Odacis painted her face white, and then, moistening a small wooden style with attar of roses, she thrust it into a bronze pot decorated with garlands of lotus and filled with a dark powder. It was the kohol, sold by Egyptian merchants at a fabulous price. The slave applied the point of the style to the Greek's eyelids, dyeing them an intense black, and tracing a fine line about the corners, which made them appear larger and softer. The toilet was almost complete. The slaves were opening the innumerable bottles and vases arranged in rows upon the marble table, and the atmosphere of the room was laden with costly perfumes--spikenard from Sicily, incense and myrrh from Judea, aloes from India, and cumin from Greece. Odacis took a small glass amphora inlaid with gold, with a conical stopper, terminating in a fine point which served to deposit antimony above the eyes to brighten them, and, after finishing this operation, she presented to her mistress the three ointments for imparting color to the skin in different shades--vermilion, carmine, and the Egyptian red extracted from the body of the crocodile. The slave began delicately coloring her mistress' body with a fine brush. She produced a pink flush on her cheeks and dainty ears; she marked rose petals on her bosom, and she colored her elbows and the harmoniously curving relievo of her dimpled sides. Then, with Egyptian red, she colored one by one the nails of her fingers and toes, while another slave put on her white sandals with papyrus soles and buckles of gold. Perfumes were showered upon her, each on a different part of the body, so that it might resemble a bouquet of flowers in which various aromas were mingled. Odacis presented the jewel-casket, within which precious stones lay shimmering like restless and glistening fish. The Greek woman's pointed fingers lifted with indifference the heap of collars, rings, and pendants, which, like all Grecian jewelry, were more valuable on account of the workmanship of the artists than for the richness of the material. Scenes from the great poems were reproduced almost microscopically in carnelian cameos, onyx, and agate, and the emeralds, topazes, and amethysts were decorated with profiles of goddesses and heroes. The slave clasped a necklace of stones of complicated design upon Sónnica's uncovered breast; she loaded her fingers to the tips with rings, and the whiteness of her arms seemed more diaphanous girdled here and there by wide bracelets of gold. To add more expression to the countenance, Odacis decorated her mistress with small patches, and then she proceeded to bind around her body the fascia, or corset of the epoch, a broad woolen band to support the breast. Sónnica, gazing into the burnished bronze, smiled at her statue-like reflection, as beautiful as Venus in repose.