Except that he was wrong, for not all that we tried to achieve was without value, and not every aspect of our lives was unworthy of celebration or remembrance. With each life that he took, the world became a poorer place, its index of possibilities reduced forever, deprived of the potential for art, science, passion, ingenuity, hope, and regret that the unlived existences of generation upon generation of progeny would have brought with them.

But what of the lives that I had taken? Was I not equally culpable, and was that not why there were now so many names, of both good men and bad, carved upon that palimpsest I bore, and for each of which I might justifiably be called to account? I could argue that by committing a smaller evil, I had prevented a greater one from occurring, but I would still bear the mark of that sin upon me, and perhaps be damned for it. Yet, in the end, I could not stand by. There were sins that I had committed out of anger, touched by wrath, and for those I had no doubt that I would at last be charged and found wanting. But the others? I chose to act as I did, believing that the greater evil lay in doing nothing. I have tried to make reparation, in my way.

The problem is that, like cancer, a little corruption of the soul will eventually spread throughout the whole.

The problem is that there are no small evils.

We passed through the cemetery gates and skirted the graves, the more recent stones often marked with photographs of the deceased inset into the marble or granite beneath the word rodina, followed by the family name. One or two even had alcoves carved in the stone, protected by glass, behind which framed portraits of all of those buried beneath the ground sat undisturbed, as they might have done on a sideboard or a shelf when those depicted were still alive. Three steps led down to the ossuary entrance: a pair of plain wooden doors overlooked by a semicircular window. To the right of the entrance, a steeper flight of steps led up to the chapel, for the chapel stood above the ossuary, and from its window, one might look down on the interior of the ossuary itself. Inside the door, a young woman sat behind a glass display case containing cards and trinkets. We paid her thirty Czech koruny each to enter, or barely four dollars between us. We were the only people present, and our breath assumed strange forms in the cold air as we looked upon the wonders of Sedlec.

“My God,” said Angel. “What is this place?”

A stairway led down before us. On the walls at either side, the letters IHS, for Iesus Hominum Salvator, or “Jesus Savior of Humanity,” were set in long bones, surrounded by four sets of three bones representing the arms of a cross. Each arm ended in a single skull. At the base of the stairs, two sets of parallel columns mirrored one another. The columns were made up of skulls alternated with what appeared to be femurs, the bones set vertically beneath the upper jaw of each skull. The columns followed the edges of two alcoves, into which had been set a pair of enormous urns, or perhaps they might have been baptismal fonts, again constructed entirely from human remains and lidded by a circle of skulls.

I stepped into the main area of the ossuary. To my right and left were chambers containing huge pyramids of skulls and bones, too many to count, topped in each case by a wooden crown painted gold. Two similar barred rooms faced me, so that they occupied the four corners of the ossuary. According to the information leaflet thrust into our hands at the door, the remains represented the multitudes facing judgment before God, while the crowns symbolized the kingdom of heaven and the promise of resurrection from the dead. On one of the walls, beside the skull chamber to my right, there was an inscription, again inset in bone. It read:

FRANTIŠEK RINT Z CESKE SKALICE 1870

In common with most artists, Rint had signed his work. But if Bosworth was right, then Rint had seen something while he was completing the reconstruction of the ossuary, and what he had seen had haunted him to such a degree that he had spent years re-creating its image, as though by doing so he might slowly begin to exorcise it from his imagination, and bring himself peace at last.

The other chamber to my left was marked by the coat of arms of the Schwarzenberg family, who had paid for Rint’s work. Once again, it was made entirely from bone: Rint had even constructed a bird, a raven or a rook, using a pelvic bone for its body and a section of rib for its wing. The bird was dipping its beak into the hollow eye socket of what was supposed to be a Turkish skull, a detail that had been added to the coat of arms as a gift from Emperor Rudolf II after Adolf of Schwarzenberg had curbed the power of the Turks by conquering the fortification of Raab in 1598.

But all of this was merely a sideshow compared to the centerpiece of the ossuary. From the vaulted ceiling a chandelier hung, fashioned from elements of every bone that the human body could supply. Its extended parts were hanging arm bones, ending in a plate of pelvic bones upon which rested, in each case, a single skull. A candleholder was inset into the top of each head, and a ribbon of interlinked bones formed the suspension chains, keeping them in place. It was impossible to look upon it and not feel one’s sense of disgust overcome by awe at the imagination that could have produced such an artifact. It was simultaneously beautiful and disturbing, a marvelous testament to mortality.

Inset into the floor beneath the chandelier was a rectangular concrete slab. This was the entrance to the crypt, within which were contained the remains of a number of wealthy individuals. At each corner of the crypt stone stood a Baroque candelabra in the shape of a Gothic tower, with three lines of seven skulls set into each, again with an arm bone clasped beneath their ruined jaws, and topped by angels blowing trumpets.

All told, the remains of some forty thousand persons were contained in the ossuary.

I looked around. Angel and Louis were examining a pair of glass cabinets, behind which were contained the skulls of some of those who had died in the Hussite campaigns. Two or three bore the small holes of musket balls, while others had gaping wounds inflicted by blunt force. A sharp blade had almost entirely cleaved away the back of one skull.

Something dripped onto my shirt, spreading a stain across the fabric. I looked up and saw moisture on the ceiling. Perhaps the roof was leaking, I thought, but then I felt a rivulet of sweat run down my face and melt upon my lips. I realized that I could no longer see my breath in the air, and that I had begun to perspire heavily. Neither Angel nor Louis appeared troubled. Angel, in fact, had zipped his jacket up to his chin and was stamping his feet slightly to keep warm, his hands jammed into his pockets.

Sweat ran into my eyes, blurring my vision. I tried to clear it by wiping the sleeve of my coat across my forehead, but it seemed to make matters worse. The salt stung me, and I began to feel dizzy and disoriented. I didn’t want to lean against anything, for fear of setting off the alarms about which we had been warned at the door. Instead, I squatted on the floor and took some deep breaths, but I was teetering slightly on my heels and so was forced to put my fingers to the ground to support myself. They touched against the crypt stone, and instantly I felt a wave of pain break across my skin. I was drowning in liquid heat, my whole body aflame. I tried to open my mouth to say something, but the heat rushed to fill the new gap, stilling any sound from within. I was blind, mute, forced to endure my torments in silence. I wanted to die, yet I could not. Instead, I found myself sealed, trapped in a hard, dark place. I was constantly on the verge of suffocation, unable to draw a breath, and still there was no release. Time ceased to have meaning. There was only an endless, unendurable now.