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 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

OXFORD MONOGRAPHS ON
C LA S SI C A L A R C H A EO L O G Y

Edited by
JOHN BENNET
JOHN BOARDMAN
J. J. COULTON
DONNA KURTZ
R. R. R. SMITH
MARGARETA STEINBY
OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

O X F O R D M ON O G R A P H S ON C L A SS I C A L A R C H A E O L O G Y

The series includes self-contained interpretative studies of the art and archaeology of the
ancient Mediterranean world. Authoritative volumes cover subjects from the Bronze Age
to late antiquity, with concentration on the central periods, areas, and material categories
of the classical Greek and Roman world.

OTHER TITLES IN THE SERIES INCLUDE:

Children in the Hellenistic World

Statues and Representation
Olympia Bobou
The Dodecanese and the Eastern Aegean Islands in Late Antiquity, AD –
Georgios Deligiannakis
Late Classical and Hellenistic Silver Plate from Macedonia
Eleni Zimi
Greek City Walls of the Archaic Period, – BC
Rune Frederiksen
Komast Dancers in Archaic Greek Art
Tyler Jo Smith
Roman Theatres
An Architectural Study
Frank Sear
Relief Sculpture of the Mausoleum at Halicarnassus
Brian Cook
Brickstamps of Constantinople
Volume : Text
Volume : Illustrations
Jonathan Bardill
The Protogeometric Aegean
The Archaeology of the Late Eleventh and Tenth Centuries BC
Irene S. Lemos
Approaches to the Study of Attic Vases
Beazley and Pottier
Philippe Rouet
Chryselephantine Statuary in the Ancient Mediterranean World
Kenneth D. S. Lapatin
The Late Mannerists in Athenian Vase-Painting
Thomas Mannack
Naukratis
Trade in Archaic Greece
Astrid Möller
Hellenistic Engraved Gems
Dimitris Plantzos
 OUP CORRECTED PROOF – FINAL, 9/6/2022, SPi

ROMAN IMPERIAL
PORTRAIT
PRACTICE IN
THE SECOND
CENTURY AD
Marcus Aurelius and Faustina
the Younger

Christian Niederhuber
OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

Great Clarendon Street, Oxford, OX DP,

United Kingdom
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trade mark of
Oxford University Press in the UK and in certain other countries
© Christian Niederhuber 
The moral rights of the author have been asserted
First Edition published in 
Impression: 
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
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above should be sent to the Rights Department, Oxford University Press, at the
address above
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and you must impose this same condition on any acquirer
Published in the United States of America by Oxford University Press
 Madison Avenue, New York, NY , United States of America
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Data available
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ISBN ––––
DOI: ./oso/..
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for information only. Oxford disclaims any responsibility for the materials
contained in any third party website referenced in this work.
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

To my parents and Oliver

OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

PREFACE

Portraits of Roman emperors and their immediate family members survive in large numbers on coins and in
sculpture. They depend on now lost centrally defined models. This book, a revised doctoral thesis submitted to
the University of Oxford, examines what these shared models (portrait types) were for and how they were
disseminated.
This study could not have been written without the help and support of many friends and colleagues. I would
like to thank some of them here: my supervisor Professor R. R. R. Smith for his guidance, help, and support;
A. Burnett, V. Heuchert, C. Howgego, and B. Woytek for discussion of the coinage; and Th. Schröder for
sparking my interest in Roman portraiture. I would also like to thank the many institutions, museums, and auction
houses that gave permission to publish the many images in this book.
Oxford, 
OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

CONTENTS

List of Illustrations xi
List of Tables xxv
Abbreviations xxvi

. Introduction: aims and methods 

A. State of research 
B. Research questions, aims, and scope 
C. Methodology and material 

. Faustina: imperial coins and medallions 

A. Research history and state of research 
B. Typological sequence and chronology 
C. Portrait types 
D. Analysis and conclusions 

. Faustina: marble portraits 

A. Research history and state of research 
B. Portrait types 
C. Analysis and conclusions 

. Faustina: discussion 

. Marcus Aurelius: imperial coins and medallions 

A. Research history and state of research 
B. Chronology 
C. Chronological development and change of the portrait 
D. Analysis and conclusions 

. Marcus Aurelius: marble portraits 

A. Research history and state of research 
B. Portrait types 
C. Analysis and conclusions 

. Marcus Aurelius: discussion 

. Organization of the mint of Rome and system of production 

. Metropolitan marble technology and marble workshops 

OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

x CONTENTS

. Imperial portrait practice: norms and models in the second century 
A. Evaluation 
B. Outline of an adjusted model of an imperial portrait ‘system’ 

. Conclusion 

Appendix: Portrait Lists of Faustina and Marcus Aurelius 

Bibliography 
Illustrations 
Index 
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

LIST OF ILLUSTRATIONS

. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Nomisma S. p. a., Auction ,  May
, Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VI). Courtesy of Baldwin’s Auctions Ltd, The New York
Sale ,  Jan. , Lot . 
. Portrait types of Faustina the Younger on coins. Courtesy of: (Type I) Áureo & Calicó, Auction
,  Feb. , Lot ; (Type II) Numismatica Ars Classica NAC AG, Auction ,  Oct. ,
Lot ; (Type III) Numismatica Ars Classica NAC AG, Auction ,  May , Lot ; (Type
IV) Classical Numismatic Group, Auction Triton ,  Jan. , Lot ; (Type V) Numismatica
Ars Classica NAC AG, Auction ,  Oct. , Lot ; (Type VI) From Leu Numismatik AG
(–), Auction ,  May , Lot ; (Type VII) Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot ; (Type VIII) Numismatica Ars Classica NAC AG, Auction , 
Oct. , Lot ; (Type IX) Numismatik Lanz München, Auction ,  Jan. , Lot ; (Type X)
Numismatica Ars Classica NAC AG, Auction ,  Mar. , Lot . 
. Faustina the Younger, Type I. Alexandria, AE ( mm), AD /. Courtesy of Classical
Numismatic Group, Auction Triton ,  Jan. , Lot . 
. Marcus Aurelius and Faustina the Younger, Type V. Alexandria, Tetradrachm, AD . Courtesy of
Auktionshaus H. D. Rauch GmbH, Auction ,  Sept. , Lot . 
. Faustina the Younger, Type V. Alexandria, AE ( mm), AD /. Courtesy of Classical
Numismatic Group, Auction Triton ,  Jan. , Lot . 
. Faustina the Younger, Type VIII. Alexandria, Tetradrachm, AD /. Courtesy of Auktionshaus
H. D. Rauch GmbH, Auction ,  Apr. , Lot . 
. Antoninus Pius and Faustina the Younger, Type III. Alexandria, Tetradrachm, AD /.
Courtesy of Emporium Hamburg, Auction ,  May , Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Sincona AG, Auction ,  May , Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  May , Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Hess-Divo AG, Auction ,  May ,
Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Gemini, LLC, Auction ,  Jan. , Lot . 
. Faustina the Younger, Type I. Denarius. Courtesy of Leu Numismatik AG, Auction ,  Oct.
, Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Apr. , Lot . 
. Faustina the Younger, Type I. Aureus. Courtesy of Áureo & Calicó, Auction ,  Feb. ,
Lot . 
OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

xii LIST OF ILLUSTRATIONS

. Faustina the Younger, Type I. Aureus. Courtesy of B. Seifert/Luebke+Wiedemann, Germany;

published: Heidelberger Münzhandlung Herbert Grün e. K., Auction ,  May , Lot . 
. Faustina the Younger, Type II. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Oct. , Lot . 
. Faustina the Younger, Type II. Sestertius. Courtesy of Classical Numismatic Group, Electronic
Auction ,  June , Lot . 
. Faustina the Younger, Type II. Denarius. Courtesy of Bertolami Fine Arts—ACR Auctions,
Auction ,  May , Lot . 
. Faustina the Younger, Type III. Aureus. Courtesy of Áureo & Calicó, Auction ,  Feb. ,
Lot . 
. Faustina the Younger, Type III. Aureus. Courtesy of Classical Numismatic Group, Electronic
Auction ,  Feb. , Lot . 
. Faustina the Younger, Type III. Aureus. Courtesy of Auktionshaus H. D. Rauch GmbH, Auction
,  Dec. , Lot . 
. Faustina the Younger, Type III. Aureus. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Apr. , Lot . 
. Faustina the Younger, Type IV. Aureus. Courtesy of Classical Numismatic Group, Auction Triton
,  Jan. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Oct. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Nomisma S. p. a., Auction ,  Apr. ,
Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Numismatik Lanz München, Auction ,
 Jan. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of UBS AG, Gold & Numismatics, Auction ,
 Jan. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Classical Numismatic Group, Auction Triton
,  Jan. , Lot . 
. Faustina the Younger, Type V. Denarius. Courtesy of Solidus Numismatik, Premium Auction ,
 Mar. , Lot . 
. Faustina the Younger, Type V, variant. Medallion. # The Trustees of the British Museum. 
. Faustina the Younger, Type V, variant. Medallion. # The Trustees of the British Museum. 
. Faustina the Younger, variation of Type III? Aureus. Courtesy of UBS AG, Gold & Numismatics,
Auction ,  Sept. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Oct. , Lot . 
. Faustina the Younger, Type V. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Oct. , Lot . 
. Faustina the Younger, Type V. Sestertius. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Faustina the Younger, Type VI (‘New Type’). Aureus. From Leu Numismatik AG (–),
Auction ,  May , Lot . 
. Faustina the Younger, Type VI (‘New Type’). Medallion. Courtesy of Classical Numismatic
Group, Auction Triton ,  Jan. , Lot . 
. Faustina the Younger, Type VI (‘New Type’). Aureus. Courtesy of Fritz Rudolf Künker GmbH &
Co. KG, Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Sept. ,
Lot . 
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

LIST OF ILLUSTRATIONS xiii

. Faustina the Younger, Type VI (‘New Type’). Aureus. Courtesy of Numismatica Ars Classica
NAC AG, Auction ,  May , Lot . 
. Faustina the Younger, Type VII. Aureus. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
. Faustina the Younger, Type VII. Aureus. Courtesy of Classical Numismatic Group, Auction ,
 May , Lot . 
. Faustina the Younger, Type VII. Sestertius. Courtesy of Sincona AG, Auction ,  Oct. ,
Lot . 
. Faustina the Younger, Type VII. Sestertius. Courtesy of Münzen & Medaillen GmbH, Auction ,
 May , Lot . 
. Faustina the Younger, Type VIII. Aureus. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Faustina the Younger, Type VIII. Aureus. Courtesy of Auktionshaus H. D. Rauch GmbH, Auction
,  Nov. , Lot . 
. Faustina the Younger, Type VIII. Denarius. Courtesy of Numismatik Naumann, Auction ,
 Dec. , Lot . 
. Faustina the Younger, Type VII. Denarius. Courtesy of Auktionshaus H. D. Rauch GmbH,
Auction ,  Mar. , Lot . 
. Faustina the Younger, Type IX. Aureus. Courtesy of Numismatik Lanz München, Auction ,
 Jan. , Lot . 
. ‘Private’ portrait of a woman. Rome, Museo Capitolino, Stanza degli Imperatori . Courtesy of
the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/;
arachne.dainst.org/entity/ (G. Fittschen-Badura). 
. Faustina the Younger, Type VIII. Aureus. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Faustina the Younger, Type IX. Aureus. Courtesy of Hess-Divo AG, Auction ,  May ,
Lot . 
. Faustina the Younger, Type X. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  Mar. , Lot . 
. Antoninus Pius. Aureus, AD  (TRP XII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Faustina the Younger, Type I. Courtesy of Sotheby’s New York, Sale  June , Lot . 
. Faustina the Younger, Type I. New York, Metropolitan Museum of Art, inv. . (Open
Access). 
. Daughter of Faustina the Younger? Possibly Annia Galeria Aurelia Faustina. Tripoli, from Leptis
Magna. Caputo and Traversari , pls. –. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type I). Munich, Glyptothek .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/ (G. Fittschen-Badura). 
. Faustina the Younger, Type I. Rome, Vatican, Braccio Nuovo , inv. . Photo Copyright #
Governorate of the Vatican City State—Directorate of the Vatican Museums. 
. Faustina the Younger, Type I. Rome, Palazzo Spada. Courtesy of the Forschungsarchiv für Antike
Plastik, Universität zu Köln: arachne.dainst.org/entity/; arachne.dainst.org/entity/
; arachne.dainst.org/entity/; arachne.dainst.org/entity/ (G. Fittschen-
Badura). 
. Faustina the Younger, Type I. Schloss Erbach. Courtesy of the Forschungsarchiv für Antike
Plastik, Universität zu Köln: arachne.dainst.org/entity/; arachne.dainst.org/entity/;
arachne.dainst.org/entity/; arachne.dainst.org/entity/ (G. Fittschen-Badura). 
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xiv LIST OF ILLUSTRATIONS

. Faustina the Younger, Type I. Rome, Museo Capitolino, Stanza degli Imperatori , inv. .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.
dainst.org/entity/ (G. Fittschen-Badura). 
. Statue group of Faustina the Younger, Type I, and Marcus Aurelius. Rome, Museo Capitolino,
Salone , inv. . Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln:
arachne.dainst.org/entity/ (B. Malter). 
. Faustina the Younger, Type I. Detail of the statue group above. Courtesy of the Forschungsarchiv
für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/; arachne.dainst.org/
entity/ (G. Fittschen-Badura). 
. Faustina the Younger, Type I. Munich, Glyptothek . Courtesy of the Forschungsarchiv für
Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/; arachne.dainst.org/entity/
 (G. Fitschen-Badura). 
. Faustina the Younger, Type I. Rome, Palazzo Colonna. Courtesy of the Galleria Colonna, Rome. 
. Faustina the Younger, Type I. Rome, Vatican, Museo Chiaramonti XXXV , inv. . Photo
Copyright # Governorate of the Vatican City State—Directorate of the Vatican Museums. 
. ‘Private’ portrait of a woman. Rome, Vatican. Courtesy of the Forschungsarchiv für Antike Plastik,
Universität zu Köln: Negative nos. Fitt--; Fitt-- (G. Fittschen-Badura). 
. Faustina the Younger, Type III. Rome, Vatican, Museo Chiaramonti XV , inv. . Courtesy of
the Deutsches Archäologisches Institut, Abteilung Rom: Negative nos. D-DAI-Rom-Vat. ;
D-DAI-Rom-Vat. ; D-DAI-Rom-Vat. ; D-DAI-Rom-Vat.  (K. Anger). 
. Faustina the Younger, Type III. Rome, Palazzo Spada, Galleria Spada. Courtesy of the
Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/;
arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/
 (G. Fittschen-Badura). 
. Portrait statue of a woman, probably ‘Athenais’. Olympia, from the Nymphaeum of Herodes
Atticus. Courtesy of the Deutsches Archäologisches Institut, Abteilung Athen: Negative no.
D-DAI-ATH-Hege- (W. Hege). 
. Portrait of a woman, probably ‘Athenais’. Detail of the statue above. Courtesy of the Deutsches
Archäologisches Institut, Abteilung Athen: Negative no. D-DAI-ATH-Olympia-
(H. Wagner). 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type IV). Rome, Villa Albani, inv.
. Courtesy of the Fondazione Torlonia. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type IV). Athens, National Museum,
inv. . Courtesy of the Hellenic Ministry of Culture and Sports/National Archaeological
Museum, Athens. 
. Faustina the Younger, Type V. London, British Museum , from Cyrene. # The Trustees of the
British Museum. 
. Faustina the Younger, Type V. Aureus. Courtesy of Numismatica Ars Classica NAC AG, Auction
,  May , Lot . 
. Lucilla, second portrait type. Aureus. From Leu Numismatik AG (–), Auction ,  May
, Lot . 
. Faustina the Younger, Type V. Rome, Vatican, Braccio Nuovo , inv. . Photo Copyright #
Governorate of the Vatican City State—Directorate of the Vatican Museums. 
. Faustina the Younger, Type V. Rome, Vatican, Museo Chiaramonti XXXI , inv. . Courtesy of
the Deutsches Archäologisches Institut, Abteilung Rom: Negative nos. D-DAI-Rom-Vat. ;
D-DAI-Rom-Vat. ; D-DAI-Rom-Vat. ; D-DAI-Rom-Vat.  (K. Anger). 
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. Faustina the Younger, Type V. London, British Museum , from Pozzuoli. # The Trustees of
the British Museum. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type V). Rome, Villa Doria Pamphilj.
Courtesy of the Deutsches Archäologisches Institut, Abteilung Rom: Negative nos. D-DAI-Rom-
.; D-DAI-Rom-. (G. Singer). 
. Lucilla, second portrait type. Detail of a portrait statue in Dresden, Staatliche Kunstsammlungen.
Courtesy of the Skulpturensammlung, Staatliche Kunstsammlungen Dresden, photographs: Elke
Estel/Hans-Peter Klut. 
. Faustina the Younger, Type VII. Rome, Museo Capitolino, Galleria , inv. . Courtesy of the
Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/;
arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/
 (G. Fittschen-Badura). 
. Faustina the Younger, Type VII. Paris, Louvre MA . Photo # Musée du Louvre, Dist.
RMN-Grand Palais / Maurice et Pierre Chuzeville; Hervé Lewandowski. 
. Faustina the Younger, Type VII. Rome, Museo Nazionale Romano—Museo delle Terme, inv. ,
colossal head. Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: Negative
nos. Fitt--; Fitt-- (G. Fittschen-Badura). 
. Faustina the Younger, Type VII. Paris, Louvre MA , colossal head from Markouna. Courtesy
of the Forschungsarchiv für Antike Plastik, Universität zu Köln: Negative nos. Fitt--;
Fitt--; Fitt--; Fitt-- (G. Fittschen-Badura). 
. Female marble head (formerly attributed to Faustina Type VII). Sperlonga, Museum. Courtesy of
the Deutsches Archäologisches Institut, Abteilung Rom: Negative no. D-DAI-Rom-.
( J. Felbermeyer). 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type VII). Athens, National Museum
. Courtesy of the Hellenic Ministry of Culture and Sports/National Archaeological Museum,
Athens. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type VII). Athens, National Museum
. Courtesy of the Zentrale des Deutschen Archäologischen Instituts, Berlin: Negative nos.
D-DAI-Z-NEG-; D-DAI-Z-NEG-. 
. Head of a personification or Tyche? (formerly attributed to Faustina Type VII). Rome, Museo
Torlonia . Courtesy of the Fondazione Torlonia. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type VII). Bucharest, from Ostrov.
Bordenache , figs. , a. 
. Faustina the Younger, Type VI (‘New Type’). Aureus. Courtesy of Classical Numismatic Group,
Auction Triton ,  Jan. , Lot . 
. Faustina the Younger, Type VIII. Rome, Museo Capitolino, Salone , inv. . Courtesy of the
Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/;
arachne.dainst.org/entity/; arachne.dainst.org/entity/ (G. Fittschen-Badura). 
. Faustina the Younger, Type VIII. Rome, Museo Nazionale Romano—Museo delle Terme, inv. .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.
dainst.org/entity/ (G. Fittschen-Badura). 
. Faustina the Younger, Type VIII. Istanbul, Archaeological Museum, inv. , from Kandilli.
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/ (N. Hannestad). 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type IX). Stockholm, National
Museum, inv. . Courtesy of the Nationalmuseum, Stockholm. 
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xvi LIST OF ILLUSTRATIONS

. Portrait of a woman (formerly attributed to Faustina Type IX). Cambridge, Fitzwilliam Museum,
inv. GR .. # The Fitzwilliam Museum, Cambridge. 
. ‘Private’ portrait of a woman (formerly attributed to Faustina Type IX). From Dyrrachium/
Durrës. Courtesy of the Ministry of Culture of the Republic of Albania. 
. Faustina the Younger, Type IX. Aureus. Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Limestone head of a woman (formerly attributed to Faustina Type X). Eichstätt, Museum
(formerly), from Pfünz. Von Sarwey et al. , pl.  (B . ). 
. Faustina the Younger, Type X. Rome, Museo Capitolino, Stanza degli Imperatori , inv. .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.
dainst.org/entity/ (G. Fittschen-Badura). 
. Portrait bust of the freedwoman Sozusa, Hadrianic period. Chatsworth. Courtesy of the
Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/
(D. Boschung); arachne.dainst.org/entity/ (R. Laev). 
. Portrait bust of Claudia Olympias, probably a freedwoman, Trajanic period. London, British
Museum. # The Trustees of the British Museum. 
. Portrait of probably a sister of Lucius Verus (Ceionia Fabia or Ceionia Plautia). Rome, Museo
Capitolino, inv. . Courtesy of the Deutsches Archäologisches Institut, Abteilung Rom:
Negative nos. D-DAI-Rom-.; D-DAI-Rom-. (C. Faraglia). 
. Portrait of possibly the younger sister of Marcus Aurelius (Annia Cornificia Faustina). Ostia.
Courtesy of the Parco Archeologico di Ostia Antica. 
. ‘Private’ portrait of a woman, early Antonine period. Petworth. Courtesy of the Forschungsarchiv
für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/; arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/ (R. Laev). 
. ‘Private’ portrait of a woman, early Antonine period. Rome, Museo Capitolino, inv. . Courtesy
of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/
; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.org/
entity/ (G. Fittschen-Badura). 
. ‘Private’ portrait of a woman, early Antonine period. Rome, Museo Capitolino, inv. . Courtesy
of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/entity/
; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.
org/entity/ (G. Fittschen-Badura). 
. Portrait of Faustina the Elder, so-called ‘Plain Type’. Rome, Museo Capitolino, Stanza degli
Imperatori , inv. . Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln:
arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/
; arachne.dainst.org/entity/ (G. Fittschen-Badura). 
. ‘Private’ portrait of a woman, early Antonine period. Rome, Palazzo dei Conservatori, inv. .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.
org/entity/ (G. Fittschen-Badura). 
. ‘Private’ portrait of a woman, early Antonine period. Rome, Palazzo dei Conservatori, inv. .
Courtesy of the Forschungsarchiv für Antike Plastik, Universität zu Köln: arachne.dainst.org/
entity/; arachne.dainst.org/entity/; arachne.dainst.org/entity/; arachne.dainst.
org/entity/ (G. Fittschen-Badura). 
. Antoninus Pius and Marcus Aurelius. Denarius, late AD  (COS DES). Courtesy of Áureo &
Calicó, Auction ,  Feb. , Lot . 
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LIST OF ILLUSTRATIONS xvii

. Marcus Aurelius. Aureus, AD – (COS). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
. Marcus Aurelius. Denarius, late AD  (COS DES II). Courtesy of Cayón Subastas, Auction May
,  May , Lot . 
. Marcus Aurelius. Aureus, AD – (COS II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, end of AD  (TR POT COS II). Courtesy of Numismatica Ars
Classica NAC AG, Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XV). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Nov. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XXXIIII). Courtesy of Numismatica Ars Classica NAC
AG, Auction ,  Oct. , Lot . 
. Antoninus Pius and Marcus Aurelius. Aureus, late AD  (COS DES). Courtesy of Áureo &
Calicó, Auction ,  Oct. , Lot . 
. Antoninus Pius and Marcus Aurelius. Aureus, AD  or later (COS). Courtesy of Numismatica
Ars Classica NAC AG, Auction ,  June , Lot . 
. Antoninus Pius and Marcus Aurelius. Aureus, AD  or later (COS). Courtesy of Numismatica
Ars Classica NAC AG, Auction ,  Mar. , Lot . 
. Antoninus Pius and Marcus Aurelius. Denarius, AD  (COS DES). Courtesy of Gemini, LLC,
Auction ,  Jan. , Lot . 
. Antoninus Pius and Marcus Aurelius. Aureus, AD  or later (COS). Courtesy of Numismatica
Ars Classica NAC AG, Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD – (COS). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Nov. , Lot . 
. Marcus Aurelius. Sestertius, AD – (COS). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Marcus Aurelius. Denarius, AD – (COS). Courtesy of Classical Numismatic Group, Auction
,  May , Lot . 
. Marcus Aurelius. Denarius, AD – (COS). Courtesy of Fritz Rudolf Künker GmbH & Co.
KG, Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD – (COS). Courtesy of Hess-Divo AG, Auction ,  May
, Lot . 
. Antoninus Pius and Marcus Aurelius. Medallion, AD  or later (COS). GNECCHI II, pl. . . 
. Marcus Aurelius. Medallion, AD – (COS). Courtesy of B. Seifert/Luebke+Wiedemann,
Germany; published: Dr. Busso Peus Nachfolger, Auction ,  Apr. , Lot . 
. Marcus Aurelius. Denarius, late AD  (COS DES II). Courtesy of Cayón Subastas, Auction May
,  May , Lot . 
. Marcus Aurelius. Aureus, AD – (COS II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Marcus Aurelius. Sestertius, AD – (COS II). Courtesy of Numismatica Ars Classica NAC AG,
Auction R,  May , Lot . 
. Marcus Aurelius. Aureus, AD – (COS II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD – (COS II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

xviii LIST OF ILLUSTRATIONS

. Marcus Aurelius. Aureus, AD – (COS II). Courtesy of Heritage Auctions, www.HA.com,
Auction ,  Apr. , Lot . 
. Marcus Aurelius. Medallion, AD – (COS II). Courtesy of Heritage Auctions, www.HA.com,
Auction ,  Jan. , Lot . 
. Marcus Aurelius. Medallion, AD – (COS II). Courtesy of the Münzkabinett, Staatliche
Museen zu Berlin, , photographs: Lutz-Jürgen Lübke (Lübke und Wiedemann). 
. Marcus Aurelius. Medallion, AD – (COS II). Courtesy of the Münzkabinett, Staatliche
Museen zu Berlin, , photographs: Lutz-Jürgen Lübke (Lübke und Wiedemann). 
. Marcus Aurelius. Medallion, AD – (COS II). Courtesy of the Münzkabinett, Staatliche
Museen zu Berlin, , photographs: Reinhard Saczewski. 
. Marcus Aurelius. Aureus, end of AD  (TR POT COS II). Courtesy of Fritz Rudolf Künker
GmbH & Co. KG, Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Mar.
, Lot . 
. Marcus Aurelius. Aureus, AD  (TRP II). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP III). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VI). Courtesy of Fritz Rudolf Künker GmbH & Co. KG,
Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VI). Courtesy of Baldwin’s Auctions Ltd, The New York
Sale ,  Jan. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP III). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Medallion, AD  (TRP III). GNECCHI II, pl. . . 
. Marcus Aurelius. Denarius, AD  (TRP III). Courtesy of Auktionshaus H. D. Rauch GmbH,
Auction ,  Apr. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP III). Courtesy of Auktionshaus H. D. Rauch GmbH,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP III). Courtesy of Numismatik Naumann, Auction ,
 Dec. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP III). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP III). Courtesy of Gorny & Mosch Giessener
Münzhandlung, Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VIII). Courtesy of Fritz Rudolf Künker GmbH & Co.
KG, Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Oct. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP VII). Courtesy of Gorny & Mosch Giessener
Münzhandlung, Auction ,  Oct. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP VIII). Courtesy of Auktionshaus H. D. Rauch GmbH,
Summer Auction ,  Sept. , Lot . 
. Marcus Aurelius. Sestertius, AD  (TRP VIII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
 OUP CORRECTED PROOF – FINAL, 7/6/2022, SPi

LIST OF ILLUSTRATIONS xix

. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Nomisma S. p. a., Auction ,
 May , Lot . 
. Marcus Aurelius. Medallion, AD  (TRP X), detail without rim. GNECCHI II, pl. . . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Apr. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Fritz Rudolf Künker GmbH & Co. KG,
Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Gerhard Hirsch Nachfolger, Auction
–,  Feb. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Auktionshaus H. D. Rauch GmbH,
Auction ,  Apr. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP VII). Courtesy of Maison Palombo, Auction ,  Dec.
, Lot . 
. Marcus Aurelius. Denarius, AD  (TRP X). Courtesy of Jean Elsen & ses Fils S. A., Auction ,
 Sept. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP X). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XI). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  May , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP X). From LHS Numismatik AG, Auction ,  Apr.
, Lot . 
. Marcus Aurelius. Denarius, AD  (TRP X). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XIIII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Dec. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XIIII). Courtesy of Classical Numismatic Group, Auction
,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XIIII). Courtesy of Classical Numismatic Group, Auction
Triton ,  Jan. , Lot . 
. Marcus Aurelius. Medallion, AD  (TRP XII). GNECCHI II, pl. . . 
. Marcus Aurelius. Medallion, AD  (TRP XIII). # The Trustees of the British Museum. 
. Marcus Aurelius. Medallion, AD  (TRP XIIII). GNECCHI II, pl. . . 
. Marcus Aurelius. Aureus, AD  (TRP XV). Courtesy of Numismatica Ars Classica, Auction ,
 Nov. , Lot . 
. Marcus Aurelius. Sestertius, AD  (TRP XV). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XVI). Courtesy of Fritz Rudolf Künker GmbH & Co.
KG, Osnabrück, and Lübke & Wiedemann KG, Leonberg; Auction ,  Mar. , Lot . 
. Marcus Aurelius. Denarius, AD  (TRP XVI). Courtesy of Ira & Larry Goldberg Coins &
Collectibles, Auction ,  June , Lot . 
. Marcus Aurelius. Sestertius, AD  (TRP XV). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Mar. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XVIII). Courtesy of Numismatica Ars Classica NAC AG,
Auction ,  Oct. , Lot . 
. Marcus Aurelius. Aureus, AD  (TRP XX IMP III). Courtesy of UBS AG, Gold & Numismatics,
Auction ,  Jan. , Lot . 
. Marcus Aurelius. Sestertius, AD  (TRP XVII). Courtesy of Numismatica Ars Classica NAC
AG, Auction ,  Apr. , Lot . 
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"It's true," I agreed. "He asks her if she will 'give herself up,'
'renounce former manners,' and to swear so upon—the book we
saw. She does so."
"Then the prayer, which perplexes you by its form. The 'wert in
heaven' bit becomes obvious now, eh? How about the angel that fell
from grace and attempted to build up his own power to oppose?"
"Satan!" I almost shouted. "A prayer to the force of evil!"
"Not so loud, Connatt. And then, while Miss Holgar stands inside a
circle—that, also, is part of the witch ceremony—he touches her
head, and speaks words we do not know. But we can guess."
He struck his stick hard against the sandy earth.
"What then?" I urged him on.
"It's in an old Scottish trial of witches," said Pursuivant. "Modern
works—J. W. Wickwar's book, and I think Margaret Alice Murray's—
quote it. The master of the coven touched the head of the neophyte
and said that all beneath his hand now belonged to the powers of
darkness."
"No! No!" I cried, in a voice that wanted to break.
"No hysterics, please!" snapped Pursuivant. "Connatt, let me give
you one stark thought—it will cool you, strengthen you for what you
must help me achieve. Think what will follow if we let Miss Holgar
take this oath, accept this initiation, however unwittingly. At once
she will assume the curse that Varduk—Byron—lays down. Life after
death, perhaps; the faculty of wreaking devastation at a word or
touch; gifts beyond human will or comprehension, all of them a
burden to her; and who can know the end?"
"There shall not be a beginning," I vowed huskily. "I will kill Varduk
——"
"Softly, softly. You know that weapons—ordinary weapons—do not
even scratch him."
The twilight was deepening into dusk, Pursuivant turned back
toward the lodge, where windows had begun to glow warmly, and
muffled motor-noises bespoke the parking of automobiles. There
were other flecks of light, too. For myself, I felt beaten and weary,
as though I had fought to the verge of losing against a stronger,
wiser enemy.
"Look around you, Connatt. At the clumps of bush, the thickets.
What do they hide?"
I knew what he meant. I felt, though I saw only dimly, the presence
of an evil host in ambuscade all around us.
"They're waiting to claim her, Connatt. There's only one thing to do."
"Then let's do it, at once."
"Not yet. The moment must be his moment, one hour before
midnight. Escape, as I once said, will not be enough. We must
conquer."
I waited for him to instruct me.
"As you know, Connatt, I will make a speech before the curtain.
After that, I'll come backstage and stay in your dressing-room. What
you must do is get the sword that you use in the second act. Bring it
there and keep it there."
"I've told you and told you that the sword meant nothing against
him."
"Bring it anyway," he insisted.
I heard Sigrid's clear voice, calling me to the stage door. Pursuivant
and I shook hands quickly and warmly, like team-mates just before a
hard game, and we went together to the lodge.
Entering, I made my way at once to the property table. The sword
still lay there, and I put out my hand for it.
"What do you want?" asked Elmo Davidson behind me.
"I thought I'd take the sword into my dressing-room."
"It's a prop, Connatt. Leave it right where it is."
I turned and looked at him. "I'd rather have it with me," I said
doggedly.
"You're being foolish," he told me sharply, and there is hardly any
doubt but that I sounded so to him. "What if I told Varduk about
this?"
"Go and tell him, if you like. Tell him also that I won't go on tonight
if you're going to order me around." I said this as if I meant it, and
he relaxed his commanding pose.
"Oh, go ahead. And for heaven's sake calm your nerves."
I took the weapon and bore it away. In my room I found my
costume for the first act already laid out on two chairs—either
Davidson or Jake had done that for me. Quickly I rubbed color into
my cheeks, lined my brows and eyelids, affixed fluffy side-whiskers
to my jaws. The mirror showed me a set, pale face, and I put on
rather more make-up than I generally use. My hands trembled as I
donned gleaming slippers of patent leather, fawn-colored trousers
that strapped under the insteps, a frilled shirt and flowing necktie, a
flowered waistcoat and a bottle-green frock coat with velvet facings
and silver buttons. My hair was long enough to be combed into a
wavy sweep back from my brow.
"Places, everybody," the voice of Davidson was calling outside.
I emerged. Jake Switz was at my door, and he grinned his good
wishes. I went quickly on-stage, where Sigrid already waited. She
looked ravishing in her simple yet striking gown of soft, light blue,
with billows of skirt, little puffs of sleeves, a tight, low bodice. Her
gleaming hair was caught back into a Grecian-looking coiffure, with
a ribbon and a white flower at the side. The normal tan of her skin
lay hidden beneath the pallor of her make-up.
At sight of me she smiled and put out a hand. I kissed it lightly,
taking care that the red paint on my lips did not smear. She took her
seat on the bench against the artificial bushes, and I, as gracefully
as possible, dropped at her feet.
Applause sounded beyond the curtain, then died away. The voice of
Judge Pursuivant became audible:
"Ladies and gentlemen, I have been asked by the management to
speak briefly. You are seeing, for the first time before any audience,
the lost play of Lord Byron, Ruthven. My presence here is not as a
figure of the theater, but as a modest scholar of some persistence,
whose privilege it has been to examine the manuscript and perceive
its genuineness.
"Consider yourselves all subpenaed as witnesses to a classic
moment." His voice rang as he pronounced the phrase required by
Varduk. "I wonder if this night will not make spectacular history for
the genius who did not die in Greece a century and more ago. I say,
he did not die—for when does genius die? We are here to assist at,
and to share in, a performance that will bring him his proper
desserts.
"Ladies and gentlemen, I feel, and perhaps you feel as well, the
presence of the great poet with us in this remote hall. I wish you joy
of what you shall observe. And now, have I your leave to withdraw
and let the play begin?"
Another burst of applause, in the midst of which sounded three raps.
Then up went the curtain, and all fell silent. I, as Aubrey, spoke the
first line of the play:
"I'm no Othello, darling...."

15. "Whither? I Dread to Think—"

Sigrid and I struck on the instant the proper note of affectionate
gayety, and I could feel in the air that peculiar audience-rhythm by
which an actor knows that his effort to capture a mood is successful.
For the moment it was the best of all possible worlds, to be
exchanging thus the happy and brilliant lines with the woman I
adored, while an intelligent and sympathetic houseful of spectators
shared our happy mood.
But, if I had forgotten Varduk, he was the more imposing when he
entered. His luminous pallor needed no heightening to seize the
attention; his face was set off, like some gleaming white gem, by the
dark coat, stock, cape, books, pantaloons. He spoke his entrance
line as a king might speak in accepting the crown and homage of a
nation. On the other side of the footlights the audience grew tense
with heightened interest.
He overpowered us both, as I might have known he would, with his
personality and his address. We might have been awkward
amateurs, wilting into nothingness when a master took the stage. I
was eclipsed completely, exactly as Aubrey should be at the entrance
of Ruthven, and I greatly doubt if a single pair of eyes followed me
at my first exit; for at the center of the stage, Varduk had begun to
make love to Sigrid.
I returned to my dressing-room. Pursuivant sat astride a chair, his
sturdy forearms crossed upon its back.
"How does it go?" he asked.
"Like a producer's dream," I replied, seizing a powder puff with
which to freshen my make-up. "Except for the things we know
about, I would pray for no better show."
"I gave you a message in my speech before the curtain. Did you
hear what I said? I meant, honestly, to praise Byron and at the same
time to defy him. You and I, with God's help, will give Ruthven an
ending he does not expect."
It was nearly time for me to make a new entrance, and I left the
dressing-room, mystified but comforted by Pursuivant's manner. The
play went on, gathering speed and impressiveness. We were all
acting inspiredly, maugre the bizarre nature of the rehearsals and
other preparations, the dark atmosphere that had surrounded the
piece from its first introduction to us.
The end of the act approached, and with it my exit. Sigrid and I
dragged the limp Varduk to the center of the stage and retired,
leaving him alone to perform the sinister resurrection scene with
which the first act closes. I loitered in the wings to watch, but Jake
Switz tugged at my sleeve.
"Come," he whispered. "I want to show you something."
We went to the stage door. Jake opened it an inch.
The space behind the lodge was full of uncertain, half-formed lights
that moved and lived. For a moment we peered. Then the soft, larval
radiances flowed toward us. Jake slammed the door.
"They're waiting," he said.
From the direction of the stage came Varduk's final line:
"Grave, I reject thy shelter! Death, stand back!"
Then Davidson dragged down the curtain, while the house shook
with applause. I turned again. Varduk, backstage, was speaking
softly but clearly, urging us to hurry with our costume changes. Into
my dressing-room I hastened, my feet numb and my eyes blurred.
"I'll help you dress," came Pursuivant's calm voice. "Did Jake show
you what waits outside?"
I nodded and licked my parched, painted lips.
"Don't fear. Their eagerness is premature."
He pulled off my coat and shirt. Grown calm again before his
assurance, I got into my clothes for Act Two—a modern dinner suit.
With alcohol I removed the clinging side-whiskers, repaired my
make-up and brushed my hair into modern fashion once more.
Within seconds, it seemed, Davidson was calling us to our places.
The curtain rose on Sigrid and me, as Mary and Swithin, hearing the
ancestral tale of horror from Old Bridget. As before, the audience
listened raptly, and as before it rose to the dramatic entrance of
Varduk. He wore his first-act costume, and his manner was even
more compelling. Again I felt myself thrust into the background of
the drama; as for Sigrid, great actress though she is, she prospered
only at his sufferance.
Off stage, on again, off once more—the play was Varduk's, and
Sigrid's personality was being eclipsed. Yet she betrayed no anger or
dislike of the situation. It was as though Varduk mastered her, even
while his character of Ruthven overpowered her character of Mary. I
felt utterly helpless.

In the wings I saw the climax approach. Varduk, flanked by

Davidson as the obedient Oscar, was declaring Ruthven's intention to
gain revenge and love.
"Get your sword," muttered Jake, who had taken Davidson's place at
the curtain ropes. "You're on again in a moment."
I ran to my dressing-room. Pursuivant opened the door, thrust
something into my hand.
"It's the silver sword," he told me quickly. "The one from my cane.
Trust in it, Connatt. Almost eleven o'clock—go, and God stiffen your
arm."
It seemed a mile from the door to the wings. I reached it just in
time for my entrance cue—Sigrid's cry of "Swithin will not allow this."
"Let him try to prevent it," grumbled Davidson, fierce and grizzled as
the devil-converted Oscar.
"I'm here for that purpose," I said clearly, and strode into view. The
sword from Pursuivant's cane I carried low, hoping that Varduk
would not notice at once. He stood with folded arms, a mocking
smile just touching his white face.
"So brave?" he chuckled. "So foolish?"
"My ancestor killed you once, Ruthven," I said, with more meaning
than I had ever employed before. "I can do so again."
I leaped forward, past Sigrid and at him.
The smile vanished. His mouth fell open.
"Wait! That sword——"
He hurled himself, as though to snatch it from my hand. But I lifted
the point and lunged, extending myself almost to the boards of the
stage. As once before, I felt the flesh tear before my blade. The
slender spike of metal went in, in, until the hilt thudded against his
breast-bone.
No sound from audience or actors, no motion. We made a tableau,
myself stretched out at lunge, Varduk transfixed, the other two
gazing in sudden aghast wonder.
For one long breath's space my victim stood like a figure of black
stone, with only his white face betraying anything of life and feeling.
His deep eyes, gone dark as a winter night, dug themselves into
mine. I felt once again the intolerable weight of his stare—yet it was
not threatening, not angry even. The surprize ebbed from it, and the
eyes and the sad mouth softened into a smile. Was he forgiving me?
Thanking me?...

Sigrid found her voice again, and screamed tremulously. I released

the cane-hilt and stepped backward, automatically. Varduk fell limply
upon his face. The silver blade, standing out between his shoulders,
gleamed red with blood. Next moment the red had turned dull black,
as though the gore was a millennium old. Varduk's body sagged. It
shrank within its rich, gloomy garments. It crumbled.
The curtain had fallen. I had not heard its rumble of descent, nor
had Sigrid, nor the stupefied Davidson. From beyond the folds came
only choking silence. Then Pursuivant's ready voice.
"Ladies and gentlemen, a sad accident has ended the play
unexpectedly—tragically. Through the fault of nobody, one of the
players has been fatally——"
I heard no more. Holding Sigrid in my arms I told her, briefly and
brokenly, the true story of Ruthven and its author. She, weeping,
gazed fearfully at the motionless black heap.
"The poor soul!" she sobbed. "The poor, poor soul!"
Jake, leaving his post by the curtain-ropes, had walked on and was
leading away the stunned, stumbling Davidson.
I still held Sigrid close. To my lips, as if at the bidding of another
mind and memory, came the final lines of Manfred:
"He's gone—his soul hath ta'en its earthless flight—Whither? I dread
to think—but he is gone."

THE END
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