In the midst of this upheaval, Vittorio is seduced by the beautiful and sinister vampire Ursula—setting in motion a chilling chain of events that will mark his life for eternity. Against a backdrop of the wonders—both sacred and profane—and the beauty and ferocity of Renaissance Italy, Anne Rice creates a passionate and tragic legend of doomed young love and lost innocence.
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About the Author
Hometown:Rancho Mirage, California
Date of Birth:October 4, 1941
Date of Death:December 11, 2021
Place of Birth:New Orleans, Louisiana
Place of Death:Rancho Mirage, California
Education:B.A., San Francisco State University, 1964; M.A., 1971
Read an Excerpt
When I was a small boy I had a terrible dream. I dreamt I held in my arms the severed heads of my younger brother and sister. They were quick still, and mute, with big fluttering eyes, and reddened cheeks, and so horrified was I that I could make no more of a sound than they could.
The dream came true.
But no one will weep for me or for them. They have been buried, nameless, beneath five centuries of time.
I am a vampire.
My name is Vittorio, and I write this now in the tallest tower of the ruined mountaintop castle in which I was born, in the northernmost part of Tuscany, that most beautiful of lands in the very center of Italy.
By anyone's standards, I am a remarkable vampire, most powerful, having lived five hundred years from the great days of Cosimo de' Medici, and even the angels will attest to my powers, if you can get them to speak to you. Be cautious on that point.
I have, however, nothing whatsoever to do with the "Coven of the Articulate," that band of strange romantic vampires in and from the Southern New World city of New Orleans who have regaled you already with so many chronicles and tales.
I know nothing of those heroes of macabre fact masquerading as fiction. I know nothing of their enticing paradise in the swamplands of Louisiana. You will find no new knowledge of them in these pages, not even, hereafter, a mention.
I have been challenged by them, nevertheless, to write the story of my own beginningsthe fable of my makingand to cast this fragment of my life in book form into the wide world, so to speak, where it may come into some random or destined contact with their well-published volumes.
I have spent my centuries of vampiric existence in clever, observant roaming and study, never provoking the slightest danger from my own kind, and never arousing their knowledge or suspicions.
But this is not to be the unfolding of my adventures.
It is, as I have said, to be the tale of my beginnings. For I believe I have revelations within me which will be wholly original to you. Perhaps when my book is finished and gone from my hands, I may take steps to become somehow a character in that grand roman-fleuve begun by other vampires in San Francisco or New Orleans. For now, I cannot know or care about it.
As I spend my tranquil nights, here, among the overgrown stones of the place where I was so happy as a child, our walls now broken and misshapen among the thorny blackberry vines and fragrant smothering forests of oak and chestnut trees, I am compelled to record what befell me, for it seems that I may have suffered a fate very unlike that of any other vampire.
I do not always hang about this place.
On the contrary, I spend most of my time in that city which for me is the queen of all citiesFlorence which I loved from the very first moment I saw it with a child's eyes in the years when Cosimo the Elder ran his powerful Medici bank with his own hand, even though he was the richest man in Europe.
In the house of Cosimo de' Medici lived the great sculptor Donatello making sculptures of marble and bronze, as well as painters and poets galore, writers on magic and makers of music. The great Brunelleschi, who had made the very dome of Florence's greatest church, was building yet another Cathedral for Cosimo in those days, and Michelozzo was rebuilding not only the monastery of San Marco but commencing the palazzo for Cosimo which would one day be known to all the world as the Palazzo Vecchio. For Cosimo, men went all over Europe seeking in dusty libraries long forgotten the classics of Greek and Rome, which Cosimo's scholars would translate into our native Italian, the language which Dante had boldly chosen many years before for his Divine Comedy.
And it was under Cosimo's roof that I saw, as a mortal boy of destiny and promiseyes, I myself sawthe great guests of the Council of Trent who had come from far Byzantium to heal the breach between the Eastern and Western church: Pope Eugenius IV of Rome, the Patriarch of Constantinople and the Emperor of the East himself, John VIII Paleologus. These great men I saw enter the city in a terrible storm of bitter rain, but nevertheless with indescribable glory, and these men I saw eat from Cosimo's table.
Enough, you might say. I agree with you. This is no history of the Medici. But let me only say that anyone who tells you that they were scoundrels, these great men, is a perfect idiot. It was the descendants of Cosimo who took care of Leonardo da Vinci, Michelangelo and artists without count. And it was all because a banker, a moneylender if you will, thought it splendid and good to give beauty and magnificence to the city of Florence.
I'll come back to Cosimo at the right point, and only for a few brief words, though I must confess I am having trouble being brief here on any score, but for now let me say that Cosimo belongs to the living.
I have been in bed with the dead since 1450.
Now to tell how it began, but allow me one more preface.
Don't look here, please, for antique language. You will not find a rigid fabricated English meant to conjure castle walls by stilted diction and constricted vocabulary.
I shall tell my tale naturally and effectively, wallowing in words, for I love them. And, being an immortal, I have devoured over four centuries of English, from the plays of Christopher Marlowe and Ben Jonson to the abrupt and harshly evocative words of a Sylvester Stallone movie.
You'll find me flexible, daring, and now and then a shock. But what can I do but draw upon the fullest descriptive power I can command, and mark that English now is no more the language of one land, or even two or three or four, but has become the language of all the modern world from the backwoods of Tennessee to the most remote Celtic isles and down under to the teeming cities of Australia and New Zealand.
I am Renaissance-born. Therefore I delve in all, and blend without prejudice, and that some higher good pertains to what I do, I cannot doubt.
As for my native Italian, hear it softly when you say my name, Vittorio, and breathe it like perfume from the other names which are sprinkled throughout this text. It is, beneath all, a language so sweet as to make of the English word "stone" three syllables: pi-ea-tra. There has never been a gentler language on earth. I speak all other tongues with the Italian accent you'll hear in the streets of Florence today.
And that my English-speaking victims find my blandishments so pretty, accented as they are, and yield to my soft lustrous Italian pronunciations, is a constant source of bliss for me.
But I am not happy.
Don't think so.
I wouldn't write a book to tell you that a vampire was happy.
I have a brain as well as a heart, and there hovers about me an etheric visage of myself, created most definitely by some Higher Power, and entangled completely within the intangible weave of that etheric visage is what men call a soul. I have such. No amount of blood can drown away its life and leave me but a thriving revenant.
Okay. No problem. Yes, yes. Thank you!as everybody in the entire world can say in English. We're ready to begin.
Except I want to give you a quote from an obscure but wonderful writer, Sheridan Le Fanu, a paragraph spoken in extreme angst by a haunted character in one of his many exquisitely written ghost stories. This author, a native of Dublin, died in 1873, but mark how fresh is this language, and how horrifying the expression of the character Captain Barton in the story called "The Familiar":
Whatever may be my uncertainty as to the authenticity of what we are taught to call revelation, of one fact I am deeply and horribly convinced, that there does exist beyond this a spiritual worlda system whose workings are generally in mercy hidden from usa system which may be, and which is sometimes, partially and terribly revealed. I am sureI know. . . that there is a Goda dreadful Godand that retribution follows guilt, in ways the most mysterious and stupendousby agencies the most inexplicable and terrific; there is a spiritual systemgreat God, how I have been convinced!a system malignant, and implacable, and omnipotent, under whose persecutions I am, and have been, suffering the torments of the damned!
What do you think of that?
I am myself rather mortally struck by it. I don't think I am prepared to speak of our God as "dreadful" or our system as "malignant," but there seems an eerie inescapable ring of truth to these words, written in fiction but obviously with much emotion.
It matters to me because I suffer under a terrible curse, quite unique to me, I think, as a vampire. That is, the others don't share it. But I think we allhuman, vampire, all of us who are sentient and can weepwe all suffer under a curse, the curse that we know more than we can endure, and there is nothing, absolutely nothing, we can do about the force and the lure of this knowledge.
At the end, we can take this up again. See what you make of my story.
It's early evening here. The brave remnant of my father's highest tower still rises boldly enough against the sweetly star-filled heavens for me to see from the window the moonlighted hills and valleys of Tuscany, aye, even as far as the twinkling sea below the mines of Carrara. I smell the flowering green of the steep undiscovered country round where the irises of Tuscany still break out in violent red or white in sunny beds, to be found by me in the silky night.
And so embraced and protected, I write, ready for the moment when the full yet ever obscure moon leaves me for the hideaway of clouds, to light the candles that stand ready, some six, ensconced within the thick ruggedly worked silver of the candelabra which once stood on my father's desk, in those days when he was the old-style feudal lord of this mountain and all its villages, and the firm ally in peace and war of the great city of Florence and its unofficial ruler, when we were rich, fearless, curious and wondrously contented.
Let me speak now of what has vanished.