The Devil's Bible Chapter 40: Queen Christina’s Legacy and Lysa’s Vigil

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

The chapter opens with a historical sketch of Queen Christina of Sweden (born 1626). She was the daughter of King Gustav Adolph and Maria Eleonora; initially mistaken for a boy, her father was pleased she would “make fools of them all.” Her childhood coincided with the Little Ice Age and the Thirty Years’ War, in which Sweden fought on the Protestant side. After her father’s death, six‑year‑old Christina became queen, with Axel Oxenstierna serving as regent. Against his counsel, she helped end the Thirty Years’ War via the Peace of Westphalia (1648) after ordering the plunder of Prague. She was highly intelligent, fluent in Greek and Latin, studied philosophy and science, and was fascinated by alchemy. Known as the “Minerva of the North,” she transformed Stockholm into the “Athens of the North.” Despite her achievements, she later converted to Catholicism, abdicated in 1654, and left Sweden.

The scene shifts to a present‑day bedroom where a woman named Lysa admires a painting of Queen Christina signing a request to open a new silver mine. The painting depicts the queen at a candlelit table, a bowing mine captain, and workers. Lysa reflects on the meaning of the Latin phrase Ars sina scienta nihil est (Art without knowledge is nothing). She mourns that few now remember Christina’s greatness, noting that her conversion and abdication made her less celebrated. A knock interrupts her thoughts; Monica enters and informs Lysa that Mr. Westlake (John) is on his way. Lysa is glad and asks about John’s business, learning it should conclude by the next afternoon. Monica suggests Lysa enjoy a warm bath in the Roman‑style tub while she waits. Left alone, Lysa observes the room’s Old World atmosphere—paneled sage‑green walls, parquet flooring, oil paintings. She recalls arriving at the house, built in the mid‑eighteenth century on a small island in Lake Mälaren, eighty kilometers northwest of Stockholm—a former hunting lodge isolated by forest. She believes John would never allow anything to happen to her. Returning her gaze to the painting, she thinks of Christina’s unconventional life, her lavish spending that pushed Sweden toward bankruptcy, and the Pope’s harsh description of her. Quoting Proverbs 3:35 (“The wise will inherit honor, but fools get disgrace”), she decides to take a warm bath to draw the day to a close, knowing John will arrive within the hour.

Key Events

• The historical life of Queen Christina is recounted from birth to abdication.
• Lysa is in a bedroom contemplating a painting of Christina signing a silver‑mine request.
• Monica enters to tell Lysa that John Westlake is on his way to the house.
• Lysa inquires about the progress of John’s business; Monica says it will be done by the next afternoon.
• Monica suggests Lysa take a relaxing bath in the Roman tub while waiting.
• Lysa reflects on the isolation and history of the house—a former hunting lodge on an island in Lake Mälaren.
• She recalls the negative legacy of Christina’s later years and quotes scripture.

Character Development

Lysa – The chapter reveals her deeply reflective nature. She is well‑read and draws connections between historical figures and her own situation. Her admiration for Queen Christina suggests a longing for legacy and recognition. Her trust in John is absolute; she considers the house safe because “John would never allow anything to happen to her.” Her willingness to follow Monica’s suggestion of a bath shows a desire for calm before John’s arrival, hinting at a need for composure after an “unusual day.”

Monica – Appears as a considerate attendant or ally. She delivers news of John’s imminent arrival, checks on Lysa’s welfare, and offers a practical suggestion for relaxation. Her role is supportive but leaves her motives unclear.

John Westlake – Though absent, he is a central figure in Lysa’s thoughts. His business is advancing, and his arrival is anticipated. The reader understands he is Lysa’s husband and the protector of their current safe house.

Queen Christina – A historical character brought to life through the painting and Lysa’s meditations. Christina is portrayed as brilliant, unconventional, and transformative, yet her conversion and abdication led to a tarnished legacy. She embodies the tension between greatness and ruin.

Themes, Symbols, or Motifs

Legacy and Memory – The entire chapter revolves around how figures like Queen Christina are remembered—or forgotten. Lysa laments that few know Christina’s name. The painting itself is a monument to a moment of royal power, but it also underscores the fleeting nature of fame.

Art and Knowledge – The motto Ars sina scienta nihil est (Art without knowledge is nothing) appears as a motif. Lysa applies it to the painting, suggesting that understanding the story behind the art is essential to its value.

Isolation and Safety – The house is described as isolated, a “snug, safe place resting from its labors.” The forest outside is black and silent, but Lysa dismisses threats because of John’s protection. This creates a tense atmosphere of waiting—a calm before possible storm.

Waiting – The structure of the chapter is built around Lysa waiting for John. Her decision to take a bath is an act of settling into that wait, turning anxiety into ritual.

Contrast Between Past and Present – The historical grandeur of Christina’s era contrasts with the quiet, secluded modern world of the lodge. Lysa feels the “rarefied air of the past” but recognizes that such glory has faded.

Why This Chapter Matters

Chapter 40 enriches the reader’s understanding of Lysa’s character and the thematic concerns of The Devil’s Bible. By intertwining a detailed historical portrait of Queen Christina with Lysa’s present‑day reflections, the chapter draws a parallel between a legendary queen who lost her kingdom after converting faith and Lysa’s own possible crisis of identity or loyalty. It deepens the novel’s exploration of power, legacy, and the weight of history. The chapter also advances the plot by establishing that John Westlake is returning soon, raising stakes for whatever business he is concluding. Finally, the atmosphere of quiet anticipation prepares the reader for a shift in action.

Study Questions and Answers

1. Why does Lysa identify with Queen Christina, and what does this reveal about her character?
   Lysa sees Christina as a strong, intelligent woman who transformed her country but was ultimately forgotten due to her conversion and abdication. This suggests Lysa may fear a similar fate—being diminished or erased—or that she values legacy and fears being overlooked. It also indicates her education and introspective nature.

2. What is the significance of the phrase Ars sina scienta nihil est in the context of this chapter?
   The phrase “Art without knowledge is nothing” underscores the idea that the painting’s true value lies not in its aesthetic qualities but in the historical narrative it captures. Lysa’s appreciation of the painting is inseparable from her knowledge of Christina’s story, reinforcing the book’s theme that understanding the past enriches the present.

3. How does the setting of the house—a former hunting lodge on an island—contribute to the mood of the chapter?
   The isolation of the house, surrounded by forest and water, creates a sense of seclusion and safety, but also of vulnerability. Lysa’s trust in John’s protection counters any potential threat, yet the “black and silent” woods hint at danger looming outside. The setting heightens the tension of waiting and underscores the characters’ reliance on each other.

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