed the history of painting – allowing artists to abandon gold as a background and open up depth, landscape and perspective with the most beautiful shade of blue.Along the way, Paolo suffers the torments of unfulfilled love before he returns to his anxious family in Venice, where he also plays a part in the early development of lenses and spectacles!
JAMES RUNCIE
THE COLOUR OF
HEAVEN
COPYRIGHT (#ulink_25478713-ee8f-5179-a12d-672719c6cbd8)
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
HARPER
A division of HarperCollinsPublishers Ltd.
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk/)
First published in Great Britain by HarperCollinsPublishers 2003
James Runcie asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this ebook on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins ebooks
HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication
Source ISBN: 9780007235278
Ebook Edition © NOVEMBER 2012 ISBN 9780007494996
Version: 2016-10-25
DEDICATION (#ulink_2569a714-0e54-59f3-855c-468482dcd2c5)
for Marilyn
CONTENTS
Cover (#u1479ff49-fa4e-5de2-9920-16eca244ffb7)
Title Page (#ubcb75978-4d4d-5525-ab40-168f5910b1a6)
Copyright (#u669ac5e4-5df8-5f9c-a04f-809eb1986580)
Dedication (#u9f27d6c7-0e78-5d8d-9464-a1f0f8d5f71d)
Map (#u4315535e-42a1-5cc9-ad08-c26e9e60691c)
No Jewel is Worth His Lady (#u6a2854df-55fb-541f-bf84-23d0f7b39024)
Venice (#u9ff5914b-d63c-5a69-84d4-06a8bafa5644)
Murano (#u4c9d8daf-7484-5039-8d65-b95ffe458861)
Siena (#ucc627034-e5aa-518e-92ad-2e33fbec745f)
Constantinople (#litres_trial_promo)
Persia (#litres_trial_promo)
Sar-I-Sang (#litres_trial_promo)
Tun-Huang (#litres_trial_promo)
Venice (#litres_trial_promo)
Siena (#litres_trial_promo)
Sar-I-Sang (#litres_trial_promo)
Historical Note (#litres_trial_promo)
Envoie (#litres_trial_promo)
Keep Reading (#litres_trial_promo)
Acknowledgements (#litres_trial_promo)
About the Author (#litres_trial_promo)
Praise (#litres_trial_promo)
By the Same Author (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
MAP (#ulink_8ec8d496-31ce-5d39-8348-2ef4fb1a3616)
NO JEWEL IS WORTH HIS LADY (#ulink_e5314043-ff7f-5955-ba8f-955b92faa8d1)
Sapphire, nor diamond, nor emerald,
Nor other precious stones past reckoning,
Topaz, nor pearl, nor ruby like a king,
Nor that most virtuous jewel, jasper call’d,
Nor amethyst, nor onyx, nor basalt,
Each counted for a very marvellous thing,
Is half so excellently gladdening
As is my lady’s head uncoronall’d.
All beauty by her beauty is made dim;
Like to the stars she is for loftiness;
And with her voice she taketh away grief.
She is fairer than a bud, or than a leaf.
Christ have her well in keeping, of His grace,
And make her holy and beloved, like Him!
Jacopo da Lentino, 1250
Translated by Dante Gabriel Rossetti
VENICE (#ulink_7a831426-f152-5d79-8897-d52360211d33)
No one noticed the child.
He had been left in a small boat which now sailed out towards the lagoon, following nothing but the slap and tide of each narrow canal.
It was Ascension Day in the year twelve hundred and ninety-five, and the people of Venice were parading through the streets, hoisting crimson pennants and bright-yellow banners in celebration. Tailors dressed in white tunics with crimson stars, weavers in silver cloth tippets, and cotton spinners in cloaks of fustian mingled with blacksmiths, carpenters, butchers, and bakers, singing and shouting their way towards the Piazza San Marco.
The square was filled with showmen, swindlers, soothsayers, and charlatans; jesters, jugglers, prophets, and priests. Alchemists cried out that scrapings of amber gave protection from the plague, and that an emerald pressed against naked flesh could preserve a woman from apoplexy. A dentist with silver teeth sold a special compound which he vowed would improve the value of all metal; a barber displayed a gum to make bald men hirsute; and a naked Englishman sold pine seeds which were said to guarantee invisibility as surely as the talisman of Gyges.
But no one had noticed the baby.
Teresa could have ignored him, another abandoned child due for an early death at the Foundlings’ Hospital; but once she had seen him the shock of love took hold.
She watched the boat spin gently against the side of a little rio, caught in a momentary eddy, as if waiting only for her arrival. Perhaps this was a gift from God at last, alleviation for all that she had suffered.
She looked around, for mother or father, doctor or stranger, but amidst the movement of the crowd they were the only people to be still, the abandoned baby and the woman who could never have children: Teresa, wife of Marco the glass-maker, barren. No other adjective was necessary. Her pale-blue eyes, thin frame, and slender beauty meant nothing. When people wanted to describe her, they spoke but the one word: barren.
She knelt down beside the waters and gathered in the child.
‘Calme, calme, mio bambino.’
The baby’s mouth began to pucker, longing for milk.
Teresa knew that she should go into the church and ask the priest what to do but at that moment the doors swung open and a vast procession emerged, singing Psalms and praising God. She let the pageant go by, watching a group of children carrying silver bowls filled with rose petals, whispering and squabbling as they passed.
Teresa tried to convince herself that she did not need the child. She should leave him, as his mother had left him, and as hundreds of other mothers would do on this very day throughout the city. Children were a drain, and a curse, the punishment for sexual excess. They cried. They were always hungry. They grew up to take your money and denounce you. That was what Marco had always told her: her husband, who could, in fact, be as barren as she. They had never known.
She could hear his voice telling her to put the baby back, leaving it either for charity, another mother, or death. What was one child more or one child less in the world when we are born only to live, suffer, and die?
She sat down on the steps of the church.
The child was so pale and so fair.
Out in the lagoon, trumpeters, troubadours, and drummers sailed past the Doges’ Palace singing of beauty and lost love, saluting both the rising and the setting of the sun, mothers and daughters, mistresses and maids, the besotted and the beloved.
Some of the boats were preparing tableaux of the Christian mysteries: the shipwrights and carpenters were to re-enact Noah’s flood; the vintners would create the illusion of Christ turning the water into wine, whereas Marco’s single-sailed sandolo had been transformed into a moveable theatre in which his fellow glass-makers would perform ‘The harrowing of hell’.
His friends were dressed as heavy-drinking devils with horns made from old fish baskets, and their blowpipes had become instruments of diabolic torture. Marco was to play the devil himself. He stood on the prow, his smoky frame dominating the boat, and bellowed a list of the torments awaiting all sinners. Rival guilds watched in wonder as Marco blew flames, drank, shouted, and sang of terror and disaster. The nearer other boats sailed, the more dramatic his gestures became until he could resist temptation no longer and began to describe the precise location of the mouth of hell.
He turned round, bent over, and mooned at all who might look at him, shouting:
‘Guarda! Guarda!
La bocca d’inferno è nel mio culo!’
Encouraged by his companions, he then provided a triumphant auditory accompaniment to the gesture.
‘Ecco un fracasso del diavolo!’
The longer the day lasted, and the more red wine they drank, the funnier such antics seemed, until the time came for the youngest glass-maker to harrow hell. Young Pietro emerged from beneath the sail (which now became the flag of Resurrection) carrying a vast glass crucifix and shouted:
‘We have blown this crucifix as surely as Christ will blast away the gates of Death.’
He then struck his fellow workers with the cross, and they dived into the waters of the lagoon, an improbable reminder of the power of baptism and redemption.
‘This sky is our heaven, these waters our home. Let no one deny the promises we have been vouchsafed!’ Pietro shouted.
The Doge’s gilded barge, the Bucintoro, sailed past the spluttering glass-makers in preparation for the ceremonial marriage of Venice to the sea. The boat moved out towards the Lido, canopied in red, shining with golden river gods, zephyrs, putti, and mermaids, the Lion of St Mark fluttering above.
The Doge rose to the prow of his ship and took the ceremonial glass ring from his finger.
Then he proclaimed, ‘O Sea, we wed thee in sign of our everlasting dominion,’ and threw the ring out into the Adriatic.
The Bucintoro turned back, its oars gleaming in the light. Marco and his men, now safely back on board their boat, raised a fiasco of wine, as if toasting their leader, and prepared to sail back to Murano, content with their day’s display.
As they did so, Teresa opened her blouse and pinched at her breast. The child squirmed in her arms. She would have to take the baby to her sister, for, whereas Teresa could not even begin to conceive, Francesca could not stop having children. The milk poured out of her so much that she worked as a wet nurse to sustain her family.
Teresa began to walk up towards the Misericordia. She watched the crowd stream over the bridges, returning home to eat and drink before the curfew, ready to share their thoughts about the day, to joke perhaps, to laugh, even to make love.
