I hadn’t been working there long when I first noticed the old man. He was padding round the balcony, glancing about with a look of quiet fascination at the old maps displayed on the walls. He made three circuits, before descending to the ground floor and tipping his hat at the meet and greeter as he left.
I quickly learned from my colleagues that he was a regular to the museum and had been for some time. Aside from taking walks around the upper floors, the old man also liked to tell jokes. He would often come over to the information desk and whisper “Have you heard the one about…” to whoever was stationed there that day. The punchlines were terrible, but we would laugh anyway out of courtesy and also because it was a brief spell of cheeriness amongst the drone of weary visitors.
From then on, I paid close attention to his habits and saw how he would pause on occasion to pat a handrail or a stone column, like it was a trusted friend. At other times he would suddenly become fixated by an exhibit and beam at it with a knowing smile. This often had the profound effect of drawing other visitors to the object at which point the old man would slip through the bustle and continue on his steady meander. Most of all, he enjoyed looking at the Didier-Pouget that fills the wall outside the wildlife gallery. Nothing seemed to please him more than taking in the sunlit tufts of heather and the sprawling hillside as if it were a view he knew too well or perhaps longed to see in person.
The first week he stopped visiting the museum, things began to deteriorate. Chunks of marble began breaking off the staircase in the front hall as visitors passed up and down. Surveyors were brought in to assess the problem, but they were unable to determine a cause and management had no choice but to close them off, indefinitely.
The old man appeared a few days later, using the back stairs instead to reach the galleries. Although he still made his rounds, word quickly spread that he didn’t display his usual level of affection towards the exhibits or the building.
The following week, the preventative conservator became convinced that there were new cracks appearing in the Assyrian reliefs. At first, no one believed her until she began taking pictures that illustrated the encroaching damage. The curators were bewildered, but those of us who worked on the galleries knew what was happening. You could feel it in the walls and the great oak doorways – everywhere was withering in his absence.
The last time I saw the old man, his face was deathly pale. He still wore his broad-brimmed hat, but he’d swapped the tweed for a grey woollen suit jacket. He didn’t tell us any jokes. He barely made it up to the balcony.
Over time, things returned to normal; mostly. The steps were able to be repaired and the cracks in the reliefs no longer seem to be increasing.How many have noticed the new addition, I couldn’t say. It’s barely acknowledged, except through the briefest of whispers or in the flick of an eye. But if you care to look, you’ll see that a second figure has appeared amongst the rose-tinted hillside where once there stood a lone female. There’s not much detail to make out apart from a broad-brimmed hat that’s being held aloft as if the person is embracing the scene.
No doubt there’ll be others who’ll become a fixture amongst the museum and its collections. It’s what they deserve after contributing so much to the masonry and the treasures within. You might even call it a public service. For those yet to discover their own cherished item, I wish them long and healthy lives.