There were, it is true, a number of skeletons, disposed here and there in fantastic attitudes, gleaming white and ghostly in their mechanical nakedness, the bones of human beings, the bones of giant orang-outangs, of creatures large and small down to the flimsy little framework of a common bull frog, strung on wires as fine as hairs, which squatted comfortably upon an old book near the edge of a table, as though it had just skipped to that point in pursuit of a ghostly fly and was pausing to meditate a farther spring.
But the eye did not discover these things at the first glance.

Solemn, silent, strangely expressive, lay three slim Egyptians, raised at an angle as though to give them a chance of surveying their fellow-dead, the linen bandages unwrapped from their heads and arms and shoulders, their jet-black hair combed and arranged and dressed by Keyork's hand, their faces softened almost to the expression of life by one of his secret processes, their stiffened joints so limbered by his art that their arms had taken natural positions again, lying over the edges of the sarcophagi in which they had rested motionless and immovable through thirty centuries.

For the man had pursued his idea in every shape and with every experiment, testing, as it were, the potential imperishability of the animal frame by the degree of life-like plumpness and softness and flexibility which it could be made to take after a mummification of three thousand years.

And he had reached the conclusion that, in the nature of things, the human body might vie, in resisting the mere action of time, with the granite of the pyramids.

Those had been his earliest trials.