the splint, had put an end to the need of my help.
"What shall we do?" I asked, as we came out into the central hall; "it is too early for tea. Shall we go and look at some of the galleries?"
"Why not?" she answered. "We might look over some of the things connected with what we have been doing. For instance, there is a relief of Ahkhenaten upstairs in the Third Egyptian Room; we might go and look at that."
I fell in eagerly with the suggestion, placing myself under her experienced guidance, and we started by way of the Roman Gallery, past the long row of extremely commonplace and modern-looking Roman Emperors.
"I don't know," she said, pausing for a moment opposite a bust labelled "Trajan" (but obviously a portrait of Phil May), "how I am ever even to thank you for all that you have done? to say nothing of repayment."
"There is no need to do either," I replied. "I have enjoyed working with you, so I have had my reward. But still," I added, "if you want to do me a great kindness, you have it in your power."
"How?"
"In connection with my friend Doctor Thorndyke. I told you he was an enthusiast. Now he is, for some reason, most keenly interested in everything relating to your uncle, and I happen to know that, if any legal proceedings should take place, he would very much like to keep a friendly eye on the case."
"And what do you want me to do?"
"I want you, if an opportunity should occur for him to give your father advice or help of any kind, to use your influence with your father in favour of, rather than in opposition to, his accepting it—always assuming that you have no real feeling against his doing so."
Miss Bellingham looked at me thoughtfully for a few moments, and then laughed softly.
"So the great kindness that I am to do you is to let you do me a further kindness through your friend!"
"No," I protested; "that is where you are quite mistaken. It isn't benevolence on Doctor Thorndyke's part; it is professional enthusiasm."
She smiled sceptically.
"You don't believe in it," I said; "but consider other cases. Why does a surgeon get out of bed on a winter's night to do an emergency operation at a hospital? He doesn't get paid for it. Do you think it is altruism?"
"Yes, of course. Isn't it?"
"Certainly not. He does it because it is his job, because it is his business to fight with disease—and win."
"I don't see much difference," she said. "It is work done for love instead of for payment. However, I will do what you ask if the opportunity arises; but I shan't suppose that I am repaying your kindness to me."
"I don't mind, so long as you do it," I said, and we walked on for some time in silence.
"Isn't it odd," she said presently, "how our talk always seems to come back to my uncle? Oh, and that reminds me that the things he gave to the Museum are in the same room as the Ahkhenaten relief. Would you like to see them?"
"Of course I should."
"Then we will go and look at them first." She paused, and then, rather shyly and with a rising colour, she continued: "And I think I should like to introduce you to a very dear friend of mine—with your permission, of course."
This last addition she made hastily, seeing, I suppose, that I looked rather glum at the suggestion. Inwardly I consigned her friend to the devil, especially if of the masculine gender; outwardly I expressed my felicity at making the acquaintance of any person whom she should honour with her friendship. Whereat, to my discomfiture, she laughed enigmatically; a very soft laugh, low-pitched and musical, like the cooing of a glorified pigeon.
I strolled on by her side, speculating a little anxiously on the coming introduction. Was I being conducted to the lair of one of the savants attached to the establishment? and would he add a superfluous third to our little party of two, so complete and companionable, solus cum sola, in this populated wilderness? Above all, would he turn out to be a comely young man, and bring my aerial castles tumbling about my ears? The shy look and the blush with which she had suggested the introduction were ominous indications, upon which I mused gloomily as we ascended the stairs and passed through the wide doorway. I glanced apprehensively at my companion, and met a quiet, inscrutable smile; and at that moment she halted outside a wall-case and faced me.
"This is my friend," she said. "Let me present you to Artemidorus, late of the Fayyum. Oh, don't smile!" she pleaded. "I am quite serious. Have you never heard of pious Catholics who cherish a devotion to some long-departed saint? That is my feeling towards Artemidorus, and if you only knew what comfort he has shed into the heart of a lonely woman; what a quiet, unobtrusive friend he has been to me in my solitary, friendless days, always ready with a kindly greeting on his gentle, thoughtful face, you would like him for that alone. And I want you to like him and to share our silent friendship. Am I very silly, very sentimental?"
A wave of relief had swept over me, and the mercury of my emotional thermometer, which had shrunk almost into the bulb, leaped up to summer heat. How charming it was of her and how sweetly intimate, to wish to share this mystical friendship with me! And what a pretty conceit it was, too, and how like this strange, inscrutable maiden, to come here and hold silent converse with this long-departed Greek. And the pathos of it all touched me deeply amidst the joy of this newborn intimacy.
"Are you scornful?" she asked, with a shade of disappointment, as I made no reply.
"No, indeed I am not," I answered earnestly. "I want to make you aware of my sympathy and my appreciation without 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 finger-tips.
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 coloured as it was, in accordance with the racial love of colour, 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 portrait 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 even 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 that Artemidorus worshipped or believed in those gods. They are there because they are splendid decoration and perfectly
