The Emperor. Georg Ebers
With his own means he certainly was in no position to do so.
While he was talking to his parents Papias had opened his transactions with the architect. Pontius explained to the sculptor what was required and Papias listened attentively; he never interrupted the speaker, but only stroked his face from time to time, as if to make it smoother than it was already, though it was shaved with peculiar care and formed and colored like a warm mask; meanwhile draping the front of his rich blue toga, which he wore in the fashion of a Roman senator, into fresh folds.
But when Pontius showed him, at the end of the rooms destined for the Emperor, the last of the statues to be restored, and which needed a new grin, Papias said decisively:
“It cannot be done.”
“That is a rash verdict,” replied the architect. “Do you not know the proverb, which, being such a good one, is said to have been first uttered by more than one sage: ‘That it shows more ill-judgment to pronounce a thing impossible than to boast that we can achieve a task however much it may seem to transcend our powers.’”
Papias smiled and looked down at his gold-embroidered shoes as he said:
“It is more difficult to us sculptors to imagine ourselves waging Titanic warfare against the impossible, than it is to you who work with enormous masses. I do not yet see the means which would give me courage to begin the attack.”
“I will tell you,” replied Pontius quickly and decidedly. “On your side good-will, plenty of assistants and night-watchers; on ours, the Caesar’s approval and plenty of gold.”
After this the transaction came to a prompt and favorable issue, and the architect could but express his entire approbation, in most cases, of the sculptor’s judicious and well-considered suggestions.
“Now I must go home,” concluded Papias. “My assistants will proceed at once with the necessary preparations. The work must be carried on behind screens, so that no one may disturb us or hinder us with remarks.”
Half an hour later a scaffolding was already erected in the middle of the hall where the Urania was to stand.
It was concealed from; public gaze by thick linen stretched on tall wooden frames, and behind these screens Pollux was busied in framing a small model in wax, while his master had returned home to make arrangements for the labors of the following day.
It wanted only an hour of midnight, and still the supper sent to the palace for the architect by the prefect remained untouched. Pontius was hungry enough, but before attacking the meal that a slave had set out on a marble table—the roast meat which looked so inviting, the orange-red crayfish, the golden-brown pasty and the many-hued fruits—he conceived it his duty to inspect the rooms to be restored. It was needful to see whether the slaves who had been set, in the first place to clean out all the rooms, were being intelligently directed by the men set over them, whether they were doing their duty and had all that they required; they had got some hours to work, then they were to rest and to begin again at sunrise, reinforced by other laborers both slave and free.
More and better lighting was universally demanded, and when, in the hall of the Muses, the men who were cleaning the pavement and scraping the columns loudly clamored for torches and lamps, a young man’s head peered over the screen which shut in the place reserved for the restoration of the Urania, and a lamentable voice cried out:
“My Muse, with her celestial sphere, is the guardian of star-gazers and is happiest in the dark—but not till she is finished. To form her we must have light and more light—and when it is lighter here the voice of the people down there, which does not sound very delightful up in this hollow space, will diminish somewhat also. Give light, then, O, men! Light for my goddess, and for your scrubbers and scourers.”
Pontius looked up smiling at Pollux, who had uttered this appeal, and answered:
“Your cry of distress is fully justified, my friend. But do you really believe in the power of light to diminish noise?”
“At any rate,” replied Pollux, “where it is absent, that is to say in the dark, every noise seems redoubled.”
“That is true, but there are other reasons for that,” answered the architect. “To-morrow in an interval of work we will discuss these matters. Now I will go to provide you with lamps and lights.”
“Urania, the protectress of the fine arts, will be beholden to you,” cried Pollux as the architect went away.
Pontius meanwhile sought his chief foreman to ask him whether he had delivered his orders to Keraunus, the palace-steward, to come to him, and to put the cressets and lamps commonly used for the external illuminations, at the service of his workmen.
“Three times,” was the answer “have I been myself to the man, but each time he puffed himself out like a frog and answered me not a word, but only sent me into a little room with his daughter—whom you must see, for she is charming—and a miserable black slave, and there I found these few wretched lamps that are now burning.”
“Did you order him to come to me?”
“Three hours ago, and again a second time, when you were talking with Papias.”
The architect turned his back upon the foreman in angry haste, unrolled the plan of the palace, quickly found upon it the abode of the recalcitrant steward, seized a small red-clay lamp that was standing near him, and being quite accustomed to guide himself by a plan, went straight through the rooms, which were not a few, and by a long corridor from the hall of the Muses, to the lodging of the negligent official. An unclosed door led him into a dark ante-chamber followed by another room, and finally into a large, well-furnished apartment. All these door-ways, into what seemed to be at once the dining and sitting-room of the steward, were bereft of doors, and could only be closed by stuff curtains, just now drawn wide open. Pontius could therefore look in, unhindered and unperceived, at the table on which a three-branched bronze lamp was standing between a dish and some plates. The stout man was sitting with his rubicund moon-face towards the architect, who, indignant as he was, would have gone straight up to him with swift decision, if, before entering the second room, a low but pitiful sob had not fallen on his ear.
The sob proceeded from a slight young girl who came forward from a door beyond the sitting-room, and who now placed a platter with a loaf on the table by the steward.
“Come, do not cry, Selene,” said the steward, breaking the bread slowly and with an evident desire to soothe his child.
“How can I help crying,” said the girl. “But tomorrow morning let me buy a piece of meat for you; the physician forbade you to eat bread.”
“Man must be filled,” replied the fat man, “and meat is dear. I have nine mouths to fill, not counting the slaves. And where am I to get the money to fill us all with meat?”
“We need none, but for you it is necessary.”
“It is of no use, child. The butcher will not trust us any more, the other creditors press us, and at the end of the month we shall have just ten drachmae left us.”
The girl turned pale, and asked in anxiety:
“But, father, it was only to-day that you showed me the three gold pieces which you said had been given you as a present out of the money distributed on the arrival of the Empress.”
The steward absently rolled a piece of bread-crumb between his fingers and said:
“I spent that on this fibula with an incised onyx—and as cheap as dirt, I can tell you. If Caesar comes he must see who and what I am; and if I die any one will give you twice as much for it as I paid. I tell you the Empress’s money was well laid out on the thing.” Selene made no answer, but she sighed deeply, and her eye glanced at a quantity of useless things which her father had acquired and brought home because they were cheap, while she and her seven sisters wanted the most necessary things.
“Father,” the girl began again after a short silence, “I ought not to go on about it, but even if it vexes you, I must—the architect, who is settling