wrist. Then, before she could change her mind, I whirled off up the street.
‘Wait!’
I turned round.
She was standing where I had left her, but the low sun edged her face in gold, which made her difficult to see.
‘You don’t know where I live,’ she said. ‘How can you come for me if you don’t know where I live?’
In June, while exploring the wax workshops on Via de’ Servi, I had met a man who made votive images. During our conversation he had mentioned a type of gypsum that was quarried in the hills around Volterra. He claimed it produced a plaster that was more pliant and sensitive than any other. Thinking of the Grand Duke’s commission, I had put in an order for half a hundredweight .
The day after my coincidental encounter with Faustina, the sacks of gypsum were delivered to my workshop. I had been wondering how to get through the week. Now, all of a sudden, I had something to occupy me. I baked the gypsum for several hours, heating the rocks to a high temperature. Once I had purged them of all their moisture I let them cool, then I ground them into a fine powder. When the gypsum was ready, I sent for Fiore. I needed her for an experiment, I said. She arrived in the shoes I had bought her the year before, and a precarious
fontange
involving seagull feathers, a small rodent’s skull, and half a dozen bulrushes.
‘The height of fashion,’ I said, ‘as always.’
She grinned.
I rubbed hemp oil into her hands to prevent the wet plaster sticking to her skin, then I coated two short lengths of string in pig fat and attached them to her right hand so they started on either side of her wrist and met at the end of her longest finger. Once her hand was covered in plaster, I would take hold of the string, first one piece, then the other, and gently pull them sideways , cutting through the plaster as a cheese-wire cuts through cheese. Later, when the plaster had set, I would be able to lift the mould away in two neat halves.
I mixed tepid water into the kevelled gypsum. When it had achieved the correct consistency, I began to apply it to her hands.
‘It feels warm,’ she said.
‘It’s supposed to,’ I told her. ‘If it didn’t heat up, it wouldn’t harden.’
As I worked, the image of Faustina came to me, Faustina with the last rays of the setting sun behind her, Faustina edged in bright flame like a descending angel. I’ve found you, I thought. I’ve finally found you.
I glanced up to see Fiore staring at me.
‘Why are you smiling?’ she said.
Friday came. We left the city not long after dawn, and soon found ourselves on a sunken track that headed east. The grass-covered banks were planted with olive trees, their trunks stunted and flaky, silver-grey, while ahead of us sprawled a range of sun-bleached hills whose tops were concealed by cloud. It was the end of September, and the weather was humid; every once in a while, I had to take a deep breath so as to shift the air at the bottom of my lungs. We passed an abandoned farmhouse. A single peach tree stood on the land, a few reddish-orange globes clustered in its branches like a mocking variation on the Grand Duke’s coat of arms.
I had set out from my lodgings when it was still dark, afraid I would be unable to locate the apothecary, but when I led the two horses up the needle-narrow alley off Via Lontanmorti, I had the feeling I had been there before, and not just on the day of Fiore’s tour either. I was sure I had walked beneath its blackened arches, past its ulcerated walls, over its uneven, pitted paving stones. How could that be, though? I knocked on the apothecary door. A twitchy, dark-haired man let me in. Faustina was still upstairs, he said, but she would be down soon. When I told him his establishment was almost impossible to find, he nodded with a curious, modest complacency, as if I had paid him a compliment. There was no name, I said. There wasn’t even a sign.
‘If I might correct you.’ The man led me
‘Wait!’
I turned round.
She was standing where I had left her, but the low sun edged her face in gold, which made her difficult to see.
‘You don’t know where I live,’ she said. ‘How can you come for me if you don’t know where I live?’
In June, while exploring the wax workshops on Via de’ Servi, I had met a man who made votive images. During our conversation he had mentioned a type of gypsum that was quarried in the hills around Volterra. He claimed it produced a plaster that was more pliant and sensitive than any other. Thinking of the Grand Duke’s commission, I had put in an order for half a hundredweight .
The day after my coincidental encounter with Faustina, the sacks of gypsum were delivered to my workshop. I had been wondering how to get through the week. Now, all of a sudden, I had something to occupy me. I baked the gypsum for several hours, heating the rocks to a high temperature. Once I had purged them of all their moisture I let them cool, then I ground them into a fine powder. When the gypsum was ready, I sent for Fiore. I needed her for an experiment, I said. She arrived in the shoes I had bought her the year before, and a precarious
fontange
involving seagull feathers, a small rodent’s skull, and half a dozen bulrushes.
‘The height of fashion,’ I said, ‘as always.’
She grinned.
I rubbed hemp oil into her hands to prevent the wet plaster sticking to her skin, then I coated two short lengths of string in pig fat and attached them to her right hand so they started on either side of her wrist and met at the end of her longest finger. Once her hand was covered in plaster, I would take hold of the string, first one piece, then the other, and gently pull them sideways , cutting through the plaster as a cheese-wire cuts through cheese. Later, when the plaster had set, I would be able to lift the mould away in two neat halves.
I mixed tepid water into the kevelled gypsum. When it had achieved the correct consistency, I began to apply it to her hands.
‘It feels warm,’ she said.
‘It’s supposed to,’ I told her. ‘If it didn’t heat up, it wouldn’t harden.’
As I worked, the image of Faustina came to me, Faustina with the last rays of the setting sun behind her, Faustina edged in bright flame like a descending angel. I’ve found you, I thought. I’ve finally found you.
I glanced up to see Fiore staring at me.
‘Why are you smiling?’ she said.
Friday came. We left the city not long after dawn, and soon found ourselves on a sunken track that headed east. The grass-covered banks were planted with olive trees, their trunks stunted and flaky, silver-grey, while ahead of us sprawled a range of sun-bleached hills whose tops were concealed by cloud. It was the end of September, and the weather was humid; every once in a while, I had to take a deep breath so as to shift the air at the bottom of my lungs. We passed an abandoned farmhouse. A single peach tree stood on the land, a few reddish-orange globes clustered in its branches like a mocking variation on the Grand Duke’s coat of arms.
I had set out from my lodgings when it was still dark, afraid I would be unable to locate the apothecary, but when I led the two horses up the needle-narrow alley off Via Lontanmorti, I had the feeling I had been there before, and not just on the day of Fiore’s tour either. I was sure I had walked beneath its blackened arches, past its ulcerated walls, over its uneven, pitted paving stones. How could that be, though? I knocked on the apothecary door. A twitchy, dark-haired man let me in. Faustina was still upstairs, he said, but she would be down soon. When I told him his establishment was almost impossible to find, he nodded with a curious, modest complacency, as if I had paid him a compliment. There was no name, I said. There wasn’t even a sign.
‘If I might correct you.’ The man led me
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