To begin with, nothing of the body was visible, for it was swathed like a corpse. From these wrappings projected one arm, the right, in the hand of which was the likeness of a lighted torch. The head was not veiled. It was that of a man, long-nosed, thin-lipped, stern-visaged; the countenance pervaded by an awful and unutterable calm, as deep as that of Buddha only less benign. On the brow was a wreathed headdress, not unlike an Eastern turban, from which sprang two little wings resembling in some degree those on the famous Greek head of Hypnos, lord of Sleep. Between the folds of the wrappings on the back sprang two other wings, enormous wings bent like those of a bird about to take flight. Indeed the whole attitude of the figure suggested that it was springing from earth to air. It was executed in black basalt or some stone of the sort, and very highly finished. For instance, on the bare feet and the arm which held the torch could be felt every muscle and even some of the veins. In the same way the details of the skull were perfectly perceptible to the touch, although at first sight not visible on the marble surface. This was ascertained by climbing on the pedestal and feeling the face with our hands.
Here I may say that its modelling as well as that of the feet and the arm filled Bickley, who, of course, was a highly trained anatomist, with absolute amazement. He said that he would never have thought it possible that such accuracy could have been reached by an artist working in so hard a material.
When the others had arrived we studied this relic as closely as our two candles would allow, and in turn expressed our opinions of its significance. Bastin thought that if those things down there were really the remains of aeroplanes, which he did not believe, the statue had something to do with flying, as was shown by the fact that it had wings on its head and shoulders. Also, he added, after examining the face, the head was uncommonly like that of the idol that he had blown up. It had the same long nose and severe shut mouth. If he was right, this was probably another effigy of Oro which we should do well to destroy at once before the islanders came to worship it.
Bickley ground his teeth as he listened to him.
“Destroy that!” he gasped. “Destroy! Oh! you, you—early Christian.”
Here I may state that Bastin was quite right, as we proved subsequently when we compared the head of the fetish, which, as it will be remembered, he had brought away with him, with that of the statue. Allowing for an enormous debasement of art, they were essentially identical in the facial characteristics. This would suggest the descent of a tradition through countless generations. Or of course it may have been accidental. I am sure I do not know, but I think it possible that for unknown centuries other old statues may have existed in Orofena from which the idol was copied. Or some daring and impious spirit may have found his way to the cave in past ages and fashioned the local god upon this ancient model.
Bickley was struck at once, as I had been, with the resemblance of the figure to that of the Egyptian Osiris. Of course there were differences. For instance, instead of the crook and the scourge, this divinity held a torch. Again, in place of the crown of Egypt it wore a winged headdress, though it is true this was not very far removed from the winged disc of that country. The wings that sprang from its shoulders, however, suggested Babylonia rather than Egypt, or the Assyrian bulls that are similarly adorned. All of these symbolical ideas might have been taken from that figure. But what was it? What was it?
In a flash the answer came to me. A representation of the spirit of Death! Neither more nor less. There was the shroud; there the cold, inscrutable countenance suggesting mysteries that it hid. But the torch and the wings? Well, the torch was that which lighted souls to the other world, and on the wings they flew thither. Whoever fashioned that statue hoped for another life, or so I was convinced.
I explained my ideas. Bastin thought them fanciful and preferred his notion of a flying man, since by constitution he was unable to discover anything spiritual in any religion except his own. Bickley agreed that it was probably an allegorical representation of death but sniffed at my interpretation of the wings and the torch, since by constitution he could not believe that the folly of a belief in immortality could have developed so early in the world, that is, among a highly civilised people such as must have produced this statue.
What we could none of us understand was why this ominous image with its dead, cold face should have been placed in an aerodrome, nor in fact did we ever discover. Possibly it was there long before the cave was put to this use. At first the place may have been a temple and have so remained until circumstances forced the worshippers to change their habits, or even their Faith.
We examined this wondrous work and the pedestal on which it stood as closely as we were able by the dim light of our candles. I was anxious to go further and see what lay beyond it; indeed we did walk a few paces, twenty perhaps, onward into the recesses of the cave.
Then Bickley discovered something that looked like the mouth
