One day after mass Don Esteban had rapidly recounted her history to his little son. She was the daughter of Frederick the Second of Suabia, a Hohenstaufen, an emperor of Germany who esteemed still more his crown of Sicily. In the palaces of Palermo—veritable enchanted bowers of Oriental gardens—he had led the life both of pagan and savant, surrounded by poets and men of science (Jews, Mahometans and Christians), by Oriental dancers, alchemists, and ferocious Saracen Guards. He legislated as did the jurisconsults of ancient Rome, at the same time writing the first verses in Italian. His life was one continual combat with the Popes who hurled upon him excommunication upon excommunication. For the sake of peace he had become a crusader and set forth upon the conquest of Jerusalem. But Saladin, another philosopher of the same class, had soon come to an agreement with his Christian colleague. The position of a little city surrounded with untilled land and an empty sepulcher was really not worth the trouble of decapitating mankind through the centuries. The Saracen monarch, therefore, graciously delivered Jerusalem over to him, and the Pope again excommunicated Frederick for having conquered the Holy Land without bloodshed.
"He was a great man," Don Esteban used to murmur. "It must be admitted that he was a great man. … "
He would say this timidly, regretting that his enthusiasm for that remote epoch should oblige him to make this concession to an enemy of the Church. He shuddered to think of those sacrilegious books that nobody had seen, but whose paternity Rome was accustomed to attribute to this Sicilian Emperor—especially Los Tres Impostores (The Three Imposters), in which Frederick measured Moses, Jesus and Mahomet, by the same standard. This royal author was, moreover, the most ancient journalist of history, the first that in the full thirteenth century had dared to appeal to the judgment of public opinion in his manifestoes against Rome.
His daughter had married an Emperor of Byzantium, Juan Dukas Vatatzés, the famous "Vatacio," when he was fifty and she fourteen. She was a natural daughter soon legitimized like almost all his progeny—a product of his free harem, in which were mingled Saracen beauties and Italian marchionesses. And the poor young girl married to "Vatacio the heretic," by a father in need of political alliances had lived long years in the Orient as a basilisa or empress, arrayed in garments of stiff embroidery representing scenes from the holy books, shod with buskins laced with purple which bore on their soles eagles of gold—the highest symbol of the majesty of Rome.
At first she had reigned in Nicaea, refuge of the Greek Emperors while Constantinople was in the power of the Crusaders, founders of a Latin dynasty; then, when Vatacio died, the audacious Miguel Paleólogo reconquered Constantinople, and the imperial widow found herself courted by this victorious adventurer. For many years she resisted his pretensions, finally maneuvering that her brother Manfred should return her to her own country, where she arrived just in time to receive news of her brother's death in battle, and to follow the flight of her sister-in-law and nephews. They all took refuge in a castle defended by Saracens in the service of Frederick, the only ones faithful to his memory.
The castle fell into the power of the warriors of the Church, and Manfred's wife was conducted to a prison where her life was shortly after extinguished. Obscurity swallowed up the last remnants of the family accursed by Rome. Death was always hovering around the basilisa. They all perished—her brother Manfred, her half-brother, the poetic and lamented Encio, hero of so many songs, and her nephew, the knightly Coradino, who was to die later on under the axe of the executioner upon attempting the defense of his rights. As the Oriental empress did not represent any danger for the dynasty of Anjou, the conqueror let her follow out her destiny, as lonely and forsaken as a Shakespearian Princess.
As the widow of the late Emperor she was supposed to have a rental of three thousand besantes of fine gold. But this remote rental never arrived, and almost as a pauper she embarked with her niece, Constanza, in a ship going toward the perfumed shores of the Gulf of Valencia, where she entered the convent of Santa Barbara. In the poverty of this recently founded convent, the poor Empress lived until the following century, recalling the adventures of her melancholy destiny and seeing in imagination the palace of golden mosaics on Lake Nicaea, the gardens where "Vatacio" had wished to die under a purple tent, the gigantic walls of Constantinople, and the arches of Saint Sophia, with its hieratic galaxies of saints and crowned monarchs.
From all her journeys and glittering fortunes she had preserved but one thing—a stone—the sole baggage that accompanied her upon disembarking on the shore of Valencia. It was a fragment from Nicodemia that had miraculously sent forth water for the baptism of Santa Barbara.
The notary used to point out this rough, sacred stone inlaid in a baptismal font of Holy Water. Without ceasing to admire these historic bits of knowledge, Ulysses, nevertheless, used to receive them with a certain ingratitude.
"My godfather could explain things to me in a better way. … My godfather knows more."
When surveying the chapel of Santa Barbara during the Mass, he used always to turn his eyes away from the funeral chest. The thought of those bones turned to dust filled him with repugnance. That Doña Constanza did not exist for him. The one who was interesting to him was the other one, a little further on who was painted in a small picture. Doña Constanza had had leprosy—an infirmity that in those days was not permitted to Empresses—so Santa Barbara had miraculously cured her devotee. In order to perpetuate this event, Santa Barbara was depicted on the canvas as a lady dressed in a full skirt and slashed sleeves, and at her feet was the basilisa in the dress of a Valencian peasant arrayed in great jewels. In vain Don Esteban affirmed that this picture had been painted centuries after the death of the Empress. The child's imagination vaulted disdainfully over such difficulties. Just as she appeared on the canvas, Doña Constanza must have been—flaxen-haired, with great black eyes, exceedingly handsome and a little inclined to stoutness, perhaps, as was becoming to a woman accustomed to trailing robes of state and who had consented to disguise herself as a country-woman, merely because of her piety.
The image of the Empress obsessed his childish thoughts. At night when he felt afraid in bed, impressed by the enormousness of the room that served as his sleeping chamber, it was enough for him to recall the sovereign of Byzantium to make him forget immediately his disquietude and the thousand queer noises in the old building. "Doña Constanza!" … And he would go off to sleep cuddling the pillow, as though it were the head of the basilisa, his closed eyes continuing to see the black eyes of the regal Señora, maternal and affectionate.
All womankind, on coming near him, took on something of that other one who had been sleeping for the past six centuries in the upper part of the chapel wall. When his mother, sweet and pallid Doña Cristina, would stop her fancy work for an instant to give him a kiss, he always saw in her smile something of the Empress. When Visenteta, a maid from the country—a brunette, with eyes like blackberries, rosy-cheeked and soft-skinned—would help him to undress, or awaken him to take him to school, Ulysses would always throw his arms around her as though enchanted by the perfume of her vigorous and chaste vitality. "Visenteta! … Oh, Visenteta! … " And he was thinking of Doña Constanza; Empresses must be just that fragrant. … Just like that must be the texture of their skin! … And mysterious and incomprehensible thrills would pass over his body like light exhalations, bubbling up from the slime that is sleeping in the depths of all infancy and coming to the surface during adolescence.
His father guessed in part this imaginary life upon seeing his pet plays and readings.
"Ah, comedian! … Ah, play-actor! … You are like your godfather."
He used to say this with an ambiguous smile in which were equally mingled his contempt for useless idealism and his respect for the artist—a respect similar to the veneration that the Arabs feel for the demented, believing their insanity to be a gift from God.
Doña