corridors, presumably to illuminate portraits that no longer hung there.
Norret, however, had only so much solution, so it would be best to start with the most promising chambers first. Lame as he was, he decided to go with Powdermaster Davin’s advice: Begin at the bottom.
Norret avoided the various wine cellars for the moment, as they were a sea of broken bottles and smashed casks, their noble vintages long since drunk by reveling revolutionaries. The pump room he would save for last. Yet soon the open drawers of the Devore family crypt gaped before him like empty sockets in a toothless skull, the coffins removed long ago to fuel pyres or resurrections, and even the coins from the corpses’ eyes were now likely in some soldier’s pocket or harlot’s purse.
He turned to the whitewashed wall opposite the shattered sepulchers and, as the strains of the spectral armonica drifted down the stairs, applied his solution, watching as streaks of charcoal and drops of blood began to appear. The bard who had enchanted the chateau with the phantom minstrels had cued them to play various songs at different intervals so as to not become tiresome, but Norret was already quite tired of the Litranaise, the familiar lyrics clear in his head: O royal guards on your patrols Each of your crimes we will repay We whippoorwills will catch your souls / We are the Gardeners in Gray….
The familiar masks of Galt’s executioners appeared on the wall, the Gray Gardeners holding the duchess’s mysterious red-and-white rose to their lips with skeletal hands like angels of silence or hooded wraiths. Of course, having read the masque’s libretto, Norret knew the Gardeners’ leitmotif properly belonged to the shades of the frost, allegorical figures of putrefaction, come for the rose of mystery, another symbol of the great work given form by a literal-minded druid: We come to blight the blooming rose We shades of frost, we fateful fey We mourning doves, we hoodie crows / We are the gardeners in gray….
Doves and crows were common alchemical symbols, the colors of their feathers corresponding to the hues seen within the philosophic egg, but whippoorwills were little mottled brown soul-stealing nightjars favored by necromancers who liked cute familiars, and the colors of their plumage would only indicate that the alchemist had screwed up.
Screw, however, was the operative phrase. When Norret had asked about the Liberty Hostel for phrases the inhabitants had heard from the ghosts in the walls or actions that might disturb the spirits, Flauric had cautioned him to never drink in the crypt, for doing so incurred the horrible, disapproving whispers of teetotaling spinster ghosts!
Norret was a soldier, however, and knew that libations for the dead were an ancient sacrifice. He uncorked a bottle of claret he had requisitioned from the Transfixed Chanticleer and compounded his sins against the Accidental God by pouring the first taste on the floor.
The shades whispered in chorus:
Divine the figures of death’s dance.
Unlock the secrets of our manse.
Norret wrote the rhyme in his formulary, considering, then recorked the bottle and made his way back upstairs.
The ceiling of the grand ballroom rose three and a half stories with two galleries. Two ormolu chandeliers still hung in the vault while the third had crashed through the parquet floor. All had been stripped of their ensorcelled flambeaux and most of their crystals, but Norret still had his lantern. There were also magical lights in the uppermost gallery, currently moving through the figures of a sprightly gavotte. He quirked a smile as he recognized the tune: “The Caged Phoenix,” the aria sung by Pharadae, ambassador of the salamanders, as she presents her nuptial gift.
Norret was not a phoenix, but he was not going to climb two flights of stairs with a crutch when the original phoenix’s cage was still there, its ormolu bars cast in the form of a nest of Osirian palm fronds and