of musical instruments; while the pilasters were decorated with masks of
the tragic and comic Muses, torches, thyrsi wreathed with ivy and vine,
and pan-pipes. These were wrought in silver and gold, and set with
costly marbles, and they stood out from the marble background like metal
work on a leather shield, or the rich ornamentation on a sword-sheath.
The figures of a Dionysiac procession, forming the frieze, looked down
upon the feasters--a fine relievo that had been designed and modelled for
Ptolemy Soter by the sculptor Bryaxis, and then executed in ivory and
gold.

Everything that met the eye in this hall was splendid, costly, and above
all of a genial aspect, even before Cleopatra had come to the throne; and
she--here as in her own apartments--had added the busts of the greatest
Greek philosophers and poets, from Thales of Miletus down to Strato, who
raised chance to fill the throne of God, and from Hesiod to Callimachus;
she too had placed the tragic mask side by side with the comic, for at
her table--she was wont to say--she desired to see no one who could not
enjoy grave and wise discourse more than eating, drinking, and laughter.

Instead of assisting at the banquet, as other ladies used, seated on a
chair or at the foot of her husband's couch, she reclined on a couch of
her own, behind which stood busts of Sappho the poetess, and Aspasia the
friend of Pericles.

Though she made no pretensions to be regarded as a philosopher nor even
as a poetess, she asserted her right to be considered a finished
connoisseur in the arts of poetry and music; and if she preferred
reclining to sitting how should she have done otherwise, since she was
fully aware how well it became her to extend herself in a picturesque
attitude on her cushions, and to support her head on her arm as it rested