The Passion of Artemisia Read online

  Contents

  Author’s Note

  Acknowledgments

  1 The Sibille

  2 Judith

  3 Agostino

  4 The Verdict

  5 Sister Graziela

  6 Pietro

  7 Florence

  8 Palmira

  9 Inclinazione

  10 The Academy

  11 Judith

  12 Galileo

  13 Venus

  14 Mary Magdalene

  15 Pietro

  16 Graziela

  17 Pietro

  18 Cleopatra

  19 Renata

  20 Lucrezia

  21 Palmira

  22 Graziela

  23 Naples

  24 Bathsheba

  25 Palmira

  26 Paola

  27 Orazio

  28 Artemisia

  This is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events or locales is entirely coincidental.

  The Passion of Artemisia

  A Penguin Book / published by arrangement with the author

  All rights reserved.

  Copyright © 2002 by Susan Vreeland

  This book may not be reproduced in whole or part, by mimeograph or any other means, without permission. Making or distributing electronic copies of this book constitutes copyright infringement and could subject the infringer to criminal and civil liability.

  For information address:

  The Berkley Publishing Group, a division of Penguin Putnam Inc.,

  375 Hudson Street, New York, New York 10014.

  The Penguin Putnam Inc. World Wide Web site address is

  http://www.penguinputnam.com

  ISBN: 978-1-1012-0027-8

  A PENGUIN BOOK®

  Penguin Books first published by The Penguin Publishing Group, a member of Penguin Putnam Inc.,

  375 Hudson Street, New York, New York 10014.

  PENGUIN and the “PENGUIN” design are trademarks belonging to Penguin Putnam Inc.

  Electronic edition: May, 2004

  PENGUIN BOOKS

  THE PASSION OF ARTEMISIA

  Susan Vreeland is the author of the national bestseller Girl in Hyacinth Blue. Her short fiction has appeared in journals such as the Missouri Review, New England Review, and Alaska Quarterly Review. She lives in San Diego, California.

  To Kip, amore mio,

  for his understanding

  About suffering they were never wrong,

  The Old Masters: how well they understood

  Its human position; how it takes place

  While someone else is eating or opening a window

  or just walking dully along.

  —W. H. Auden

  “Musée des Beaux Arts,” 1940

  Author’s Note

  Any work of fiction about history or a historical person is and must be a work of the imagination, true to the time and character always, but true to fact only so long as fact furnishes believable drama. In order to serve my chosen thematic focus, I have combined actual personages into composite characters, eliminated others, and invented still others. Using what evidence is known, I have imagined the personalities and interaction of Artemisia Gentileschi, her father, and her husband. However, the trial record and her associations with Galileo, Cosimo de’ Medici II, and Michelangelo Buonarroti the Younger are documented in art histories. All paintings referred to are actual works indisputably ascribed to her in roughly the same chronology. Like a painter who clothes figures from centuries earlier in the garb of his or her own time, so have I sought to render Artemisia Gentileschi in a way meaningful to us three and half centuries later, yet concordant with the soul and passions of the real Artemisia Gentileschi (1593–1653), for whom the story behind the art was always vital.

  Acknowledgments

  My deep-felt gratitude to Karen Kapp for introducing me to Artemisia; to Jim McCarthy for assistance in all things Italian; to Peggy Jaffe and the Tuscany Institute of Advanced Studies for the tastes and sights of Tuscany; to the Religious of the Sacred Heart of Santa Trinità dei Monti for hospitality, timelessness, and grace; to the Asilomar Writers’ consortium, in particular Jerry Hannah and Grant Farley for their perceptive readings; and especially to my two tesori: my extraordinary agent, Barbara Braun, for her belief in me and her joy at my every step; and my gifted editor, Jane von Mehren, for her kind, astute, page-by-page tutorials in craft.

  I also wish to acknowledge Mary D. Garrard’s Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton University Press, 1989), which was an invaluable scholarly source for me in researching Artemisia’s life and the principal source for my interpretation of her individual paintings. In addition, two other valuable sources were Germaine Greer’s The Obstacle Race: The Fortunes of Women Painters and Their Work (Farrar, Straus & Giroux, 1979) and R. Ward Bissell’s Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné (The Pennsylvania State University Press, 1999).

  1

  The Sibille

  My father walked beside me to give me courage, his palm touching gently the back laces of my bodice. In the low-angled glare already baking the paving stones of the piazza and the top of my head, the still shadow of the Inquisitor’s noose hanging above the Tor di Nona, the papal court, stretched grotesquely down the wall, its shape the outline of a tear.

  “A brief unpleasantness, Artemisia,” my father said, looking straight ahead. “Just a little squeezing.”

  He meant the sibille.

  If, while my hands were bound, I gave again the same testimony as I had the previous weeks, they would know it was the truth and the trial would be over. Not my trial. I kept telling myself that: I was not on trial. Agostino Tassi was on trial.

  The words of the indictment my father had sent to Pope Paul V rang in my ears: “Agostino Tassi deflowered my daughter Artemisia and did carnal actions by force many times, acts that brought grave and enormous damage to me, Orazio Gentileschi, painter and citizen of Rome, the poor plaintiff, so that I could not sell her painting talent for so high a price.”

  I hadn’t wanted anyone to know. I wasn’t even going to tell him, but he heard me crying once and forced it out of me. There was that missing painting, too, one Agostino had admired, and so he charged him.

  “How much squeezing?” I asked.

  “It will be over quickly.”

  I didn’t look at any faces in the crowd gathering at the entrance to the Tor. I already knew what they’d show—lewd curiosity, accusation, contempt. Instead, I looked at the yellow honeysuckle blooming against stucco walls the color of Roman ochre. Each color made the other more vibrant. Papa had taught me that.

  “Fragrant blossoms,” beggars cried, offering them to women coming to hear the proceedings in the musty courtroom. Anything for a giulio. A cripple thrust into my hand a wilted bloom, rank with urine. He knew I was Artemisia Gentileschi. I dropped it on his misshapen knee.

  My dry throat tightened as we entered the dark, humid Sala del Tribunale. Leaving Papa at the front row of benches, I stepped up two steps and took my usual seat opposite Agostino Tassi, my father’s friend and collaborator. My rapist. Leaning on his elbow, he didn’t move when I sat down. His black hair and beard were overgrown and wild. His face, more handsome than he deserved, had the color and hardness of a bronze sculpture.

  Behind a table, the papal notary, a small man swathed in deep purple, was sharpening his quills with a knife, letting the shavings fall to the floor. A dusty beam of light from a high window fell on his hands and lightened the folds o
f his sleeve to lavender. “Fourteen, May, 1612,” the notary muttered as he wrote. Two months, and this was the first day he didn’t have a bored look on his face. The day I would be vindicated. I pressed my hands tight against my ribs.

  The Illustrious Lord Hieronimo Felicio, Locumtenente of Rome, appointed as judge and interrogator by His Holiness, swept in and sat on a raised chair, arranging his scarlet robes to be more voluminous. Papal functionaries were always posturing in public. Under his silk skull cap, his jowls sagged like overripe fruit. He was followed by a huge man with a shaved head whose shoulders bulged out of his sleeveless leather tunic—the Assistente di Tortura. A hot wave of fear rushed through me. With a flick of a finger the Lord High Locumtenente ordered him to draw a sheer curtain across the room separating us from Papa and the rabble crowded on benches on the other side. The curtain hadn’t been there before.

  The Locumtenente scowled and his fierce black eyebrows joined, making a shadow. “You understand, Signorina Gentileschi, our purpose.” His voice was slick as linseed oil. “The Delphic sibyls always told the truth.”

  I remembered the Delphic sibyl on the ceiling of the Sistine Chapel. Michelangelo portrayed her as a powerful woman alarmed by what she sees. Papa and I had stood under it in silent awe, squeezing each other’s hands to contain our excitement. Maybe the sibille would only squeeze as hard as that.

  “Likewise, the sibille is merely an instrument designed to bring truth to women’s lips. We will see whether you persist in what you have testified.” He squinted his goat’s eyes. “I wonder what tightening the cords might do to a painter’s ability to hold a brush—properly.” My stomach cramped. The Locumtenente turned to Agostino. “You are a painter too, Signor Tassi. Do you know what the sibille can do to a young girl’s fingers?”

  Agostino didn’t even blink.

  My fingers curled into fists. “What can it do? Tell me.”

  The Assistente forced my hands flat and wound a long cord around the base of each finger, then tied my hands palm to palm at my wrists and ran the cord around each pair of fingers like a vine. He attached a monstrous wooden screw and turned it just enough for the cords to squeeze a little.

  “What can it do?” I cried. I looked for Papa through the curtain. He was leaning forward pulling at his beard.

  “Nothing,” the Locumtenente said. “It can do nothing, if you tell the truth.”

  “It can’t cut off my fingers, can it?”

  “That, signorina, is up to you.”

  My fingers began to throb slightly. I looked at Papa. He gave me a reassuring nod.

  “Tell us now, for I’m sure you see reason, have you had sexual relations with Geronimo the Modenese?”

  “I don’t know anyone by that name.”

  “With Pasquino Fiorentino?”

  “I don’t know him either.”

  “With Francesco Scarpellino?”

  “The name means nothing to me.”

  “With the cleric Artigenio?”

  “I tell you, no. I don’t know these men.”

  “That’s a lie. She lies. She wants to discredit me to take my commissions,” Agostino said. “She’s an insatiable whore.”

  I couldn’t believe my ears.

  “No,” Papa bellowed. “He’s trying to pass her off as a whore to avoid the nozze di riparazione. He wants to ruin the Gentileschi name. He’s jealous.”

  The Locumtenente ignored Papa and curled back his lip. “Have you had sexual relations with your father, Orazio Gentileschi?”

  “I would spit if you had said that outside this courtroom,” I whispered.

  “Tighten it!” the Locumtenente ordered.

  The hideous screw creaked. I sucked in my breath. Rough cords scraped across the base of my fingers, burning. Murmurs beyond the curtain roared in my ears.

  “Signorina Gentileschi, how old are you?”

  “Eighteen.”

  “Eighteen. Not so young that you don’t know you should not offend your interrogator. Let us resume. Have you had sexual relations with an orderly to Our Holy Father, the late Cosimo Quorli?”

  “He . . . he tried, Your Excellency. Agostino Tassi brought him into the house. I fought him away. They had both been hounding me. Giving me lewd looks. Whispering suggestions.”

  “For how long?”

  “Many months. A year. I was barely seventeen when it started.”

  “What kind of suggestions?”

  “I don’t like to say.” The Locumtenente flashed a look at the Assistente, who moved toward me. “Suggestions of my hidden beauty. Cosimo Quorli threatened to boast about having me if I didn’t submit.”

  “And did you submit?”

  “No.”

  “This same Cosimo Quorli reported to other orderlies of the Palazzo Apostolico that he was, in truth, your father, that your mother, Prudenzia Montone, had frequently encouraged him to visit her privately, whereupon she conceived.” He paused and scrutinized my face. “You must admit you do have a resemblance. Has he, on any occasion, ever revealed this to you?”

  “The claim is ludicrous. I must now defend my mother’s honor as well as mine against this mockery?”

  It seemed enough to him that he had planted the idea. He cleared his throat and pretended to read some document.

  “Did you not, on repeated occasions, engage in sexual relations willingly with Agostino Tassi?”

  The room closed in. I held my breath.

  The Assistente turned the screw.

  I tightened all my muscles against it. The cords bit into my flesh. Rings of fire. Blood oozed between them in two places, three, all over. How could Papa let them? He didn’t tell me there would be blood. I sucked in air through my teeth. This was Agostino’s trial, not mine. How to make it stop? The truth.

  “Not willingly. Agostino Tassi dishonored me. He raped me and violated my virginity.”

  “When did this occur?”

  “Last year. Just after Easter.”

  “If a woman is raped, she must have done something to invite it. What were you doing?”

  “Painting! In my bedchamber.” I squeezed shut my eyes to get out the words. “I was painting our housekeeper, Tuzia, and her baby as the Madonna and Child. She let him in. My father was away. She knew Agostino. He was my father’s friend. My father hired him to teach me perspective.”

  “Why did you not cry out?”

  “I couldn’t. He held a handkerchief over my mouth.”

  “Did you not try to stop him?”

  “I pulled his hair and scratched his face and . . . his member. I even threw a dagger at him.”

  “A virtuous woman keeps a dagger in her bedchamber?”

  My head was about to split. “A threatened woman does.”

  “And after that occasion?”

  “He came again, let in by Tuzia. He pushed himself on me . . . and in me.” Sweat trickled between my breasts.

  “Did you resist?”

  “I scratched and pushed him.”

  “Did you always resist?”

  I searched Agostino’s face. Immovable as a painting. “Say something.” Only two months ago he had said he loved me. “Agostino,” I pleaded. “Don’t let them do this.”

  He looked down and dug dirt from his fingernails.

  The Locumtenente turned to Agostino. “Do you wish to amend your claim of innocence?”

  Agostino’s strong-featured face turned cold and ugly. I didn’t want to beg. Not him. Santa Maria, I prayed, don’t let me beg him.

  “No,” he said. “She’s a whore just like her mother.”

  “She thought she was betrothed!” Papa bellowed from beyond the curtain. “It was understood. He would marry her. A proper nozze di riparazione.”

  The Locumtenente leaned toward me. “You haven’t answered the question, signorina. The sibille can be made to cut off a finger.”

  “It’s Agostino who’s on trial, not I. Let him be subjected to the sibille.”

  “Tighten!”

  Madre
di Dio, let me faint before I scream. Blood streamed. My new white sleeve was soaked in red. Papa, make them stop. What was I to do? Tell them what they want? Lie? Say I’m a whore? That would only set Agostino free. Another turn. “Oh oh oh oh stop!” Was I screaming?

  “For the love of God, stop!” Papa shouted and stood up.

  The Locumtenente snapped his fingers to have him gagged. “God loves those, Signor Gentileschi, who tell the truth.” He leered at me. “Now tell me, and tell me truthfully, signorina, after the first time did you always resist?”

  The room blurred. The world swirled out of control. The screw, my hands—there was nothing else. Pain so wicked I—I—Che Dio mi salvi—would the cords touch bone?—Che Santa Maria mi salvi—Gesù—Madre di Dio—make it stop. I had to tell.

  “I tried to, but in the end, no. He promised he would marry me, and I . . . I believed him.” Dio mi salvi, stop it stop it stop it. “So I allowed him . . . against my desires . . . so he would keep his promise. What else could I do?”

  My breath. I couldn’t get my breath.

  “Enough. Adjourned until tomorrow.” He waved his hand in disgust and triumph. “All parties to be present.”

  The sibille was loosened and removed.

  Rage hissed through me. My hands trembled, and shook blood onto my skirt. Agostino lurched toward me, but the guards grabbed him to take him away. I wanted to wait until the crowd left, but a guard pushed me out with everyone else and I had to walk through hoots and jeers with bleeding hands. In the glare of the street, I felt something thrown at my back. I didn’t turn around to see what it was. Beside me, Papa offered me his handkerchief.

  “I’d rather bleed.”

  “Artemisia, take this.”

  “You didn’t tell me what the sibille could do.” I passed him, and walked faster than he could. At home I shoved my clothing cassapanca behind my chamber door with my knees, and flung myself onto my bed and cried.