A Thorny Path — Complete by Georg Ebers (i can read with my eyes shut .txt) 📕

The houses of the embalmers, which earlier in the evening had shone brightly out of the darkness, now made a less splendid display. The dust kicked up by the crowd dimmed the few lamps and torches which had not by this time burned out or been extinguished, and an oppressive atmosphere of balsamic resin and spices met the brother and sister on the very threshold. The vast hall which they now entered was one of a long row of buildings of unburned bricks; but the Greeks insisted on some ornamentation of the simplest structure, if it served a public purpose, and the embalming-houses had a colonnade along their front, and their walls were covered with stucco, painted in gaudy colors, here in the Egyptian and there in the Greek taste. There were scenes from the Egyptian realm of the dead, and others from the Hellenic myths; for the painters had been enjoined to satisfy the requirements and views of visitors of every race. The chief attraction, however, this night was within; for the men whose duties were exercised on the dead had displayed the finest and best of what they had to offer to their customers.

The ancient Greek practice of burning the dead had died out under the Antonines. Of old, the objects used to deck the pyre had also been on show here; now there was nothing to be seen but what related to interment or entombment.

Side by side with the marble sarcophagus, or those of coarser stone, were wooden coffins and mummy-cases, with a place at the head for the portrait of the deceased. Vases and jars of every kind, amulets of various forms, spices and balsams in vials and boxes, little images in burned clay of the gods and of men, of which none but the Egyptians knew the allegorical meaning, stood in long rows on low wooden shelves. On the higher shelves were mummy bands and shrouds, some coarse, others of the very finest texture, wigs for the bald heads of shaven corpses, or woolen fillets, and simply or elaborately embroidered ribbons for the Greek dead.

Nothing was lacking of the various things in use for decking the corpse of an Alexandrian, whatever his race or faith.

Some mummy-cases, too, were there, ready to be packed off to other towns. The most costly were covered with fine red linen, wound about with strings of beads and gold ornaments, and with the name of the dead painted on the upper side. In a long, narrow room apart hung the portraits, waiting to be attached to the upper end of the mummy-cases of those lately deceased, and still in the hands of embalmers. Here, too, most of the lamps were out, and the upper end of the room was already dark. Only in the middle, where the best pictures were on show, the lights had been renewed.

The portraits were painted on thin panels of sycamore or of cypress, and in most of them the execution betrayed that their destiny was to be hidden in the gloom of a tomb.

Alexander’s portrait of Korinna was in the middle of the gallery, in a good light, and stood out from the paintings on each side of it as a genuine emerald amid green glass. It was constantly surrounded by a crowd of the curious and connoisseurs. They pointed out the beautiful work to each other; but, though most of them acknowledged the skill of the master who had painted it, many ascribed its superiority to the magical charm of the model. One could see in those wonderfully harmonious features that Aristotle was right when he discerned beauty in order and proportion; while another declared that he found there the evidence of Plato’s doctrine of the identity of the good and the beautiful—for this face was so lovely because it was the mirror of a soul which had been disembodied in the plenitude of maiden purity and virtue, unjarred by any discord; and this gave rise to a vehement discussion as to the essential nature of beauty and of virtue.

Others longed to know more about the early-dead original of this enchanting portrait. Korinna’s wealthy father and his brothers were among the best-known men of the city. The elder, Timotheus, was high-priest of the Temple of Serapis; and Zeno, the younger, had set the whole world talking when he, who in his youth had been notoriously dissipated, had retired from any concern in the corn-trade carried on by his family, the greatest business of the kind in the world, perhaps, and—for this was an open secret—had been baptized.

The body of the maiden, when embalmed and graced with her portrait, was to be transported to the family tomb in the district of Arsinoe, where they had large possessions, and the gossip of the embalmer was eagerly swallowed as he expatiated on the splendor with which her liberal father proposed to escort her thither.

Alexander and Melissa had entered the portrait-gallery before the beginning of this narrative, and listened to it, standing behind several rows of gazers who were between them and the portrait.

As the speaker ceased, the little crowd broke up, and when Melissa could at last see her brother’s work at her ease, she stood speechless for some time; and then she turned to the artist, and exclaimed, from the depths of her heart, “Beauty is perhaps the noblest thing in the world!”

“It is,” replied Alexander, with perfect assurance. And he, bewitched once more by the spell which had held him by Korinna’s couch, gazed into the dark eyes in his own picture, whose living glance his had never met, and which he nevertheless had faithfully reproduced, giving them a look of the longing of a pure soul for all that is lovely and worthy.

Melissa, an artist’s daughter, as she looked at this portrait, understood what it was that had so deeply stirred her brother while he painted it; but this was not the place to tell him so. She soon tore herself away, to look about for Philip once more and then to be taken home.

Alexander, too, was seeking Philip; but, sharp as the artist’s eyes were, Melissa’s seemed to be keener,