Back inside the chamber, there were images of fire painted on the ceilings, images of birds and beasts and maidens and conquering kings on the walls. Everything was deep red, dark blue, blue-black, with tints of gold and mahogany to bring a richness out of the textures. Framing the doors and windows and arches of dark wood carved in pattern of Celtic dragons coiled in knots. Underfoot were Persian carpets like nothing he’d ever seen. On either hand, and every which way he turned his eyes, everything was either gold, or crystal, or polished wood, or fine china, or substances he could not put a name to. There was a black paneled bowl of red roses on the nightstand, and some sort of candelabra in the ceiling, surrounded by painted babies with pink wings.

It all looked like something from an old European mansion. He had been expecting something else. Rooms made of force fields and streamlined steel with tailfins. Sliding doors that opened by themselves and made a shush-shush noise or something. Moving walkways. Atom-powered lightbulbs. Talking sinks, preferably that had a third tap for beer.

It was damn pretty, though, he had to give them that. The place even smelled nice, applewood logs burning on the fire.

He craned his head back and looked at the ceiling again. Images of fire? These were battle scenes.

4. Portrait of War

High up on the wall, his eye first fell upon an image of a burnt city under a mushroom cloud. The artist had painted streaks and streams of odd color, green and indigo, issuing like a lighting bolt high in the air. There was a tiny silver dot high up in the corner of the image: no doubt this was the aircraft spotting for the incoming missile strike. So the fools had actually done it. The Burning of New York the Beautiful had not been enough to warn the world. World War, this time with atomics. Or some weapon even more deadly: if the artist’s design was accurate, the bolt was wider at the top than at the bottom, unlike a detonation or mass-driver strike.

The cityscape was photographically accurate. Montrose recognized some of the buildings. The Temple Mount; the Dome of the Rock; the Church of the Holy Sepulcher. The artist had even included part of the Wailing Wall, and showed a mother with her arms across her face twisting in agony as she fell across the two screaming children she protected with her body even as she died.

To either side were more images of fire: skeletons of skyscrapers toppling; sleek semi-wingless ultrahigh-atmosphere craft being scattered in a whirlwind of flame, like the finger of the Wrath of God; a submarine in the midst of a tidal wave being flung out of the sea by the violence of some unimaginable force, like a salmon leaping to its death.

No wonder they had not woke him up when he returned. War had broken out.

Painted on the ceiling were other images. Ships in space were exchanging directed-energy fire, shown here as fanciful threads of gold wire. No beams would be actually visible in real vacuum, of course. And the burning ships were drawn with yellow fire flowers with red petals, long licking tongues. The artist had obviously never seen a fire in zero-gee, which looked like a ball of half-invisible indigo gas, because in microgravity the hottest part of the flame tended to spread outward evenly in all directions, as a sphere, or rush along ruptured oxygen lines. The teardrop shape of candle flame was something gravity produced.

One war, or two? There was no way to tell.

Below them, at eye level, were stiff and ceremonial images: A figure with shoulder-length silver hair in a sleek black silk uniform was stepping on sabers dashed under his feet by half a dozen bowing figures; a kneeling president in the sober coat-and-tie uniform no one but presidents since the First Space Age had worn; a king in ermine cloak with medieval crown in hand; a military man in a high-necked Chinese jacket with pistol presented butt-foremost; a supine chieftain in a gaudy feather bonnet; and, oddly enough, a Pharaoh in a gold and blue pshent. The man in black held up an olive branch. At a guess, this picture was about the peace that followed the war. The figures perhaps represented the continents.

On one wall was a full-sized portrait showing a bishop lowering a coronet onto the head of the conqueror. The coronation of the white-haired figure in black showed his face more clearly. It was Ximen Del Azarchel. He looked to be about sixty years of age. No telling when these paintings had been done.

The monogram on the robe was his initials.

Menelaus looked overhead again. The ships on fire were all linked cylindrical punts, with maneuvering nozzles fore and aft. Interplanetary ships; space vessels. Tin cans cocooned in iron skeletons: functional, ugly, utilitarian. Their enemy ship was a work of art, a combination of ion drive and light-pressuresail. The sail tissue was like a second sky, holding crescent moons, and the blazing disk of the sun, in its reflections. The slender hull gleamed like a silvery sword. An interstellar ship; a vessel of stars.

The NTL Hermetic.

Montrose stepped around the bed on which he’d woke, and studied the paintings on the opposite wall.

One portrait particularly well done showed a European countryside, perhaps in Germany or France, with old-fashioned solar-paneled cottages with high-peaked roofs, and green fields under quaint hothouse tarp. The cottages dated from the time of the Japanese Winter. In the foreground were four maidens bending a spear into a ploughshare.

The sunset behind them was red, and rising above it, not far from the evening star, was the gleam of the starship Hermetic. The artist had merely suggested the ship’s slender silhouette with a stroke of the brush, adumbrated with miles-wide sail with an oval of silver. The silver silhouette looked like a scepter, or perhaps a flower.

The ship was rising in the east like the morning star, and beneath her sails, was peace.

Montrose thought: The starship had returned, and found a world burned and torn with war, fighting a war in space, and somehow put a stop to it.

The date in Roman numerals was printed on one of the images: Astromachia MMCCCXCIX.

One hundred and sixty-four years had passed since last he woke. He paused to let that figure sink in. It was roughly the amount of time between when the Constitution of the Old Union was written, and when it was abolished by Roosevelt the Usurper. Another century and a half or so years after that, and the last president, Jefferson Dayles, was gone, and the Pentagon had declared Martial Law “for the duration of the emergency” that was to last, as it turned out, at least a century and a half again.

Grim example. Think of another: One and a half centuries was exactly the amount of time between the first lift of the Wright heavier-than-air flying machine and the launch of the first unmanned nigh-to-lightspeed interstellar vessel, NTL Croesus.

Long enough for the NTL Hermetic to have sailed to V 886 Centauri and returned—bearing all the wealth of the antimatter star, all the treasure of scientific wonders gleaned from deciphering the Monument—to end war and usher in a lasting peace.

He found himself grinning. And Blackie had evidently ended up on the top of the heap.

Menelaus turned.

And then he forgot everything, the old white-haired picture of Del Azarchel, the sinister silvery silhouette of Earth’s only manned starship, now returned as Earth’s only interstellar warship; he forgot it all.

He was looking at the princess. It took his breath away.

5. Portrait of Royalty

Her hair was gold as a summer noon sun. The artist had captured the girl’s serene face but also a haunting twinkle in her eye, on her cheeks a hint of a suppressed dimple of laughter. Her gown was the gown of a fairytale princess. She seemed like a mischievous little girl playing dress-up in her mother’s clothes; but as if her mother were a queen.