Tact was wasted in Averno.
With a sweep of his arm Vergil dashed clear of everything the table nearest to him. There was more than one grunt of “uh!” But not one single one of “nuh!” And the Magnate Borsa gave another one of his enormous eructations, but as no words followed, it indicated, probably, slight surprise rather than even slight irritation. Vergil next appropriated from an adjacent table a bottle, one of the few glass vessels in the room; long-necked, round-bellied, new enough to be not even slightly iridescent; and he set it down so that a beam of sunlight passed through it, to be reflected, in refraction, on the opposite walclass="underline" a small circle. Not enough. Not by far enough.
Beams of sunlight were not so abundant there in crag-girt Averno as elsewhere on and near the Parthenopean Coast; Vergil, with an odd, quick gesture, gathered together what there were of them. The rest of the room grew darker. (“Uh!. . Uh!. . Uh!”) Into the glass vessel he poured water. . more. . a little bit more. . he wished it could have been from some special spring but there was not time for any of that. “Hold up the map marked Alpha,” he said, and snapped his fingers. It was not, perhaps, so very remarkable that the slave could read the leading letter of the Greek characters; what was rather remarkable was that he held the map up, not next to his body, that is, not in front of it, as he could hardly have been blamed for doing: he held it up, but away, to his right side, one arm quite above it and the other quite beneath it. This man knows what I mean to do! thought Vergil. But he had little time for the thought.
The small, dim, irregular circle of light on the wall now became larger, brighter, more regular, and rectangular. This produced from the magnates merely a few listless grunts. . from one, a quite audible yawn.
Vergil’s hand went to his pouch, came out with something that glittered and glimmered. It had come from a long way off, where, as sang Mimnermus,
There dwells AEtes in the farthest
east Upon the banks of Ocean Stream
here the rays of the sun are stored
In a golden chamber
In that far-distant land whence the
Sun doth rise …
This he thrust into the neck of the glass bottle. It did not fit; he clasped his hands roundabout, brought his lips close, murmured a moment, then turned the container on its side; a tendency to roll he quickly checked by sliding slices of cabbage partly underneath it to right and left. Then, there on the wall (fortunately it was a wall that contained no painting, though evidently preparations for one had once begun, for there was a whitened area surrounded by a border of Attic fret) — there, on the wall, contained within the border, there appeared, quite bright, and quite distinct, something that produced from the audience not a single, single, sound, not even “uh!” For a long moment Vergil thought that they were overpowered by what they saw. In another instant he realized that they had no notion at all of what they were seeing, for they had never seen anything of its sort before, not in any form at all. Most people, for that matter, had not.
“This,” he said, speaking somewhat slowly, “is what is called a map….” A grunt or two, or three. Then again silence.
“This is what Averno might look like from one of the hilltops, if …” His voice trailed off; from the audience had come a “nuh!” part-puzzled, part emphatic. The might had made no impression; in truth, what was displayed on the wall, the light magnified, reflected, refracted, expanded and projected along the long neck of the glass bottle and its stopper and passed through the transparent charts onto the whitened wall-space, was not “what Averno might look like from one of the hilltops.” Not without the automatic exercise of an imagination already enriched by a knowledge of, and experience with, maps or charts. Absorbed in the tasks of, first, preparing the diagrams, and, secondly, now, illuminating them upon the wall surface, Vergil had neglected, had forgotten, that neither such knowledge nor such experience was common enough to be taken for granted. Should he now try to explain? Begin to try to explain?
Almost without considering, he said, “Hippocrates, who reminds us that waters, airs, and places have their special powers, also reminds us, in his Aphorisms, that ‘Life is short, and art long; the crisis fleeting; experience perilous, and decision difficult. The physician must not only be prepared to do what is right himself, but also to make the patient, the attendants, and — ’ ”
But many mutters, much mumbling, and a general restiveness all informed him that quotations from learned sources, however apposite, were not what were now required. There was not time, and so he had perforce to use an easier way.
Slowly, but not so slowly as to lose the audience’s attention, the lines and marks and spots, circles, squares, triangles, grids began to change. . blur. . melt. . shift. . take shape. . shapes….
“There is on the wall a picture!” someone suddenly cried, high-voiced.
The magnates, as with one sudden motion, moved forward, stirred, gave a shuddering, muttering sigh. And one of them, and well did Vergil know which one of them, said, “See! He is a wizard!” It was not that there was, now, suddenly, a picture on the wall where a moment ago there had not been one; not this, alone. It was not that it was, now really was “what Averno might look like from one of the hilltops”; not this, alone. It was not even that the smokes rose and the fires flared (as those in common pictures did not); not this, alone. It was something else and more, something for which they, the great magnates of Averno, the city Very Rich, not in conception nor vocabulary very rich at all, had no word, for they had no conception of it: It was that the picture, with its moving smokes and flaring fires, was not drawn — if in fact they thought of it as being “drawn” — in the two dimensions of length and breadth alone. They were looking at something that had depth as well. It was as though someone or something had suddenly transported them in one body to the top of one hill, and showed them what might be seen, lying there below. As though they, feeling chairs and couches beneath them, were somehow somewhere else in a dark night. . and, looking down, saw the familiar city, Very Rich, which they so much controlled, there beneath them in what passed in Averno for brightest day.
Some of them groaned, as though, being aboard a storm-shaken ship, they felt not so much the oft-jested-of nausea but that grim seasick vertigo that may so painfully affect every atom of the body. One kept asking, in a tone both sharp and high, “What? What? What?” Others moaned. And one sole magnate, Vergil did not bother trying to discover which one (neither, it seemed, did any other one), without one spoken sound, fell with a massively heavy thud to the floor.
But the servant, the slave, he who held the map that was marked Alpha, scarcely moved a sinew.
“… and somewhat to the right of the upper left corner,” Vergil said, feeling rather like a docent in an art school, “is what was called the Old Works….”
This had an immediate and calming effect upon the magnates; a picture, suddenly visible upon a blank wall, parts of which moved, and in three dimensions, was something for which unfamiliar was a weak description. But — the Old Works? — they had all heard of the Old Works, this was something with which minds could grapple. “Torto! Torto! He was there — Torto, he been there, when they was working the Old Works! Not so, Torto Magnate?”
And a voice, still deep, but with a trace of quaver, said, as though coming awake with a start, “Uh! Yuh! The Old Works …” And indeed, somewhat to the right of the upper left corner, a part of the picture now sprang into detail. It was disproportionate to the picture as a whole, but no one minded that, perspective was not one of the arts of Averno (scarcely was it one of the arts anywhere else, largely it had yet to be moved from the mage’s elaboratory to the artist’s studio and surface). And in this new and moving image one saw men at work, toiling, sweating, mixing the ore with the charcoal on the open-hearth bloomery in one place, raking the molten mass in another; elsewhere the smith holding the crude ingot with his tongs and turning it, white-hot, as the striker smote it with his hammer, not pausing to brush off the sparks that flared briefly in the thickets of their shaggy breasts…. All this. And more.