The Eye of Osiris - R. Austin Freeman (reading books for 5 year olds TXT) 📗

offending you by seeming to exaggerate, and I don't know how to express it."

"Oh, never mind about the expression, so long as you feel it. I thought you would understand," and she gave me a smile that made me tingle to my fingertips.

We stood awhile gazing in silence at the mummy—for such, indeed, was her friend Artemidorus. But not an ordinary mummy. Egyptian in form, it was entirely Greek in feeling; and brightly colored as it was, in accordance with the racial love of color, the tasteful refinement with which the decoration of the case was treated made those around look garish and barbaric. But the most striking feature was a charming panel picture which occupied the place of the usual mask. This painting was a revelation to me. Except that it was executed in tempera instead of oil, it differed in no respect from modern work. There was nothing archaic or ancient about it. With its freedom of handling and its correct rendering of light and shade, it might have been painted yesterday; indeed, enclosed in an ordinary gilt frame, it might have passed without remark in an exhibition of modern portraits.

Miss Bellingham observed my admiration and smiled approvingly.

"It is a charming little portrait, isn't it?" she said; "and such a sweet face too; so thoughtful and human, with just a shade of melancholy. But the whole thing is full of charm. I fell in love with it the first time I saw it. And it is so Greek!"

"Yes, it is, in spite of the Egyptian gods and symbols."

"Rather because of them, I think," said she. "There we have the typical Greek attitude, the genial, cultivated eclecticism that appreciated the fitness of even the most alien forms of art. There is Anubis standing beside the bier; there are Isis and Nephthys, and there below Horus and Tahuti. But we can't suppose Artemidorus worshiped or believed in those gods. They are there because they are splendid decoration and perfectly appropriate in character. The real feeling of those who loved the dead man breaks out in the inscription." She pointed to a band below the pectoral, where, in gilt capital letters, was written the two words, "ARTEMIDORE EYPSYCHI."

"Yes," I said, "it is very dignified and very human."

"And so sincere and full of real emotion," she added. "I find it unspeakably touching. 'O Artemidorus, farewell!' There is the real note of human grief, the sorrow of eternal parting. How much finer it is than the vulgar boastfulness of the Semitic epitaphs, or our own miserable, insincere make-believe of the 'Not lost but gone before' type. He was gone from them for ever; they would look on his face and hear his voice no more; they realized that this was their last farewell. Oh, there is a world of love and sorrow in those two simple words!"

For some time neither of us spoke. The glamour of this touching memorial of a long-buried grief had stolen over me, and I was content to stand silent by my beloved companion and revive, with a certain pensive pleasure, the ghosts of human emotions over which so many centuries had rolled. Presently she turned to me with a frank smile. "You have been weighed in the balance of friendship," she said, "and not found wanting. You have the gift of sympathy, even with a woman's sentimental fancies."

I suspected that a good many men would have developed this precious quality under the circumstances, but I refrained from saying so. There is no use in crying down one's own wares. I was glad enough to have earned her good opinion so easily, and when she at length turned away from the case and passed through into the adjoining room, it was a very complacent young man who bore her company.

"Here is Ahkhenaten—or Khu-en-aten, as the authorities here render the hieroglyphics. She indicated a fragment of a colored relief labeled: 'Portion of a painted stone tablet with a portrait figure of Amen-hotep IV," and we stopped to look at the frail, effeminate figure of the great king, with his large cranium, his queer, pointed chin, and the Aten rays stretching out their weird hands as if caressing him.

"We mustn't stay here if you want to see my uncle's gift, because this room closes at four to-day." With this admonition she moved on to the other end of the room, where she halted before a large floor-case containing a mummy and a large number of other objects. A black label with white lettering set forth the various contents with a brief explanation as follows:

"Mummy of Sebek-hotep, a scribe of the twenty-second dynasty, together with the objects found in the tomb. These include the four Canopic jars, in which the internal organs were deposited, the Ushabti figures, tomb provisions and various articles that had belonged to the deceased; his favorite chair, his head-rest, his ink-palette, inscribed with his name and the name of the king, Osorkon I, in whose reign he lived, and other smaller articles. Presented by John Bellingham, Esq."

"They have put all the objects together in one case," Miss Bellingham explained, "to show the contents of an ordinary tomb of the better class. You see that the dead man was provided with all his ordinary comforts; provisions, furniture, the ink-palette that he had been accustomed to use in writing on papyri, and a staff of servants to wait on him."

"Where are the servants?" I asked.

"The little Ushabti figures," she answered; "they were the attendants of the dead, you know, his servants in the under-world. It was a quaint idea, wasn't it? But it was all very complete and consistent, and quite reasonable, too, if one once accepts the belief in the persistence of the individual apart from the body."

"Yes," I agreed, "and that is the only fair way to judge a religious system, by taking the main beliefs for granted. But what a business it must have been, bringing all these things from Egypt to London."

"It is worth the trouble, though, for it is a fine and instructive collection. And the work is all very good of its kind. You notice that the Ushabti figures and the heads that form the stoppers of the Canopic jars are quite finely modeled. The mummy itself, too, is rather handsome, though that coat of bitumen on the back doesn't improve it. But Sebek-hotep must have been a fine-looking man."

"The mask on the face is a portrait, I suppose?"

"Yes; in fact, it's rather more. To some extent it is the actual face of the man himself. This mummy is enclosed in what is called a cartonnage, that is a case molded on the figure. The cartonnage was formed of a number of layers of linen or papyrus united by glue or cement, and when the case had been fitted to a mummy it was molded to the body, so that the general form of the features and limbs was often apparent. After the cement was dry the case was covered with a thin layer of stucco and the face modeled more completely, and then decorations and inscriptions were painted on. So that, you see, in a cartonnage, the body was sealed up like a nut in its shell, unlike the more ancient forms in which the mummy was merely rolled up and enclosed in a wooden coffin."

At this moment there smote upon our ears a politely protesting voice announcing in sing-song tones that it was closing time; and simultaneously a desire for tea suggested the hospitable milk-shop. With leisurely dignity that ignored the official who shepherded us along the galleries, we made our way to the entrance, still immersed in conversation on matters sepulchral.

It was rather earlier than our usual hour for leaving the Museum and, moreover, it was our last day—for the present. Wherefore we lingered over our tea to an extent that caused the milk-shop lady to view us with some disfavor, and when at length we started homeward, we took so many short cuts that six o'clock found us no nearer our destination than Lincoln's Inn Fields; whither we had journeyed by a slightly indirect route that traversed (among other places) Russell Square, Red Lion Square, with the quaint passage of the same name, Bedford Row, Jockey's Fields, Hand Court, and Great Turnstile.

It was in the last thoroughfare that our attention was attracted by a flaring poster outside a newsvendor's bearing the startling inscription:

"MORE MEMENTOES OF MURDERED MAN."

Miss Bellingham glanced at the poster and shuddered.

"Horrible, isn't it?" she said. "Have you read about them?"

"I haven't been noticing the papers the last few days," I replied.

"No, of course you haven't. You've been slaving at those wretched notes. We don't very often see the papers, at least we don't take them in, but Miss Oman has kept us supplied during the last day or two. She is a perfect little ghoul; she delights in horrors of every kind, and the more horrible the better."

"But," I asked, "what is it they have found?"

"Oh, they are the remains of some poor creature who seems to have been murdered and cut into pieces. It is dreadful. It made me shudder to read of it, for I couldn't help thinking of poor Uncle John, and, as for my father, he was really quite upset."

"Are these the bones that were found in a watercress-bed at Sidcup?"

"Yes, but they have found several more. The police have been most energetic. They seem to have been making a systematic search, and the result has been that they have discovered several portions of the body, scattered about in very widely separated places—Sidcup, Lee, St. Mary Cray; and yesterday it was reported that an arm had been found in one of the ponds called 'the Cuckoo Pits,' close to our old home."

"What! in Essex?" I exclaimed.

"Yes, in Epping Forest, quite near Woodford. Isn't it dreadful to think of it? They were probably hidden when we were living there. I think it was that that horrified my father so much. When he read it he was so upset that he gathered up the whole bundle of newspapers and tossed them out of the window; and they blew over the wall, and poor Miss Oman had to rush and pursue them up the court."

"Do you think he suspects that these remains may be those of your uncle?"

"I think so, though he has said nothing to that effect and, of course, I have not made any suggestion to him. We always preserve the fiction between ourselves of believing that Uncle John is still alive."

"But you don't think he is, do you?"

"No, I'm afraid I don't; and I feel pretty sure that my father doesn't think so either, but he doesn't like to admit it to me."

"Do you happen to remember what bones have been found?"

"No, I don't. I know that an arm was found in the Cuckoo Pits, and I think a thigh-bone was dredged up out of a pond near St. Mary Cray. But Miss Oman will be able to tell you all about it, if you are interested. She will be delighted to meet a kindred spirit," Miss Bellingham added, with a smile.

"I don't know that I claim spiritual kinship with a ghoul," said I; "especially such a very sharp-tempered ghoul."

"Oh, don't disparage her, Doctor Berkeley!" Miss Bellingham pleaded. "She isn't really bad-tempered; only a little prickly on the surface. I oughtn't to have called her a ghoul; she is just the sweetest, most affectionate, most unselfish little angelic human hedgehog that you could find if you traveled the wide world through. Do you know that she has been working her fingers to the bone making an old dress of mine presentable because she is so anxious that I shall look nice at your little supper party."

"You are sure to do that, in any case," I said; "but I withdraw my remark as to her temper unreservedly. And I really didn't mean it, you know; I have always liked the little lady."

"That's right; and now won't you come in and have a few minutes' chat with my father? We are quite early in spite of the short