the surroundings have disappeared.
He finds himself in Alexandria on the Panium – an artificial mound raised in the centre of the city, with corkscrew stairs on the outside.
In front of it stretches Lake Mareotis, with the sea to the right and the open plain to the left, and, directly under his eyes, an irregular succession of flat roofs, traversed from north to south and from east to west by two streets, which cross each other, and which form, in their entire length, a row of porticoes with Corinthian capitals. The houses overhanging this double colonnade have stained-glass windows. Some have enormous wooden cages outside of them, in which the air from without is swallowed up.
Monuments in various styles of architecture are piled close to one another. Egyptian pylons rise above Greek temples. Obelisks exhibit themselves like spears between battlements of red brick. In the centres of squares there are statues of Hermes with pointed ears, and of Anubis with dogs' heads. Antony notices the mosaics in the court-yards, and the tapestries hung from the cross-beams of the ceiling.
With a single glance he takes in the two ports (the Grand Port and the Eunostus), both round like two circles, and separated by a mole joining Alexandria to the rocky island, on which stands the tower of the Pharos, quadrangular, five hundred cubits high and in nine storys, with a heap of black charcoal flaming on its summit.
Small ports nearer to the shore intersect the principal ports. The mole is terminated at each end by a bridge built on marble columns fixed in the sea. Vessels pass beneath, and pleasure-boats inlaid with ivory, gondolas covered with awnings, triremes and biremes, all kinds of shipping, move up and down or remain at anchor along the quays.
Around the Grand Port there is an uninterrupted succession of Royal structures: the palace of the Ptolemies, the Museum, the Posideion, the Cæsarium, the Timonium where Mark Antony took refuge, and the Soma which contains the tomb of Alexander; while at the other extremity of the city, close to the Eunostus, might be seen glass, perfume, and paper factories.
Itinerant vendors, porters, and ass-drivers rush to and fro, jostling against one another. Here and there a priest of Osiris with a panther's skin on his shoulders, a Roman soldier, or a group of negroes, may be observed. Women stop in front of stalls where artisans are at work, and the grinding of chariot-wheels frightens away some birds who are picking up from the ground the sweepings of the shambles and the remnants of fish. Over the uniformity of white houses the plan of the streets casts, as it were, a black network. The markets, filled with herbage, exhibit green bouquets, the drying-sheds of the dyers, plates of colours, and the gold ornaments on the pediments of temples, luminous points – all this contained within the oval enclosure of the greyish walls, under the vault of the blue heavens, hard by the motionless sea. But the crowd stops and looks towards the eastern side, from which enormous whirlwinds of dust are advancing.
It is the monks of the Thebaïd who are coming, clad in goats' skins, armed with clubs, and howling forth a canticle of war and of religion with this refrain:
"Where are they? Where are they?"
Antony comprehends that they have come to kill the Arians.
All at once, the streets are deserted, and one sees no longer anything but running feet.
And now the Solitaries are in the city. Their formidable cudgels, studded with nails, whirl around like monstrances of steel. One can hear the crash of things being broken in the houses. Intervals of silence follow, and then the loud cries burst forth again. From one end of the streets to the other there is a continuous eddying of people in a state of terror. Several are armed with pikes. Sometimes two groups meet and form into one; and this multitude, after rushing along the pavements, separates, and those composing it proceed to knock one another down. But the men with long hair always reappear.
Thin wreaths of smoke escape from the corners of buildings. The leaves of the doors burst asunder; the skirts of the walls fall in; the architraves topple over.
Antony meets all his enemies one after another. He recognises people whom he had forgotten. Before killing them, he outrages them. He rips them open, cuts their throats, knocks them down, drags the old men by their beards, runs over children, and beats those who are wounded. People revenge themselves on luxury. Those who cannot read, tear the books to pieces; others smash and destroy the statues, the paintings, the furniture, the cabinets – a thousand dainty objects whose use they are ignorant of, and which, for that very reason, exasperate them. From time to time they stop, out of breath, and then begin again. The inhabitants, taking refuge in the court-yards, utter lamentations. The women lift their eyes to Heaven, weeping, with their arms bare. In order to move the Solitaries they embrace their knees; but the latter only dash them aside, and the blood gushes up to the ceiling, falls back on the linen clothes that line the walls, streams from the trunks of decapitated corpses, fills the aqueducts, and rolls in great red pools along the ground.
Antony is steeped in it up to his middle. He steps into it, sucks it up with his lips, and quivers with joy at feeling it on his limbs and under his hair, which is quite wet with it.
The night falls. The terrible clamour abates.
The Solitaries have disappeared.
Suddenly, on the outer galleries lining the nine stages of the Pharos, Antony perceives thick black lines, as if a flock of crows had alighted there. He hastens thither, and soon finds himself on the summit.
A huge copper mirror turned towards the sea reflects the ships in the offing.
Antony amuses himself by looking at them; and as he continues looking at them, their number increases.
They are gathered in a gulf formed like a crescent. Behind, upon a promontory, stretches a new city built in the Roman style of architecture, with cupolas of stone, conical roofs, marble work in red and blue, and a profusion of bronze attached to the volutes of capitals, to the tops of houses, and to the angles of cornices. A wood, formed of cypress-trees, overhangs it. The colour of the sea is greener; the air is colder. On the mountains at the horizon there is snow.
Antony is about to pursue his way when a man accosts him, and says:
"Come! they are waiting for you!"
He traverses a forum, enters a court-yard, stoops under a gate, and he arrives before the front of the palace, adorned with a group in wax representing the Emperor Constantine hurling the dragon to the earth. A porphyry basin supports in its centre a golden conch filled with pistachio-nuts. His guide informs him that he may take some of them. He does so.
Then he loses himself, as it were, in a succession of apartments.
Along the walls may be seen, in mosaic, generals offering conquered cities to the Emperor on the palms of their hands. And on every side are columns of basalt, gratings of silver filigree, seats of ivory, and tapestries embroidered with pearls. The light falls from the vaulted roof, and Antony proceeds on his way. Tepid exhalations spread around; occasionally he hears the modest patter of a sandal. Posted in the ante-chambers, the custodians – who resemble automatons – bear on their shoulders vermilion-coloured truncheons.
At last, he finds himself in the lower part of a hall with hyacinth curtains at its extreme end. They divide, and reveal the Emperor seated upon a throne, attired in a violet tunic and red buskins with black bands.
A diadem of pearls is wreathed around his hair, which is arranged in symmetrical rolls. He has drooping eyelids, a straight nose, and a heavy and cunning expression of countenance. At the corners of the daïs, extended above his head, are placed four golden doves, and, at the foot of the throne, two enamelled lions are squatted. The doves begin to coo, the lions to roar. The Emperor rolls his eyes; Antony steps forward; and directly, without
