Blood And Gold (The Vampire Chronicles 8)

I laid him upon my bed, a wan and ragged being, amid the heavy velvet hangings and pillows, and when the soup at last came, I forced it through his lips myself.

Wine, soup, a potion of honey and lemon, what more could we give him? Slowly, cautioned Vincenzo, lest he take too much after the starvation, and his stomach suffer as the result.

At last I sent Vincenzo away from us, and I bolted the doors of my room.

Was that the fateful moment? Was it the moment in which I knew my soul most completely, the moment in which I acknowledged that this would be a child of my power, my immortality, a pupil of all I knew?

As I looked at the child on the bed, I forgot the language of guilt and recrimination. I was Marius, the witness of the centuries, Marius, the chosen one of Those Who Must Be Kept.

Taking Amadeo into the bath, I cleansed him myself and covered him with kisses. I drew from him an easy intimacy which he had denied all those who had tormented him, so dazzled and confused was he by my simple kindnesses, and the words I whispered in his tender ears.

I brought him quickly to know the pleasures which he had never allowed himself before. He was dazed and silent; but his prayers for deliverance were no more.

Yet even here in the safety of this bedroom, in the arms of one he saw as his Savior, nothing of his old memory could move from the recesses of his mind into the sanctum of reason.

Indeed, perhaps my frankly carnal embraces made the wall in his mind, between past and present, all the more strong.

As for me, I had never experienced such pure intimacy with a mortal, except with those I meant to kill. It gave me chills to have my arms around this boy, to press my lips to his cheeks and chin, his forehead, his tender closed eyes.

Yes, the blood thirst rose, but I knew so well how to control it. I filled my nostrils with the smell of his youthful flesh.

I knew that I could do anything I wanted with him. There was no force between Heaven and Hell that could stop me. And I did not need a Satan to tell me that I could bring him over to me and educate him within the Blood.

Drying him gently with towels, I returned him to the bed.

I sat down at my desk, where turning to the side I might look directly at him, and there came the full-blown idea of it, as rich as my desire to seduce Botticelli, as terrible as my passion for the lovely Bianca.

This was a foundling who could be educated for the Blood! This was a child utterly lost to life who could be reclaimed specifically for the Blood.

Would his training be a night, a week, a month, a year? Only I need decide it.

Whatever it was, I would make of him a child of the Blood.

My mind went back swiftly to Eudoxia and how she had spoken of the perfect age for the Blood to be received. I remembered Zenobia and her quick wits and knowing eyes. I remembered my own long ago reflection on the promise of a virgin, that one could make of a virgin what one wished without price.

And this child, this rescued slave, had been a painter! He knew the magic of the egg and the pigments, yes, he knew the magic of the color spread upon the wooden panel. He would remember; he would remember a time when he cared about nothing else.

True it had been in far-away Russia, where those who worked in monasteries limited themselves to the style of the Byzantines which I had long ago rejected as I turned my back on the Greek Empire and came to make my home amid the strife of the West.

But behold what had happened: the West had had its wars, yes, and indeed, the barbarians had conquered all it did seem. Yet Rome had risen again through the great thinkers and painters of the 1400s! I beheld it in the work of Botticelli, and Bellini and Filippo Lippi and in a hundred others.

Homer, Lucretius, Virgil, Ovid, Plutarch¡ªthey were all being studied once again. The scholars of "humanism" sang songs of"antiquity. "

In sum, the West had risen again with new and fabulous cities, whereas Constantinople, old golden Constantinople, had been lost to the Turks who had made it Istanbul.

But far beyond Istanbul, there lay Russia from which this boy had been taken prisoner, Russia which had taken its Christianity from Constantinople so that this boy knew only the ikons of strict somber style and rigid beauty, an art which was as remote from what I painted as night from day.

Yet in the city of Venice both styles existed: the Byzantine style and the new style of the times.

How had it come about? Through trading. Venice had been a seaport since its beginnings. Its great fleet had gone back and forth between East and West when Rome was a ruin. And many a church in Venice preserved the old Byzantine style which filled this boy's tortured mind.

These Byzantine churches had never much mattered to me before, I had to admit. Not even the Doge's chapel, San Marco, had much mattered to me. But they mattered now, because they helped me to understand again and all the better the art which this boy had loved.

I stared at him as he slept.

All right. I understood something of his nature; I understood his suffering. But who was he really? I posed the same question which Bianca and I had exchanged with each other. The answer I did not have.

Before I could think of moving forward with my plan to prepare him for the Blood I must know.