We approached what had been Adelmo’s working place

We approached what had been Adelmo’s working place, where the pages of a richly illuminated psalter still lay. They were folios of the finest vellum—that queen among parchments—and the last was still fixed to the desk. Just scraped with pumice stone and softened with chalk, it had been smoothed with the plane, and, from the tiny holes made on the sides with a fine stylus, all the lines that were to have guided the artist’s hand had been traced. The first half had’ already been cov?ered with writing, and the monk had begun to sketch the illustrations in the margins. The other pages, on the contrary, were already finished, and as we looked at them, neither I nor William could suppress a cry of wonder. This was a psalter in whose margins was delin?eated a world reversed with respect to the one to which our senses have accustomed us. As if at the border of a discourse that is by definition the discourse of truth, there proceeded, closely linked to it, through wondrous allusions in aenigmate, a discourse of falsehood on a topsy-turvy universe, in which dogs flee before the hare, and deer hunt the lion. Little bird-feet heads,, animals with human hands on their back, hirsute pates from which feet sprout, zebra-striped dragons, quadru?peds with serpentine necks twisted in a thousand inex?tricable knots, monkeys with stags’ horns, sirens in the form of fowl with membranous wins, armless men with other human bodies emerging from their backs like humps, and figures with tooth-filled mouths on the belly, humans with horses’ heads, and horses with hu?man legs, fish with birds’ wings and birds with fishtails, monsters with single bodies and double heads or single heads and double bodies, cows with cocks’ tails and butterfly wings, women with heads scaly as a fish’s back, two-headed chimeras interlaced with dragonflies with lizard snouts, centaurs, dragons, elephants, manticores stretched out on tree branches, gryphons whose tails turned into an archer in battle array, diabolical crea?tures with endless necks, sequences of anthropomor?phic animals and zoomorphic dwarfs joined, sometimes on the same page, with scenes of rustic life in which you saw, depicted with such impressive vivacity that the figures seemed alive, all the life of the fields, plowmen, fruit gatherers, harvesters, spinning-women, sowers along?side foxes, and martens armed with crossbows who were scaling the walls of a towered city defended by monkeys. Here an initial letter, bent into an L, in the lower part generated a dragon; there a great V, which began the word “verba,” produced as a natural shoot from its trunk a serpent with a thousand coils, which in turn begot other serpents as leaves and clusters.
Next to the psalter there was, apparently finished only a short time before, an exquisite book of hours, so incredibly small that it would fit into the palm of the hand. The writing was tiny; the marginal illuminations, barely visible at first sight, demanded that the eye examine them closely to reveal all their beauty (and you asked yourself with what superhuman instrument the artist had drawn them to achieve such vivid effects in a space so reduced). The entire margins of the book were invaded by minuscule forms that generated one another, as if by natural expansion, from the terminal scrolls of the splendidly drawn letters: sea sirens, stags in flight, chimeras, armless human torsos that emerged like slugs from the very body of the verses. At one point, as if to continue the triple “Sanctus, Sanctus, Sanctus” repeat?ed on three different lines, you saw three ferocious figures with human heads, two of which were bent, one downward and one upward, to join in a kiss you would not have hesitated to call immodest if you were not persuaded that a profound, even if not evident, spiritu?al meaning must surely have justified that illustration at that point.
As I followed those pages I was torn between silent admiration and laughter, because the illustrations natu?rally inspired merriment, though they were commenting on holy pages. And Brother William examined them smiling and remarked, “Babewyn: so they are called in my islands.”
“Babouins: that is what they call them in Gaul,” Malachi said. “Adelmo learned his art in your country, although he studied also in France. Baboons, that is to say: monkeys from Africa. Figures of an inverted world, were houses stand on the tip of a steeple and the earth is above the sky.”
I recalled some verses I had heard in the vernacular of my country, and I could not refrain from repeating them:
“Good for you, Adso,” the librarian continued. “In fact, these images tell of that country where you arrive mounted on a blue goose, where hawks are found that catch fish in a stream, bears that pursue falcons in the sky, lobsters that fly with the doves, and three giants are caught in a trap and bitten by a cock.”
And a pale smile brightened his lips. Then the other monks, who had followed the conversation a bit shyly, laughed heartily, as if they had been awaiting the librarian’s consent. He frowned as the others continued laughing, praising the skill of poor Adelmo and pointing out to one another the more fantastic figures. And it was while all were still laughing that we heard, at our backs, a solemn and stern voice.
“Verba vana aut risui apta non loqui.”
We turned. The speaker was a monk bent under the weight of his years, an old man white as snow, not only his skin, but also his face and his pupils. I saw he was blind. The voice was still majestic and the limbs powerful, even if the body was withered by age. He stared at us as if he could see us, and always thereafter I saw him move and speak as if he still possessed the gift of sight. But the tone of his voice was that of one possessing only the gift of prophecy.
“The man whom you see, venerable in age and wisdom,” Malachi said to William, pointing out the newcomer, “is Jorge of Burgos. Older than anyone else living in the monastery save Alinardo of Grottaferrata, he is the one to whom many monks here confide the burden of their sins in the secret of confession.” Then, turning to the old man, he said, “The man standing before you is Brother William of Baskerville, our guest.”