Kay, Guy Gavriel – Sarantine Mosaic 01 – Sailing to Sarantium

He had known this work was here, westernmost of all the renderings of the god done with the full dark eastern beard and those black, haunted eyes: Jad as judge, as worn, beleaguered warrior in deathly combat, not the shining, blue-eyed, golden sun-figure of Crispin’s west. But knowing and seeing were so far from the same thing it was as if… as if one was the world and the other the half-world of hidden powers.

The old craftsmen. Their primitive fashion.

So he had thought, back home. Crispin felt an aching in his heart for the depths of his own folly, the revealed limitations of his understanding and skill. He felt naked before this, grasping that in its own way this work of mortal men in a domed chapel was as much a manifestation of the holy as the bison with its blood-smeared horns in the wood, and as appalling. The fierce, wild power of Ludan, accepting sacrifice in his grove, set against the immensity of craft and comprehension on this dome, rendering in glass and stone a deity as purely humbling. How did one move from one of these poles to the other? How did mankind live between such extremes?

For the deepest mystery, the pulsing heart of the enigma, was that as he lay on his back, paralysed by revelation, Crispin saw that the eyes were the same. The world’s sorrow he’d seen in the zubir was here in the sun god above him, distilled by nameless artisans whose purity of vision and faith unmanned him. Crispin was actually unsure for a moment if he’d ever be able to get up, to reassert his self-control, his will.

He struggled to disentangle the elements of the work here, to gain some mastery over it and himself. Deep brown and obsidian in the eyes, to make them darker and stronger than the framing brown hair, shoul­der length. The long face made longer by that straight hair and the beard; the arched, heavy eyebrows, deeply etched forehead, other lines scoring the cheeks-the skin so pale between beard and hair it showed as nearly grey. Then down to the rich, luxurious blue of the god’s robe beneath his cloak which was shot through, Crispin saw, with a dazzling myriad of contrasting colours for a woven texture and the hinted play and power of light in a god whose power was light.

And then the hands. The hands were heartbreaking. Contorted, elon­gated fingers with the ascetic spiritualism suggested by that, but there was more: these were no cleric’s fingers, no hands of repose and clasped med­itation, they were both scarred. One finger on the left hand had clearly been broken; it was crooked, the knuckle swollen: red and brown tesserae against white and grey. These hands had wielded weapons, had been cut, frozen, known savage war against ice and black emptiness in the endless defence of mortal children whose understanding was… that of children, no more.

And the sorrow and judgement in the dark eyes was linked to what had happened to those hands. The colours, Crispin saw-the craftsman in him marvelling-brought hands and eyes inescapably together. The vivid, unnaturally raised veins on the wrists of both pale hands used the same brown and obsidian that were in the eyes. He knew, intuitively, that this precise pairing of tesserae would exist nowhere else on the dome. The eyes of sorrow and indictment, the hands of suffering and war. A god who stood between his unworthy children and the dark, offering sunlight each morning in their brief time of life, and then his own pure Light afterwards, for the worthy.

Crispin thought of Ilandra, of his girls, of the plague ravaging like a rabid carnivore through all the world, and he lay on cold stone beneath this image of Jad and understood what it was saying to him, to all those here below: that the god’s victory was never assured, never to be taken for granted. It was this, he realized, that the unknown mosaicists of long ago were reporting on this dome to their brethren with this vast, weary god against the soft gold of his sun.

‘Are you all right? My lord! Are you all right?’

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