Читаем Cathedral of the Sea полностью

As alderman of the guild, he could smooth the way for Jaume to be made a master potter. They talked the matter over. Grau was in a hurry to wed Isabel, obsessed by the fear that the fickle nobleman might change his mind. The baron-to-be had no time to put his business up for sale. So Jaume would become a master potter, and Grau would sell him the workshop and the house, in installments. There was only one problem:

“I’ve got four sons,” Jaume told him. “I’ll find it hard enough to pay you for the business ...” Grau encouraged him to go on: “I can’t take on all the responsibilities you have: the slaves, the craftsmen, the apprentices ... I wouldn’t even be able to feed them! If I want to succeed, I’m going to have to manage with my four sons.”

The date for the wedding was set. At the urging of Isabel’s father, Grau bought an expensive mansion in Calle de Montcada, where many of Barcelona’s noble families lived.

“Remember,” his father-in-law warned him as they left the new mansion, “you are not to go into church with a potter’s workshop still on your hands.”

They had inspected every nook and cranny of his new house. The baron had nodded condescendingly while Grau was mentally calculating how much it was going to cost him to fill all those rooms. In the mansion behind the gateway onto Calle de Montcada there was a cobbled yard. At the far end stood the stables, which took up most of the ground floor, together with the kitchens and the slaves’ bedrooms. On the right-hand side of the yard was a broad stone staircase, which led up to the first floor of the house proper, with the principal chambers and rooms. Above that there was another floor, with the family bedrooms. The whole mansion was made of stone; the two principal floors had rows of Gothic windows that gave onto the yard.

“Very well,” Grau said to the man who for years had been his chief assistant, “you are free of those responsibilities.”

They signed the contract that very day. Grau proudly took it to show his future father-in-law.

“I’ve sold the workshop,” he announced.

“My lord baron,” the other man said, holding out his hand.

“What now?” Grau thought when he was alone again. “The slaves are no problem; I’ll keep those that are of use to me, and those who aren’t... can be sold. As for the craftsmen and apprentices ...”

Grau spoke to the other members of the guild and was able to place them all for modest sums. The only ones left were his brother-in-law and his son. Bernat had no official position within the guild: he was not even a certified craftsman. Nobody would have him in their workshop, even if it was not forbidden. The boy had not even begun his apprenticeship, but there was the question of the contract. Besides, how could Grau possibly ask anyone to take on members of the Estanyol family? Everybody would find out that those two fugitives were his relatives. They were called Estanyol, just like Guiamona. Everybody would discover that he had sheltered two landless serfs, and now that he was to become a nobleman ... weren’t the nobles the fiercest enemies of all runaway serfs? Wasn’t it they who were trying to put pressure on the king to abolish the laws allowing serfs to leave the land? How could he become a noble if the name of the Estanyol family was on everyone’s lips? What would his father-in-law say?

“You are to come with me,” he told Bernat, who for several days now had been worried by the new turn of events.

As the new owner of the workshop, and consequently free of any commitment to Grau, Jaume had sat Bernat down earlier and talked openly to him. “Grau won’t dare do anything to you. I know, because he told me as much. He doesn’t want people to hear of your situation. I’ve got a good deal here, Bernat. He is in a hurry; he wants everything settled before he marries Isabel. You have a signed contract for your son. You should take advantage of that, and put pressure on that rogue. Threaten to take him to the tribunal. You are a good man. I hope you understand that everything that has happened in these past years ...”

Bernat did understand. And, thanks to the former assistant’s support, he decided to go and confront his brother-in-law.

“What was that you said?” shouted Grau when Bernat answered him with a brief “Where and what for?” “Where I say, and for whatever I wish,” he went on, nervously flinging his arms in the air.

“We are not your slaves, Grau.”

“You don’t have much choice.”

Bernat cleared his throat, then followed Jaume’s advice.

“I could go to the tribunal.”

Tense, shaken, Grau raised his small, skinny body out of his chair, but Bernat did not back down, however much he would have liked to have run from the room: the threat of the tribunal worked wonders.



Перейти на страницу:

Похожие книги

Живая вещь
Живая вещь

«Живая вещь» — это второй роман «Квартета Фредерики», считающегося, пожалуй, главным произведением кавалерственной дамы ордена Британской империи Антонии Сьюзен Байетт. Тетралогия писалась в течение четверти века, и сюжет ее также имеет четвертьвековой охват, причем первые два романа вышли еще до удостоенного Букеровской премии международного бестселлера «Обладать», а третий и четвертый — после. Итак, Фредерика Поттер начинает учиться в Кембридже, неистово жадная до знаний, до самостоятельной, взрослой жизни, до любви, — ровно в тот момент истории, когда традиционно изолированная Британия получает массированную прививку европейской культуры и начинает необратимо меняться. Пока ее старшая сестра Стефани жертвует учебой и научной карьерой ради семьи, а младший брат Маркус оправляется от нервного срыва, Фредерика, в противовес Моне и Малларме, настаивавшим на «счастье постепенного угадывания предмета», предпочитает называть вещи своими именами. И ни Фредерика, ни Стефани, ни Маркус не догадываются, какая в будущем их всех ждет трагедия…Впервые на русском!

Антония Сьюзен Байетт

Историческая проза / Историческая литература / Документальное
Добро не оставляйте на потом
Добро не оставляйте на потом

Матильда, матриарх семьи Кабрелли, с юности была резкой и уверенной в себе. Но она никогда не рассказывала родным об истории своей матери. На закате жизни она понимает, что время пришло и история незаурядной женщины, какой была ее мать Доменика, не должна уйти в небытие…Доменика росла в прибрежном Виареджо, маленьком провинциальном городке, с детства она выделялась среди сверстников – свободолюбием, умом и желанием вырваться из традиционной канвы, уготованной для женщины. Выучившись на медсестру, она планирует связать свою жизнь с медициной. Но и ее планы, и жизнь всей Европы разрушены подступающей войной. Судьба Доменики окажется связана с Шотландией, с морским капитаном Джоном Мак-Викарсом, но сердце ее по-прежнему принадлежит Италии и любимому Виареджо.Удивительно насыщенный роман, в основе которого лежит реальная история, рассказывающий не только о жизни итальянской семьи, но и о судьбе британских итальянцев, которые во Вторую мировую войну оказались париями, отвергнутыми новой родиной.Семейная сага, исторический роман, пейзажи тосканского побережья и прекрасные герои – новый роман Адрианы Трижиани, автора «Жены башмачника», гарантирует настоящее погружение в удивительную, очень красивую и не самую обычную историю, охватывающую почти весь двадцатый век.

Адриана Трижиани

Историческая проза / Современная русская и зарубежная проза