The Wreath (Kristin Lavransdatter #1)(16)
“Well, what good does that do me?” said the woman peevishly. “And it seems to me that there are more holy places here than holiness.”
The monk chuckled and shook his head. Then he rummaged around in his straw pallet and pulled out a big pile of apples and pears, which he shared among the children. Kristin had never tasted such luscious fruit. The juice ran out of her mouth with every bite she took.
Then Brother Edvin had to go off to church, and he said that Kristin could come along. They cut across the cloister courtyard, and through a little side door they entered the church’s choir.
Construction was still going on at this church too, and scaffolding had been set up at the juncture of the nave and the transept. Brother Edvin told Kristin that Bishop Ingjald was having the choir renovated and decorated. The bishop was immensely wealthy, and he used all of his riches to adorn the churches of the town. He was an excellent bishop and a good man. The friars of Olav’s cloister were also good men: celibate, learned, and humble. It was a poor monastery, but they had received Brother Edvin kindly. His home was at the Minorite3 cloister in Oslo, but he had been given permission to beg for alms here in the Hamar diocese.
“Come over here,” he said, leading Kristin to the foot of the scaffolding. He climbed up a ladder and rearranged several planks high above. Then he went back down and helped the child to ascend.
On the gray stone wall above her, Kristin saw strange, flickering specks of light, red as blood and yellow as ale, blue and brown and green. She wanted to look behind her, but the monk whispered, “Don’t turn around.” When they stood together high up on the planks, he gently turned her around, and Kristin saw a sight so glorious that it almost took her breath away.
Directly opposite her, on the south wall of the nave, stood a picture that glowed as if it had been made from nothing but glittering gemstones. The multicolored specks of light on the wall came from rays emanating from the picture itself; she and the monk were standing in the midst of its radiance. Her hands were red, as if she had dipped them in wine; the monk’s face seemed to be completely gilded, and from his dark cowl the colors of the picture were dimly reflected. She gave him a questioning glance, but he merely nodded and smiled.
It was like standing at a great distance and looking into heaven. Behind a lattice of black lines she began to distinguish, little by little, the Lord Jesus himself, wearing the costliest red cloak; the Virgin Mary in robes as blue as the sky; and the holy men and maidens in gleaming yellow and green and violet attire. They stood beneath the arches and pillars of illuminated houses surrounded by intertwining branches and twigs with extraordinary, bright leaves.
The monk pulled her a little farther out toward the edge of the scaffold.
“Stand here,” he whispered. “Then the light will fall on you from Christ’s own cloak.”
From the church below the faint smell of incense and the odor of cold stone drifted up toward them. It was gloomy down below, but rays of sunlight were entering diagonally through a series of windows on the south wall of the nave. Kristin began to see that the heavenly picture must be some sort of windowpane,4 for it filled that type of opening in the wall. The others were empty or closed off with panes of horn in wooden frames. A bird appeared, perched on the windowsill, chirped briefly, and then flew away. Outside the wall of the choir the sound of metal on stone could be heard. Otherwise everything was quiet; only the wind came in small gusts, sighed a little between the church walls, and then died away.
“Well, well,” said Brother Edvin with a sigh. “No one can make things like this in Norway. They may paint with glass in Nidaros, but not like this. But in the lands to the south, Kristin, in the great cathedrals, there they have picture panes as big as the portals of this church.”
Kristin thought about the pictures in the church back home. The altars of Saint Olav and Saint Thomas of Canterbury had paintings on the front panels and the tabernacles behind. But those pictures seemed dull to her and without radiance as she thought about them now.
They climbed down the ladder and went up into the choir. There stood the altar, naked and bare, and on its stone top were stacked up small boxes and cups made of metal and wood and ceramic; odd little knives, pieces of iron, and pens and brushes lay next to them. Then Brother Edvin told Kristin that these were his tools. He was skilled in the craft of painting pictures and carving tabernacles, and he had made the exquisite paintings that stood nearby on the choir chairs. They were intended for the front panels of the altars here in the friars’ church.
Kristin was allowed to watch as he mixed colored powders and stirred them in little ceramic cups, and she helped him carry the things over to a bench next to the wall. As the monk went from one painting to the next, sketching fine red lines in the fair hair of the holy men and women so curls and waves were made visible, Kristin followed close on his heels, watching him and asking questions. And the monk explained what he had painted.
In one of the paintings Christ sat on a golden chair, and Saint Nikulaus and Saint Clement stood near him under a canopy. On either side was depicted the life of Saint Nikulaus. In one place he was an infant sitting on his mother’s knee; he had turned away from the breast she offered him, for he was so holy, even in his cradle, that he refused to nurse more than once on Fridays. Next to this was a picture of him placing the money bags at the door of the house where three maidens lived who were so poor that they couldn’t find husbands. Kristin saw how he cured the child of the Roman knight, and she saw the knight sail off in a boat with the false golden chalice in his hands. The knight had promised the holy bishop a golden chalice, which had been in his family for a thousand years, as payment for returning the child to good health. But then he tried to betray Saint Nikulaus by giving him a false golden chalice instead. That’s why the boy fell into the sea with the real golden chalice in his hand. But Saint Nikulaus carried the child unharmed beneath the water, and he emerged onto shore as his father stood in Saint Nikulaus’s church, offering the false goblet. All of this was shown in the picture, painted with gold and the most beautiful of colors.