The Chaldean Magician: An Adventure in Rome in the Reign of the Emperor Diocletian — John Shaqi
The Chaldean Magician: An Adventure in Rome in the Reign of the Emperor DiocletianEckstein, Ernst
History
The Chaldean Magician: An Adventure in Rome in the Reign of the Emperor Diocletian
Eckstein, Ernst
Rome -- History -- Diocletian, 284-305 -- Fiction
Bononius hesitated. He seemed to be secretly making a hasty calculation.
“Well,” he said at last, “if it won’t occupy too much time....
You won’t take it amiss, if I tell you that I, too, in an hour at
latest....”
“Oh--I can explain everything in ten minutes.”
Turning to the right, he drew his friend along with him, and a short
time after they knocked at the door of a spacious mansion. The porter
drew back the bolt, bowed, and ushered the two youths through the
passage into the atrium.
The residence of Publius Calpurnius was one of the huge, luxurious
edifices, which seemed to vie in extent with the immense palaces
erected by the emperor Diocletian in Salona and Nicomedia. Of no
unusual external magnificence and with a moderate façade, it developed
directly behind the atrium the most surprising size, stretching on the
right and left over the ground naturally belonging to the neighboring
houses and spreading towards the slope of the hill. Caius Bononius,
who almost intentionally avoided the homes of Roman grandees, often as
Lucius--at least in former days--had endeavored to draw his friend into
the life and bustle of the capital, scanned with surprise and curiosity
the magnificently-decorated structure, the halls of the two court-yards
where a dozen gaily-clad slaves were just lighting the candelabra, the
brilliant-hued paintings on the walls, the portrait-statues--men in
somewhat un-Roman sleeved garments, and women with extremely realistic
styles of hair-dressing which looked as if the latest coiffure of a
fashionable visitor to the circus had served the sculptor for a model.
In fact, Lucius asserted that these styles of arranging the hair were
removable, and could be taken from the statues’ heads and exchanged for
modern ones as fashion required--a triumph of the plastic art, as he
ironically added.
So they walked through the second pillared court-yard to the garden.
The dusky avenues of trees, whose spreading boughs still permitted
enough of the fading daylight to enter to reveal the box-bordered
gravelled paths, invited thoughtful, pleasant strolls, and the watchman
at the back of the house afforded a sufficient guarantee that no
intruder would steal after the youths.
CHAPTER II.
“At the end of last month,” Lucius Rutilius began, “Hero had firmly
resolved to unite her life with mine. I made her acquaintance at Tibur,
where her father had purchased Junius’ Gellius’ villa--it adjoins my
own, you know--after the death of its first owner. Wandering through
the park, I saw the bewitching girlish figure on the opposite side of
the wall that divides Gellius’ grounds from mine. Hero was standing in
the shade of a laurel-bush, her fair hair adorned simply with a rose,
scattering with her dainty little hands crumbs or corn, which she held
gathered in her robe, to a fluttering cloud of sparrows. Concealed
behind the pedestal of a goddess of autumn, I could watch her quietly
without having my presence suspected.
Public-domain text, read in full here on John Shaqi.
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