Antonina; Or, The Fall of Rome by Wilkie Collins (ebook and pdf reader .TXT) 📗

noble terrace, to which a second door in the apartment conducted; but, at the present moment, the employment of the occupant of the room was of so extraordinary a nature, that the most attentive observation must have missed all the inferior characteristics of the place, to settle immediately on its inhabitant alone.

In the midst of a large flock of poultry, which seemed strangely misplaced on a floor of marble and under a gilded roof, stood a pale, thin, debilitated youth, magnificently clothed, and holding in his hand a silver vase filled with grain, which he ever and anon distributed to the cackling multitude at his feet. Nothing could be more pitiably effeminate than the appearance of this young man. His eyes were heavy and vacant, his forehead low and retiring, his cheeks sallow, and his form curved as if with a premature old age. An unmeaning smile dilated his thin, colourless lips; and as he looked down on his strange favourites, he occasionally whispered to them a few broken expressions of endearment, almost infantine in their simplicity. His whole soul seemed to be engrossed by the labour of distributing his grain, and he followed the different movements of the poultry with an earnestness of attention which seemed almost idiotic in its ridiculous intensity. If it be asked, why a person so contemptible as this solitary youth has been introduced with so much care, and described with so much minuteness, it must be answered, that, though destined to form no important figure in this work, he played, from his position, a remarkable part in the great drama on which it is founded—for this feeder of chickens was no less a person than Honorius, Emperor of Rome.

It is the very imbecility of this man, at such a time as that we now write on, which invests his character with a fearful interest in the eye of posterity. In himself the impersonation of the meanest vices inherent in the vicious civilisation of his period, to his feebleness was accorded the terrible responsibility of liberating the long-prisoned storm whose elements we have attempted to describe in the preceding chapter. With just intellect enough to be capricious, and just determination enough to be mischievous, he was an instrument fitted for the uses of every ambitious villain who could succeed in gaining his ear. To flatter his puerile tyranny, the infatuated intriguers of the Court rewarded the heroic Stilicho for the rescue of his country with the penalty of death, and defrauded Alaric of the moderate concessions that they had solemnly pledged themselves to perform. To gratify his vanity, he was paraded in triumph through the streets of Rome for a victory that others had gained. To pander to his arrogance, by an exhibition of the vilest privilege of that power which had been intrusted to him for good, the massacre of the helpless hostages, confided by Gothic honour to Roman treachery, was unhesitatingly ordained; and, finally, to soothe the turbulence of his unmanly fears, the last act of his unscrupulous councillors, ere the Empire fell, was to authorise his abandoning his people in the hour of peril, careless who suffered in defenceless Rome, while he was secure in fortified Ravenna. Such was the man under whom the mightiest of the world's structures was doomed to totter to its fall! Such was the figure destined to close a scene which Time and Glory had united to hallow and adorn! Raised and supported by a superhuman daring, that invested the nauseous horrors of incessant bloodshed with a rude and appalling magnificence, the mistress of nations was now fated to sink by the most ignoble of defeats, under the most abject of tremblers. For this had the rough old kingdom shaken off its enemies by swarms from its vigorous arms! For this had the doubtful virtues of the Republic, and the perilous magnificence of the Empire, perplexed and astonished the world! In such a conclusion as Honorius ended the dignified barbarities of a Brutus, the polished splendours of an Augustus, the unearthly atrocities of a Nero, and the immortal virtues of a Trajan! Vainly, through the toiling ages, over the ruin of her noblest hearts, and the prostitution of her grandest intellects, had Rome striven pitilessly onward, grasping at the shadow—Glory; the fiat had now gone forth that doomed her to possess herself finally of the substance—Shame!

When the imperial trifler had exhausted his store of grain, and satisfied the cravings of his voracious favourites, he was relieved of his silver vase by two attendants. The flock of poultry was then ushered out at one door, while the flock of geniuses was ushered in at the other.

Leaving the emperor to cast his languid eyes over objects of art for which he had no admiration, and to open his unwilling ears to panegyrical orations for which he had no comprehension, we proceed to introduce the reader to an apartment on the opposite side of the palace, in which are congregated all the beauty and elegance of his Court.

Imagine a room two hundred feet long and proportionably broad. Its floor is mosaic, wrought into the loveliest patterns. Its sides are decorated with immense pillars of variegated marble, the recesses formed by which are occupied by statues, all arranged in exquisite variety of attitude, so as to appear to be offering to whoever approaches them the rare flowers which it is the duty of the attendants to place in their hands. The ceiling is painted in fresco, in patterns and colours harmonising with those on the mosaic floor. The cornices are of silver, and decorated with mottoes from the amatory poets of the day, the letters of which are formed by precious stones. In the middle of the room is a fountain throwing up streams of perfumed water, and surrounded by golden aviaries containing birds of all sizes and nations. Three large windows, placed at the eastern extremity of the apartment, look out upon the Adriatic, but are covered at this hour, from the outside, with silk curtains of a delicate green shade, which cast a soft, luxurious light over every object, but are so thinly woven and so skilfully arranged that the slightest breath of air which moves without finds its way immediately to the languid occupants of the Court waiting-room. The number of these individuals amounts to about fifty or sixty persons. By far the larger half of the assemblage are women. Their black hair tastefully braided into various forms, and adorned with flowers or precious stones, contrasts elegantly with the brilliant whiteness of the robes in which they are for the most part clothed. Some of them are occupied in listlessly watching the movements of the birds in the aviaries; others hold a languid and whispered conversation with such of the courtiers as happen to be placed near them. The men exhibit in their dresses a greater variety of colour, and in their occupations a greater fertility of resource, than the women. Their garments, of the lightest rose, violet, or yellow tints, diversify fantastically the monotonous white robes of their gentle companions. Of their employments, the most conspicuous are playing on the lute, gaming with dice, teasing their lapdogs, and insulting their parasites. Whatever their occupation, it is performed with little attention, and less enthusiasm. Some recline on their couches with closed eyes, as if the heat made the labour of using their organs of vision too much for them; others, in the midst of a conversation, suddenly leave a sentence unfinished, apparently incapacitated by lassitude from giving expression to the simplest ideas. Every sight in the apartment that attracts the eye, every sound that gains the ear, expresses a luxurious repose. No brilliant light mars the pervading softness of the atmosphere; no violent colour materialises the light, ethereal hues of the dresses; no sudden noises interrupt the fitful and plaintive notes of the lute, jar with the soft twittering of the birds in the aviaries, or drown the still, regular melody of the ladies' voices. All objects, animate and inanimate, are in harmony with each other. It is a scene of spiritualised indolence—a picture of dreamy beatitude in the inmost sanctuary of unruffled repose.

Amid this assemblage of beauty and nobility, the members of which were rather to be generally noticed than particularly observed, there was, however, one individual who, both by the solitary occupation he had chosen and his accidental position in the room, was personally remarkable among the listless patricians around him.

His couch was placed nearer the window than that of any other occupant of the chamber. Some of his indolent neighbours—especially those of the gentler sex—occasionally regarded him with mingled looks of admiration and curiosity; but no one approached him, or attempted to engage him in conversation. A piece of vellum lay by his side, on which, from time to time, he traced a few words, and then resumed his reclining position, apparently absorbed in reflection, and utterly regardless of all the occupants, male and female, of the imperial apartment. Judging from his general appearance, he could scarcely be twenty-five years of age. The conformation of the upper part of his face was thoroughly intellectual—the forehead high, broad, and upright; the eyes clear, penetrating, and thoughtful;—but the lower part was, on the other hand, undeniably sensual. The lips, full and thick, formed a disagreeable contrast to the delicate chiselling of the straight Grecian nose; while the fleshiness of the chin, and the jovial redundancy of the cheeks, were, in their turn, utterly at variance with the character of the pale, noble forehead, and the expression of the quick, intelligent eyes. In stature he was barely of the middle size; but every part of his body was so perfectly proportioned that he appeared, in any position, taller than he really was. The upper part of his dress, thrown open from the heat, partly disclosed the fine statuesque formation of his neck and chest. His ears, hands, and feet were of that smallness and delicacy which is held to denote the aristocracy of birth; and there was in his manner that indescribable combination of unobtrusive dignity and unaffected elegance, which in all ages and countries, and through all changes of manners and customs, has rendered the demeanour of its few favoured possessors the instantaneous interpreter of their social rank.

While the patrician was still occupied over his vellum, the following conversation took place in whispers between two ladies placed near the situation he occupied.

'Tell me, Camilla,' said the eldest and stateliest of the two, 'who is the courtier so occupied in composition? I have endeavoured, I know not how often, to catch his eye; but the man will look at nothing but his roll of vellum or the corners of the room.'

'What, are you so great a stranger in Italy as not to know him!' replied the other, a lively girl of small delicate form, who fidgeted with persevering restlessness on her couch, and seemed incapable of giving an instant's steady attention to any of the objects around her. 'By all the saints, martyrs, and relics of my uncle the bishop!'

'Hush! You should not swear!'

'Not swear! Why, I am making a new collection of oaths, intended solely for ladies' use! I intend to set the fashion of swearing by them myself!'

'But answer my question, I beseech you! Will you never learn to talk on one subject at a time?'

'Your question—ah, your question! It was about the Goths?'

'No, no! It was about that man who is incessantly writing, and will look at nobody. He is almost as provoking as Camilla herself!'

'Don't frown so! That man, as you call him, is the senator Vetranio.'

The lady started. It was evident that Vetranio had a reputation.

'Yes!' continued the lively Camilla, 'that is the accomplished Vetranio; but he will be no favourite of yours, for he sometimes swears—swears by the ancient gods, too, which is forbidden!'

'He is handsome.'

'Handsome! he is beautiful! Not a woman in Italy but is languishing for him!'

'I have heard that he is clever.'

'Who has not? He is the author of some of the most celebrated sauces of the age. Cooks of all nations worship him as an oracle. Then he writes poetry, and composes music, and paints pictures! And as for philosophy—he talks it better than my uncle the bishop!'

'Is he rich?'

'Ah! my uncle the bishop!—I must tell you how I helped Vetranio to make a satire on him! When I was staying with him at Rome, I used often to see a woman in a veil taken across the garden to his study; so, to perplex him, I asked him who she was. And he frowned and stammered, and said at first that I was disrespectful; but he told