“Well keep at it, Brother! How clever they must have been, those ancients — to know how to untwist nothing. Keep at it, and you may learn how. Then we’d have the “electron” in our midst, wouldn’t we? Whatever would we do with it? Put it on the altar in the chapel?”
“All right,” Francis sighed, “I don’t know. But I have a certain faith that the ‘electron’ existed at one time, although I don’t know how it was constructed or what it might have been used for.”
“How touching!” chuckled the iconoclast, and returned to his work.
The sporadic teasing of Brother Jeris saddened Francis, but did nothing to lessen his devotion to his project.
The exact duplication of every mark, blotch, and stain proved impossible, but the accuracy of his facsimile proved sufficient for the deception of the eye at a distance of two paces, and therefore adequate for display purposes, so that the original might be sealed and packed away. Having completed the facsimile, Brother Francis found himself disappointed. The drawing was too stark. There was nothing about it to suggest at first glance that it might be a holy relic. The style was terse and unpretentious — fittingly enough, perhaps, for the Beatus himself, and yet —
A copy of the relic was not enough. Saints were humble people who glorified not themselves but God, and it was left to others to portray the inward glory of the saintly by outward, visible signs. The stark copy was not enough: it was coldly unimaginative and did not commemorate the saintly qualities of the Beatus in any visible way.
Glorificemus, thought Francis, while he worked on the perennials. He was copying pages of the Psalms at the moment for later rebinding. He paused to regain his place in the text, and to notice meaning in the words — for after hours of copying, he had ceased to read at all, and merely allowed his hand to retrace the letters which his eyes encountered. He noticed that he had been copying David’s prayer for pardon, the fourth penitential psalm, “Miserere mei, Deus …for I know my iniquity, and my sin is always before me.” It was a humble prayer, but the page before his eyes was not written in a humble style to match. The M in Miserere was gold-leaf inlay. A flourishing arabesque of interwoven gold and violet filaments filled the margins and grew into nests around the splendid capitals at the beginning of each verse. However humble the prayer itself, the page was magnificent. Brother Francis was copying only the body of the text onto new parchment, leaving spaces for the splendid capitals and margins as wide as the text lines. Other craftsmen would fill in riots of color around his simply inked copy and would construct the pictorial capitals. He was learning to illuminate, but was not yet proficient enough to be trusted at gold-inlay work on the perennials.
Gloreficemus. He was thinking of the blueprint again.
Without mentioning the idea to anyone, Brother Francis began to plan. He found the finest available lambskin and spent several weeks of his spare time at curing it and stretching it and stoning it to a perfect surface, which he eventually bleached to a snowy whiteness and carefully stored away. For months afterward, he spent every available minute of his free time looking through the Memorabilia, again seeking clues to the meaning of the Leibowitz print. He found nothing resembling the squiggles in the drawing, nor anything else to help him interpret its meaning, but after a long time he stumbled across a fragment of a book which contained a partially destroyed page whose subject matter was blueprinting. it seemed to be a piece of an encyclopaedia. The reference was brief and some of the article was missing, but after reading it several times, he began to suspect that he — and many earlier copyists — had wasted a lot of time and ink. The white-on-dark effect seemed not to have been a particularly desirable feature, but one which resulted from the peculiarities of a certain cheap reproduction process. The original drawing from which the blueprint had been made had been black-on-white. He had to resist a sudden impulse to beat his head against the stone floor. All that ink and labor to copy an accident! Well, perhaps Brother Horner need not be told. It would be a work of charity to say nothing about it, because of Brother Horner’s heart condition.
The knowledge that the color scheme of blueprints was an accidental feature of those ancient drawings lent impetus to his plan. A glorified copy of the Leibowitz print could be made without incorporating the accidental feature. With the color scheme reversed, no one would recognize the drawing at first. Certain other features could obviously be modified. He dared change nothing that he did not understand, but surely the parts tables and the block-lettered information could be spread symmetrically around the diagram on scrolls and shields. Because the meaning of the diagram itself was obscure, he dared not alter its shape or plan by a hair; but since its color scheme was unimportant, it might as well be beautiful. He considered gold inlay for the squiggles and doohickii, but the thingumbob was too intricate for goldwork, and a gold quid would seem ostentatious. The quiggles just had to be done jet black, but that meant that the lines should be off-black, to assert the quiggles. While the unsymmetrical design would have to stay as it was, he could think of no reason why its meaning would be altered by using it as a trellis for a climbing vine, whose branches (carefully dodging the quiggles) might be made to furnish an impression of symmetry or render asymmetry natural. When Brother Horner illuminated a capital M, transmuting it into a wonderful jungle of leaves, berries, branches, and perhaps a wily serpent, it nevertheless remained legible as M. Brother Francis saw no reason for supposing that the same would not apply to the diagram.
The general shape, over-all, with a scrolled border, might well become a shield, rather than the stark rectangle which enclosed the drawing in the print. He made dozens of preliminary sketches. At the very top of the parchment would be a representation of the Triune God, and at the very bottom — the coat of arms of the Albertian Order, with, just above it the image of the Beatus.
But there was no accurate likeness of the Beatus in existence, so far as Francis knew. There were several fanciful portraits, but none dating back to the Simplification. There was, as yet, not even a conventional representation, although tradition told that Leibowitz had been rather tall and somewhat stooped. But perhaps when the shelter was reopened — Brother Francis’ preliminary sketchwork was interrupted one afternoon by his sudden awareness that the presence which loomed behind him and cast its shadow across his copy-table was that of — was that of — No! Please! Beate Leibowitz, audi me! Mercy, Lord! Let it be anybody but —
“Well, what have we here?” rumbled the abbot, glancing over his designs.
“A drawing, m’Lord Abbot.”
“So I notice. But what is it?”
“The Leibowitz blueprint.”
“That one you found? What? It doesn’t look much like it. Why the changes?”
“It’s going to be—”
“Speak louder!”
“ — AN ILLUMINATED COPY!” Brother Francis involuntarily shrieked.
“Oh.”
Abbot Arkos shrugged and wandered away.
Brother Horner, a few seconds later, while wandering past the apprentice’s desk was surprised to notice that Francis had fainted.
8
To the amazement of Brother Francis, Abbot Arkos no longer objected to the monk’s interest in the relics. Since the Dominicans had agreed to examine the matter, the abbot had relaxed; and since the cause for the canonization had resumed some progress in New Rome, he appeared at times to forget entirely that anything special had happened during the vocational vigil of one Francis Gerard, AOL, formerly of Utah, presently of the scriptorium and copyroom. The incident was eleven years old. The preposterous whisperings in the novitiate concerning the pilgrim’s identity had long since died away. The novitiate of Brother Francis’ time was not the novitiate of today. The newest of the new crop of youngsters had never heard of the affair.