The Vampire Chronicles Collection - Anne Rice [351]
But the brilliantly colored murals covering every surface from floor to ceiling dominated all.
In one chamber was a dark vibrant painting of the sunburnt Arabian desert complete with an exquisitely detailed caravan of camels and turbaned merchants moving over the sand. In another room a jungle came to life around me, swarming with delicately rendered tropical blossoms, vines, carefully drawn leaves.
The perfection of the illusion startled me, enticed me, but the more I peered into the pictures the more I saw.
There were creatures everywhere in the texture of the jungle—insects, birds, worms in the soil—a million aspects of the scene that gave me the feeling, finally, that I had slipped out of time and space into something that was more than a painting. Yet it was all quite flat upon the wall.
I was getting dizzy. Everywhere I turned walls gave out on new vistas. I couldn’t name some of the tints and hues I saw.
As for the style of all this painting, it baffled me as much as it delighted me. The technique seemed utterly realistic, using the classical proportions and skills that one sees in all the later Renaissance painters: da Vinci, Raphael, Michelangelo, as well as the painters of more recent times, Watteau, Fragonard. The use of light was spectacular. Living creatures seemed to breathe as I looked on.
But the details. The details couldn’t have been realistic or in proportion. There were simply too many monkeys in the jungle, too many bugs crawling on the leaves. There were thousands of tiny insects in one painting of a summer sky.
I came into a large gallery walled on either side by painted men and women staring at me, and I almost cried out. Figures from all ages these were—bedouins, Egyptians, then Greeks and Romans, and knights in armor, and peasants and kings and queens. There were Renaissance people in doublets and leggings, the Sun King with his massive mane of curls, and finally the people of our own age.
But again, the details made me feel as if I were imagining them—the droplets of water clinging to a cape, the cut on the side of a face, the spider half-crushed beneath a polished leather boot.
I started to laugh. It wasn’t funny. It was just delightful. I began to laugh and laugh.
I had to force myself out of this gallery and the only thing that gave me the willpower was the sight of a library, blazing with light.
Walls and walls of books and rolled manuscripts, giant glistening world globes in their wooden cradles, busts of the ancient Greek gods and goddesses, great sprawling maps.
Newspapers in all languages lay in stacks on tables. And there were strewn everywhere curious objects. Fossils, mummified hands, exotic shells. There were bouquets of dried flowers, figurines and fragments of old sculpture, alabaster jars covered with Egyptian hieroglyphs.
And everywhere in the center of the room, scattered among the tables and the glass cases, were comfortable chairs with footstools, and candelabra or oil lamps.
In fact, the impression was one of comfortable messiness, of great long hours of pure enjoyment, of a place that was human in the extreme. Human knowledge, human artifacts, chairs in which humans might sit.
I stayed a long time here, perusing the Latin and Greek titles. I felt a little drunk, as if I’d happened on a mortal with a lot of wine in his blood.
But I had to find Marius. I went on out of this room, down a little stairs, and through another painted hallway to an even larger room that was also full of light.
I heard the singing of the birds and smelled the perfume of the flowers before I even reached this place. And then I found myself lost in a forest of cages. There were not only birds of all sizes and colors here, there were monkeys and baboons, all of them gone wild in their little prisons as I made my way around the room.
Potted plants crowded against the cages—ferns and banana