Authors: Lois McMaster Bujold
The Spirit Ring (48 page)
One could only carry on. The Duchess, frugal in the uncertain days of her new widowhood, had elected not to have the body of the Medusa cast to lie at the Perseus's feet and complete the tableau, but to mount the statue as it was. This saved that work from going to di Rimini, but also gave her the excuse to knock a full half off the payment Papa had thought to get from Duke Sandrino.
Thur read these tense thoughts from Fiametta's face; she'd expressed them often and vigorously enough to his ear. Lifting her down from the horse before the bronze, he kissed her forehead and whispered, "Daily bread, love."
She nodded, sighing in resignation. The half-payment, plus the residue of monies still owed on the saltcellar, had at least settled all of Papa's debts. After buying new tools for the shop and setting aside enough to live on until business was established, Thur had stretched it further by doing repairs on the wrecked house himself. His new gallery looked sturdy enough for the Sultan's elephants to dance upon.
New furniture and fine clothes could wait. Thur had cooled her tongue by pointing out that God only promised daily bread, not a bakery. And indeed, the Duchess had soon given her a commission for some silver and pearl jewelry for Julia. And where the Duchess shopped, all the great ladies of Montefoglia must soon follow.
They laid the armload of flowers they'd brought at the bronze Uri's feet, and Fiametta stood back respectfully to let Thur's mother gaze, one last unexpected time, upon the features of her lost son. Would she appreciate the beautiful flowing form, the dramatic pose, the perfection of the casting? Would she be moved at this monument to his memory and his courage?
"Thur," the aging lady said in a choked voice, "he's
naked
." Her hand touched her lips in dismay.
"Well, yes, Mama," said Thur, placating and phlegmatic. "That's the way the Italians make their statues. Maybe it's because of the hot climate."
"Oh, dear."
Thur scratched his head, looking as if he was wondering if he ought to jump up on the plinth and affix a bouquet in a strategic spot to console her.
But she overcame her horror enough to quaver politely, "It's... it's very fine. I'm sure."
But he's naked!
Fiametta could almost hear her wail in her thoughts.
Fiametta, uncertain whether to smile or snarl, bit her fingers and said nothing. She raised her eyes to the bronze face under the winged helmet, those metal lips curled faintly at the corners, and knew.
Uri would have laughed.
Author's Note
For the curious book lover, I'd like to add a word on the principal historical sources for
The Spirit Ring
.
This novel started with a book—three books, to be precise, all with family connections, which sat side by side on my bookshelf for years. The first seed from my family tree, and surely the rarest book among my inspirations, was a scholarly monograph published in 1907 titled
The Grateful Dead, The History of a Folk Story
, written by my great uncle Gordon Hall Gerould, B. Litt. (Oxon.), Preceptor in English in Princeton University. It came down through my mother's side of the family. In 174 densely written pages Uncle Gordon traced the history, through about twenty countries and twenty centuries, of a very old folk tale of that name. The fast-forward version goes: Young man goes out to seek his fortune, and comes across an altercation where the body of a debtor lies unburied until his debts are paid. Our hero forks over his grubstake (varying wildly depending on the version, but always the whole of his resources) and gets the debtor planted. He goes on down the road to further adventures, in the course in which he finds himself supernaturally aided by the grateful ghost of the dead man, in reward for his pious deed.
It was quite clear from the wide range of versions, studding the monograph like little dried raisins and crying out to have the life pumped back into them, that here was a universal theme of great power.
Enter two more books, inherited from my engineer-father's extensive and eclectic bookshelf.
De Re Metallica
by Agricola is a 16th century Latin treatise on mining and metallurgy, translated into English by Herbert and Lou Henry Hoover. (Yes, the President. He was a mining engineer before he was a politician. His wife was also a Latin scholar.) Agricola inspired
The Spirit Ring
's hero, the self-effacing Swiss miner's son Thur Ochs. The kobolds came from a footnote therein. And
The Autobiography of Benvenuto Cellini
of course yielded up Prospero Beneforte, and a great deal more besides. Agricola is not light reading, but I highly recommend Cellini to all comers. In it you will discover the golden saltcellar, the bronze Perseus, the mad castellan, the vision in the dungeon of the Castel Sain' Angelo, and a thousand other delightful or horrifying details of the times, as well as that wonderful egotistical monster, Cellini himself.
A couple dozen more research books followed in my reading (you will find Lorenzo d'Medici's spirit ring in the gorgeously illustrated
Europe 1492
by Franco Cardini), but these three were the generative seeds.
Cellini leaves no record of ever having had a daughter. Fiametta is my own creation.
About The Author
Lois McMaster Bujold was born in 1949, the daughter of an engineering professor at Ohio State University, from whom she picked up her early interest in science fiction. She now lives in Minneapolis, and has two grown children. She began writing with the aim of professional publication in 1982. She wrote three novels in three years; in October of 1985, all three sold to Baen Books, launching her career. Bujold went on to write many other books for Baen, mostly featuring her popular character Miles Naismith Vorkosigan, his family, friends, and enemies. Her books have been translated into twenty-one languages. Her recent fantasy from Eos includes the award-winning Chalion series and the Sharing Knife series.
Photo by Carol Collins
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