Smith and the Pharaohs, and other Tales. Генри Райдер Хаггард

to me that you found nothing.”

      “I dare say, sir; but your inspector did not know what I found.”

      “Ah, you are a discreet man! Well, let us see.”

      Slowly Smith unbuttoned his waistcoat. From its inner pocket and elsewhere about his person he extracted the jewels wrapped in mummy-cloth as he had found them. First he produced a sceptre-head of gold, in the shape of a pomegranate fruit and engraved with the throne name and titles of Ma-Mee.

      “What a beautiful object!” said the Director. “Look! the handle was of ivory, and that sacre thief of a priest smashed it out at the socket. It was fresh ivory then; the robbery must have taken place not long after the burial. See, this magnifying-glass shows it. Is that all?”

      Smith handed him the surviving half of the marvellous necklace that had been torn in two.

      “I have re-threaded it,” he muttered, “but every bead is in its place.”

      “Oh, heavens! How lovely! Note the cutting of those cornelian heads of Hathor and the gold lotus-blooms between—yes, and the enamelled flies beneath. We have nothing like it in the Museum.”

      So it went on.

      “Is that all?” gasped the Director at last, when every object from the basket glittered before them on the table.

      “Yes,” said Smith. “That is—no. I found a broken statuette hidden in the sand outside the tomb. It is of the queen, but I thought perhaps you would allow me to keep this.”

      “But certainly, Mr. Smith; it is yours indeed. We are not niggards here. Still, if I might see it——”

      From yet another pocket Smith produced the head. The Director gazed at it, then he spoke with feeling.

      “I said just now that you were discreet, Mr. Smith, and I have been reflecting that you are honest. But now I must add that you are very clever. If you had not made me promise that this bronze should be yours before you showed it me—well, it would never have gone into that pocket again. And, in the public interest, won’t you release me from the promise?”

      “No,” said Smith.

      “You are perhaps not aware,” went on the Director, with a groan, “that this is a portrait of Mariette’s unknown queen whom we are thus able to identify. It seems a pity that the two should be separated; a replica we could let you have.”

      “I am quite aware,” said Smith, “and I will be sure to send you a replica, with photographs. Also I promise to leave the original to some museum by will.”

      The Director clasped the image tenderly, and, holding it to the light, read the broken cartouche beneath the breasts.

      “‘Ma-Me, Great Royal Lady. Beloved of ——’ Beloved of whom? Well, of Smith, for one. Take it, monsieur, and hide it away at once, lest soon there should be another mummy in this collection, a modern mummy called Smith; and, in the name of Justice, let the museum which inherits it be not the British, but that of Cairo, for this queen belongs to Egypt. By the way, I have been told that you are delicate in the lungs. How is your health now? Our cold winds are very trying. Quite good? Ah, that is excellent! I suppose that you have no more articles that you can show me?”

      “I have nothing more except a mummied hand, which I found in the basket with the jewels. The two rings off it lie there. Doubtless it was removed to get at that bracelet. I suppose you will not mind my keeping the hand——”

      “Of the beloved of Smith,” interrupted the Director drolly. “No, I suppose not, though for my part I should prefer one that was not quite so old. Still, perhaps you will not mind my seeing it. That pocket of yours still looks a little bulky; I thought that it contained books!”

      Smith produced a cigar-box; in it was the hand wrapped in cotton wool.

      “Ah,” said the Director, “a pretty, well-bred hand. No doubt this Ma-Mee was the real heiress to the throne, as she describes herself. The Pharaoh was somebody of inferior birth, half-brother—she is called ‘Royal Sister,’ you remember—son of one of the Pharaoh’s slave-women, perhaps. Odd that she never mentioned him in the tomb. It looks as though they didn’t get on in life, and that she was determined to have done with him in death. Those were the rings upon that hand, were they not?”

      He replaced them on the fingers, then took off one, a royal signet in a cartouche, and read the inscription on the other: “‘Bes Ank, Ank Bes.’ ‘Bes the Living, the Living Bes.’

      “Your Ma-Mee had some human vanity about her,” he added. “Bes, among other things, as you know, was the god of beauty and of the adornments of women. She wore that ring that she might remain beautiful, and that her dresses might always fit, and her rouge never cake when she was dancing before the gods. Also it fixes her period pretty closely, but then so do other things. It seems a pity to rob Ma-Mee of her pet ring, does it not? The royal signet will be enough for us.”

      With a little bow he gave the hand back to Smith, leaving the Bes ring on the finger that had worn it for more than three thousand years. At least, Smith was so sure it was the Bes ring that at the time he did not look at it again.

      Then they parted, Smith promising to return upon the morrow, which, owing to events to be described, he did not do.

      “Ah!” said the Master to himself, as the door closed behind his visitor. “He’s in a hurry to be gone. He has fear lest I should change my mind about that ring. Also there is the bronze. Monsieur Smith was ruse there. It is worth a thousand pounds, that bronze. Yet I do not believe he was thinking of the money. I believe he is in love with that Ma-Mee and wants to keep her picture. Mon Dieu! A well-established affection. At least he is what the English call an odd fish, one whom I could never make out, and of whom no one seems to know anything. Still, honest, I am sure—quite honest. Why, he might have kept every one of those jewels and no one have been the wiser. And what things! What a find! Ciel! what a find! There has been nothing like it for years. Benedictions on the head of Odd-fish Smith!”

      Then he collected the precious objects, thrust them into an inner compartment of his safe, which he locked and double-locked, and, as it was nearly five o’clock, departed from the Museum to his private residence in the grounds, there to study Smith’s copies and photographs, and to tell some friends of the great things that had happened.

      When Smith found himself outside the sacred door, and had presented its venerable guardian with a baksheesh of five piastres, he walked a few paces to the right and paused a while to watch some native labourers who were dragging a huge sarcophagus upon an improvised tramway. As they dragged they sang an echoing rhythmic song, whereof each line ended with an invocation to Allah.

      Just so, reflected Smith, had their forefathers sung when, millenniums ago, they dragged that very sarcophagus from the quarries to the Nile, and from the Nile to the tomb whence it reappeared to-day, or when they slid the casing blocks of the pyramids up the great causeway and smooth slope of sand, and laid them in their dizzy resting-places. Only then each line of the immemorial chant of toil ended with an invocation to Amen, now transformed to Allah. The East may change its masters and its gods, but its customs never change, and if to-day Allah wore the feathers of Amen one wonders whether the worshippers would find the difference so very great.

      Thus thought Smith as he hurried away from the sarcophagus and those blue-robed, dark-skinned fellaheen, down the long gallery that is filled with a thousand sculptures. For a moment he paused before the wonderful white statue of Queen Amenartas, then, remembering that his time was short, hastened on to a certain room, one of those which opened out of the gallery.

      In a corner of this room, upon the wall, amongst many other beautiful objects, stood that head which Mariette had found, whereof in past years the cast had fascinated him in London. Now he knew whose head it was; to him it had been given to find the tomb of her who had sat for that statue. Her very hand was in his pocket—yes, the hand that had touched yonder marble, pointing out its defects to the sculptor, or perhaps swearing that he flattered her.