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 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 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 electicism 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 worshipped 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, "APTEMIÎ”Ñ PE EYΨYXI."
'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 has gone from them for ever; they would look on his face and hear his voice no more; they realised that this was their last farewell. Oh, there is a world of love and sorrow in those two simple words!'
-- The Eye of Osiris (1911), by R. Austin Freeman
