They had reached the top of the staircase and now Sednil, turning to the left, led them into a gallery which ran the length of the back of the temple. About thirty yards along this was a door set in the inner wall. As he opened it the girls could hear from below the murmur and movement of a crowd.
"Now, we've got to keep quiet," whispered Sednil, "and mind you do."
Maia followed him into what seemed for a moment to be darkness, the more so as he immediately closed the door behind them. Then, as she stood still in uncertainty, she became aware of light, its source, however, somewhere below them. Sednil, taking her hand, led her forward until she found herself looking down, from the rather alarming
height of a roof-level balcony, into the interior of the Temple of Cran.
Fifty feet below lay a circular, tessellated pavement, some nine or ten yards across, slightly sunk below a surround of veined, gray marble. Immediately within this surround the tiles formed a border depicting a crested serpent with red, green and blue scales, which stretched entirely round the edge of the pavement until, at the eastern point, it grasped its own tail between its jaws. Round its body was twined an intricate design of vines, fruit and corn, the various motifs being repeated at regular intervals throughout the circle. Within this again was a variant of the divine group represented on the inner sphere of the Tamarrik Gate. Upon a ground of green malachite inlaid with colored blooms and with animals, birds and fishes, the golden-bearded figure of Cran stretched out its arms, whilst opposite, Airtha of the Diadem extended hers towards him. Each of their hands rested upon the base of one corner of • a rectangular marble slab, about two feet high, standing in the center of the pavement.
Maia was so much fascinated by the design and by the brilliant colors in the pavement-of which, of course, looking directly down from above, she had the best possible view-that it was some little time before she began to notice the less ornate central altar-slab and the figure lying upon it. When she did so, however, her first reaction was one of bewilderment and disappointment. Somnolence and passivity was not what she would have expected at the very core of the empire's worship. She had always imagined the god in his temple armed with lightning, majestic, vigilant and mighty to protect the empire. The reality was much unlike.
The low, marble slab was carved in the form of a couch resting upon scrolled clouds. Upon this lay a life-sized, bronze figure of Cran; but very different from that of the Tamarrik dial with its attendant circle of ecstatic nymphs. The god, his head and shoulders raised on marble pillows, was supine, in the posture of one asleep. Indeed, he plainly
was flexed, and seemed to be fashioned out of narrow, overlapping, cylindrical scales. But apart from this, she had never before seen the god represented without his attributes-crown, lightning and serpent torques. She would hardly have recognized him. The figure, in fact, displeased her. It seemed an unworthy, almost impious, representation, not at all god-like, inappropriate in its resemblance to mere humanity.
The three of them were standing, she now realized, near the top of an octagonal lantern tower, the whole of the interior of which was open to and visible from the floor of the temple. This was supported upon the lintels and square columns of a circular arcade surrounding the pavement below. At a height of about thirty feet, a narrow gallery ran round the lantern (their own standpoint was a mere box just below the roof), and below it were narrow windows admitting daylight to the floor of the temple below. This was augmented by eight branched candlesticks, each carrying some twenty or thirty candles, which had been placed round the edge of the pavement, one in front of each column.
Looking between the columns to the further side of the arcading, Maia could glimpse tiers of stone seats rising one above the other. It seemed strange to her that the temple should apparently not be lit by windows at ground-floor level. She was not to know that these had all been shuttered, to intensify the effect of the lit central pavement and the sleeping figure of Cran.
