===OO=OOO=OO===
Outside, my eyes watered in the cold white light. The sun was high now and gave brightness if not warmth. More paths had been cleared through the snow and people were going about their business again, black habits criss-crossing the white expanse.
The library building, next to the church, was surprisingly large. Light streamed in from high windows, illuminating shelves crammed with books. The desks were empty, save for a novice scratching his head over a heavy tome, and an old monk in a corner laboriously copying a manuscript.
'Not many at study,' I observed.
'The library is often empty,' Brother Gabriel said regretfully. 'If someone has to consult a book, he usually takes it to his cell.' He went over to the old monk. 'How are you progressing, Stephen?'
The old man squinted up at us. 'Slowly, Brother Gabriel.' I glanced at his work; he was copying an early bible, the letters and the painted figures beside the text worked in intricate detail, the colours standing out brightly on the thick parchment, only slightly faded after centuries. The monk's copy, though, was a poor affair, the letters scratchy and uneven, the colours gaudy. Brother Gabriel patted him on the shoulder. 'Nec aspera terrent, Brother,' he said, before turning to me. 'I will show you the illustration of Barabbas's hand.'
The sacrist led me up winding stairs to the upper floor. Here were more books, innumerable shelves stacked with ancient volumes. Thick dust lay everywhere.
'Our collection. Some of our books are copies of Greek and Roman works made in the days when copying was an art. Even fifty years ago those desks downstairs would have been filled with brothers copying books. But since printing came in no one wants illustrated works, they are happy with these cheap books with their ugly, square letters all squashed together.'
'Printed books may be less beautiful, but now God's word can be brought to all.'
'But can it be understood by all?' he replied with animation. 'And without illustration and art to stimulate our awe and reverence?' He took an old volume from the shelves and opened it, coughing amidst the dust it raised. Little painted creatures danced impishly among lines of Greek text.
'Reputedly a copy of Aristotle's lost work On Comedy,' he said. 'A fake, of course, thirteenth-century Italian, but beautiful nonetheless.' He closed it, turning to an enormous volume that shared a shelf with a number of rolled-up plans. He pulled them out and I took one to assist him. I was surprised when he grabbed it back.
'No! Don't take it!'
I raised my eyebrows. His face reddened.
'I am sorry — I — I would not have you get dust on your clothes, sir.'
'What are those?'
'Old plans of the monastery. The mason consults them sometimes.' He withdrew the volume beneath. It was so large he had difficulty in heaving it over to a desk. He turned the pages carefully.
'This is an illustrated history of the monastery's treasures, set down two hundred years ago.' I saw coloured pictures of the statues I had seen in the church, and other items like the lectern in the refectory, each drawing annotated with measurements and a Latin commentary. The centre pages were taken up with a coloured illustration of a large square casket set with jewels. Inside a glass panel, on a purple cushion, lay a piece of dark wood. A human hand was fixed there by a broad-headed nail driven through the palm; withered and ancient, every sinew and tendon visible. From the measurements the box was two feet square and a foot deep.
'So those are the emeralds,' I said. 'They are large. The casket could have been stolen for its precious jewels and gold?'
'Yes. Though any Christian doing such a thing would lose their immortal soul.'
'I always thought the thieves crucified with Christ had their hands tied to the cross rather than being nailed to it, so that their suffering should be prolonged. So it is shown in religious paintings.'