Steel, gunpowder, and spellcasters

Chapter 53 Giovanni's Request
In Madame Navarre's quiet little drawing room, Antonio reclined on the sofa, admiring the paintings hanging on the wall, feeling as comfortable and at ease as if he were in his own home.

Winters, on the other hand, sat upright in his chair, looking down at his nose, mouth, and heart, like a statue.

“Don’t be so reserved.” Antonio cheerfully handed Winters the small plate of nuts. “You look just like an ascetic right now, the only thing missing is whipping yourself with a flail.”

"Then who's to blame?" Winters was furious to see the person primarily responsible acting as if it were none of his business.

Antonio casually picked up a fig from the small table and peeled it bit by bit: "I came with you, didn't I?"

Why did Winters and Antonio come to the Navarre mansion? The story is a bit convoluted.

Major Moritz only had ten steel spikes, which was far from enough. Therefore, Winters turned to his uncle, Giovanni Servati, the younger brother of Antonio.

The Serbian family's history in La Mer is not long; it was only after Antonio and Giovanni's father, Cavalli, that the Serbian family began to flourish in La Mer.

Cavalia, a big-nosed, hot-tempered Venetian, was forced to leave his family in his youth due to a vendetta.

His mother placed two gold coins in his hand, kissed his cheek, and sobbed as she instructed him, “My dear son, do not spend these two gold coins. Keep them with you, but do not spend them. The red marks in the patterns on the coins are the blood of Saint Noverata. With them, Saint Noverata will protect you. I will also pray for you every moment.”

His father silently handed him a sharp sword.

And so, carrying a sword, two gold coins, and his mother's blessing, Cavalia traveled alone from the City of Flowers to the City of Azure.

He first pawned the fine sword, then spent two gold coins, and lived comfortably for a while. But after only a few days, the money was gone, and the new "friends" Cavalia had made in the sea abandoned him at twice the rate they had approached him.

After a period of hardship, the destitute Cavalia endured a period of misery before being taken in as an apprentice by a kind goldsmith. After enduring a difficult apprenticeship, he became a full member of the Precious Metals Craftsmen's Guild in Aquamarine City.

By the time Cavalia's eldest son, Antonio, was born, he had already become a well-known goldsmith and silversmith in the city of Aquamarine, owning a very nice workshop. He had also redeemed the family heirloom sword and the two gold coins said to be stained with the blood of San Novellata.

Cavalli Serbiati's eldest son, Antonio, was admitted to the Army Officer Academy and became a soldier. His younger son, Giovanni, inherited his father's craft and, after Cavalli's death, took over the workshop, becoming a goldsmith.

If Antonio held a father-like position in Winters' heart, then Giovanni was nominally an uncle, but in reality, an older brother.

Cavalli had a difficult childbearing period, losing five children in infancy. It was many years after his first son that he had his second son, who grew to adulthood healthy. Antonio and Giovanni were fourteen years apart in age, while Giovanni was only nine years older than Winters.

Therefore, compared to his older brother who was fourteen years his senior, the playful Giovanni was much closer to Winters. Most of the mischief Winters had done since childhood was done under Giovanni's influence.

If Winters sets the house on fire, he won't tell Antonio or Cosa, but he will tell Giovanni. If Giovanni kills someone, he won't tell his brother either; he will ask Winters to help him move the body.

Of the ten steel awls Moritz gave Winters, only five were sharp enough for actual combat use, which was obviously insufficient. Winters wanted to have a batch of identical awls made, based on the ones the major had given him.

Since it involved metals, Winters immediately thought of his uncle Giovanni. Although Giovanni was a precious metal craftsman, Winters believed that Giovanni should also know some highly skilled blacksmiths.

Besides forging a batch of steel spikes, Winters had another purpose: to make a scabbard for Elizabeth's dagger.

The dagger that Elizabeth had tricked Winters into giving away had already been returned to Sophia, but somehow Elizabeth used some persuasive techniques to get Sophia to give it back to Elizabeth.

The leather scabbard that Elizabeth had sewn herself was no good; it was quickly riddled with holes from daggers. So Winters had another task: to ask Giovanni to make a silver scabbard for Elizabeth. Of course, only the outer shell of the scabbard was silver; the inside had to be lined with cork to prevent the dagger blade from becoming dull.

Winters originally thought that making hundreds of identical steel cones would not be difficult, but after talking with a real blacksmith, he realized how difficult it was.

It's difficult to guarantee consistency in shape and weight when crafting by hand. The steel awl Major Moritz gave Winters was cylindrical; it couldn't be forged into a cylinder by hand. It had to be forged into a prism, then the edges were filed off bit by bit, and finally polished smooth. If steel was to be used, filing would be even more time-consuming and laborious.

At the same time, ensuring that each piece has the same weight will further increase the difficulty of production.

Even Giovanni's most precise balance, used for weighing gold, could not verify the weight difference between the ten steel cones that Major Moritz gave Winters.

These ten steel awls amazed Giovanni's blacksmith friend, who admitted that he didn't have the skill to make them, and that even if he put in a lot of effort, each awl would cost more than a silver coin.

According to Giovanni, "The material itself is not expensive, but the effort the craftsman put in far exceeds the value of the material itself. The value of the craftsman's labor is seriously underestimated, so few people would put so much effort into base metals. These little things are practically carving patterns on iron."

Winters then began to understand why Major Moritz used silver coins as casting materials—these specially made steel cones were actually more expensive than a silver coin.

It would be better to use silver coins as arrows, since silver coins are minted uniformly by the Venetta Mint and are readily available materials of equal weight and similar shape.

Compared to the difficulties encountered in ordering a custom-made steel awl, making a scabbard for Elizabeth was much easier.

Winters brought the dagger with him. Giovanni took the measurements and made a wax model; Elizabeth only needed to wait at home for Uncle Giovanni to bring her the scabbard.

"By the way, did the little girl say what kind of pattern she wanted to decorate the scabbard?" Giovanni asked casually as he handed the dagger back to Winters.

Winters was stumped; he dared not make a decision for Elizabeth on his own. He had no choice but to tirelessly ride his motorcycle home to ask Elizabeth herself.

Elizabeth did not reply to Winters immediately, but instead gave him two paintings after visiting his studio.

These two paintings differ from typical religious paintings, leaning more towards freehand brushwork. They do not adhere to the principles of perspective, but use delicate and exquisite brushstrokes to depict a scene of abundant flowers. At the same time, they do not fall into excessive complexity, making good use of the technique of leaving blank space.

When Giovanni saw the two paintings, he was amazed and sent over the finished scabbard the very next day. Giovanni used a raised-textured technique to replicate the designs provided by Elizabeth onto the scabbard.

The raised-texturing technique involves using a small chisel to create symmetrical, chiral patterns on the back of a thin metal sheet, resulting in a shallow relief pattern on the front. Further details are then hand-carved to enhance the clarity of the relief lines. The final result is a beautiful embossed pattern on the metal surface.

The reliefs on these scabbards not only serve a decorative purpose, but also help to grip the scabbard more securely.

Elizabeth was delighted with the scabbard and excitedly showed it off to Cossa and Antonio.

However, Giovanni had another reason for visiting his nephew. Giovanni laughed and hooked his arm around Winters' neck: "Where did those two patterns come from? Are there any more patterns?"

It turned out that Giovanni had shown the two designs to another wealthy merchant's wife, and immediately received an order for two silver salt boxes.

Compared to base metal artisans, precious metal artisans value their skills more highly. No matter how much effort is put into crafting, iron rarely fetches the price of silver. However, thanks to the meticulous work of precious metal artisans, gold and silver artifacts can command prices far exceeding the value of the material itself.

Therefore, compared to base metal artisans who pursued mass production, precious metal artisans took a different path: investing more effort in making money by producing a small number of exquisite gold and silver artifacts.

With his keen sense of smell, Giovanni discovered that wealthy female patrons adored this pattern. This new style of design was like a new goldmine for Giovanni, and he was eager to acquire more of it.

Winters explained, "The design was given to me by Ella. Doesn't she always go to Madame Anguilla's studio? She must have drawn it herself."

Giovanni said regretfully, "If I ask Ella for it, she'll definitely try to blackmail me."

“Well, there’s nothing we can do about that then,” Winters said, shrugging.

“But Ella has always listened to you since she was little,” Giovanni seemed to have a plan in mind: “How about you ask her for a few more drawings and help you solve the problem with the steel cone?”

For the steel cones Winters wanted to customize, Giovanni's solution was as follows: cylindrical shapes would require too much manual labor and were not considered; so they simply used triangular prisms, which could be forged directly on an anvil with V-grooves; after the blacksmith made roughly equal weight blanks, they were sent to Giovanni's workshop for secondary processing using the precious metal processing technique of "fine grinding"; although it could not be made as perfectly as the ten steel cones in Winters' hands, it could still ensure the consistency of shape and weight to the greatest extent.

More importantly, the cost was also acceptable to Winters.

Winters couldn't refuse this offer, but he didn't expect his uncle to have changed and would actually try to make a deal with him in this way.

Seeing the resentful look in Winters' eyes, Giovanni had no choice but to agree to make another silver saddle head as payment for the design. Moreover, regardless of whether Winters could bring in more designs, he would help Winters solve the problem of the steel awl.

However, to Winters and Giovanni's surprise, Elizabeth told Winters that she did not draw those patterns herself.

She gave Winters a name he least wanted to hear right now: Anna Navarre.

Elizabeth not only knew Anna, but they were also very close. Anna, Elizabeth, and several other female friends studied together in Madame Anguilla's studio. Those two drawings were commissioned by Elizabeth from Anna.

Self-esteem is a very subtle thing; it drives people to do noble things, but it can also sometimes hinder communication between people.

Driven by pride, Major General Layton kept his promise to be the first to board the ship, and Winters rushed into the enemy's cabin despite the knife wound on his arm.
Also because of his pride, Winters was too lazy to explain to Miss Navarre, and even less wanted to see her again. After all, that slap, delivered without warning, still hurt quite a bit.

But Elizabeth grinned mischievously and refused to help Winters ask Anna for the blueprints, clearly having already learned through her own channels that Winters had been slapped by Anna. This was probably one of the few moments of amusement in her otherwise mundane life, and she would not let it go easily.

“Your friend has a really bad impression of me, so I’d rather avoid seeing him. Do you really want to get slapped again?” Winters grabbed Elizabeth, preventing her from running away.

“Winters, I’m doing this for your own good.” Elizabeth had her own twisted logic and said with feigned seriousness, “You’ve almost driven Anna crazy. Now my female friends all think you’re a very immoral man… Apologize to Anna, and she will forgive you.”

“Why should I apologize?” Winters was both amused and exasperated; he had already seen through Elizabeth’s thoughts. “You’re happy to see me get slapped again, aren’t you?” Elizabeth couldn’t hold back any longer and burst into unrestrained laughter. Just then, Antonio returned home, and Elizabeth quickly sought help from her father.

António was very open-minded: "I thought those girls were just going to Madame Anguisola's studio to play. Turns out they paint very well. Since Johnny needs to ask Miss Navarre for help, I'll take you to Navarre's house."

"Why don't you go to Madame Navarre yourself and ask her to bring you a few of her daughter's paintings?"

“Johnny asked you for help, not me. You should have gone yourself. I went to Navarre’s house to apologize to Miss Navarre for my offense.” Antonio’s smile was exactly the same as Elizabeth’s. Winters was once again certain that Ella’s mischievous nature was definitely inherited from Antonio.

Back in Madame Navarre's small drawing room, Antonio and Winters were greeted by Navarre and her daughter.

Antonio and Madame Navarre were old friends. He briefly explained his purpose: he hoped to obtain a few of Madame Navarre's works on behalf of his brother Giovanni. Before Anna could speak, Madame Navarre agreed on behalf of her daughter.

Antonio then cheerfully spoke to Anna first in the old language, and then switched to the ancient language.

Anna answered fluently, while Madame Navarre was left standing aside, somewhat at a loss.

Winters could understand, but Antonio and Anna were just exchanging casual pleasantries without any real conversation.

After confirming that Anna could indeed use archaic and ancient languages, Antonio stood up, bowed deeply to Anna, and said sincerely, "[Archaic] Miss Anna, I have offended you before. I mistook you for an ordinary woman. Please accept my apology."

Anna, Mrs. Navarre, and Winters were all taken aback.

In any case, the status of men in this era was far higher than that of women; not to mention that even if Anna were a man, the social status of Major General Antonio Serbiati, commander of the standing army, would be far higher than that of her.

It is extremely rare for someone of higher status to admit their mistake and apologize to someone of lower status, regardless of the era or country. Most people of higher status, even if they should apologize, will simply act as if nothing happened.

Seeing this, Winters began to admire his uncle's magnanimity, because Antonio was not reluctant at all and was sincerely apologizing to Anna for his behavior.

Anna was startled when she saw Antonio bow deeply to her. She quickly stood up and hurriedly returned the bow.

Antonio said no more, turned to Madame Navarre, and said with a smile, "Then please, Miss Navarre, bring out a few paintings."

Madame Navarre was completely bewildered; she had no idea what had happened, and she hadn't understood a word of the conversation between Antonio and Anna.

Finally, Antonio switched back to Common Tongue, and Madame Navarre, gracefully reclining on her chaise lounge, replied, “Let the two children go together. You and I have so much to talk about.”

Winters followed Anna in silence, heading straight to Anna's studio.

The studio contained several stands, and the tables were piled high with canvases and sheets of paper. Many drawing boards, covered with white cloths, leaned against the wall, seemingly finished works. Numerous sheets of white paper with line drawings were carelessly tossed on the floor.

"Hmph." Anna stood with her back to Winters, rummaging through the table, and spoke first in annoyance: "Mr. Serbiati still looks down on women from the bottom of his heart. 'I once mistook you for an ordinary woman,' does that mean you can be so frivolous towards an ordinary woman?"

Winters was speechless.

Anna grew angrier and angrier, and she angrily asked Winters, "What do you think, Mr. Montagne?"

Winters thought for a moment and said slowly, "My thought is that as a guest, I shouldn't be treated like this."

Two rolls of drawing paper were thrown at Winters, but the thrower wasn't very strong, and the paper wasn't a javelin, so Winters caught them easily.

“Does this mean guests can humiliate me and then demand my work?” Anna came over again, carrying several large rolls of drawing paper, and shoved them all at Winters: “Here you go!”

“Others cannot speak for me, and I have never had any disrespectful thoughts towards you. On the contrary, you have been very rude to me.” Winters replied neither humbly nor arrogantly. “If you don’t want to give me the painting, I can buy it. But to be honest, I don’t respect you as much as I did before.”

Anna is absolutely furious.

"Or, why don't you slap me again?" Winters asked quietly.

This statement was incredibly sarcastic, and Anna was completely enraged. Then... she cried.

Yes, Anna was so angry she cried.

She squatted on the ground, buried her head, and cried bitterly.

Winters was dumbfounded.

He was dumbfounded and at a loss for what to do.

"Hey? Why are you crying?"

"You're not faking crying, are you?"

The other person cried louder.

"What kind of nonsense is this? I'm innocent."

“If your servants hear this, I won’t be able to clear my name…and you won’t be able to clear your name either.”

It still didn't work.

Winters also squatted down and tentatively asked, "How about... I slap you too and we call it even?"

"Go ahead and hit me!" Anna raised her head, sobbing, looking weak, helpless, and fierce.

It's finally working.

“I don’t hit… ladies.” Winters originally wanted to say he didn’t hit women, but then he thought of Sophia. There were also ruthless assassins like Sophia among women, so he changed “women” to “ladies” instead.

Anna stopped crying, her eyes red, and sniffled, completely lacking any ladylike demeanor, as she asked Winters, "You said you wanted to buy the painting I painted, right?"

"I'm willing to buy it. Name your price."

"I can't ask for too much," Winters thought. "I'll have to ask Uncle Giovanni for reimbursement."

“You’ll find out the price.” Anna glared at Winters and pushed him out of the studio.

------

On the way home, Antonio said to Winters with admiration, "Miss Navarre is truly remarkable. I think she would have achieved even more if she weren't a woman."

“Didn’t you just tell me a few days ago that the widow was supporting half of Veneta?” Winters retorted.

“Yes, I was talking about widows.” Antonio smiled. “Miss Navarre would be even more accomplished if she were a widow.”

------

At the Navarre estate, Anna buried her head in Madame Navarre's arms; there was no trace of her recent crying on her face.

"Are you familiar with that young man named Winters?" Mrs. Navarre asked casually.

"No, this is only the second time we've met today," Anna replied absentmindedly.

What do you think of him?

"not good!"

Madame Navarre said earnestly to Anna, "I know his mother and have met his father. He has Northern ancestry, and our family does not intermarry with Northerners. Do you understand?"

"Oh dear! Mom, what are you saying! I'm not Catherine, who only thinks about getting married all the time!"

Thank you to readers 20170726153222839, 20181013204343295, yanyunsan, and yangxiachi for their recommendation votes. Thank you to all the friends who voted for me before. Thank you everyone. The historical evolution of widows' property rights and their gradual recognition as individuals with full civil capacity is very interesting.

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(End of this chapter)