therefore, to begin talking with his guide, and to drag in, in a rather clumsy fashion, the fact that he expected two friends to join him early the next morning. To his surprise, the announcement seemed to relieve the sacristan at once of some of the anxiety that oppressed him.
'That is well,' he said quite brightly—'that is very well. Monsieur will travel in company with his friends: they will be always near him. It is a good thing to travel thus in company—sometimes.'
The last word appeared to be added as an afterthought and to bring with it a relapse into gloom for the poor little man.
They were soon at the house, which was one rather larger than its neighbours, stone-built, with a shield carved over the door, the shield of Alberic de Mauléon, a collateral descendant, Dennistoun tells me, of Bishop John de Mauléon. This Alberic was a Canon of Comminges from 1680 to 1701. The upper windows of the mansion were boarded up, and the whole place bore, as does the rest of Comminges, the aspect of decaying age.
Arrived on his doorstep, the sacristan paused a moment.
'Perhaps,' he said, 'perhaps, after all, monsieur has not the time?'
'Not at all—lots of time—nothing to do till tomorrow. Let us see what it is you have got.'
The door was opened at this point, and a face looked out, a face far younger than the sacristan's, but bearing something of the same distressing look: only here it seemed to be the mark, not so much of fear for personal safety as of acute anxiety on behalf of another. Plainly the owner of the face was the sacristan's daughter; and, but for the expression I have described, she was a handsome girl enough. She brightened up considerably on seeing her father accompanied by an able-bodied stranger. A few remarks passed between father and daughter of which Dennistoun only caught these words, said by the sacristan: 'He was laughing in the church,' words which were answered only by a look of terror from the girl.
But in another minute they were in the sitting-room of the house, a small, high chamber with a stone floor, full of moving shadows cast by a wood-fire that flickered on a great hearth. Something of the character of an oratory was imparted to it by a tall crucifix, which reached almost to the ceiling on one side; the figure was painted of the natural colours, the cross was black. Under this stood a chest of some age and solidity, and when a lamp had been brought, and chairs set, the sacristan went to this chest, and produced therefrom, with growing excitement and nervousness, as Dennistoun thought, a large book, wrapped in a white cloth, on which cloth a cross was rudely embroidered in red thread. Even before the wrapping had been removed, Dennistoun began to be interested by the size and shape of the volume. 'Too large for a missal,' he thought, 'and not the shape of an antiphoner; perhaps it may be something good, after all.' The next moment the book was open, and Dennistoun felt that he had at last lit upon something better than good. Before him lay a large folio, bound, perhaps, late in the seventeenth century, with the arms of Canon Alberic de Mauléon stamped in gold on the sides. There may have been a hundred and fifty leaves of paper in the book, and on almost every one of them was fastened a leaf from an illuminated manuscript. Such a collection Dennistoun had hardly dreamed of in his wildest moments. Here 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.
'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, matted black hair; presently it was seen that this covered a body of fearful thinness, almost a skeleton, but with the muscles standing out like wires. The hands were of a dusky pallor, covered, like the body, with long, coarse hairs, and hideously taloned. The eyes, touched in with a burning yellow, had intensely black pupils, and were fixed upon the throned King with a look of beast-like hate. Imagine one of the awful bird-catching spiders of South America translated into human form, and endowed with intelligence just less than human, and you will have some faint conception of the terror inspired by the appalling effigy. One remark is universally made by those to whom I have shown the picture: 'It was drawn from the life.'
As soon as the first shock of his irresistible fright had subsided, Dennistoun stole a look at his hosts. The sacristan's hands were pressed upon his eyes;
We now know that these leaves did contain a considerable fragment of that work, if not of that actual copy of it.
