La Contessa

Chapter 16: The Archbishop

My worst fears about Julia's reactions to the afternoon's activities, in particular La Contessa's command for me to fondle her slave girl, are not realised. Indeed, the whole episode turned us both on. Luckily she has no use for either of us for the rest of the evening so we retire in secret to Julia's room. It proves an ideal opportunity to connect after the frostiness of our exchanges earlier in the day. Watching La Contessa take Becky with the strap-on has made us both horny. When we get to Julia's room we strip off and go at one another with an enthusiasm fuelled by our arousal by the whole scene.

I nestle Julia in my arms after a session of frantic fucking. I take the opportunity of this post-coital, mellow mood to raise the subject of the slave girl.

"You know, I don't have feelings for Becky, don't you? I do what La Contessa requires, and I do it with commitment because it's what she expects. But that doesn't mean I want to be with her. We both serve La Contessa, and we do whatever she commands. But when I lie with you it's because I want you, not because a mistress has ordered me to," I explain.

"Yes, I know, Roberto. I know it in my heart, I just find it hard thinking of you getting pleasure from her. But you're right, I know the rules of madam's household better than anyone, and I've no right to be angry at you for fulfilling your position."

I'm relieved to hear she understands this.

"You know Contessa is playing with you. Whatever she's said, this afternoon was the first time I've laid hands on the girl. I promise you."

"No, I believe you Roberto. I think my mistress is toying with me, and I don't know why. It's cruel."

"So, you're not jealous of Becky, because there's no need to be?" I ask.

"Yes I am, but not because of what you did with her. Did you see the pleasure Contessa got out of fucking her with the strap-on? I... no it's ok, I don't want to say."

"No, go on Julia, I want to hear, what?"

"I wish, I really wish it was me she took with that thing. I'd love her to fuck me like that... to give me that attention. Oh... I'm sorry I don't mean anything against you, my love... it's just..."

How intriguing. I expect I should be shocked, jealous, insulted maybe, but I'm not. I noticed the expression on Julia's face as she watched La Contessa pleasure Becky. She was aroused by it, so much so she could not resist the temptation to masturbate in front of us. I don't know if La Contessa saw her though she misses nothing. I doubt if Becky did, so focused was she on her own sexual needs.

"Are you shocked, Roberto?"

"Not really. With the stuff I've done on the streets of Venice or in the service of La Contessa, I'm not easily shocked! It's fine. She's a remarkable woman; it doesn't surprise me you'd get turned on by her. Honestly, it doesn't bother me... I don't take it personally."

"Thank you, my love. I want you, Roberto."

And it's true, it doesn't particularly bother me. I'm blissfully happy, both with my service to La Contessa, but also laying here with Julia in my arms. I plant a kiss on her lips, and she smiles, touching my check tenderly with her hand. We lie there for several minutes in companionable and affectionate silence. It's Julia who speaks next.

"What do you make of Becky?" she enquires.

"To be honest, I've hardly exchanged a word with her. You have to remember, whenever I've been with her La Contessa has always been there too, so we've never spoken to one another. She's pretty inscrutable. It's hard to know what's going through her head, other than her need to be submissive. How about you? You must have talked with her more, after all you looked after her when she first arrived."

"I agree with you; I find it hard to make her out. She was quiet but grateful for everything we were doing for her, and so pleased to be taken in by La Contessa. Although she's deferential to me and the staff, she has an air of calmness and determination about her too."

"I know what you mean. I think she's truly submissive. When she's with mistress, it's as if she enters another world. She glazes over, submitting to whatever La Contessa throws at her. I think she's naturally submissive... in a way I'm not. I mean, I get a thrill out of serving La Contessa I admit, but I'm not naturally submissive like Becky is. Look, if I was, I'd hardly be lying here with you, would I?"

"No, the risks we take bother me. I'm convinced Lucio is spying on us. He definitively suspects something, but whether he's found enough to go to La Contessa with, I don't know. And I don't want to lose my position here, Roberto. I can't. Contessa's world is the only one I've known since I was a child."

"Well, we have to be careful. Perhaps we can pull it off, have each other and still serve our mistress."

The next day, La Contessa summons us to her bureau for a meeting about the puppet show she's planning; the one she ordered the Archbishop to attend as a condition of renegotiating the terms of her loans. Julia is there, along with Becky and me and, to my surprise, old Lucio, plus other members of her household who will act as 'puppeteers'.

La Contessa introduces us to Vincenzo, who she describes as the 'artistic director' for her soiree. I know him well as he's only a few years older than me and I've chatted to him on many occasions whilst polishing mistress's statues. He's responsible for the presentation of La Contessa's table, makes many of her masks and has a flair for the visual, so he's a natural choice. Vincenzo is enthusiastic and excitable. He's beaming from ear to ear, delighted at having been chosen for the role, and keen to make a good impression on his employer.

"Contessa, I promise you the performance will be beautifully choreographed, and extremely funny and lewd, as I know Contessa desires. I assure you, your guests will go away amazed... and disgusted!"

"Excellent. Now, I have briefed Vincenzo of the story outline. What I have in mind is an erotic homage to the Commedia d'arte. My slave, Roberto, and my slave girl, Becky, will play the role of the lovers, the

inamorati

, and they will be puppets attached to strings controlled by the puppeteers."

I glance across at Julia. She's agitated about the direction the performance is going. I can't help but agree that her mistress is playing with her.

Lucio, you shall play the part of Sacramouche, the

vecchi

, the girl's cruel guardian.

"Madam, far be it from me to criticise but I believe I'm unsuited for a role in the theatre, and I fear it is unbecoming of the head of the household to act in such an unseemly way."

Oh dear! I know Lucio is a senior member of La Contessa's household but nobody, and I mean nobody, however important, can be critical of any decision she makes, especially in front of other staff.

La Contessa fixes him with her coldest, most penetrating stare. I've been in receipt of it on numerous occasions, and it's withering. You know you've done something to really anger her when you get one of those, and you just want to hide!

"Lucio," she spits, "you are playing the role of the

vecchi

; the matter is not one for further discussion. Vincenzo has made a splendid mask for you."

"It's very good," interjects Vincenzo, amused at getting one over his master, "It has a crooked nose and warts."

"And besides," La Contessa adds dismissively with a wave of her hand, "you are perfect for the role of a cruel and morally upright disciplinarian, are you not? And my maid is having a part, aren't you, Julia?"

"Am I madam?" she says, surprised, before realising not to cross her mistress. "Oh, yes, madam."

"Yes, Julia will play the part of Pantalone, the

zanni.

"

"The clown, madam! Can I not be one of the

amorosi

, alongside Roberto," she probes.

"Certainly not. Besides, you will make an excellent clown Julia. You will bring chaos and mayhem to proceedings. It's the funny role, my maid. You will get all the laughs!"

I know I should sympathise with Julia's plight, but I must confess I find the idea of Lucio and Julia playing the

vecchi

and

zanni

amusing and, unfortunately, I can't suppress a smile forming on my lips at the image of it. Mistress pounces on it.

"Yes, you see, even Roberto finds it amusing, don't you my slave?"

"Yes mistress, your casting is perfect."

Well, what else can I say! Lucio is fuming, and Julia stares daggers at me. Meanwhile, Becky stands quietly with her hands behind her back, but even her inscrutability can't hide the amused sparkle in her eyes. The girl is relishing the role of

inamorati.

"Well it's all settled then. The rest is in the hands of Vincenzo who will direct you. There must be plenty of lewdness and debauchery in it. After all, I want my puppet show to impress the Archbishop."

La Contessa dismisses us, and we disperse to carry out the various household tasks without any opportunity to gossip about the impending performance.

I'm expecting lots of rehearsals, but there are few. Vincenzo briefs me on the outline of the story, explaining that the detailed instructions will be given to the puppeteers, who manipulate mine and Becky's actions. We do have a practise in La Contessa's theatre so we can both get the hang of how the puppeteers will control our movements.

The day of the puppet show soon arrives. There's a buzz throughout the palazzo. I'm excited about it, though Julia is more anxious. The performance is preceded by a reception; the 'actors' are permitted to attend so we can be introduced to the guests before we disappear behind the scenes to prepare.

There are familiar faces here including guests from La Contessa's card game.

Mademoiselle La Tour is friendly and gracious towards me.

"How is your arse,

mon ami

. Is it still throbbing?"

"Yes, mademoiselle, you certainly entered into the spirit of the game."

"And I am so looking forward to this afternoon's entertainment."

And Lady Rudston is here with what I presume is her husband; a round, balding, ruddy-faced man. The pair of them make a good couple. She introduces me to Lord Rudston as one of La Contessa's favoured servants, which amuses me, and I engage in conversation with him.

"I understand you have an interest in Venetian church architecture, your lordship?"

"Hm, yes, that is so," he splutters.

"There are many hidden gems in Venice. Have you been to San Canciano in the Cannaregio. The frescoes in that church are magnificent, amongst the best in the whole of Venice."

"Yes, indeed, they are," he mutters.

I know there are no frescoes in San Canciano!

"And the Cannaregio is such an interesting district, don't you think? It's one of the liveliest parts of Venice. You should take Lady Rudston there, I'm sure she'll enjoy it."

"Oh yes, you simply must take me there, my dear," says Lady Rudston.

Lord Rudston looks flustered, and his face goes even redder. La Contessa, who overhears this exchange, looks across at me with a knowing smile. I'm enjoying this party.

"Well the boy has come up in the world, hasn't he, Lucretia?"

"We said he'd go far, didn't we?"

I recognise the voices and swivel round in surprise. It's Lucretia and Viola, as I know them, though who these two transvestites really are, in their extravagant satin gowns and beneath the layers of make-up and clouds of perfume, remains a mystery. They must be rich and important to have been invited to La Contessa's soiree.

"It's good to see you again, albeit in different circumstances," I reply. "As you can see, I'm now in the service of La Contessa di Nemesia."

"Yes, and I'm sure you give her good service."

"Yes, we can vouch for the quality of service the boy gives, can't we Viola?"

"Yes, and I expect La Contessa is a demanding mistress," Lucretia adds.

"Yes, but the rewards of service to her are considerable," I reply before La Contessa catches my eye and beckons me over.

She's curious, "How do you know them?" She asks, "Were they clients of yours?"

"Yes, mistress, I was with them the night Julia found me in the Cannaregio."

"Well, I suppose I should not be surprised. Have you any idea who they are?" she asks.

"None at all, mistress."

She leans forward and whispers in my ear, "Keep this quiet, slave, but they work for me on special schemes. I keep their secret and allow them to indulge in their fantasies when they attend my palazzo."

This is how I end up standing next to La Contessa when Allessandro Fernasse arrives with the Archbishop of Venice. Fernasse, relishing another afternoon of La Contessa's particular brand of entertainment, is bumbling but enthusiastic as he introduces the primate of Venice to La Contessa. The Archbishop, tall and angular with a pointed nose and haughty expression, looks distinctly uncomfortable. His discomfort is accentuated by La Contessa's dress for the occasion. She has foregone her formal entire in favour of an embroidered indigo gown in silk, decorated with pearls, and tight corsetry which enhances her voluptuous figure. The cut of the bosom in particular is designed to emphasise La Contessa's breasts and leaves nothing to the imagination. The lascivious Fernasse slavers over mistress's tits whilst the Archbishop, his face etched with the strain of trying to ignore them, cannot resist gazing at the magnificent orbs of white flesh decorated with false moles, one on each breast, in the shapes of a crescent moon and a sun.

My mistress greets him generously, "Archbishop, I'm delighted to meet you. I do not believe I've had the pleasure. I do so hope you enjoy the entertainment I've laid on for you..."

"The correct form of address is 'Your Grace'."

La Contessa ignores his interjection, "...It will be an amusing and instructive piece of puppet theatre for you."

"I hope this will not be the kind of debauchery for which you are renowned. The morality of the city is disturbingly low, and the church would look to its most important citizens to uphold public morals."

La Contessa's elegant eyebrows raise, a forced smile spreads across her lips, and the

assassina

mole rises like an accusation.

"Indeed, Archbishop, I couldn't agree with you more about public morals. At least I can provide the assurance that audience and performers are of consenting age, which I believe is more than you can claim... your grace."

The last two words are spat out with bitter irony. The Archbishop's angular features screw up into a face like thunder.

"I've no idea what you mean, Contessa," he replies angrily, but with extreme discomfort.

But the statement is out there for everybody clustered around the two figures to hear. So, the rumours spreading through the city are true then; the Archbishop uses his influence to procure young girls... and boys from local orphanages for his priests, and for himself. I don't believe La Contessa would have been so explicit if it were not so.

La Contessa continues, "The moral turpitude of La Serenissima, and the hypocrisy of its mother church, runs deeper than anyone can imagine, does it not? Come Archbishop, you are obliged to sit through my puppet show, as you know."

She turns away to speak to somebody else, leaving the Archbishop red faced and speechless. So, was it always La Contessa's intention to use her afternoon's entertainment to expose the dark seam of corruption running through the church in Venice?