Not only were Manzikert’s clan members glad to stretch their legs, but the land that awaited them proved, upon exploration, to be ideal. Abundant springs and natural aquifers fed off the Moth, while game, from pigs to deer to a flightless bird called a “grout,” provided an ample food source. The curve of the river accentuated the breeze that blew from the west, generally cooling the savage climate, and with the breeze came birds, swallows in particular, to swoop down at dusk and devour the vast clouds of insects that hovered over the water.

Tonsure spent these five or six days wandering the city, which he still found a marvel. He had, he wrote in his journal, “squandered” much of his early life in the realm of the Kalif, where architectural marvels crowded every city, but never had he seen anything like Cinsorium. First of all, the city had no corners, only curves. Its architects had built circles within circles, domes within domes, and circles within domes. Tonsure found the effect soothing to the eye, and more importantly to the spirit: “This lack of edges, of conflicting lines, makes of the mind a plateau both serene and calm.” The possible truth of this observation has been confirmed by modern-day architects who, on review of the reconstructed blueprint of Cinsorium, have described it as the structural equivalent of a tuning fork, a vibration in the soul.

Just as delightful were the huge, festive mosaics lining the walls, most of which depicted battles or mushroom harvesting, while a few consisted of abstract shiftings of red and black; these last gave Tonsure as much unease as the lack of corners had given him comfort, although again he could not say why. The mosaics were made from lichen and fungus skillfully placed and trained to achieve the desired effect. Sometimes fruits, vegetables, or seeds were also used to form decorative patterns—cauliflower to depict a sheeplike creature called the “lunger,” for example—with the gray caps replacing these weekly. If Tonsure can be believed, one mosaic used the eggs of a native thrush to depict the eyes of a gray cap; when the eggs hatched, the eyes appeared to be opening.

The library yielded the most magnificent of Tonsure’s discoveries: a mechanized golden tree, its branches festooned with intricate jeweled shrikes and parrots, while on the circular dais by which it moved equally intricate deer, stalked by lions, pawed the golden ground. By use of a winding key, the birds would burst simultaneously into song while the lions roared beneath them. The gray caps maintained it in perfect working condition, but had no appreciation for its beauty, as if they “were themselves clockwork parts in some vast machine, fated to retrace the same movements year after year.”