civilization that drowned when mankind was picking its collective nits.
As I was studying the exhibits, I caught the scent of figs and dried roses and turned to find the Curator standing behind me. “There are artifacts in this section that date back fifty thousand years,” she said, speaking in a hushed voice. “It’s amazing anything was left at all, considering the survivors fled with nothing more than the clothes on their backs and what little they could gather in their arms.”
“What’s that?” I asked, pointing to an exhibit behind velvet ropes. Inside the display case was an opalescent vessel the size and shape of an amphora that contained a viscous pinkish-purple liquid that sluggishly churned to and fro, like a captive octopus hiding in a jar.
“
“That stuff is glass?” I frowned. “It looks more like the goop inside a lava lamp.”
“That’s because living glass is, indeed, alive,” she replied. “It’s a boneless, amorphous creature, not unlike a jellyfish. It thrives on magic, much the same way plants feed on carbon dioxide. Although it possesses no intellect, living glass is highly sensitive to the thoughts of those around it. Once tamed and sculpted, it takes on the appearance of its namesake, but has the strength of tempered steel.
“Back when Kymera was in full flower, there was a class of wizards, known as artifices, who specialized in domesticating and sculpting living glass. But when the tsunami struck, it wiped out the breeding tanks, along with those who tended them. The only artifex to escape the destruction of Kymera was the Lady Ursa, consort to the Witch King, Lord Arum. She brought this very same container of living glass with her when she fled Kymera. She planned to reestablish the species, but died before she could do so. There has not been another artifex since. It is considered a lost talent, drowned along with the shining spires it once raised.”
At the far end of the gallery was an archway leading, according to the signage, to the Hall of Arum, which was twice the size of the first gallery, and included life-sized dioramas. I stared in fascination at a wax dummy with long hair as blue as a peacock’s breast and golden eyes that seemed to possess an eerie luminosity. The mannequin was dressed in elaborately embroidered robes and seated on a golden throne shaped like a rampant dragon, its bejeweled wings spread wide to either side. On the wax figure’s head sat a diadem resembling a pair of dragons, one jet black, the other gold, entwined from tail to snout so that they faced one another, holding a fire opal the size of an egg balanced between their gaping jaws.
Behind the throne was a detailed three-dimensional landscape showing the building of a great city high atop a mountain. Architects could be seen in the background, consulting their schematics as surveyors hovered overhead on winged dragons. Meanwhile, an armored guard sat astride a bearded, wingless dragon, keeping an eye on the brace of Cro-Magnons dragging a mammoth block of stone up the steep hillside.
I glanced down at the placard mounted at the foot of the diorama, which read,
There came a dull thumping sound behind me, and I turned to see Canterbury enter the gallery, his hooves now safely muffled by rubber cuffs. “I see you’re checking out your boyfriend’s family tree,” he commented dryly.
The Curator gave me a speculative look, as if sizing me up for a display case, then motioned for us to follow her. “Come this way, please.”
As we entered yet another exhibition hall, this one called the Hall of Sufferance, we paused in front of yet another diorama, this one depicting a Kymeran with a forked cerulean beard holding a platinum scepter entwined by a golden and a black winged dragon. Arrayed before him were representatives of all the major supernatural races found in Golgotham, each of them wearing a crown. These royal figures were forever frozen in an attitude of ritual obeisance, with either their heads lowered or knees bent.
The plaque attached to the diorama read:
A polite cough from the Curator drew my attention away from the tableaux. “This is where the exhibit will be installed,” she said, motioning to a large alcove off the main gallery. “This section is dedicated specifically to the Dragon Rebellion and will feature a re-creation of the battle between Lord Bexe and his brother, General Vlad.” She pointed toward the ceiling. “As you can see, Vlad’s mount is already in place.”
I looked up and gave an involuntary gasp at the sight of a fierce black dragon, its wings spread wide and claws extended, directly over my head. It was easily twenty feet long, from snout to tail, with a wingspan to match. Once my heart slowed back down, I was able to marvel at its workmanship. The attention to detail, from its glowing red eyes and razor-sharp teeth to the barb at the end of its tail, was amazing. The thought of the skies having once been filled with such glorious monsters was both awe inspiring and terrifying.
“Nice work,” Canterbury admitted grudgingly. “Who fabricated it for you?”
“It’s actually a piece of taxidermy,” the Curator explained casually. “It’s a juvenile, of course. There’s no way we could display an adult battle-dragon indoors, much less two of them.”
“Speaking of which—what’s keeping those damned drovers?” Canterbury scowled as he fished his pocket watch from his waistcoat. “They should have been here by now!” He tapped the Bluetooth headset in his right ear. “Fabio! You better not be taking a break on my dime—and no, I
As Canterbury continued to argue into his headset, I returned to the main hall and sat down on a large marble bench. As I did so, a trio of monitors arranged in a semicircle flickered on and the fourth movement of Berlioz’s
“And so the war between the human and nonhuman populations of Europe and Eurasia raged for the better part of a century,” intoned a deep, authoritative, and decidedly British voice, “until the sacred groves were dyed red and the skies grew black with the ashes from the autos-da-fe. Then, on the eleventh hour of the eleventh day of the eleventh month of the eleventh year of the twelfth century C.E., there came a sign from on high. . . .”
Suddenly images of the three holiest sites in Judeo-Christian-Islamic culture appeared, one to each screen: the Tomb of the Holy Sepulcher; the Wailing Wall; and the Kaaba. Without warning, there came a thunderclap so loud it made me jump in my seat as fiery words written in Latin, Hebrew, and Arabic miraculously appeared on the walls of all three shrines at the very same moment.
“And so it was commanded by the God of the Christians, YHWH of the Hebrews, and Allah of the Muslims,” the narrator intoned solemnly, “in words of fire, which still burn today, for all to see: ‘Suffer the witches to live, and those who come unto them, for they, too, are precious in My sight. Judge them not, lest ye be judged accordingly; and with what measure ye mete, shall I return measure to you a hundredfold.’”
The photographs of modern-day Jerusalem and Mecca dissolved, to be replaced by Leonardo DaVinci’s most famous painting:
“Following what is now called the Divine Intervention, the Holy Roman Emperor Henry V, Pope Paschal II, Sultan Mehmed I, Patriarch John IX of Byzantium, Rabbi Ibn Megas, and Lord Bexe gathered in Constantinople, and with the signing of the Treaty of 1111, the Sufferance finally came to an end.”
“I see you’ve found our new multimedia exhibit. We recently updated it in order to make it more immersive.” The Curator had, once again, ghosted up behind me without my being aware of it. I had to hand it to the old girl —she had some mad ninja skills.
“Is that Sir Ian McKellen doing the narration?” I asked.
“Yes, it is,” she said proudly. “Royal Shakespeare Company actors work best as the Voice of God, in my experience. The previous narration was by Sir Ralph Richardson, but we decided to record a new version when we
