his way, a remarkable object. Hadrian was dressed as Silenus, Pollux as
a faun. Both wore masks and the disguise of the younger man was as well
suited to his pliant and vigorous figure as that of the elder to his
powerful stately person. Antinous followed his master, dressed as Eros.
He wore a crimson mantle and was crowned with roses, while the silver
quiver on his shoulder and the bow in his hand clearly symbolized the god
he was intended to represent. He too wore a mask, but his figure
attracted many gazers, and many a greeting of "Long live the god of love"
or "Be gracious to me oh! son of Aphrodite" was spoken as he passed.

Pollux had obtained all the things requisite for these disguises from the
store of drapery belonging to his master. Papias had been out, but the
young man did not deem it necessary to ask his consent, for he and the
other assistants had often used the things for similar purposes with his
full permission. Only as he took the quiver intended for Antinous,
Pollux hesitated a little for it was of solid silver and had been given
to his master by the wife of a wealthy cone-dealer, whom he had
represented in marble as Artemis equipped for the chase.

"The Roman's handsome companion," thought the young artist as he placed
the costly object in with the others in a basket, which a squinting
apprentice was to carry behind him--"The Roman's handsome companion must
be made a splendid Eros--and before sunrise the useless thing will be
hanging on its hook again."

Indeed Pollux had not much time to admire the splendid appearance of the
god of love he had so richly adorned, for the Roman architect was
possessed by such thirst for knowledge and such inexhaustible curiosity
as to the minutest details that even Pollux who was born in Alexandria,
and had grown up there with his eyes very wide open, was often unable to