The Vampire Armand (The Vampire Chronicles 6)

We took our time with these things. Marius said softly that next to Venice, Florence was the city of his choice, for here so much had magnificently flowered.

"But I can't be without the sea, not even here," he confided. "And as you see all around you, this city hugs her treasures close with shadowy vigilance, whereas in Venice, the very facades of our palaces are offered up in gleaming stone beneath the moon to Almighty God. "

"Master, do we serve Him?" I pressed. "I know you condemn the monks who brought me up, you condemn the ravings of Savonarola, but do you mean to guide me by another route back to the Very Same God?"

"That's just it, Amadeo, I do," said Marius, "and I don't mean as the pagan I am to admit it so easily, lest its complexity be misunderstood. But I do. I find God in the blood. I find God in the flesh. I find it no accident that the mysterious Christ should reside forever for His followers in the Flesh and Blood within the Bread of the Transubstantiation. "

I was so moved by these words! It seemed the very sun I had forever forsworn had come again to brighten the night.

We slipped into the side door of the darkened Cathedral called the Duomo. I stood gazing over the long vista of its stone floor, towards the altar.

Was it possible that I could have the Christ in a new way? Perhaps I had not after all renounced Him forever. I tried to speak these troubled thoughts to my Master. Christ. . . in a new way I couldn't explain it, and said finally:

"I stumble with my words. "

"Amadeo, we all stumble, and so do all those who enter history. The concept of a Great Being stumbles down the centuries; His words and those principles attributed to Him do tumble after Him; and so the Christ is snatched up in His wandering by the preaching puritan on one side, the muddy starving hermit on the other, the gilded Lorenzo de' Medici here who would celebrate his Lord in gold and paint and mosaic stone. "

"But is Christ the Living Lord?" I whispered.

No answer.

My soul hit a pitch of agony. Marius took my hand, and said that we go now, stealthily to the Monastery of San Marco.

"This is the sacred house that gave up Savonarola," he said. "We'll slip into it unbeknownst to its pious inhabitants. "

We again traveled as if by magic. I felt only the Master's strong arms, and did not even see the frame of the doors as we exited and made our way to this other place.

I knew he meant to show me the work of the artist called Fra Angelico, long dead, who had labored all his life in this very Monastery, a painter monk, as I perhaps had been destined to be, far away in the lightless Monastery of the Caves.

Within seconds, we set down soundlessly on the moist grass of the square cloister of San Marco, the serene garden enclosed by Michelozzo's loggias, secure within its walls.

At once I heard many prayers reach my inner vampiric hearing, desperate agitated prayers of the brothers who had been loyal or sympathetic to Savonarola. I put my hands to my head as if this foolish human gesture could signal to the Divine that I had had more than I could bear.

My Master broke the current of thought reception with his soothing voice.

"Come," he said, grasping my hand. "We'll slip into the cells one by one. There is enough light for you to see the works of this monk. "

"You mean that Fra Angelico painted the very cells where monks go to sleep?" I had thought his works would be in the chapel, and in the other public or communal rooms.

"That's why I want you to see this," said my Master. He led me up a stairs and into a wide stone corridor. He made the first door spring open, and gently we moved inside, fleet and silent, not disturbing the monk who lay curled on his hard bed, his head sweating against the pillow.

"Don't look at his face," said my Master gently. "If you do you'll see the troubled dreams he suffers. I want you to look at the wall. What do you see, now, look!"

I understood at once. This art of Fra Giovanni, called Angelico in honor of his sublime talent, was a strange mixture of the sensuous art of our time with the pious and forswearing art of the past.

I gazed on the bright, elegant rendering of the arrest of Christ in the Garden of Gethsemane. The slender flattened figures resembled very much the elongated and elastic images of the Russian ikon, and yet the faces were softened and plastic with genuine and touching emotion. It seemed a kindness infused all beings here, not merely Our Lord Himself, condemned to be betrayed by one of His own, but the Apostles, who looked on, and even the unfortunate soldier, in his tunic of mail, who reached out to take the Lord away, and the soldiers watched.

I was transfixed by this unmistakable kindness, this seeming innocence that infected everyone, this sublime compassion on the part of the artist for all players in this tragic drama which had prefaced the salvation of the world.

Into another cell I was taken immediately. Once again the door gave way at Marius's command, and the sleeping occupant of the cell never knew that we were there.

This painting showed again the Garden of Agony, and Christ, be

fore the arrest, alone among His sleeping Apostles, left to beg His Heavenly Father for strength. Once again I saw the comparison to the old styles in which I, as a Russian boy, had felt so sure. The folds in the cloth, the use of arches, the halo for each head, the discipline of the whole-all was connected to the past, and yet there shone again the new Italian warmth, the undeniable Italian love of the humanity of all included, even Our Lord Himself.

We went from cell to cell. Backwards and forwards through the Life of Christ we traveled, visiting the scene of the First Holy Communion, in which, so touchingly, Christ gave out the bread containing His Body and Blood as if it were the Host at Mass, and then the Sermon on the Mount, in which the smooth pleated rocks around Our Lord and His listeners seemed made of cloth as surely as his graceful gown.

When we came to the Crucifixion, in which Our Lord gave over to St. John His Blessed Mother, I was heart-struck by the anguish in the Lord's face. How thoughtful in her distress was the face of the Virgin, and how resigned was the saint beside her, with his soft fair Florentine face, so like that of a thousand other painted figures in this city, barely fringed with a light brown beard.