Summary

R. Austin Freeman The Eye of Osiris — XVIII. John Bellingham (1911)

There is something singularly fascinating in the appearance of a developing photograph; in the gradual, mysterious emergence of the picture from the blank, white surface of plate or paper. But a skiagraph, or X-ray photograph, has a fascination all its own. Unlike the ordinary photograph, which yields a picture of things already seen, it gives a presentment of objects hitherto invisible; and hence, when Polton poured the developer on the already wet paper, we all craned over the tray with the keenest curiosity.
Source: Wikisource

R. Austin Freeman The Eye of Osiris — XVIII. John Bellingham (1911)

The vague shapes of mummy-cases standing erect in the wall-cases, loomed out dim and gigantic, silent watchers keeping their vigil with the memories of untold centuries locked in their shadowy breasts. They were an awesome company. Reverend survivors from a vanished world, they looked out from the gloom of their abiding-place, but with no shade of menace or of malice in their silent presence
Source: Wikisource

R. Austin Freeman The Eye of Osiris — XVIII. John Bellingham (1911)

The green light vanished from the bulb, the hum of the interrupter swept down an octave or two and died away. Then Thorndyke and Dr. Norbury rose from their chairs and went toward the mummy, which they lifted tenderly while Polton drew from beneath it what presently turned out to be a huge black paper envelope. The single glow-lamp was switched off, leaving the room in total darkness until there burst out suddenly a bright orange red light immediately above one of the trays.
Source: Wikisource

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