CHAPTER I.

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      Gorgias, the architect, had learned to bear the scorching sunbeams of the Egyptian noonday. Though not yet thirty, he had directed—first as his late father’s assistant and afterwards as his successor—the construction of the huge buildings erected by Cleopatra in Alexandria.

      Now he was overwhelmed with commissions; yet he had come hither ere the hours of work were over, merely to oblige a youth who had barely passed the confines of boyhood.

      True, the person for whom he made this sacrifice was Cæsarion, the son whom Cleopatra had given to Julius Cæsar. Antony had honoured him with the proud title of “King of kings”; yet he was permitted neither to rule nor even to issue orders, for his mother kept him aloof from affairs of state, and he himself had no desire to hold the sceptre.

      Gorgias had granted his wish the more readily, because it was apparent that he wanted to speak to him in private, though he had not the least idea what Cæsarion desired to confide, and, under any circumstances, he could give him only a brief interview. The fleet, at whose head the Queen had set sail, with Mark Antony, for Greece, must have already met Octavianus’s galleys, and doubtless a battle wherein the destiny of the world was decided had also been fought upon the land, Gorgias believed that the victory would fall to Antony and the Queen, and wished the noble pair success with his whole heart. He was even obliged to act as if the battle had been already determined in their favour, for the architectural preparations for the reception of the conquerors were entrusted to his charge, and that very day must witness the decision of the location of the colossal statues which represented Antony hand in hand with his royal love.

      The epitrop Mardion, a eunuch, who as Regent, represented Cleopatra; and Zeno, the Keeper of the Seal, who rarely opposed him, wished to have the piece of sculpture erected in a different place from the one he favoured. The principal objection to the choice made by the powerful head of the government was that it had fallen on land owned by a private individual. This might lead to difficulties, and Gorgias opposed it. As an artist, too, he did not approve Mardion’s plan; for though, on Didymus’s land, the statues would have faced the sea, which the Regent and the Keeper of the Seal regarded as very important, no fitting background could have been obtained.

      At any rate, the architect could now avail himself of Cæsarion’s invitation to overlook from the appointed place of meeting—the lofty steps of the Temple of Isis—the Bruchium, and seek the best site for the twin statues. He was anxious to select the most suitable one; the master who had created this work of art had been his friend, and had closed his eyes in death shortly after its completion.

      The sanctuary whence Gorgias commenced his survey was in one of the fairest portions of the Bruchium, the Alexandrian quarter, where stood the royal palace with its extensive annexes, the finest temples—except the Serapeum, situated in another part of the city—and the largest theatres; the Forum invited the council of Macedonian citizens to its assemblies, and the Museum afforded a resort for the scholars.

      The little square closed in the east by the Temple of Isis was called the “Corner of the Muses,” on account of the two marble statues of women before the entrance of the house, which, with its large garden facing the square northward and extending along the sea, belonged to Didymus, an old and highly respected scholar and member of the Museum.

      The day had been hot, and the shade of the Temple of Isis was very welcome to the architect. This sanctuary rested upon a lofty foundation, and a long flight of steps led to the cella. The spot afforded Gorgias a wide prospect.

      Most of the buildings within his vision belonged to the time of Alexander and his successors in the house of the Ptolemies, but some, and by no means the least stately, were the work of Gorgias himself or of his father. The artist’s heart swelled with enthusiastic delight at the sight of this portion of his native city.

      He had been in Rome, and visited many other places numbered among the world’s fairest and most populous cities; but not one contained so many superb works of art crowded together in so small a space.

      “If one of the immortals themselves,” he murmured, “should strive to erect for the inhabitants of Olympus a quarter meet for their grandeur and beauty, it could scarcely be much more superb or better fitted to satisfy the artistic needs which we possess as their gift, and it would surely be placed on the shore of such a sea.”

      While speaking, he shaded his keen eyes with his hand. The architect, who usually devoted his whole attention to the single object that claimed his notice, now permitted himself the pleasure of enjoying the entire picture in whose finishing touches he had himself borne a part; and, as his practised eye perceived in every temple and colonnade the studied and finished harmony of form, and the admirable grouping of the various buildings and statues, he said to himself, with a sigh of satisfaction, that his own art was the noblest and building the highest of royal pleasures. No doubt this belief was shared by the princes who, three centuries before, had endeavoured to obtain an environment for their palaces which should correspond with their vast power and overflowing wealth, and at the same time give tangible expression to their reverence for the gods and their delight in art and beauty. No royal race in the universe could boast of a more magnificent abode. These thoughts passed through Gorgias’s mind as the deep azure hue of sea and sky blended with the sunlight to bring into the strongest relief all that the skill and brains of man, aided by exhaustless resources, had here created.

      Waiting, usually a hard task for the busy architect, became a pleasure in this spot; for the rays streaming lavishly in all directions from the diadem of the sovereign sun flooded with dazzling radiance the thousands of white marble statues on the temples and colonnades, and were reflected from the surfaces of the polished granite of the obelisks and the equally smooth walls of the white, yellow, and green marble, the syenite, and the brown, speckled porphyry of sanctuaries and palaces. They seemed to be striving to melt the bright mosaic pictures which covered every foot of the ground, where no highway intersected and no tree shaded it, and flashed back again from the glimmering metal or the smooth glaze in the gay tiles on the roofs of the temples and houses. Here they glittered on the metal ornaments, yonder they seemed to be trying to rival the brilliancy of the gilded domes, to lend to the superb green of the tarnished bronze surfaces the sparkling lustre of the emerald, or to transform the blue and red lines of the white marble temples into lapis-lazuli and coral and their gilded decorations into topaz. The pictures in the mosaic pavement of the squares, and on the inner walls of the colonnades, were doubly effective against the light masses of marble surrounding them, which in their turn were indebted to the pictures for affording the eye an attractive variety instead of dazzling monotony.

      Here the light of the weltering sun enhanced the brilliancy of colour in the flags and streamers which fluttered beside the obelisks and Egyptian pylons, over the triumphal arches and the gates of the temples and palaces. Yet even the exquisite purplish blue of the banner waving above the palace on the peninsula of Lochias, now occupied by Cleopatra’s children, was surpassed by the hue of the sea, whose deep azure near the shore merged far away into bands of lighter and darker blue, blending with dull or whitish green.

      Gorgias was accustomed to grasp fully whatever he permitted to influence him, and though still loyal to his custom of associating with his art every remarkable