Ghost Stories of an Antiquary | Page 4

were ten leaves from a copy of Genesis, illustrated with pictures, which could not be later than A.D. 700. Further on was a complete set of pictures from a Psalter, of English execution, of the very finest kind that the thirteenth century could produce; and, perhaps best of all, there were twenty leaves of uncial writing in Latin, which, as a few words seen here and there told him at once, must belong to some very early unknown patristic treatise. Could it possibly be a fragment of the copy of Papias 'On the Words of Our Lord', which was known to have existed as late as the twelfth century at Nimes?[1] In any case, his mind was made up; that book must return to Cambridge with him, even if he had to draw the whole of his balance from the bank and stay at St. Bertrand till the money came. He glanced up at the sacristan to see if his face yielded any hint that the book was for sale. The sacristan was pale, and his lips were working.
[1] We now know that these leaves did contain a considerable fragment of that work, if not of that actual copy of it.
'If monsieur will turn on to the end,' he said.
So monsieur turned on, meeting new treasures at every rise of a leaf; and at the end of the book he came upon two sheets of paper, of much more recent date than anything he had seen yet, which puzzled him considerably. They must be contemporary, he decided, with the unprincipled Canon Alberic, who had doubtless plundered the Chapter library of St Bertrand to form this priceless scrap-book. On the first of the paper sheets was a plan, carefully drawn and instantly recognizable by a person who knew the ground, of the south aisle and cloisters of St Bertrand's. There were curious signs looking like planetary symbols, and a few Hebrew words in the corners; and in the north-west angle of the cloister was a cross drawn in gold paint. Below the plan were some lines of writing in Latin, which ran thus:
Responsa 12(mi) Dec. 1694. Interrogatum est: Inveniamne? Responsum est: Invenies. Fiamne dives? Fies. Vivamne invidendus? Vives. Moriarne in lecto meo? Ita. (Answers of the 12th of December, 1694. It was asked: Shall I find it? Answer: Thou shalt. Shall I become rich? Thou wilt. Shall I live an object of envy? Thou wilt. Shall I die in my bed? Thou wilt.)
'A good specimen of the treasure-hunter's record--quite reminds one of Mr Minor-Canon Quatremain in Old St Paul's,' was Dennistoun's comment, and he turned the leaf.
What he then saw impressed him, as he has often told me, more than he could have conceived any drawing or picture capable of impressing him. And, though the drawing he saw is no longer in existence, there is a photograph of it (which I possess) which fully bears out that statement. The picture in question was a sepia drawing at the end of the seventeenth century, representing, one would say at first sight, a Biblical scene; for the architecture (the picture represented an interior) and the figures had that semi-classical flavour about them which the artists of two hundred years ago thought appropriate to illustrations of the Bible. On the right was a king on his throne, the throne elevated on twelve steps, a canopy overhead, soldiers on either side--evidently King Solomon. He was bending forward with outstretched sceptre, in attitude of command; his face expressed horror and disgust, yet there was in it also the mark of imperious command and confident power. The left half of the picture was the strangest, however. The interest plainly centred there.
On the pavement before the throne were grouped four soldiers, surrounding a crouching figure which must be described in a moment. A fifth soldier lay dead on the pavement, his neck distorted, and his eye-balls starting from his head. The four surrounding guards were looking at the King. In their faces, the sentiment of horror was intensified; they seemed, in fact, only restrained from flight by their implicit trust in their master. All this terror was plainly excited by the being that crouched in their midst.
I entirely despair of conveying by any words the impression which this figure makes upon anyone who looks at it. I recollect once showing the photograph of the drawing to a lecturer on morphology--a person of, I was going to say, abnormally sane and unimaginative habits of mind. He absolutely refused to be alone for the rest of that evening, and he told me afterwards that for many nights he had not dared to put out his light before going to sleep. However, the main traits of the figure I can at least indicate.
At first you saw only a mass of coarse,