only a year. Along with four other prominent rulers in Milan’s great Duomo, Lorenzo de’ Medici stood as godfather at Gian Galeazzo’s christening. Unlike us lesser mortals, Lorenzo possessed such intelligence, confidence, and charm that he could speak bluntly to Duke Galeazzo without provoking his wrath, and the duke, who routinely abused his family, courtiers, servants, and peers, treated Lorenzo with respect.
Once Lorenzo had left the chapel, Bona turned to me, her eyes brimming with tears. “God surely answered our prayers, sending him to help the lady . . . and to teach me humility.”
“Surely,” I gently agreed, though I did not believe for an instant that Bona had any pride left after eight years of marriage to Galeazzo Sforza. But I was grateful for Lorenzo’s attempt to intervene.
“Take Caterina with you,” Bona ordered, “and make sure she gets to her quarters and stays there. You’re free to do as you wish until I summon you again.”
“I will deliver her to her nurse, then return, if you like,” I said softly. I could see the duchess was in need of comfort. It is a hard thing to accept that one’s husband is a monster, and harder still to endure that monstrousness in polite company.
Her gaze averted, Bona shook her head, and I suddenly understood: Lorenzo’s appearance had so shamed my mistress that she was no longer able to control her tears. As I herded Caterina out, Bona knelt again at the altar railing, pausing before she returned to her prayers to call: “Please close the door behind you.”
I did, leaving her to weep in private.
Caterina broke away from me the instant we were out in the loggia; she turned toward the men’s wing and, cursing her full woman’s skirts, lifted them high and half ran in the direction of the chamber of rabbits. I was taller, with a longer stride, and easily caught her by the elbow.
She tried to shake free, but I held fast, wheeled her about, and dragged her with me toward the women’s wing.
“Bitch!” she snapped. “I’ll tell my father!”
“That I am following the duchess’s orders?” I paused. “What would your father say, were he to see you waiting in the chamber of rabbits?”
She said nothing, but accompanied me, sourly, back down the loggia toward Bona’s chambers, where servants had managed to clear out the smoke and close the windows, though the smell of burnt wool and nuts lingered. Next to it was little Gian Galeazzo’s and Ermes’s quarters in the northeast corner, and just past them was the northernmost room in the ladies’ wing, the pink chamber, so named because its walls were covered in rose moiré silk. It served as nursery to Bona’s daughters, five-month-old Anna and four-year-old Bianca Maria, who had already been married off to her first cousin, Philibert, Duke of Savoy. Just past it was Caterina’s room. I deposited her there and informed her nurse of Bona’s order, knowing all the while that the duke’s headstrong daughter would likely dash off the instant I had left.
I did not care. I proceeded southward down the endless ladies’ loggia, with its life-sized murals of those in Bona’s household, framed against a summer garden backdrop. Near the duchess’s quarters, there was a painting of Bona, seated and gazing proudly down at the infant Gian Galeazzo in her arms. Her courtiers clustered around her: the duke’s aunt, Elena del Maino; Emilia Attendoli, who had served Duke Galeazzo’s mother; and Emilia’s daughter, Antonia. Farther down the hall, in the newest mural, Ermes handed his baby sister Bianca Maria an apple picked from a tree, while the image of ten-year-old Caterina made one of her beloved greyhounds sit for a morsel.
My likeness, like my heritage, was nowhere to be seen.
At last I arrived at the open door of the library, in the southwest corner tower. Here, the plain stone flooring became gray-veined white marble, and the ceiling rose three stories high. There were no murals here; the vast walls were covered in tall oak shelves. Upon the last rested stacks of parchments bound in brocade, damask, or velvet. Despite the duke’s lack of interest in literature, his collection was priceless; he owned a copy of Virgil’s Aeneid, annotated in Petrarch’s very hand. For this reason, all works were attached to the shelves by silver chains.
Only three souls stood inside the vast chamber: the librarian and two young monks from the nearby monastery at Certosa. Unable to leave his domain unguarded, yet eager to retire now that the sun had set, the librarian scowled as I entered. I ignored him, knowing that I would be gone well before the monks, who stood with reverent awe in front of one of the manuscripts.
I passed them and headed for the library’s interior staircase, thinking to climb all the way to the fourth-floor perch, where I could stare far to the southern horizon toward Rome, looking for signs of my husband.
As I moved to the landing, movement outside the window caught my eye. On the banks of the moat near the castle’s main entry, two courtiers stood next to a servant who held the reins to two horses in one hand and a lamp in the other. In the faint arc of light, snowflakes sailed relentlessly downward.
I paused to stare at them. Though I could not make out their faces clearly, I recognized the build of one of them: Carlo Visconti, a black-haired courtier and member of Milan’s Council of Justice, his bearing and gestures betraying violent emotion. Beside him was an older, white-haired man who might have been his father.
Approaching them from the direction of the castle was a third man carrying a swooning young woman. At the sight, the older man beat his chest, then threw open his arms; gently, the third man handed her to her father.
Visconti was not so conciliatory; he drew his sword and lunged at the man who delivered the girl. The third man reacted by taking a great step backward, then spreading his arms in a gesture of peace.
For the space of several seconds, neither party moved; I supposed that one of them was speaking. Abruptly, Visconti sheathed his sword and sagged with grief. The man he had threatened stepped forward to put a hand upon Visconti’s shoulder, and in doing so, stepped into the lamplight.
I watched as Lorenzo the Magnificent kept his hand upon the courtier’s shoulder, then put another on the father’s, and spoke for a moment. Afterward, he dug into a pocket and discreetly handed Visconti a purse. The latter pocketed it without argument.
The snow grew heavier, prompting the father to mount one of the horses. He reached for his daughter, who was unsteady on her legs; it took both Visconti and Lorenzo to get her up into the saddle. Visconti and the servant then mounted the remaining horse; Visconti paused long enough to bow from the shoulders to Lorenzo, who returned the gesture before the trio galloped off across the drawbridge.
I remained at the window as Lorenzo turned, the wind whipping his dark hair across his face, and watched as he made his way grimly back to the castle. At its entrance he paused to glance pointedly up at the library window—at me, as if, impossibly given his poor eyesight, he saw me standing there.
Chapter Two
Snow fell that night. By morning, the clouds had gone, leaving behind a blue sky and an infinite white expanse that glittered beneath the sun. The weather was still bitter, but the wind had died; a good day for travel, Bona told me brightly, and promised that Matteo would be home within two days.
I smiled faintly at her cheer, though my anxiety had not eased; I woke with a gut so clenched I could not face breakfast. Instead I prayed earnestly beside Bona in the chapel: Lord, guard Your servant Matteo da Prato and bring him safely home to me. Blessed Virgin, Mother of God, keep my husband from harm. Saint Christopher, patron of travelers, protect him . . .
Afterward, I put on my heavy cloak and went downstairs to the passage that led to the garden, where the woodsmen had piled boughs of evergreen as high as my shoulders. I gathered several boughs into my arms, and made my way carefully over the slippery floor of the open loggia; on the opposite side, an old serving woman swept away the snow with a broom while her frailer husband followed, sprinkling ash from a pail onto the stone.
Matteo’s chamber, situated on the first level, directly beneath the duke’s bedroom, stood two doors from the garden passage. Only the highest of Galeazzo’s officials were housed