However, I need not have cited ancient rhetoricians, historians, and
chroniclers like these; in quite recent times the painter Aetion is said
to have brought his picture, _Nuptials of Roxana and Alexander_, to
exhibit at Olympia; and Proxenides, High Steward of the Games on the
occasion, was so delighted with his genius that he gave him his daughter.

It must have been a very wonderful picture, I think I hear some one say,
to make the High Steward give his daughter to a stranger. Well, I have
seen it--it is now in Italy--, so I can tell you. A fair chamber, with
the bridal bed in it; Roxana seated--and a great beauty she is--with
downcast eyes, troubled by the presence of Alexander, who is standing.
Several smiling Loves; one stands behind Roxana, pulling away the veil on
her head to show her to Alexander; another obsequiously draws off her
sandal, suggesting bed-time; a third has hold of Alexander's mantle, and
is dragging him with all his might towards Roxana. The King is offering
her a garland, and by him as supporter and groom's-man is Hephaestion,
holding a lighted torch and leaning on a very lovely boy; this is
Hymenaeus, I conjecture, for there are no letters to show. On the other
side of the picture, more Loves playing among Alexander's armour; two are
carrying his spear, as porters do a heavy beam; two more grasp the
handles of the shield, tugging it along with another reclining on it,
playing king, I suppose; and then another has got into the breast-plate,
which lies hollow part upwards; he is in ambush, and will give the royal
equipage a good fright when it comes within reach.

All this is not idle fancy, on which the painter has been lavishing
needless pains; he is hinting that Alexander has also another love, in
War; though he loves Roxana, he does not forget his armour. And, by the
way, there was some extra nuptial virtue in the picture itself, outside