feminine delicacy.”
My eyes followed the columns to the pediment high above the porch, where I saw something I was not used to seeing in a temple—a tall, open window with an elaborate frame around it. I assumed it was there to admit light in the daytime, but as I was about to discover, this window had a far more important purpose.
In front of the temple, some distance from the steps, a low wall enclosed an elegantly carved altar for sacrificing animals. As the procession arrived before the temple, some of the yellow-robed Megabyzoi broke away from the larger contingent and took up places at this altar, producing ceremonial daggers, ropes for holding down the animals, butchering knives and axes, and other implements for the sacrifices. Other Megabyzoi stoked the pyres upon which the carved and spitted meat would be roasted. Others unloaded the statue of Artemis from the cart, carried her up the steps and into the temple. Yet another group of priests unyoked the garlanded bulls that had pulled the cart and led them toward the altar. A great many other animals, including sheep, goats, and oxen, were already being held in pens in the enclosure. They were to be sacrificed and roasted in the course of the evening, to satiate the appetite of the vast crowd.
The first of the bulls was led up a short ramp onto the altar, pushed to its side, and securely trussed. Megabyzoi intoned prayers to Artemis and walked among the crowd, carrying bowls of smoking incense. One of the priests, apparently the foremost among them to judge by the special embroidery on his robe and the height of his headdress, mounted a platform beside the altar where everyone in the crowd could see him. He raised his arms aloft.
“That’s Theotimus,” whispered Eutropius to Antipater, “head priest of the Megabyzoi.” There was an edge in his voice, and he scowled as he gazed at the priest. So did Mnason.
The musicians ceased their playing. The girls stopped dancing. The crowd fell silent.
“People of Ephesus,” cried Theotimus, “welcomed visitors, all who have gathered here for the love and adoration of the goddess—the sacrifices are ready to begin. If our rituals in your honor are pleasing to you, great Artemis—protector of virgins, supreme huntress, patron of wild places, benefactor since its beginning of the grateful city of Ephesus—we beg you, Artemis, to step forth and witness our propitiations to you.”
The expectant crowd turned its gaze from the priest to the window set high in the temple. From within came a flicker of light, and then the goddess appeared at the window, her outstretched hands open in a gesture of acceptance. The apparition was so uncanny that it took me a moment to realize that I was seeing the statue that had been paraded in the cart. Unless Artemis had propelled herself, the priests had somehow managed to get the image all the way up to the window. Her veil had been removed and her gilded face shone brightly, reflecting the light of the torches and the roasting pyres around the altar.
As the crowd erupted in cheers, Theotimus strode to the altar, raised a dagger, and slashed the bull’s throat. The bound creature kicked and thrashed, then fell limp. With a single, deft movement, the Megabyzus sliced off the bull’s testicles and held them aloft. The crowd again erupted in cheers.
“For Artemis!” shouted Theotimus, and others took up the cry: “For Artemis!”
Eutropius saw the dumbfounded expression on my face. I was used to seeing animal sacrifices, but I had never witnessed a postmortem castration. “The sacred testes are reserved for the virgin goddess; the rest will be for us,” said my host matter-of-factly. “I’m rather partial to the meat of the flank, especially if it’s nicely grilled.”
One beast after another was slain, with Artemis looking on from her high window, and the process of carving and cooking the meat began. The crowd gradually broke into groups, moving forward to receive their portion according to rules of rank and seniority determined by the Megabyzoi, who moved among the crowd to keep order, especially among those who had imbibed a great deal of wine. Clouds of smoke enveloped the crowd, and the smell of roasting meat mingled with the sweet fragrance of incense.
“Unless the two of you are terribly hungry, Teacher, this would be a good time for your young Roman friend to have a look inside the temple,” suggested Eutropius. “Anthea and Chloe and the other virgins will be performing more dances.”
Antipater declared this a splendid idea, and together we followed our host and Mnason up the broad marble steps and onto the porch.
Amestris came with us. Did that mean she was a virgin? Then I recalled Antipater’s precise words—that no
I shook my head and put aside this train of thought. What business was it of mine whether Amestris was a virgin or not?
Striding between the towering columns, we entered the grandest space I had ever seen. The sanctuary was lit by many lamps and decorated with many statues, but was so vast that no part of it seemed cluttered. The floor was of shimmering marble in a dizzying array of patterns and colors. High above our heads was a ceiling of massive cedar beams, alternately painted red, yellow, and blue, outlined with gold and decorated with gold ornaments. Adorning the marble walls were paintings of breathtaking beauty. Surely every tale ever told of Artemis was illustrated somewhere upon these vast walls, along with the images of many other gods and heroes.
Antipater drew my attention to the most famous painting in the temple, the gigantic portrait of Alexander the Great by Apelles. By some trick of coloring and perspective, the conqueror’s hand and the thunderbolt he held appeared to come out of the wall and hover in space above our heads. The effect was astounding.
The acoustics of the space were also extraordinary, amplifying and somehow enhancing the tune being played by the musicians who had taken part in the procession. They stood to one side. In the center of the vast space, with a crowd looking on, the virgins performed another dance.
“They’re enacting the story of Actaeon,” whispered Eutropius, leading us closer. I saw that one of the girls had put on a Phrygian cap and wrapped a cloak around herself to play the part of the young hunter; from her red hair, I realized it was Chloe. Other girls, with dog pelts over their heads and shoulders, played the part of Actaeon’s hounds. Others, holding bits of foliage, acted as trees. Actaeon, thirsty and eager to reach a pool hidden by the trees, pushed aside the leafy branches—at his touch the dancers yielded and twirled away—until, suddenly, the goddess Artemis was revealed, bathing in the imaginary pool.
Beside me, Antipater drew a sharp breath. I stifled a gasp and glanced at Eutropius, who smiled proudly. It was Anthea who played the startled goddess, and there was nothing imaginary about her nakedness. The milky white perfection of her small breasts and pale nipples seemed to glow in the soft light, radiating an almost supernatural beauty.
The music rose to a shrill crescendo. The hunter looked startled. So did the goddess. Artemis reached for her tunic to cover herself, and Actaeon moved to avert his eyes, but too late. Anthea threw her tunic into the air and raised her arms; the garment seemed to float down and cover her nakedness of its own volition. She whirled about,
