purest Greek style, not without an affectation of archaism, in the severe forms and subdued half-tints of the frescoes which ornamented the walls with scenes from the old myths of Athene. Yet the general effect, even under the blazing sun which poured in through the mosquito nets of the courtyard windows, was one of exquisite coolness, and cleanliness, and repose. The room had neither carpet nor fireplace; and the only movables in it were a sofa-bed, a table, and an armchair, all of such delicate and graceful forms as may be seen on ancient vases of a far earlier period than that whereof we write. But, most probably, had any of us entered that room that morning, we should not have been able to spare a look either for the furniture, or the general effect, or the Museum gardens, or the sparkling Mediterranean beyond; but we should have agreed that the room was quite rich enough for human eyes, for the sake of one treasure which it possessed, and, beside which, nothing was worth a moment’s glance. For in the light armchair, reading a manuscript which lay on the table, sat a woman, of some five-and-twenty years, evidently the tutelary goddess of that little shrine, dressed in perfect keeping with the archaism of the chamber, in simple old snow-white Ionic robe, falling to the feet and reaching to the throat, and of that peculiarly severe and graceful fashion in which the upper part of the dress falls downward again from the neck to the waist in a sort of cape, entirely hiding the outline of the bust, while it leaves the arms and the point of the shoulders bare. Her dress was entirely without ornament, except the two narrow purple stripes down the front, which marked her rank as a Roman citizen, the gold embroidered shoes upon her feet, and the gold net, which looped back, from her forehead to her neck, hair the colour and gloss of which were hardly distinguishable from that of the metal itself, such as Athene herself might heaven vied for tint, and mass, and ripple. Her features, arms, and hands were of the severest and grandest type of old Greek beauty, at once showing everywhere the high development of the bones, and covering them with that firm, round, ripe outline, and waxy
morbidezza of skin, which the old Greeks owed to their continual use not only of the bath and muscular exercise, but also of daily unguents. There might have seemed to us too much sadness in that clear gray eye; too much self-conscious restraint in those sharp curved lips; too much affectation in the studied severity of her posture as she read, copied, as it seemed, from some old vase or bas-relief. But the glorious grace and beauty of every line of face and figure would have excused, even hidden those defects, and we should have only recognised the marked resemblance to the ideal portraits of Athene which adorned every panel of the walls.
She has lifted her eyes off her manuscript; she is looking out with kindling countenance over the gardens of the Museum; her ripe curling Greek lips, such as we never see now, even among her own wives and sisters, open. She is talking to herself. Listen!
“Yes. The statues there are broken. The libraries are plundered. The alcoves are silent. The oracles are dumb. And yet—who says that the old faith of heroes and sages is dead? The beautiful can never die. If the gods have deserted their oracles, they have not deserted the souls who aspire to them. If they have ceased to guide nations, they have not ceased to speak to their own elect. If they have cast off the vulgar herd, they have not cast off Hypatia.
“Ay. To believe in the old creeds, while everyone else is dropping away from them. … To believe in spite of disappointments. … To hope against hope. … To show oneself superior to the herd, by seeing boundless depths of living glory in myths which have become dark and dead to them. … To struggle to the last against the new and vulgar superstitions of a rotting age, for the faith of my forefathers, for the old gods, the old heroes, the old sages who gauged the mysteries of heaven and earth—and perhaps to conquer—at least to have my reward! To be welcomed into the celestial ranks of the heroic—to rise to the immortal gods, to the ineffable powers, onward, upward ever, through ages and through eternities, till I find my home at last, and vanish in the glory of the Nameless and the Absolute One! …”
And her whole face flashed out into wild glory, and then sank again suddenly into a shudder of something like fear and disgust, as she saw, watching her from under the wall of the gardens opposite, a crooked, withered Jewish crone, dressed out in the most gorgeous and fantastic style of barbaric finery.
“Why does that old hag haunt me? I see her everywhere—till the last month at least—and here she is again! I will ask the prefect to find out who she is, and get rid of her, before she fascinates me with that evil eye. Thank the gods, there she moves away! Foolish!—foolish of me, a philosopher. I, to believe, against the authority of Porphyry himself, too, in evil eyes and magic! But there is my father, pacing up and down in the library.”
As she spoke, the old man entered from the next room. He was a Greek, also, but of a more common, and, perhaps, lower type; dark and fiery, thin and graceful; his delicate figure and cheeks, wasted by meditation, harmonised well with the staid and simple philosophic cloak which he wore as a sign of his profession. He paced impatiently up and down the chamber, while his keen, glittering eyes and restless gestures betokened intense inward thought. … “I have it. … No; again it escapes—it contradicts itself. Miserable man that I am! If there is faith
