It would be possible to go on listing at great length the horrors and the spectacles of the scenes laid out on the tile: the fields of dancing demons, the fairy races, the succubi squatting on roofs, the holy fools draped in coats of cow-dung, the satyrs, the spirits of graveside, roadside and hearth-side; the weasel-kings and the bloated toads; and so on, and so on, behind every tree and on every cloud, sliding down every waterfall and lingering beneath every rock: a world haunted by the shapes of lust and animal lust and all that humanity called to its bosom in the long nights of its despair.
Though Hollywood — even in its fledgling years — was presenting itself to the world as the very soul of the imagination, there was nothing going on before the cameras there (nor would there be, ever) that could compete with what the master tile-painters and their apprentices had created.
It was, as Sandru has said, the Devil’s Country.
Zeffer went to Brascov to hire men, at prices five or six times what he would have paid locally, because he wanted hands that could do the job with some finesse, and minds that could count to a higher number than their fingers. He devised the means by which the masterpiece could be removed himself. The tiles were meticulously numbered on the reverse sides and a huge legend made of the room by three cartographers he had also hired in the city, so that there would be a meticulous record of the way the design had been laid out; and an obsessive accounting of how the tiles were numbered, stacked and packed away; including a detailed description of which tiles were cracked or damaged before they were packed, which had been mislaid by the original tilers (there were a hundred and sixteen such tiles; most turned ninety or a hundred and eighty degrees by an artisan too tired, too bewildered or perhaps too drunk to realize his error); all so that when the tiles were unpacked at the house in Coldheart Canyon there would be no difficulty reordering them into the original design.
It was a long process; a total of eleven weeks were to pass before the crated tiles were finally transported from the Fortress.
All the work had drawn much attention of course; from the brothers themselves, who knew what was going on because Father Sandru had told them, and from the villagers, who had only the vaguest of ideas of what all this was about. There were rumors flying around that the removal was being undertaken because the tiles had put the souls of the Fathers in spiritual jeopardy, but precise details of this jeopardy changed from account to account.
The vast sum of money that was now in the possession of the Order did very little to transform the lives of the priests, apart from inspiring some of the most embittered exchanges in the history of the brotherhood. Several of the priests were of the opinion that the tiles should not have been sold (not because of their merit, but because it was not wise to loose such unholy images on the secular world). To this, Father Sandru — who was more often, and more publicly, drunk by the day — offered only a sneering dismissal.
What does it matter?, he said to the complainers: they are only tiles, for God’s sake.
There were a good number of shaken heads by the way of response, and a very eloquent riposte from one of the older Fathers, who said that God had put the tiles into their protection, and it was cynical and careless of him to let them go. What damage might they not do, out there in the world, he said; what hurt to innocent souls?
Sandru was unmoved by all this. There were no innocent souls in Hollywood, he had learned; nor was there any sin or excess painted in the tiles that the people of that city were not intimately familiar with. He spoke with an authority which he didn’t in truth possess, but it sufficiently impressed the brothers — or at least a greater number of them — so that the nay-sayers were finally silenced.