This is, of course, Lampridius’ version of the Emperor’s character, and the same sources have been used by both Dion and Herodian with similar though varying degrees of grossness in expression. Undoubtedly the boy was by nature abnormal, as were almost all the Emperors of Old Rome. Antonine had his moments when he imitated a virgin at bay, others when he was a wife, still others when he expected to be a mother, others when he carded wool, others when he played the pandore (an instrument of music with three strings invented by the Assyrians, according to Pollux, or, as Isidore remarks, attributed to the God Pan himself). Again, he would play the hydraulic organ of the period, and loved to dress himself in the clothes of women, even in the customary undress uniform of the courtesan, adopting the positions, voice, and manner of the most expert. Undoubtedly these pastimes were most reprehensible and unpleasant, to be condemned one and all; though somehow to-day we are not altogether inclined to regard proficiency in music amongst men as quite so censurable and disgusting an art as the other foibles—to give them no worse a name—which Lampridius so justly censures. Unfortunately, many of these seem to have come quite naturally to the Emperor on account of his untrained and unrestrained nature, though Forquet de Dorne thinks that it was not so much evil propensities as his innate desire to please, combined with his genuine efforts to spend all his energies for other people, which have been misinterpreted by the evil-minded, especially as this was not the only side to the boy’s character, as the biographers would have us believe. And this because we are told, amongst the list of his enormities, that he loved driving chariots both in the palace and in the circus, habited in a green tunic, and that he was most dextrous in the sport.