If at the beginning we seem to indulge in long descriptions, we trust that our reader will believe that they are requisite, to put him in possession of the state of material and social Rome at the period of our narrative; and will make this the more intelligible. And should he be tempted to think that we describe things as over splendid and refined for an age of decline in arts and good taste, we beg to remind him, that the year we are supposed to visit Rome is not as remote from the better periods of Roman art, for example, that of the Antonines, as our age is from that of Cellini, Raffaele, or Donatello. Yet in how many Italian palaces are still preserved works by these great artists, fully prized, though no longer imitated? So, no doubt, it was with the houses belonging to the old and wealthy families of Rome. We find, then, Fabiola reclining on her couch, holding in her left hand a silver mirror with a handle, and in the other a strange instrument for so fair a hand. It is a sharp-pointed stiletto, with a delicately carved ivory handle, and a gold ring, to hold it by. This was the favorite weapon with which Roman ladies punished their slaves, or vented their passion on them, upon suffering the least annoyance, or when irritated by pettish anger. Three female slaves are now engaged about their mistress. They belong to different races, and have been purchased at high prices, not merely on account of their appearance, but for some rare accomplishment they are supposed to possess. One is a black; not of the degraded negro stock, but from one of those races, such as the Abyssinians and Numidians, in whom the features are as regular as in the Asiatic people. She is supposed to have great skill in herbs, and their cosmetic and healing properties, perhaps also in more dangerous uses--in compounding philtres, charms, and possibly poisons. She is merely known by her national designation as Afra. A Greek comes next, selected for her taste in dress, and for the elegance and purity of her accent; she is therefore called Graia. The name which the third bears, Syra, tells us that she comes from Asia; and she is distinguished for her exquisite embroidering, and for her assiduous diligence. She is quiet, silent, but completely engaged with the duties which now devolve upon her. The other two are garrulous, light, and make great pretence about any little thing they do. Every moment they address the most extravagant flattery to their young mistress, or try to promote the suit of one or other of the profligate candidates for her hand, who has best or last bribed them. [Illustration: A Slave. From a painting in Herculaneum.] [Illustration: A Slave. From a painting in Pompeii.]