The second daughter of Julia Maesa was Julia Mamaea. While still abroad with her family, she had married another Syrian, by name Gessianus Marcianus, a native of Arca. Nothing is known of him except from Dion’s statement that he had filled, more than once, the office of Imperial Procurator. By this marriage Mamaea incurred the _capitis diminutio_ on account of the inferior rank of her husband, but by means of a privilegium from Severus and Caracalla she was allowed to retain her own Senatorial rank. Of this admirable woman none of the frailties so common amongst her family and relations are reported. She lived and died a model of unswerving rectitude. This affectation she carried almost to the Jesuit extreme, when she made use of her reputation and wealth to obtain the murder of the nephew of whom she so highly disapproved and by whose murder she would benefit so materially. There is, of course, the story of one indiscretion with Caracalla, by means of which she consented to gain popularity for her son. She, as well as her sister, claimed the distinction of having been Caracalla’s mistress, and Alexianus, as well as Bassianus, was claimed as the result of that cousin’s too amorous embraces. The admission was doubtless due rather to a hypocritical affectation of wickedness, prompted by the political exigencies of the moment, than to the fact that her cold and stately beauty had unbent to tempt a too ardent cousin by the offer of those seductive attractions which he could get so easily elsewhere. Especially as the assumption of this rôle of temptress might cause her in after-life all the reproaches of a misspent youth, with little to show for the sacrifice. Perhaps mention ought to be made of the opinion of Dexippus, that the boys Bassianus and Alexianus were cousins-german _paternal_, which, as we know from theologians, when they are fitting facts to theory, is the same thing as brothers by the same father. Certainly Mamaea’s beauty is remarkable. As we see it in her bust at the Louvre, she is a younger edition of her aunt Julia, perhaps without the humanity and gentleness expressed in that lady’s portrait, which is to be found in the Rotondo at the Vatican, but there is a real resemblance between the two. Both, though Syrian by race, are remarkably Western in type, whereas the features of Julia Soaemias—in the statue representing her as Venus Coelestis, also in the Vatican museum—are distinctly of a more Oriental cast. Soaemias’ form is most beautiful, though it must be confessed that her head and arms would have pleased Rubens’ taste better than they do our present pre-Raphaelite ideas of attractiveness. Soaemias’ history, however, leaves no doubt in our minds that all men considered her the more attractive at the time; and certainly, if but a tittle of the stories concerning her be true, she must have been as fascinating as the goddess in whose form she has been portrayed.