Rembrandt The Return of the Prodigal Son painting

Rembrandt The Return of the Prodigal Son painting
John Collier Lady Godiva painting
was perfectly yellow, and stretched tightly over the bones. Its clothing, with the exception of what seemed to be the remains of a pair of woollen hose, had been removed, leaving the skeleton-like frame naked. Round the neck hung a yellow ivory crucifix. The corpse was frozen perfectly stiff.
"Who on earth can it be?" said I.
"Can't you guess?" asked Good.
I shook my head.
"Why, the old don, José da Silvestra, of course - who else?"
"Impossible," I gasped, "he died three hundred years ago."
"And what is there to prevent his lastenough flesh and blood will keep as fresh as New Zealand mutton forever, and Heaven knows it is cold enough here. The sun never gets in here; no animal comes here to tear or destroy. No doubt his slave, of whom he speaks on the map, took off his clothes and left him. He could not have buried him alone. Look here," he went. on, stooping down and picking up a queer-shaped bone scraped at the end into a sharp point, "here is the `cleft-bone' that he used to draw the map ing for three thousand years in this atmosphere