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Updated: May 4, 2025
The Emperor had not felt so cheerful and free from care for years as on this occasion, and when in spite of the late hour he found the workmen still busy everywhere, and saw all that had already been restored in the old palace and what was being done for its renovation, the restless man could not resist expressing his satisfaction, and exclaimed to Antinous: "Here we may see that even in our sordid times miracles may be wrought by good-will, industry, and skill.
He had heard from Pollux in the morning that the steward's daughter was being tended by Christians in a little house not far from the sea-shore; indeed the sculptor himself had been quite excited as he told Antinous that he himself had peeped into the lighted room and had seen her.
Still the mere sight of his beloved fair one had done the artist good. Hardly had he got back to his father's little house when Antinous came sauntering in he represented in the artist's mind the hospitable shores on which he might gaze. Hope revived his soul, and Hope is the sun before which despair flies as the shades of night flee at the rising of the day-star.
Well, if he did not trouble himself about her she certainly need care even less about him. Perhaps at last, at the end of their travels he might yet come, and then he should see how much she cared for his admonitions. But she sighed impatiently for the hour when she might read him all the verses she had addressed to Antinous, and ask him how he liked them.
From time to time he raised his eyelids long, finely wrinkled, and blue-veined turning his eyes up to heaven or rolling them to one side and then downwards towards the middle of the tent. There, on the skin of a huge bear trimmed with blue cloth, lay Hadrian's favorite Antinous.
Understand, then, that we will not go back to our lands, neither here nor elsewhere, till she has made her choice and married some one or other of us." Telemachus answered, "Antinous, how can I drive the mother who bore me from my father's house? My father is abroad and we do not know whether he is alive or dead.
What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter.
The lover in La Dame aux Camelias was played by a young Italian named Lavaggi, as handsome as an Antinous, a type which I often encountered in Piedmont. With his innate charm, restful calm, animation of movement and the fire of his beauty, he surpassed the acting of all the young lovers I had seen on the boards of the French theatres. The very play of his fingers was all grace and expression.
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.
The moon had risen and was mirrored in the rough water. Just so had its image played upon the waves when Antinous had rescued Selene from the sea. The lad knew that Hadrian would be expecting him, still he did not seek his tent. A violent emotion had overpowered him; he restlessly paced up and down the river-bank rapidly reviewing in his memory the more prominent incidents of his past life.
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