Free Kristin Lavransdatter by Sigrid Undset

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.
    In another painting the Virgin Mary sat with the Christ child on her knee. He had put one hand up under his mother’s chin, and he was holding an apple in the other. With them stood Saint Sunniva and Saint Kristina. They were leaning gracefully from the hips, their faces a lovely pink and white, and they had golden hair and wore golden crowns.
    Brother Edvin gripped his right wrist with his left hand as he painted leaves and roses in their crowns.
    “It seems to me that the dragon is awfully small,” said Kristin, looking at the image of the saint who was her namesake. “It doesn’t look as if it could swallow up the maiden.”
    “And it couldn’t, either,” said Brother Edvin. “It was no bigger than that. Dragons and all other creatures that serve the Devil only seem big as long as we harbor fear within ourselves. But if a person seeks God with such earnestness and desire that he enters into His power, then the power of the Devil at once suffers such a great defeat that his instruments become small and impotent. Dragons and evil spirits shrink until they are no bigger than goblins and cats and crows. As you can see, the whole mountain that Saint Sunniva was trapped inside is so small that it will fit on the skirt of her cloak.”
    “But weren’t they inside the caves?” asked Kristin. “Saint Sunniva and the Selje men? 5 Isn’t that true?”
    The monk squinted at her and smiled again.
    “It’s both true and not true. It seemed to be true for the people who found the holy bodies. And it seemed true to Sunniva and the Selje men, because they were humble and believed that