Voice of the Fire by Alan Moore (essential reading txt) 📕

the fated hill-camp’s site, whatever contours that may yet remain all smothered by the heaping weeds. Here I dismount and leave my tethered steed to slobber on the grass while I regard the flat expanse more closely.

After a moment’s scrutiny the rounded outline of the camp is made discernible, part fringed by briar. The rill of risen turf that measures the perimeter is broken at one point, perhaps denoting where a gate once stood. I walk across towards it and, on my approach, notice a smaller ring of time-worn stones set just inside the gap; perhaps a remnant kiln or oven of some kind.

Save that there are warm ashes at its centre.

Although the fire is dead, these cinders are its voice: it speaks to me. Someone has set a blaze atop this hill, and on more nights than one if what I’m told is true. Too big to simply roast a fowl or warm the hands by, this is fire with purpose, and that purpose would seem clandestine. Why else choose this remote spot, shunned by all your superstitious kinsmen? Why else choose the crack of night to be about your labours unless they are secret; works which, if discovered, would ensure that you were pinned out in the sun to dry?

For purposes of forgery, a quiet and isolated spot whose vantage will allow intruders to be noticed half a league away’s preferable. A haunted hill is quite ideal. The fire would be required to heat the unmarked metal blanks and make them soft, following which they would be set upon an anvil where is raised the obverse imprint of a coin. A punch, cylindrical in shape, is placed above the weighed blank disc, and in the punch is a reverse impression of the same silver Denarius. The punch is beaten with a hammer and in this way are the fresh-forged coins stamped out.

I drop down to my knees and carefully begin to comb the dew-drenched grass, working out in a spiral from about the remnants of the fire. If they were beating out the coins by lamplight, hurriedly, and if my luck is with me . . .

After one half of an hour I find it, fallen there between a brace of grey and spectral dandelions. I lift it up between my thumb and finger, turning it against the light. The head of Diocletian gazes unforgiving, out across the buried camp.

A bird shrills from the briar hedge. I flip the coin about and note without surprise a fault there in the reverse. Simply, it is that belonging to a different coin; a different year, perhaps the reign of Severus. Mismatchings such as this are commonplace, for though an anvil with an obverse die might last for sixteen thousand punchings, only half as many would be made before the punch wore out, so that another was required. If the correct reverse could not be found, a different one was used on the assumption few would notice.

But this Little Roman notices. He doesn’t miss a thing.

My trophy safely fastened in a hip pouch, I remount my horse for an uneasy stumble down the hill towards the river-track, where my excitement at my find quite overcomes me and I gallop all the way back to the settlement. The crew about the stout, top-knotted man mark my return and read my agitation. There are decorations hung about the streets in preparation for some senseless festival. A small boy dressed up as a girl walks at the head of a procession with a pig upon a leash, but in my haste to get indoors and race upstairs I fail to register this vision until I am in my room, pulling a set of scales from out of the army bag.

There are three proofs for silver, any one sufficient to establish forgery. The first employs the use of the coticula, a touchstone made of basenite or lydian. When it is rubbed on silver or on gold, from the markings left an expert may read the metal’s purity down to the closest scruple. I have seen this done, always by older men, but do not have such confidence about my own abilities.

The second proof requires a furnace, with an iron fire shovel heated white, the metal to be tested heaped thereon. At such heats, purest silver will glow white, while an inferior grade will glow dull red, and black will signal worthlessness. The test is not infallible. The shovel may be drenched first in men’s urine, and will then provide a different indication.

On the whole, for coins, the proof by weight is still the best, and easiest. Assembling the scales, I take the forged Denarius from out my pouch and set it down beside another coin, a newly struck one given to me at the mint there in Londinium, to serve as a comparison.

Each coin, if genuine, should weigh one-sixth part of an ounce. Adulterated metal would not weigh so much, having less heavy silver in the blend. This test is a formality, yet one which Quintus Claudius specifically requires, and so I set the coins, both true and false, one in each bronze pan of the scales, to weigh them one against the other. Then I watch.

The false coin sinks. The true coin rises.

Frowning, I remove both coins and test the scales before replacing them, taking especial care to see which coin is in which pan.

The false coin sinks. The true coin rises.

How is this? How can this be? The coin found at the camp can be no other than a forgery with its two sides mismatched, and yet . . .

(Upon the stairs up from the tavern to my room there comes a muffled sound: one of the dogs that haunts the inn. Engrossed in mystery, it barely registers.)

I take the scales apart and reassemble them. I set the coins back in their separate pans. The false coin sinks. The true coin rises. Are the laws of nature now reversed, that such things may