It was very unwillingly that Chione acceded; but what could she do? Was she less a slave now than before? Sometimes she thought she was more so; for had she gone to the Lady Damaris, resumed the practice of her religion, which clung to her inner being, although outwardly she gave no sign of faith, she knew she would have been not only freed, but placed in a position to render her independent of Magas. And why did she not do this now--why? Her fame had preceded her to the city, and she resolved to prove worthy of the reputation she had acquired. Poetry, art, mythic types, and Christian dogmas, blended in euphonic union in the discourses she delivered, while her impassioned verse thrilled every heart; everywhere she was greeted as the modern Sappho, everywhere honored as the tenth muse; and at last the acclamations of her fellow-citizens called her to the very temple of the muses in which we were first introduced to her, there to receive the crown of music, eloquence, and poesy. How could she refuse? How could she renounce the world? ... The throng was immense; not only the _élite_ of Athens were there, but strangers came in crowds to hear the celebrated Leontium. The small temple had been somewhat injudiciously chosen, since not one half of the crowding throng could enter. The festival had been proposed as a private tribute of friendship from the most exalted citizens of Athens to their adorable muse; but Leontium (as her public name ran) was no longer a private person; it was found impossible to distance the crowds; and hastily a platform was erected outside the building in the sacred grove, that the public might be accommodated and have a chance of hearing their favorite sing the glories of Athens. We will not attempt to describe the preparatory exercises; the beautiful intertwinings and graceful wreathings of the various myths represented on that day, when all the energies of the city seemed exhausted to impart glory to the classical allegories that were about to disappear from among mankind for ever. {62} There was an elegance, a chastity about the performance never witnessed before, and an influence was felt impending that belonged not to the types before them. To the superior taste of Magas and Chione some of this atmosphere of exaltation was doubtless due; yet the audience felt as if something more than this was around them; as if the divinities themselves were present, and insisting on receiving the homage that for so many ages had been presented as their right. But now it was nearly over. The walls of Thebes had risen to the lyre of Amphion, while the slow but untiring Hours had followed to its soft music the glorious chariot of Apollo; and so artfully was all contrived that the spectators could not discover by what magic the stones were moved, or the figures representing the hours supported as they moved on the mists away.