Baltasar and Blimunda (Harvest Book) (31 page)

More than two months have gone by since Baltasar and Blimunda came to live in Mafra. A public holiday to mark a feast day meant that the work was suspended on the site, so Baltasar decided to make the
trip to Monte Junto to see the flying machine. He found it in the same place, in exactly the same position, tilted to one side and resting on one wing beneath its camouflage of withered foliage. The mainsail, which had been left tarred and fully extended, cast shadows over the amber balls, and because of the angle of the hull, rainwater had not collected inside the sail, thus averting any danger of rot. Tall weeds sprouted everywhere from the stony ground, even brambles in certain places, and this was a curious phenomenon because neither the time nor the place was propitious, the Passarola seemed to be defending itself with its own mysterious powers, but, then, one can expect anything from such a machine. Somewhat hesitant, Baltasar added to the camouflage by cutting branches from the nearby bushes, as he had done before, but with less effort this time, because he had brought a pruning hook, and once the work was finished, he walked all around this other basilica and was pleased with the result. Then he clambered into the machine and, with the tip of his spike, which he had not had occasion to use recently, he scratched out a sun and a moon on one of the planks of the deck, so that if Padre Bartolomeu Lourenço should ever return here, he would see this sign and know at once that it was a message from his friends. Baltasar set out on the road, he had left Mafra at dawn, and it was already night when he returned after a ten leagues walk there and back, and although people say that those who walk for pleasure do not feel tired, Baltasar was exhausted by the time he reached home, yet no one had obliged him to go, so he must have captured the nymph mentioned by Camoens, and had a good time.

One day in mid-September, Baltasar was walking home from work when he saw Blimunda waiting for him on the road as she so often did, but somehow this time she looked anxious and distressed, which was most unlike her, for anyone who knew Blimunda could see that she went through the world as if she had gathered knowledge and experience from previous lives, and on reaching her, he asked, Is Father worse, No, she replied, and then in whispered tones confided, Signor Scarlet is with the Viscount, what can he be doing here, Are you sure, have you seen him, With these very eyes, It could be someone who looks like him, It's him, all right, I only have to see a person once to remember him, and I've seen Signor Scarlet lots of times. They went
into the house and joined the others for supper, then everyone settled down for the night, each couple on their own pallet, and old João Francisco with his grandson, the boy is a restless sleeper and tosses and turns all night, but his grandfather does not mind, it is always company for the old man, who finds it difficult to sleep. This explains why he was the only person to hear, very late that same night, that is to say, late for someone who goes to bed early, gentle strains of music penetrating the cracks in the door and the roof of the house, there must have been a deep silence in Mafra that night, if music played on the harpsichord in the Viscounts' palace when the doors and windows were shuttered on account of the cold, and even when it was not cold, for the sake of decorum, was heard by an old man growing deaf with age, had Blimunda and Baltasar heard it, one might well have expected them to comment, It's Signor Scarlet who is playing, for it is quite true to say that the giant is recognised by his finger, this we would not argue with, since the proverb exists and is altogether apt. Next morning, as dawn broke, the old man sat down by the hearth and told them, I heard music last night, neither Inês Antónia nor Álvaro Diogo nor his grandson paid any heed, for old people are always hearing something or other, but Baltasar and Blimunda felt envious to the point of sadness, if anyone there had the right to hear that music, it was them, no one else. When Baltasar went off to work, Blimunda spent the morning prowling around the palace.

Domenico Scarlatti had requested the King's permission to go and inspect the future convent. He was offered hospitality by the Viscount, not because the latter was particularly fond of music, but, since the Italian was music-master of the Royal Chapel and tutor to the Infanta Dona Maria Bárbara, he was regarded by the Viscount as a corporeal emanation from the palace itself. One can never tell when hospitality might be generously rewarded, the residence of the Viscount is no lodging-house, so just as well to choose one's guests with care. Domenico Scarlatti played the Vicount's harpsichord, which was sadly out of tune, the Viscountess listened to him playing in the evening with her three-year-old daughter, Manuela Xavier, on her lap and of all those present in the room, the child was the most attentive, she kept moving her little fingers in imitation of Scarlatti until she exhausted her
mother's patience and was entrusted to her governess. There would not be much music in the child's life, tonight she would be asleep while Scarlatti played, and ten years from now she would die and be buried in the Church of St Andrew, where she still lies, if there is any place for such wonders on this earth, perhaps she will hear the music played by the water on the harpsichord that was thrown into the well of São Sebastião da Pedreira, if the well is still there, for sources of water are destined to become exhausted and filled in.

The musician made his way to the site of the convent and caught sight of Blimunda but they pretended not to know each other, for it would have aroused surprise and suspicion in Mafra if the wife of Sete-Sóis were to be seen socialising with the musician who is staying as a guest at the Viscount's residence, What can he be doing here, perhaps he's come to inspect the building, but why, if he is neither a mason nor an architect, and there is no organ as yet for any organist to play, no, there must be some other reason. I've come to tell you and Baltasar that Padre Bartolomeu de Gusmão has died in Toledo which is in Spain, to where he had escaped, and according to some, he was mad, and since no one mentioned you or Baltasar, I decided to come to Mafra to find out if you were still alive. Blimunda joined her hands, not as if she were praying, but like someone about to strangle her own fingers, Padre Bartolomeu Lourenço is dead, This is the news that reached Lisbon, On the night when the machine crashed into the sierra, Padre Bartolomeu Lourenço ran off and left us and returned no more, And the machine, It's still there, what shall we do with it, Guard and protect it, perhaps one day it will fly again, When did Padre Bartolomeu Lourenço die, They say it was on the nineteenth of November, and his death was marked in Lisbon that day by a great tempest, if Padre Bartolomeu de Gusmão were a saint, it could be a sign from heaven, What is it to be a saint, Signor Scarlet, You tell me, Blimunda.

The next day, Domenico Scarlatti departed for Lisbon. At a bend in the road outside town, Blimunda and Baltasar were waiting for him, the latter had forfeited a quarter of his daily wage to be able to bid the musician farewell. They went up to his carriage like beggars about to ask for alms, Scarlatti ordered the driver to stop and stretched out his
hands to them, Farewell, farewell. In the distance, cannon fire could be heard, as if some feast were being celebrated, the Italian looks sad, and that is not surprising if he is coming away from the feast, but the others, too, look sad, and why should this be since they are going back to the feast.

S
ITTING ON HIS
throne amid the radiance of the stars, with his mantle of night and solitude, and with the new sea and dead eras at his feet, is the only emperor who truly holds the globe of the universe in his hand, these are the words with which the Infante Dom Henrique will be acclaimed one day by a poet who is not yet born, everyone has his own preferences, but if we are speaking of the globe of the universe and of the empire and of the riches that empires yield, then Dom Henrique is a feeble monarch when compared with Dom João, the fifth sovereign with that name on the roster of kings, sitting in a chair with arms made from lignum vitae, where he can rest with greater comfort and pay closer attention to the accountant who is drawing up an inventory of the realm's possessions and riches, silks, fabrics, porcelain, lacquered goods, tea, pepper, copper, ambergris, and gold from Macao, unpolished diamonds, rubies, pearls, cinnamon, bales of cotton, and saltpetre from Goa, rugs, furniture upholstered in damask, and embroidered bedspreads from Diu, ivory from Melinde, slaves and gold from Mozambique, from Angola more black slaves but not so sturdy as those from Mozambique, and the best ivory to be found in Western Africa, timber, manioc flour, bananas, yams, poultry, sheep, goats, indigo, and sugar from São Tomé, some black slaves, wax, hides, ivory, for not all ivory comes from elephant tusks, from Cabo Verde, woven materials, wheat, liqueurs, dry wines, spirits, crystallised lemon peel, and fruits from the Azores and Madeira, and, from the various regions of Brazil, sugar, tobacco, copal, indigo, wood, cotton, cacao, diamonds, emeralds, silver, and gold, which alone gives the realm twelve to fifteen million cruzados annually in the form of gold
dust or minted coins, not to mention the bullion lost at sea or stolen by pirates, and though it is true that not all of this represents income for the crown, which is rich but not all that rich, more than sixteen million cruzados all told go into the royal coffers, the tax alone, which is levied for navigating the rivers that lead to Minas Gérais, yields thirty thousand cruzados, the Good Lord worked so hard to open up channels where waters might flow, and along comes a Portuguese king to impose a profitable toll.

Dom João V ponders how he will spend these enormous sums of money and such excessive wealth, he ponders the matter today just as he pondered it yesterday, only to come to the same conclusion, that the soul must be his primary consideration, we must preserve our soul by all possible means, especially when it can also be consoled by material comforts on this earth. Let the friar and nun have what is necessary, even what is superfluous, because the friar remembers to put me first when he prays, and the nun arranges the folds of my sheet and provides other little comforts, and if we pay Rome handsomely for the upkeep of the Holy Office of the Inquisition, she is paid even more for less cruel services, in exchange for ambassadorships and gifts, and if from this impoverished land of illiterates, rustics, and unskilled craftsmen one cannot expect refined arts and crafts, let them be brought from Europe for my convent at Mafra, and let all the other necessary adornments and embellishments be bought with the gold from my mines and revenues from my estates, whereby, as one friar will record for posterity, artisans abroad will get rich while we shall be admired for the splendours of our realm. From Portugal all that is required are the stone, tiles, and wood for burning, and men of brute force and empty hands. If the architect is German, the master-carpenters, master-builders, and master-masons are all Italian, and if the traders and other rogues from whom we buy everything are English, French, and Dutch, then you can be quite certain that they import from Rome, Venice, Milan, Genoa, Liège, France, and Holland the bells and carillons, the oil lamps and chandeliers, the candlesticks, the bronze torch-holders, the chalices and the silver-gilt monstrances, the tabernacles and statues of saints to whom the King is particularly devoted, the adornments for the altars, the altar fronts, the dalmatics, the chasubles, the copes, the
cords and tassels, the canopies, the baldachins, the albs, the lace cloths, and three thousand walnut panels for the sacristy cupboards and choir stalls, a wood much esteemed by St Charles Borromeo for this purpose, and from the countries of Northern Europe come whole shiploads of timber for the scaffolding, sheds, and lodging huts, and ropes and hawsers for the winches and pulleys, from Brazil, innumerable planks of angelin wood for the doors and windows of the convent, for the flooring of the cells, dormitories, refectory, and other outbuildings, including the steps of the delousing booths, because it is a wood that does not perish, unlike this splintering Portuguese pine, which is only good for heating saucepans and for people to sit on who do not weigh much and have nothing in their pockets. Eight years have now gone by since the first stone was laid for the basilica in the town of Mafra, this one, thank God, came from Pêro Pinheiro, the rest of Europe should remember us with gratitude for the large sums of money they received in advance, not to mention what they charged in instalments as the work progressed and what they received when the project was finally completed, for they provided the silversmiths and goldsmiths, the bell founders, the sculptors responsible for the statues and bas-reliefs, the weavers, lace-makers, and needlewomen, the clock-makers, the engravers and painters, the rope-makers, the sawyers and carpenters, the embroiderers, the tanners, the carpet-weavers, the bell-makers, and the ship-riggers, if the cow that so placidly allows itself to be milked dry cannot be ours, or as long as it cannot be ours, at least let it remain with the Portuguese, for soon they will be buying a pint of milk from us on credit to make milk puddings and meringue desserts, If Your Majesty would care for another helping, Mother Paula solicitously reminds him, you need only ask.