CHAPTER 7 #4
Old-school artists often used deep browns to emphasize light and dark, but only Da Vinci had the boldness and intelligence to do this.
She had seen Florence just after dawn, with the horizon softened by mist. The gray-blue hues seemed to capture the same quiet darkness on this canvas, everything just perfectly expressed.
As Da Vinci painted, his expression was calm and gentle, his movements deliberate and steady, much like a meticulous and composed artisan.
But under his hand, all of the figures on the canvas conveyed clear and powerful emotions.
Many of the paintings were meant to praise the divine radiance, often emphasizing the splendor and greatness of saints and angels.
However, the complex and defined emotions of humanity seemed to have been continually suppressed and concealed.
In this swirling scene, the three wise men offered different gifts to Jesus, their expressions ranging from reverence to awe. The postures of dozens of people varied, with even the movement of their fingers matching the gestures of the time.
The warhorses raised their heads and whinnied, travelers conversed loudly, but only the Virgin, holding the Christ child, remained silent.
Hedy, like a nurse assisting in a surgery, continuously handed him the scraper, fine brushes, and cloths, accompanying him for nearly three months as he worked on the painting.
During this time, she completed an entire manuscript in the monastery, thinking through the content during the day and then writing it all down in the evenings or mornings.
Penicillin in the beef broth was actively proliferating, more and more wine was being bottled into glass bottles, and a new and more efficient microscope was delivered to the Florentine Academy.
By the time the Feast of the Assumption of the Virgin Mary arrived, her first manuscript, On the Four Elements, was officially published.
The birth of this book was like the first toll of a bell for a new era.
The Medici family's contributions to culture were nothing short of revolutionary and advanced.
Not only did they sponsor a large number of painters and sculptors, but they also used the printing press to organize and restore ancient texts.
The current lord, Lorenzo, was highly respected by the people and referred to as the "Great Lorenzo" because of his immense contributions.
Even if you took just one of his achievements, it would be a massive contribution to the city.
He collected classical works from Greece and Rome for scholars, sending literary experts to cities across Italy and even abroad to purchase manuscripts. He was even willing to mortgage his family's property to buy rare books.
Some of these books could no longer be copied, so he hired scribes to transcribe and organize them, printing large quantities of books using movable-type printing.
This new technology from the East completely shattered people's preconceived notions about cultural preservation.
With the establishment of the printing house, both the University of Pisa and the Florentine Academy were further expanded, and the Academy of Plato was revitalized and given new life.
According to Hedy's position, she originally had no reason to be involved in such matters, let alone publish her papers publicly.
Women were traditionally respected and admired, but as the church's authoritarian rule expanded over the years, the status of women had steadily declined, and they had been completely excluded from the academies.
However, her current identity was that of a distant relative of the Medici family, once separated by circumstances, and now an undeniable noblewoman.
In the eyes of the Florentine citizens, this blue-eyed beauty was not only loving, kind, and knowledgeable in alchemy, but also capable of saving lives in times of peril.
Lorenzo’s presence made it easier for them to accept her, and many even wrote letters to consult her on various matters.
When On the Four Elements was published, Hedy took a very cautious approach.
She didn’t dare to openly present overly radical views, nor did she challenge the existence of God or the various doctrines.
All she needed to do was present the most basic knowledge in a way that was as simple and understandable as possible.
Her style of writing was somewhat like teaching a child.
She drew examples from mythology and the Bible, and when making her arguments, she repeatedly emphasized their reasonableness and feasibility—almost like coaxing and deceiving.
To go against certain outdated aspects of this era or to reveal too many new ideas would only make her a target for destruction.
The manuscript contained 50,000 to 60,000 words, but the core content was likely only about 5,000 to 6,000 words. The rest was filled with praise for God, songs for the Bible, and endless ways of arguing and explaining simple principles.
After Lorenzo read it, he became curious.
What had this young woman gone through to be this cautious?
As long as he was around, the church would not make a move against her.
So why was she still going out of her way to appease everyone, even in her writing?
—Because words are powerful.
Hedy had already learned these lessons in her past life.
She had once thought that most people were reasonable and logical, but the reality was quite the opposite.
She had created countless designs and inventions, yet people slandered her, accusing her of stealing her husband’s secrets and seeking fame and status.
She had been kind to others and had been passionately loyal to her country, but in the end, the government never acknowledged her contributions, and they refused to admit the achievements and honors that she rightly deserved.
She had seen the cold and warm sides of human nature, which led her to feel a kind of detached distance from the masses.
The public was ignorant, easily manipulated, impulsive, and irrational.
It was nearly impossible to awaken them from their ignorance.
But even so, she still had to do what was right—just in a safer way.
On the Four Elements was officially published, and it was quickly snapped up by many scholars and theorists, sparking a wave of discussions in the nearby universities and academies.
The book covered basic knowledge in chemistry and biology, with content that would roughly match the enlightenment level of modern youth.
Yet, despite its relatively simple scope, many of its insights were groundbreaking—
Why should we wash our hands?
Why does wine spoil?
The disappearance and reappearance of copper sulfate blue—could it be caused by water?
Blood has these functions too?
The book not only presented relevant conceptual explanations but also provided many specific experimental methods—
These experiments allowed people to freely verify the correctness of her theories, ensuring that she wasn’t just spouting nonsensical ideas.
Each explanation was clear and flawless.
People from the Florentine Academy even wrote to the Medici family, requesting that this noblewoman be commissioned to give lectures so that everyone could learn more about these new concepts.
The book was even passed on to England and France, where it reportedly caused quite a stir and response.
Da Vinci helped her create new experimental equipment, and as he flipped through the book, he couldn’t help but feel eager to try some of the experiments himself.
He had even set up a microscope in his bedroom, using it to discover many new things.
As a result, the painting for the monastery was delayed by more than a month.
"Recently, I discovered that when I added saline to certain cells, some of them would change shape," he eagerly shared his latest discovery, holding test tubes and flasks. "You know how your fingers wrinkle after soaking in water for a long time—could that be related to these cells?"
Hedy smiled and nodded. "You should do more experiments, there are plenty of interesting things to discover."
"By the way, we should go take a bath together sometime," Da Vinci casually added, "I know a new barber who also does great massages, really good at relieving shoulder tension."
"That... won’t be necessary," Hedy replied with a smile.
"By the way, what has Botticelli been up to lately? Has he finished the oil painting of The Allegory of Spring?"
Da Vinci helped her organize her things, his expression tinged with regret. "Still drowning in wine and sorrow, it’s an old habit."
"Eh?" Hedy suddenly remembered what Dechio had mentioned before and instinctively asked, "Is it because of Simonetta?"
The beauty who had passed away several years ago?
The woman loved by both the Medici brothers and him?
"He loved her so much that even after her death, he seems to have lost his sense of self," Da Vinci said, clearly not understanding such profound emotions. He sighed regretfully. "He’s fine when surrounded by people, but when alone, he just sighs."
"We should go visit him," Hedy said instinctively. "It’s a painful experience."
"I don’t understand," Da Vinci looked at her. "Why do people fall in love?"
"What exactly are lust and love?"
Hedy paused, unsure of how to answer him.
"I see their pain or disappointment, and I want to express it in my paintings," Da Vinci’s expression remained sincere but perplexed. "But the only emotion I can feel like that is through art."
He could understand jealousy, disappointment, and frustration, but he couldn’t understand deep love between people.
Whether it was love between the same sex or the opposite sex.
Why do people place their hearts in someone else?
Hedy thought for a moment, then simply patted his shoulder.
"You’ll understand in a few years. You’re still too young."
The words coming from a twenty-year-old woman seemed almost absurd.
She found the right time to visit Botticelli, bringing pastries and flowers.
The room had heavy curtains drawn, and the faint smell of malt liquor lingered in the air.
The young man was passed out next to a painting, muttering something in his sleep.
Hedy had never seen Botticelli like this.
Usually, when he was with the Medici or speaking with noblewomen, he always seemed cheerful and composed.
But now, he had disheveled hair, his clothes stained with wine, and his sleeves splattered with either paint or some kind of sauce.
"Botticelli?" Hedy instinctively reached for a warm towel to wipe his face. "How long has it been since you've rested properly?"
The young man rubbed his eyes and let out a long, boozy burp, looking both disheveled and strangely endearing.
Hedy sighed, asking Dechio to bring some hot water, while she bent down to tidy up the scattered wine bottles.
It was actually a form of luck that a young man could feel this much pain for love.
She, too, had once been the type to love and hate passionately. Now, her heart felt more like an ancient well—if you threw a stone in, you wouldn’t even hear a sound.
Botticelli, half-awake, felt his cheeks and fingers being gently wiped with the warm towel. He slowly regained some clarity.
"Hedy?"
"What are you doing here?"
"I was worried you might choke on your vomit," Hedy said coolly. "You must have been drinking for two or three days, right?"
He instinctively stood up, stepping into an unknown liquid on the floor.
Compared to the graceful, charming artist in front of others, Botticelli now looked like a clumsy young man, struggling to find his footing.
"I—I—"
"Don’t worry about looking embarrassed or anything," she said, reaching over to pull back the curtains a little to let some sunlight in. "Everyone breaks down at some point."
Once it's over, it’s over.
Botticelli, still unsteady, looked pale as he recalled many things, his eyes drifting back to the painting next to him.
Hedy finally looked at the content of the painting—
Wait, this painting... could it be... hell?