Schliemann, meanwhile, utterly absorbed in his music, was playing a solemn measure. The piano sang marvellously. The power of a great conviction, the simplicity of great art, the vital spiritual message of a soul that had found itself⁠—all this, and more, were in the chords, and yet somehow the music was what can only be described as impure⁠—atrociously and diabolically impure. And the piece itself, although Harris did not recognise it as anything familiar, was surely the music of a Mass⁠—huge, majestic, sombre? It stalked through the smoky room with slow power, like the passage of something that was mighty, yet profoundly intimate, and as it went there stirred into each and every face about him the signature of the enormous forces of which it was the audible symbol. The countenances round him turned sinister, but not idly, negatively sinister: they grew dark with purpose. He suddenly recalled the face of Bruder Kalkmann in the corridor earlier in the evening. The motives of their secret souls rose to the eyes, and mouths, and foreheads, and hung there for all to see like the black banners of an assembly of ill-starred and fallen creatures. Demons⁠—was the horrible word that flashed through his brain like a sheet of fire.