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She then found a glass stopper of the right size, not sealing the bottle completely, and instructed that it be stored in the cellar for at least two years.
After two years, the stopper should be replaced with an oak cork, allowing the wine's flavor to fully meld with the wood's essence.
While she didn’t fully understand the brewing process, she was familiar with wine storage.
"By the way," she said, looking at the confused Cosimo, "Angels will visit the wine cellar and take a large cup. Don’t be surprised when it happens."
Da Vinci raised an eyebrow, intrigued by the comment.
"Angels will come?" Cosimo suddenly looked alarmed. "Will they only drink from this barrel?"
Hedy smiled, unaffected, and spun a tale, "Yes, because oak is the Tree of God."
Of course, this matter would still be reported to the lord.
"She even handed the microscope designs to Mr. da Vinci, asking him to improve them further..." Cosimo thought for a moment, then hesitantly asked, "Do you think the angels will actually come to the palace to drink the wine?"
"Why would that be impossible?" Lorenzo flipped a page in his book. "Seal the door and keep watch at the entrance."
Before they could exchange a few more words, a knock sounded at the door.
Hedy walked in, carrying the corkscrew and cork, along with a simple set of instructions for use.
"Now, the glass bottle can also be used for bulk storage. It works much better than using cloth to seal it."
As Lorenzo watched her demonstrate how the wine bottle opened and closed, he suddenly asked, "That boiler room you mentioned this morning—how exactly is it designed?"
"That... will probably take some time," Hedy thought for a moment. "I still need to discuss it with Mr. da Vinci."
She understood the process from settling to filtering, but the entire system of rotation would certainly need his help to improve.
The lord’s dark eyes fixed on her for a moment before he finally looked away.
"I see. You may go now."
The progress at the monastery was going smoothly.
Thanks to the carnival, Da Vinci had collected a large amount of material and had deepened his understanding of light.
He had designed a swirling scene, which featured over sixty characters and animals, with emotional depth and atmosphere well captured.
At the center of the vortex was the baby Jesus, with wise men and animals surrounding the steps and courtyard, and the layering of the near and far views was clearly defined. It was evident that it would challenge one's spatial imagination.
Although Da Vinci usually maintained a cold demeanor toward Botticelli, during moments of creative work, he still brought his notebook to look at two of Botticelli’s old pieces.
The same theme and mythology in their hands seemed to transform into entirely different worlds.
Hedy watched as Da Vinci sketched many drafts, using quill pens and metal nibs to outline lines of varying thickness and hardness.
The figures, some standing, some sitting, some praying, some turning to gaze into the distance, were all abstractly represented through different body postures.
"I’ve thought about this for a long time, and I’ve decided to start by drawing the skeleton, then build up the flesh and skin on top of it," Da Vinci said, dropping ox bile into the egg tempera. He explained the origin of the grid-like sketch on the canvas. "Actually, the reason this painting has been delayed for so long is because capturing the expressions of the figures has been so difficult. Sometimes, it feels like everything is just a chaotic mess, and it would be better to start over entirely."
Hedy, standing beside the eight-square-foot poplar wood board, reached out to dip her finger into the chalky edges of the canvas. Turning to him, she asked, "Why are these palaces collapsingand crumbling?"
In the image, the newborn Jesus was held by the Virgin Mary amidst the ruins, making it seem very different from all the other works.
"Rebirth," Da Vinci showed her the faint erasure marks, where workers could be seen repairing the palaces.
