"Hear, O Israel, the Lord thy God is one God!"
George Bullen's eyes were fixed upon the face of Apleon, and he noted the mocking, contemptuous smile that curled his lips at the language of the chant.
As the chant finished, Cohen turned and faced Apleon, and slowly climbed the steps. The music had ceased now, and, amid an absolute silence, Apleon took "the embroidered coat" from the offered hands of one of the subordinate priests. The garment was of white linen wonderfully, beautifully embroidered. It reached from the shoulders to the feet and fitted the body closely, a draw-string of white linen tape fastening the sleeves at the wrists, and drawing the breast of the vestment close about.
A linen girdle "four fingers wide," and long enough when tied to reach the feet, was next put about Cohen by Apleon. Then a third priest handed the Emperor, "The Robe of the Ephod." This was a long, loose garment of Royal blue satin, with a wide neck-opening, the opening bound with a wide gold band. The Robe was slipped over the head, and it dropped to the feet of the High-priest. Upon the lower hem of the Robe was a rich, deep fringe of alternate blue, purple, and scarlet tassels made in the form of pomegranates. Between each pomegranate was a golden bell.
Still amid an absolute silence, the investiture proceeded. Apleon took the costly and beautiful Ephod of a fourth priest. This vestment was in two pieces, one for the front, the other for the back. They were joined together, at the shoulders, by bands of wide gold braid, and buckled with two of the Anti-christ covenant badges. Apleon had provided himself with these, and no one probably, save George Bullen, noticed of what the bucklings consisted. But nothing escaped Bullen, for while the attention of everyone else in the place was given only in a general way to the robing of the High Priest, his whole and absolute attention was concentrated on Apleon, all that he did, every varying expression of his handsome but sardonic face, and every movement of his fingers.
Another priest handed "The curious girdle of the Ephod." But, unlike the ordained adjunct, as given in Exodus, in this case it was a separate piece, and instead of being of the same stuff, was a cunningly worked band of gold studded with many gems. The girdle handed to Apleon, fastened with a clasp. The clasp was worth a Jew's ransom, and like the breast-plate—presently to be slung about the neck of Cohen—was a gift to the Temple by Apleon.
But the gift was accursed, for among the curiously, twisted gold of the clasp, the "Mark of the Beast" could be traced, if carefully scrutinized.
The Ephod Girdle being clasped, a priest handed the breastplate to the Emperor. It should, according to the Mosaic command, have been made of the same material as the Ephod—"of gold, of blue, of purple, of scarlet, and of fine twisted linen."
But in this case it was made of gold, and slung by a gold chain about the High-priest's neck.
The gold filigree setting for the stones, held within its cunning workmanship that same damnable sign—"The Mark of the Beast," though only a very keen, clever eye would have detected the foul hieroglyphic among the twistings of gold patterning. The whole plate was about ten inches square, the centre divided by gold ribs, across and across, into twelve sections, each section holding a separate precious stone of fabulous wealth. Just for a moment or two the wondrous mechanical music stole out again upon the silence. Lovers of music recognized part of Schubert's "Unfinished Symphony." What wondrous melody there was in the fragment! The priests' voices chanted again, and all the time the face of Apleon wore its mocking smile. Reading from the top—right to left, as the breastplate hung on the breast—the stones and their significance ran as follows: