“Yes; and we are not the only distinguished people who repose in this place. The daughter of no less a person than Richard Cromwell is buried here; the tomb is still standing—but perhaps you have been here before, and know it.”
“I don’t think I have ever been here before; and yet there is something about the place that seems familiar.” I looked around, cudgeling my brains for the key to the dimly reminiscent sensations that the place evoked; until, suddenly, I caught sight of a group of buildings away to the west, enclosed within a wall heightened by a wooden trellis.
“Yes, of course!” I exclaimed. “I remember the place now. I have never been in this part before, but in that enclosure beyond, which opens at the end of Henrietta Street, there used to be and may be still, for all I know, a school of anatomy, at which I attended in my first year; in fact, I did my first dissection there.”
“There was a certain gruesome appropriateness in the position of the school,” remarked Miss Bellingham. “It would have been really convenient in the days of the resurrection men. Your material would have been delivered at your very door. Was it a large school?”
“The attendance varied according to the time of the year. Sometimes I worked there quite alone. I used to let myself in with a key and hoist my subject out of a sort of sepulchral tank by means of a chain tackle. It was a ghoulish business. You have no idea how awful the body used to look to my unaccustomed eyes, as it rose slowly out of the tank. It was like the resurrection scene that you see on some old tombstones, where the deceased is shown rising out of his coffin while the skeleton, Death, falls vanquished with his dart shattered and his crown toppling off.
“I remember, too, that the demonstrator used to wear a blue apron, which created a sort of impression of a cannibal butcher’s shop. But I am afraid I am shocking you.”
“No you are not. Every profession has its unpresentable aspects, which ought not to be seen by outsiders. Think of the sculptor’s studio and of the sculptor himself when he is modeling a large figure or a group in clay. He might be a bricklayer or a roadsweeper if you judge by his appearance. This is the tomb I was telling you about.”
We halted before the plain coffer of stone, weathered and wasted by age, but yet kept in decent repair by some pious hands, and read the inscription, setting forth with modest pride, that here reposed Anna, sixth daughter of Richard Cromwell, “The Protector.” It was a simple monument and commonplace enough, with the crude severity of the ascetic age to which it belonged. But still, it carried the mind back to those stirring times when the leafy shades of Gray’s Inn Lane must have resounded with the clank of weapons and the tramp of armed men; when this bald recreation-ground was a rustic churchyard, standing amidst green fields and hedgerows, and countrymen leading their packhorses into London through the Lane would stop to look in over the wooden gate.
Miss Bellingham looked at me critically as I stood thus reflecting, and presently remarked: “I think you and I have a good many mental habits in common.”
I looked up inquiringly, and she continued: “I notice that an old tombstone seems to set you meditating. So it does me. When I look at an ancient monument, and especially an old headstone, I find myself almost unconsciously retracing the years to the date that is written on the stone. Why do you think that is? Why should a monument be so stimulating to the imagination? And why should a common headstone be more so than any other?”
“I suppose it is,” I answered reflectively, “that a churchyard monument is a peculiarly personal thing and appertains in a peculiar way to a particular time. And the circumstance that it has stood untouched by the passing years while everything around has changed, helps the imagination to span the interval. And the common headstone, the memorial of some dead and gone farmer or laborer who lived and died in the village hard by, is still more intimate and suggestive. The rustic, childish sculpture of the village mason and the artless doggerel of the village schoolmaster, bring back the time and place and the conditions of life more vividly than the more scholarly inscriptions and the more artistic enrichments of monuments of greater pretensions. But where are your own family tombstones?”
“They are over in that farther corner. There is an intelligent, but inopportune, person apparently copying the epitaphs. I wish he would go away. I want to show them to you.”
I now noticed, for the first time, an individual engaged, notebook in hand, in making a careful survey of a group of old headstones. Evidently he was making a copy of the inscriptions, for not only was he poring attentively over the writing on the face of the stone, but now and again he helped out his vision by running his fingers over the worn lettering.
“That is my grandfather’s tombstone that he is copying now,” said Miss Bellingham; and even as she spoke, the man turned and directed a searching glance at us with a pair of keen, spectacled eyes.
Simultaneously we uttered an exclamation of surprise; for the investigator was Mr. Jellicoe.
XVI
O Artemidorus, Farewell!
Whether or not Mr. Jellicoe was surprised to see us, it is impossible to say. His countenance (which served the ordinary purposes of a face, inasmuch as it contained the principal organs of special sense, with inlets to the alimentary and respiratory tracts) was, as an apparatus for the expression of the emotions, a total failure. To a thought-reader it would have been about as helpful as the face carved upon the handle of an umbrella;
