The Master of Glastonbury

Adults only. Medieval erotica: A story associated with The Poor Nuns series.
A woman dresses as a man to achieve her ambition to become a master painter in great church buildings; sexually frustrated, she creates erotic works of art "on the side". Following a sexual assault one night, she needs somewhere to hide and is permitted to wear a monk's habit whilst continuing to work in a remote nunnery, a safe haven. But she craves to become accepted as a woman once more; to be married and raise a family. Can she ever rid herself of her past life?

SAMPLE:

She spent much of her spare time the next day with Master Edward's book of sketches, studying the pictures of David dancing before the Ark, and of Judith with Holofernes. Deciding finally on Judith as her subject, she would have her masturbating the drunken Holofernes while she had her knife poised at his neck. This would give her the most sexual pleasure; she could work this theme with a passion, with the kind of driving fury she had seen others apply in their work here when they were totally absorbed. She identified the empty space she would use for her sketch, and would bide her time when she could be left alone to fulfil her growing infatuation.
The evening came; it was still early enough for her to have all the light she needed, although she would have to work fast. As was her custom, she returned the book to Master Edward without raising any suspicion as to her intentions; then, rather than walking out of the church, she made for the chapel containing the blank wall.
First, she sketched the head and sinewy body of the male figure, the Assyrian general Holofernes; bearded and handsome, like the lord of the manor who had released her into the care of Master Edward, he rested with his eyes shut, drunk with wine and desire for the young Jewish widow who held him in her arms. Then she began delineating Judith, her breasts cascading out of her loose upper garment, her legs apart provocatively. One arm reached up, holding the general's sword at his neck, while the other hand went down to caress his erect penis. She wondered whether the original Judith had actually managed to induce her adversary to climax in the moment of his death; she felt a pounding in her crotch as she viewed the completed work. It was important for her to capture the whole scene in her mind for, one day, she would recreate this picture on a wall somewhere for an important commission, painted to perfection and admired by everyone who saw it.
When she had committed everything to memory, she knew it was time to wash it away. For it must not be seen by anyone; if any of the priests or monks here saw her at work on this - with its erotic connotations - she would be severely punished. It was unseemly for a woman to paint or draw a man's genitals, particularly a single woman. She would be branded a whore and would be consigned to a brothel at a local tavern to work.
On the verge of panic, she reached for a rag and plunged it in a pail of water that she had standing ready. There were voices outside in the nave, and they were getting louder. Edging against the doorway, she saw three monks approaching. She would have to stop erasing her work and see to her own survival. Then a voice called out in the distance. The monks turned, and she heard a discussion begin. She looked round the chapel, and saw a table-tomb standing in one corner; it stood only two feet high, and probably contained the remains of a former abbot. There was just enough room for her to hide behind it if the monks came through the doorway.
Racing over to her hiding place, she squatted behind it and waited to see if the men entered the chapel. She heard footsteps, and looked round the end of the tomb. Only one of the monks had entered, and he was looking at her work. She heard him gasp....

Dettagli