Justice Hall by Laurie R. King Page B

their briefs. Farther around the dome’s circle, a wood sprang up, with birds and wild animals decorating the dark and gnarled trees, and a single man, running from a tawny creature that I thought might represent a lion. The man was making for a small hut, looking back over his shoulder at the lion and thus not noticing the bear (this animal quite realistic) standing at the corner of the hut, nor the snake dangling from the eaves.
    The combination of animals was unexpected in this setting, but as soon as I saw them I knew what the painter was illustrating—and indeed, in the remaining space of the dome’s bowl, in what I knew would be the eastern quarter, the sun was rising over an idealised English landscape of green fields and tidy hedgerows. Its rays illuminated the lower sides of a great and gathering darkness, crimson and black and awesome across the innocent land.
    “Good Lord,” I said involuntarily.
    Alistair glanced up from a
Country Life
article on improving one’s backhand in tennis. “Cheerful, is it not?”
    “Do you see it, Holmes?” I asked. He shook his head, admitting ignorance. “From the Book of Amos. A description of Armageddon—the end of the world. ‘The Day of the Lord,’ the prophet calls it, which some desire as the time when the Lord comes to set human affairs straight, but which, Amos says, we ought to dread for just that reason. ‘Why would you want the Day of the Lord?’?” I recited. “‘It is darkness, and not light. As if a man ran from a lion’?”—here I pointed up at the unlikely beast—“‘and a bear met him; or went into a house to lean against the wall, and a serpent bit him.’ The Lord goes on, ‘I hate, I despise your feasts, I take no joy in your solemn conclaves.’ He accepts neither burnt offerings nor sacrifices, will not listen to the singing and music given Him. ‘But,’ He says, ‘let justice roll down like waters, righteousness like an ever-flowing stream.’ You see? It’s even written along the bottom, over and over again in Latin.” This alternated, I saw, with another phrase:
Justitia fortitudo mea est,
the Mediaeval Latin quaintly corrupt. “Righteousness is my strength.”
    We stared at the scene overhead, at the huge black clouds flecked with crimson, at the unheeding feast-goers and the single doomed man, and at the rich blue splash in the centre of the dome, which depicted the very instant in which the dammed-up waters of justice were loosed, to roll down across the feasts and the solemn assemblies and flood the world in a torrent, that when it had passed, the stream of righteousness might flow undisturbed.
    Then, between one breath and another, the master of Justice Hall was there, standing in the centre of the gallery at the top of that great staircase, framed perfectly by the arch of the doorway behind him, hands in his pockets, looking as if he’d been occupying the spot for an hour. Alistair threw the magazine down and trotted up the stairway; something about the way he swept upwards evoked the swirl of robes about his person.
    Mahmoud—Marsh—remained where he was, so immobile he might have been unaware of his companion’s approach, might have believed that the objects of his gaze—Holmes and I—did not know he was there, although we were looking straight at him. He might have thought himself all alone in the hall, but for his reaction when his cousin gained the top step and reached out to embrace him in the Arab fashion: The duke pulled back. Very slightly, a mere fraction of an inch, but it cut off the embrace more effectively than a fist. Alistair stuttered awkwardly to a halt; only when he had taken his hand from the ducal arm did Maurice Hughenfort come to life. He took his hands from his pockets, turned to look into his cousin’s face, said a few words in a voice too low to hear, and reached out to grasp the younger man’s shoulder briefly. He then started down the long staircase.
    Watching him descend, my first