The Emperor. Georg Ebers
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our Urania. Pollux has done his share of the work very well, and I have already devoted an hour’s work to it, which has improved it. The more humble our material, the better I shall be pleased if the work satisfies Caesar; he himself has tried his hand at sculpture.”
“If only Hadrian could hear that!” cried one of the painters. “He likes to think himself a great artist—one of the foremost of our time. It is said that he caused the life of the great architect, Apollodorus—who carried out such noble works for Trajan—to be extinguished—and why? because formerly that illustrious man had treated the imperial bungler as a mere dabbler, and would not accept his plan for the temple of Venus at Rome.”
“Mere talk!” answered Pontius to this accusation. “Apollodorus died in prison, but his incarceration had little enough to do with the Emperor’s productions—excuse me, gentlemen, I must once more look through the sketches and plans.”
The architect went away, but Pollux continued the conversation that had been begun by saying:
“Only I cannot understand how a man who practises so many arts at once as Hadrian does, and at the same time looks after the state and its government, who is a passionate huntsman and who dabbles in every kind of miscellaneous learning, contrives, when he wants to practise one particular form of art, to recall all his five senses into the nest from which he has let them fly, here, there, and everywhere. The inside of his head must be like that salad-bowl—which we have reduced to emptiness—in which Papias discovered three sorts of fish, brown and white meat, oysters and five other substances.”
“And who can deny,” added Papias, “that if talent is the father, and meat the mother of all productiveness, practice must be the artist’s teacher! Since Hadrian took to sculpture and painting it has become the universal fashion here to practise these arts, and among the wealthier youth who come to my workroom, many have very good abilities; but not one of them brings anything to any good issue, because so much of their time is taken up by the gymnasium, the bath, the quail-fights, the suppers, and I know not what besides, so that they do nothing by way of practice.”
“True,” said a painter. “Without the restraint and worry of apprenticeship no one can ever rise to happy and independent creativeness; and in the schools of rhetoric or in hunting or fighting no one can study drawing. It is not till a pupil has learned to sit steady and worry himself over his work for six hours on end that I begin to believe he will ever do any good work. Have you any of you seen the Emperor’s work?”
“I have,” answered a mosaic worker. “Many years ago Hadrian sent a picture to me that he had painted; I was to make a mosaic from it. It was a fruit piece. Melons, gourds, apples, and green leaves. The drawing was but so-so, and the color impossibly vivid, still the composition was pleasing from its solidity and richness. And after all, when one sees it, one cannot but feel that such superfluity is better than meagreness and feebleness. The larger fruits, especially under the exuberant sappy foliage, were so huge that they might have been grown in the garden of luxury itself, still the whole had a look of reality. I mitigated the colors somewhat in my transcript; you may still see a copy of the picture at my house, it hangs in the studio where my men draw. Nealkes, the rich hanging-maker, has had a tapestry woven from it which Pontius proposes to use as a hanging for a wall of the work-room, but I have made a fine frame on purpose for it.”
“Say rather for its designer.”
“Or yet rather,” added the most loquacious of the painters, “for the visit he may possibly pay your workshops.”
“I only wish the Emperor may come to ours too! I should like to sell him my picture of Alexander saluted by the priests in the temple of Jupiter Ammon.”
“I hope that when you agree about the price you will remember we are partners,” said his fellow-artist smugly.
“I will follow your example strictly,” replied the other.
“Then you will certainly not be a loser,” cried Papias, “for Eustorgius is fully aware of the worth of his works. And if Hadrian is to order works from every master whose art he dabbles in, he will require a fleet on purpose to carry his purchases to Rome.”
“It is said,” continued Eustorgius, laughing, “that he is a painter among poets, a sculptor among painters, an astronomer among musicians, and a sophist among artists—that is to say, that he pursues every art and science with some success as his secondary occupation.”
As he spoke the last words Pontius returned to the table where the artists were standing round the winejar; he had heard the painter’s last remark and interrupted him by saying:
“But my friend you forget that he is a monarch among monarchs—and not merely among those of today—in the fullest meaning of the word. Each of us separately can produce something better and more perfect in his own line; but how great is the man who by earnestness and skill can even apprehend everything that the mind has ever been able to conceive of, or the creative spirit of the artist to embody! I know him, and I know that he loves a really thorough master, and tries to encourage him with princely liberality. But his ears are everywhere, and he promptly becomes the implacable enemy of those who provoke his resentment. So bridle your restive Alexandrian tongues, and let me tell you that my colleague from Rome is in the closest intimacy with Hadrian. He is of the same age, resembles him greatly, and repeats to him everything that he hears said about him. So cease talking about Caesar and pass no severer judgments on dilettanti in the purple than on your wealthy pupils, who paint and chisel for the mere love of it, and for whom you find it so easy to lisp out ‘charming,’ or ‘wonderfully pretty,’ or ‘remarkably nice.’ Take my warning in good part, you know I mean it well.”
He spoke the last words with a cordial, manly feeling, of which his voice was peculiarly capable, and which was always certain to secure him the confidence even of the recalcitrant.
The artists exchanged greetings and hand-shakings and left the hall; a slave carried away the wine-jar and wiped the table, on which Pontius proceeded to lay out his sketches and plans. But he was not alone, for Pollux was soon at his side, and with a comical expression of pathos and laying his finger on his nose, he said:
“I have come out of my cage to say something more to you.”
“Well?”
“The hour is approaching when I may hope to repay the beneficent deeds, which, at various times, you have done to my interior. My mother will to-morrow morning, set before you that dish of cabbage. It could not be done sooner, because the only perfect sausage-maker, the very king of his trade, prepares these savory cylinders only once a week. A few hours ago he completed the making of the sausages, and to-morrow morning my mother will warm up for our breakfasts the noble mess, which she is preparing for us this evening—for, as I have told you, it is in its warmed-up state that it is the ideal of its kind. What will follow by way of sweets we shall owe again to my mother’s art; but the cheering and invigorating element—I mean the wine that I drives dull care away, we owe to my sister.”
“I will come,” said Pontius, “if my guest leaves me an hour free, and I shall enjoy the excellent dish. But what does a gay bird like you know of dull care?”
“The words fit into the metre,” replied Pollux. “I inherit from my father—who, when he is not gate-keeping, sings and recites—a troublesome tendency whenever anything incites me to drift into rhythm.”
“But to-day you have been more silent than usual, and yet you seemed to me to be extraordinarily content. Not your face only, but your whole length—a good measure—from the sole of your foot to the crown of your head was like a brimming cask of satisfaction.”
“Well, there is much that is lovely in this world!” cried Pollux, stretching himself comfortably and lifting his arms with his hands clasped far above his head towards heaven.
“Has anything specially pleasant happened to you?”
“There is no need for that! Here I live in excellent company, the work progresses, and—well, why should I deny it? There was something specially to mark to-day; I met an old acquaintance again.”