Last Days of Pompeii by Baron Edward Bulwer Lytton Lytton
page 50 of 573 (08%)
page 50 of 573 (08%)
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Raising one hand in sign of silence to the people, for the rites of Isis
enjoined what to the lively Pompeians was an impossible suspense from the use of the vocal organs, the chief priest poured his libation on the altar, and after a short concluding prayer the ceremony was over, and the congregation dismissed. Still, however, as the crowd dispersed themselves here and there, the Egyptian lingered by the railing, and when the space became tolerably cleared, one of the priests, approaching it, saluted him with great appearance of friendly familiarity. The countenance of the priest was remarkably unprepossessing--his shaven skull was so low and narrow in the front as nearly to approach to the conformation of that of an African savage, save only towards the temples, where, in that organ styled acquisitiveness by the pupils of a science modern in name, but best practically known (as their sculpture teaches us) amongst the ancients, two huge and almost preternatural protuberances yet more distorted the unshapely head--around the brows the skin was puckered into a web of deep and intricate wrinkles--the eyes, dark and small, rolled in a muddy and yellow orbit--the nose, short yet coarse, was distended at the nostrils like a satyr's--and the thick but pallid lips, the high cheek-bones, the livid and motley hues that struggled through the parchment skin, completed a countenance which none could behold without repugnance, and few without terror and distrust: whatever the wishes of the mind, the animal frame was well fitted to execute them; the wiry muscles of the throat, the broad chest, the nervous hands and lean gaunt arms, which were bared above the elbow, betokened a form capable alike of great active exertion and passive endurance. 'Calenus,' said the Egyptian to this fascinating flamen, 'you have improved the voice of the statue much by attending to my suggestion; and |
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