The Painter of Souls

by Philip Kazan

Genres: Historical Fiction

Synopsis

Beauty can be a gift...or a wicked temptation...

So it is for Filippo Lippi, growing up in Renaissance Florence. He has a talent - not only can he see the beauty in everything, he can capture it, paint it. But while beauty can seduce you, and art can transport you - it cannot always feed you or protect you.

To survive, Filippo di Tommaso Lippi, street urchin, forger, drinker, seducer of nuns must become Fra Fra Filippo Lippi - Carmelite friar, man of God. Yet at the same time he is Lippo Lippi, creator of some the most radiantly beautiful paintings, Botticelli's teacher, Medici's confidante.

So who is he really - lover, believer, father, teacher, artist? Which man? Which life? Is anything true except the paintings?

An extraordinary journey of passion, art and intrigue, The Painter of Souls takes us to a time and place in Italy's history where desire reigns and salvation is found in the strangest of places.

Read by Daniel Philpott

Release date: May 3, 2016

Publisher: Pegasus Books

Print pages: 272

Sample

Prologue



September 1469

The man lying back on the dusty boards of the scaffold, high above the altar of Spoleto Cathedral, knows he is dying. The thought of his death, familiar as it has become, does not trouble him now, as he licks a stubby finger and touches the moist end carefully to a small, loose flake of gold leaf that is coming away from a beam of divine light. He is stretched out below God’s raised right hand, with the great crowned head gazing down at him. The rainbow he painted last year, vivid bands shining against the sky’s deepest ultramarine, arcs above him like a gold-studded doorway. He will be passing through that door soon: a few weeks, a month at the most. He wonders, idly, whether he hasn’t made the rainbow too gaudy, whether death itself will be quite so colourful. ‘Aren’t we all dying anyway?’ he mutters, and his words return to him in the dry rustle of the dome’s echo. The fresco he has been working on since last year tells a story about death, after all.

It is cool and quiet under the cathedral’s half-dome. He looks up at the Angelic Host, all those faces in serried rows … He hadn’t known, then, that he was dying, but still he had summoned this legion up out of their graves, summoning them back to life with brush and pigment. Friends: so many friends. If the good people of Spoleto only knew who these angels, so innocently holding up Heaven’s rainbow, had really been. He chuckles. Beggars, thieves, tricksters. Whores. But honest, in their way: every one of them. His boyhood companions from the streets, the riverbank. He can only remember their faces through veils of driftwood smoke and river mist, through rippling curtains of summer heat. And in his memory they are all innocent, all fit to stand beside God. So what if he’s made all of them blonde and curly and clean? At least he had told the truth when he painted himself into the crowd: plump, frowning, peppered with greying stubble, draped in the Carmelite robes he hardly ever wears these days. The only ugly face in this throng of painted wonders. Staring out at the good people of Spoleto, who will have to stare back at him until the Last Trumpet sounds, or until they get around to painting over him, whichever comes sooner. As a betting man, he would put money on the latter.

The thought makes him chuckle and then wince at the pain that follows like an obedient dog. When it subsides, he stretches his short legs out across the boards and sighs with contentment. He’s suffered worse in his time. He can remember the wheel of the rack turning, the ropes cutting into wrists and ankles, the wet pop of his shoulder joints giving way, and then the tearing and the warm gush of blood. Well, at least they’d stopped turning the damned wheel when his belly had split and a purple loop of gut had slid out. The Executioner of Florence had even apologised – what a nerve! – for being a bit heavy-handed, and for nothing more than a forged signature on a contract. He remembers screaming, and the face of his benefactor squinting down at him along that uncompromising Medici nose, as a barber had stitched his belly together again. But it had never quite healed. It is killing him, slowly, now.

Faces. What else has his life been made of? Beautiful faces. And every one is beautiful, even the ugly, the angry, the despairing. He shifts, bites his lip as the pain in his belly bites him again. Still alive, though! He’s reached sixty: a decent age. How strange that he has outlived most of those here. Like his beloved teacher, who left him so early. Here he is among these kneeling saints, old and bearded as he never got to be in life. That girl … Cati! God, how lovely she had been! That young man he’d last seen as a corpse, tumbled like flotsam among broken reeds.

His pain does not like to be ignored and he rolls over to avoid it. The scaffold is flimsy and the drop is long, but heights have never bothered him. He’s spent half his life up ladders and crouching on narrow perches. But now, looking down into empty air, he feels a sudden, woozy lurch of vertigo. For a moment he doesn’t see neat lines of empty pews but more faces, tight-packed, snarling up at him, spittle-flecked lips drawn back from bared teeth. There is someone beside him in this memory, framed in the carved stone of a tall, open window. And then he is alone. A rope hisses against stone as it uncoils, then jolts. The crowd howls.

Albertino, he thinks. I never forgot you. I never forgot any of you. His eyes are wet, but they always are, these days. Old age, and years of squinting in bad light. He looks up to where Albertino is dancing hand in hand with a companion behind the Virgin’s shoulder. Where he should be. He grins. They would damn this old painter if they knew what he’d done: turned a blasphemer into an angel. He closes his eyes, sees the rope shift against the stone as its burden swings above the shrieking mob and wonders: should I have done it, this time, all the other times? Have I not been the greatest sinner of all? How have I escaped the rope?

He lies back, and there is the brightness of the rainbow, leaping across the starry sky like a comet’s tail. Angels at my head, he thinks; angels at my feet. I have not sinned, not in my work. I have used my gift. And what a gift, what a miracle, to be given eyes that see the beauty in everything. To be given hands that can trace the lines of Creation, give them colour. Give them life. He closes his eyes. I’d do it again: bring all the lost souls home, strip away the ugliness and the horror. Even the worst of it is so beautiful. A miracle.

1



An apple-seller has fallen asleep at his pitch in the Santo Spirito market. Slumped in the shade of a boarded-up doorway on this hot September day, his head is propped in an angle of wood and marble and his basket, which still holds a small hoard of scarlet fruit, is slipping down between his knees.

Who falls asleep like that? The boy peers around the corner of the alley, biting his lip. The fool has apples still to sell. How could he be asleep? Or perhaps … The boy feels an uncomfortable thrill, but then a fly lands on the man’s eyelid, only to be swatted away by a fat, red hand. Not dead then; just lazy. And a lazy fellow like that deserves what he gets. Dozing off in the middle of the market … The boy’s mouth is watering. He glances up and down the narrow street, crammed with people buying and selling, and steps out of the alley. Just then a couple of older boys glide by. As they reach the sleeping man they both bend at the waist, supple as herons, and come up with an apple in each hand. Then they are gone. Madonna! But – he clenches his fists with relief – the man is still snoring. The boy swallows hungrily and pushes his way between two men who are carrying a load of wooden planks. His mind is busy with calculations: can he grab two apples with each hand? Should he just swipe the whole basket? Yes! He can manage it. He’ll just grab it, duck under the melon-seller’s stall and make for the Via Squazza. Staring at the wicker handles, he can already feel his hands closing around them …

‘Eh! Giovanotto!’ The voice is high and sharp-edged. The boy knows, immediately, that it is aimed at him. The snoring apple-seller is so close …

‘Young man!’

Distracted, the boy pauses. The apples are in reach. But he feels the pressure of someone’s gaze on his back, and instead of reaching into the basket he spins around, smiling innocently, to face the four women who are glaring at him from next to the stall of Piero the honey-seller. Monna Gemma, Monna Dianora, Monna Filippa and Monna Antonia, each of them swathed in black from head to foot like the Madonna del Popolo, the ancient Madonna in Santa Maria del Carmine, who has a young, wide-eyed, kindly face that looks a little as if she is trying not to laugh. The Madonna had watched him being baptised, and take his first communion. She had been watching, too, as the funeral service was said over his father’s body. Unlike the Madonna, though, the four widows are pale, stern and distinctly unamused. He stands in the middle of the street, grinning like a fool, and behind him he hears the apple-seller yawn and sit up.

‘Good day to you, distinguished ladies,’ the boy says, his imagined apples popping like soap bubbles. He throws in a bow for good measure. These are the commesse, after all: the rich widows who support the Carmine, who know everybody’s business in this neighbourhood of the Green Dragon, who, very possibly, are studying the thoughts inside his head at this very moment, as if his skull were made of glass. ‘Isn’t the weather lovely?’

The tallest, oldest commessa, Monna Gemma, beckons him over. He obeys, still smiling desperately.

‘How is your mother?’ asks Monna Gemma.

‘She’s well, Monna. In … in her way.’

‘Are you taking care of her?’

‘No, Monna Gemma. You know my sister looks after Mamma. There’s just enough for the two of them. I’m … staying with my Aunt Maria.’

‘With Monna Lapaccia?’ Monna Dianora raises an eyebrow. ‘Curious that when I saw her yesterday in church, she made no mention of it.’

‘She has a great deal on her mind, my lady!’

‘We talked about her cat, boy. No mention of you.’

‘Are you on your own again?’ Monna Antonia is a little more gentle.

He shrugs. ‘Why shouldn’t I be? It suits me.’

‘What would your father say?’

‘I don’t know, Monna.’ He looks down, prods the edge of a cobble with a bare toe. ‘I don’t remember him very well. But I think he would give me some food.’

‘Are you hungry? Of course you are.’ Monna Dianora, studying him intently, looks a little more like the Madonna del Popolo. She must have been pretty once, the boy thinks, and sees the lines that would draw her face now, quite angular and hard for the thinning lips, the fine membranes visible in her eyelids, the puckered skin around her jaw; and then, in his mind, he softens the lines, makes her young. Gives her back her husband. Lifts the corners of her full lips into a cautious smile.

‘I’m fine, Monna,’ he says.

‘But you could have made room for an apple or two.’

‘Apples?’ he says, innocently.

Monna Dianora shakes her head, sighs. ‘Come along, boy,’ she says. ‘The brothers will feed you.’

‘I can’t ask the brothers again!’

‘Nonsense!’ snaps Monna Gemma. ‘The brothers like you. The prior himself likes you, for some unearthly reason. And besides, it is their duty. We shall remind them of it, won’t we, sisters?’ Four black-draped heads nod. ‘You are stubborn, Pippo. But there is good in you. If your mother cannot … Well, it does not matter, because you have the Carmine. Come along, then.’

The four women turn and begin to walk away from him up the street. The boy hesitates. He glances at the apple-seller, who is wide awake now, and rummaging in his basket, looking displeased. The man catches his eye, and the boy grins and shrugs.

‘You were robbed,’ he says. ‘But you’ve only lost a couple.’

‘If you …’ The man is scowling, struggling to his feet.

‘It wasn’t me!’

‘I don’t give a fuck,’ the man growls, balling his fists. ‘You would have.’

The boy lunges, grabs two apples and sprints off, dancing past a loaded handcart, rattling the sword of an overdressed bravo. He darts into the dark opening of an alley, his old leather satchel slapping the back of his thighs as he pounds along the cobbles. The man won’t chase him for a couple of apples … Even so, he only stops running when he reaches Borgo San Frediano, his own territory. Only a few short streets away, but he feels as if he has just left a foreign country. Everything here is familiar: every stone, every smell and sound. There is Pagolo, the cobbler, arguing with Signor Becci the lawyer. He waves, and the cobbler waves back, though the lawyer frowns. He greets some other passers-by, then settles himself on the steps of the empty house near the corner of Via di Cestello to eat his prizes. He bites into the reddest apple, which is crisp and sour. Sucking greedily at the juice, he watches the comings and goings on the street. He waves, calls out to people by name. This is the centre of his world: the middle of the parish of San Frediano, in the middle of the neighbourhood of the Green Dragon, in the heart of Oltrarno, the best quarter of this great city of Florence.

A few coins are tossed in his direction, almost worthless denari. Enough for him to buy some scraps from a friendly butcher, though. In a little while he will go down to the Arno and see if his friends are there. They will build a fire, cook food if they have it.

‘Spare me a bite?’ The soft voice at his side makes him jump. The girl has crept up on him.

‘Cati! You scared me. What’s going on?’

‘Nothing.’ She shrugs, settles down next to him in the doorway. She is a little taller than him, her hair tied back in an old piece of scavenged silk, freckles on her sunburned face. Through one of her ears is a piece of gold wire, roughly crimped into a circle.

‘You look just like a queen today. The queen of …’ He searches for an exotic kingdom, remembers someone talking about some merchant or other from a long way away. ‘Scotland. La Regina di Scozia.’ He holds up the apple he has been saving. ‘For Her Majesty, I can spare two bites.’

She plucks it from his hand, opens her mouth as wide as it can go. With a crunch, half of the apple disappears. Juice runs from the corner of her mouth.

‘Where is Scotland, then, Pippo?’ she asks, her voice muffled by apple pulp.

‘In Flanders, I think.’ He frowns at his bisected prize. ‘Cati, if you’re going to do that …’ She is watching him with her almond-shaped eyes over the jagged edge of the fruit. The irises are brown and gold. Beautiful. He sighs. ‘Go on, just eat the bastard. I give it to you. A gift from the people of Florence.’

‘Thank you! You’re so sweet, Pippo.’ She leans against him, takes another bite, delicate this time. Her dress of homespun cloth has been warmed by the sun and smells faintly of tarred rope. Caterina Serragli shouldn’t really be sitting with him, the boy thinks. She is not an orphan. She doesn’t need to beg. She has a mother and a father, and though they are as poor as dirt, because her papa is a labourer in a dye works, she is pretty enough, and clever enough, that she stands a chance of making a good marriage. All the more reason not to be soiling her reputation with an urchin like him. But he has always known Cati, as he has always known almost everybody in San Frediano.

‘How’s your mother?’ she asks.

‘You’re the second person to ask me that this afternoon.’

‘Well, how is she?’

The boy shrugs, looks away, pretending to study the jackdaws playing on the roof of the church of San Frediano.

‘Just the same, then?’ Cati finishes the apple, throws the core into the street.

‘I suppose so. I haven’t been over there for a while. I … I don’t like to see her like that. And I can’t do anything, can I? Besides, my sister worries about me more if she has me around. I don’t like people worrying about me.’

‘I worry about you.’

‘No you don’t.’

‘I do! I don’t like your friends: Albertino Rossi and that one who calls himself the Cockerel. And the others.’ She wrinkles her nose and sniffs pointedly. The boy finds himself pleasantly involved in the way it makes her freckles shift. Her makeshift earring catches the sunlight.

‘Too rough for you, my queen?’

‘They are disgusting. They’ll all end up hanging from a window in the Signoria.’

‘With me alongside them, I expect.’

‘Don’t say such things! Those boys are no better than rats. They never even had fathers!’

‘I don’t either.’

‘But you did, once! My papa still talks about your papa. He always says what a good man he was. Those little apes had whores for mothers and … and …’

‘You shouldn’t talk about them like that.’

‘You see? You’re sticking up for them, because you have a good heart. They would be talking all kinds of shit about you if they were sitting there.’

‘What a foul mouth you have, Queen of Scotland,’ says the boy, chuckling. ‘But the lads aren’t as bad as that. And we look after each other. That’s what’s important. We’re like the Confraternity, don’t you see?’

‘Lord!’ Cati is quite round-eyed at his presumption. The Confraternity of Saint Agnes is the thing that glues the whole of the Green Dragon neighbourhood together, a brotherhood of the quarter’s most important, wealthiest and most capable men based in the Convent of Santa Maria del Carmine. The boy’s father had been a member, once. A butcher with his own shop, he had spent his free hours at the Carmine, and the boy had marched at his side, no more than knee-high, in the great processions of the parish. But that had been a long, long time ago.

‘Are you still doing your pictures?’ Cati asks, pulling him out of his memories.

‘Of course.’ He pats his satchel. ‘Someone gave me a quattrino for one yesterday. Probably because I drew his nose a little bit smaller than it really was.’

‘Draw me, then.’

‘You? What do you need a drawing for, Cati?’

She cocks her head. ‘Aren’t I pretty enough to have a picture? And … I’ll pay you.’

‘A quattrino?’ he asks, laughing. He knows she doesn’t have such riches.

‘A kiss.’

‘Hmm …’ He make a show of considering, but he knows he is blushing to the tips of his ears. ‘Done.’

He opens his satchel, takes out a rough pad of vellum pieces stitched together at the top with a leather thong. He has scavenged these precious scraps from across the city: from the rubbish heaps of lawyers and priests, from under the green baize tables of the money-lenders outside Orsanmichele. Next is a stained ball of cloth that has once been a gentleman’s handkerchief. He unravels it carefully, to reveal a small, stoppered glass pot filled with ink, which he has made himself from lamp-black and oak galls. Last comes a goose quill stripped of all its feathers, its tip protected by a hollowed-out rabbit bone. These things, and the folding knife in the bottom of the bag, are his prize possessions – his only possessions, apart from the rags he is wearing. The tools of his trade. Cati leans back regally against the doorframe while he sets up his things, precisely, reverently. He uncaps the quill, dips it in the ink and makes his first line.

The boy does not have to watch his subjects carefully as he draws them. They are already imprinted on his sight, or at least the parts of them that matter. It is easy for him to catch the line of Cati’s nose, the Cupid’s bow of her upper lip, the tiny cleft in her chin. Though she is staring at him he draws her looking off to one side, with the indomitable calm that only the Queen of Scotland could possess. He considers his sketch, leaves out her freckles but tries to catch the splintered glow of her eyes. He has never gazed at her like this before. How strange: she is the same person, but she seems to have opened for him, like a rose. But that is what happens when he makes his pictures. His gift, which comes from God, as people never tire of explaining to him, is like that. Catching people’s faces in his delicate, inky lines lets him see inside them, in a way. And lets his subjects have a glimpse as well: Heaven’s gift, passed on. He does not really understand what happens. The paper and the ink are not something he has chosen. They have always, it seems, been in his hands.

‘There.’

‘Already?’

‘It’s been a little while. Didn’t you hear the bells?’ He takes out his knife and cuts the sheet free of the pad, holds it up for her to see.

‘Oh, Pippo.’ She reaches for it, but he shakes his head.

‘It needs to dry for a minute.’ He tilts the sheet against the light, blows on it and, satisfied, gives it to her. She gasps with pleasure.

‘Do I really look like that?’

The boy feels himself blushing again. ‘Yes.’ He ducks his head, feeling her eyes on him, smelling the warm cloth of her dress, the faint cinnamon of her skin. How wonderful life is, he thinks. How unexpected. He puts away his tools, his mind wandering over the drawing that still hovers, fading, behind his eyes. As he is tying the laces of his satchel, she touches his arm.

‘Ready for your payment?’

He grins, shuts his eyes and purses his lips, waiting. Life is good.

‘No, not here.’ She stands, grabs his hand and pulls him up off the step. ‘Come on.’ He follows her across the street, down past the church, up the narrow Via del Piaggione. Half the people on this street died in the plague and there is no-one about now. There is a little deserted courtyard through an iron gate and she pulls him into it. In the cool shadows she takes his face between her hot, dry hands and kisses him hard on the mouth.

‘Lovely Pippo. You deserve more than a kiss. More than a quattrino. You made me beautiful. If I had a florin I’d give it to you.’

‘But you are beautiful, Cati. I just showed you the truth.’ He raises his inky fingers and brushes her cheek. She kisses him again, and this time her mouth opens. Time, measured by the sound of sparrows playing on a windowsill above them, ebbs. I would do anything … he thinks. I would do anything for this to last for …

‘Bloody little heathens!’ A man’s voice, too loud. They both open their eyes, pull apart. She is still holding the drawing by a corner.

‘You’d better go,’ the boy stammers. Cati makes a face, grabs his ears and kisses him once more.

‘You’re not a heathen, Pippo,’ she whispers. ‘You are blessed.’ And then she is gone. The boy looks around the corner, sees her brown dress disappearing towards the church. There is a red-faced, very drunk man with a sagging goitre leaning against the house opposite. ‘Fornicators!’ he shouts, his face contorted with rage, though the vigorous motion of one of his hands, thrust down inside his breeches, indicates something other than outrage.

‘Looks like you were enjoying the show,’ says the boy, edging through the gate. ‘What about a florin for it, then?’ The man isn’t from this side of the river. There is a bag by his feet, with the green glass neck of a large wine flagon poking from it. Seeing that the man has his hand trapped down his breeches, he darts across the alley, grabs the bag and takes off after Cati with the man bellowing obscenities behind him. But when he reaches the Borgo she is nowhere to be seen. He sags, feeling like a pennant that has been blowing proudly in the breeze, only to fall when the wind drops. He could have kissed Cati all day. And all night …

‘Porca di misere,’ he mutters. He looks up and down the street, wondering if it might be worth setting up his drawing things by the church in the hope of snagging a late customer. But there is a crowd now, bustling purposefully homewards. The day is coming to its end. He depends on idlers for his trade, on the bored, or rich, or vain. These people are just hungry.

So he makes his way down to the river. The water is low, and the banks are still covered in their pelt of summer grass, though it has long since faded to pale gold. He walks upstream towards the Ponte alla Carraia. Fishermen are sitting on logs, staring at their limp lines and shouting at children splashing in the shallows. It is blissful beside the Arno at this time of day, before the whores begin to drift down to the water as the mist rises, before the sodomites arrive to angle for a conquest. He doesn’t mind the whores . . .