Cleopatra | Page 2

writers who describe the Queen, Plutarch is the most trustworthy, but even his narrative must be used with caution. We have closely followed the clear and comprehensive description given by Plutarch of the last days of our heroine. It bears the impress of truth, and to deviate widely from it would be arbitrary.
Unluckily, Egyptian records contain nothing which could have much weight in estimating the character of Cleopatra, though we have likenesses representing the Queen alone, or with her son Caesarion. Very recently (in 1892) the fragment of a colossal double statue was found in Alexandria, which can scarcely be intended for any persons except Cleopatra and Antony hand in hand. The upper part of the female figure is in a state of tolerable preservation, and shows a young and attractive face. The male figure was doubtless sacrificed to Octavianus's command to destroy Antony's statues. We are indebted to Herr Dr. Walther, in Alexandria, for an excellent photograph of this remarkable piece of sculpture. Comparatively few other works of plastic art, in which we here include coins, that could render us familiar with our heroine's appearance, have been preserved.
Though the author must especially desire to render his creation a work of art, it is also requisite to strive for fidelity. As the heroine's portrait must reveal her true character, so the life represented here must correspond in every line with the civilization of the period described. For this purpose we placed Cleopatra in the centre of a larger group of people, whom she influences, and who enable her personality to be displayed in the various relations of life.
Should the author succeed in making the picture of the remarkable woman, who was so differently judged, as "lifelike" and vivid as it stamped itself upon his own imagination, he might remember with pleasure the hours which he devoted to this book.
GEORG EBERS
TUTZING ON THE STARNBERGER SEE, October 5, 1893.

CLEOPATRA.
Gorgias, the architect, had learned to bear the scorching sunbeams of the Egyptian noonday. Though not yet thirty, he had directed--first as his late father's assistant and afterwards as his successor--the construction of the huge buildings erected by Cleopatra in Alexandria.
Now he was overwhelmed with commissions; yet he had come hither ere the hours of work were over, merely to oblige a youth who had barely passed the confines of boyhood.
True, the person for whom he made this sacrifice was Caesarion, the son whom Cleopatra had given to Julius Caesar. Antony had honoured him with the proud title of "King of kings"; yet he was permitted neither to rule nor even to issue orders, for his mother kept him aloof from affairs of state, and he himself had no desire to hold the sceptre.
Gorgias had granted his wish the more readily, because it was apparent that he wanted to speak to him in private, though he had not the least idea what Caesarion desired to confide, and, under any circumstances, he could give him only a brief interview. The fleet, at whose head the Queen had set sail, with Mark Antony, for Greece, must have already met Octavianus's galleys, and doubtless a battle wherein the destiny of the world was decided had also been fought upon the land, Gorgias believed that the victory would fall to Antony and the Queen, and wished the noble pair success with his whole heart. He was even obliged to act as if the battle had been already determined in their favour, for the architectural preparations for the reception of the conquerors were entrusted to his charge, and that very day must witness the decision of the location of the colossal statues which represented Antony hand in hand with his royal love.
The epitrop Mardion, a eunuch, who as Regent, represented Cleopatra; and Zeno, the Keeper of the Seal, who rarely opposed him, wished to have the piece of sculpture erected in a different place from the one he favoured. The principal objection to the choice made by the powerful head of the government was that it had fallen on land owned by a private individual. This might lead to difficulties, and Gorgias opposed it. As an artist, too, he did not approve Mardion's plan; for though, on Didymus's land, the statues would have faced the sea, which the Regent and the Keeper of the Seal regarded as very important, no fitting background could have been obtained.
At any rate, the architect could now avail himself of Caesarion's invitation to overlook from the appointed place of meeting--the lofty steps of the Temple of Isis--the Bruchium, and seek the best site for the twin statues. He was anxious to select the most suitable one; the master who had created this work of art had been his friend, and had closed his eyes in death shortly after its completion.
The sanctuary whence Gorgias commenced