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But many of them, like this of Patir, are too decayed and remote from the life of man. Fiore, who wrote in 1691, counts up 94 dilapidated Basilean monasteries in Calabria out of a former total of about two hundred; Patir and thirteen others he mentions as having, in his day, their old rites still subsisting. Batiffol has recently gone into the subject with his usual thoroughness.
The library, once celebrated, contains musty folios of classics and their commentators, but nothing of value. It has been ransacked of its treasures like that of Patir, whose disjecta membra have been tracked down by the patience and acumen of Monsignor Batiffol. What have we English done in this direction? Nothing. Absolutely nothing. Such thoughts occur inevitably.
In the days of Fiore the inmates of this convent still practised their old rites. Bertaux gives a reproduction of this serpent; he assimilates it, as regards technique and age, to that which lies before the altar of Monte Cassino and was wrought by Greek artisans of the abbot Desiderius. The church itself is held to be two centuries older than that of Patir.
And the life of those old monks of Saint Basil, as we now know it, represented a veritable renaissance of art and letters. Of the ten Basilean convents that grew up in the surroundings of Rossano the most celebrated was that of S. M. del Patir.
Go to Mount Athos, if you wish to see specimens of all the different stages conveniently arranged upon a small area. . . . This convent of Patir exercised a great local influence as early as the tenth century; then, towards the end of the eleventh, it was completely rebuilt without and reorganized within. The church underwent a thorough restoration in 1672.
I was pursued into the church of Patir by a bevy of country wenches who frequented this region for purposes of haymaking. There is a miraculous crucifix in this sanctuary, hidden behind a veil which, with infinite ceremony, these females withdrew for my edification. There it was, sure enough; but what, I wondered, would happen from the presence of these impure creatures in such a place?
Again: 'Clauiculis firmis theos antropos impos et ir mis Figor ob infirmi cosmos delicta, patir mi. Impos = in pedibus. Another work dictated to Erasmus at Deventer was the metrical grammar of Eberhard of Bethune in Artois, composed in the twelfth century.
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