Roma Eterna (46 page)

Yes. Enormous Imperial dwellings, two score or even more of them, all higgledy-piggledy, cheek by jowl. Whole mountains of marble must have been leveled to build that incomprehensible maze of splendor.

And we are heading right into the midst of it all. The entrance to the Palatine is well patrolled, hordes of Praetorians everywhere, but they all seem to know Lucilla by sight and they wave us on in. She tries to explain to me which palace is whose, but it's all a hopeless jumble, and even she isn't really sure. Underneath what we see, she says, are the original palaces of the early Imperial days, those of Augustus and Tiberius and the Flavians, but of course nearly every Emperor since then has wanted to add his own embellishments and enhancements, and by now
the whole hill is a crazyquilt of Imperial magnificence and grandiosity in twenty different styles, including a few very odd Oriental and pseudo-Byzantine structures inserted into the mix in the twenty-fourth century by some of the weirder monarchs of the Decadence. Towers and arcades and pavilions and gazebos and colonnades and domes and basilicas and fountains and peculiar swooping vaults jut out everywhere.

“And the Emperor himself?” I ask her. “Where in all that does he live?”

She waves her hand vaguely toward the middle of the heap. “Oh, he moves around, you know. He never stays in the same place two nights in a row.”

“Why is that? Is he the restless type?”

“Not at all. But Actinius Varro makes him do it.”

“Who?”

“Varro. The Praetorian Prefect. He worries a lot about assassination plots.”

I laugh. “When an Emperor is assassinated, isn't it usually his own Praetorian Prefect who does it?”

“Usually, yes. But the Emperor always thinks that his prefect is the first completely loyal one, right up till the moment the knife goes into his belly. Not that anyone would want to assassinate a foolish fop like our Maxentius,” she adds.

“If he's as incompetent as everyone says, wouldn't that be a good reason for removing him, then?”

“What, and make one of his even more useless brothers Emperor in his place? Oh, no, Cymbelin. I know them all, believe me, and Maxentius is the best of the lot. Long life to him, I say.”

“Indeed. Long life to Emperor Maxentius,” I chime in, and we both enjoy a good laugh.

 

The particular palace we are heading for is one of the newest on the hill: an ornate, many-winged guest pavilion, much bedizened with eye-dazzling mosaics, brilliant wild
splotches of garish yellows and uninhibited scarlets. It had been erected some fifty years before, she tells me, early in the reign of the lunatic Emperor Demetrius, the last Caesar of the Decadence. Lucilla has a little apartment in it, courtesy of her good friend, Prince Flavius Rufus. Apparently a good many non-royal members of the Imperial Roman social set live up here on the Palatine. It's more convenient for everyone that way, traffic being what it is in Roma and the number of parties being so great.

The beginning of my stay in the capital is Neapolis all over again: there is a glittering social function for me to attend on my very first night. The host, says Lucilla, is none other than the famous Count Nero Romulus Claudius Palladius, who is terribly eager to meet me.

“And who is he, exactly?” I ask.

“His grandfather's brother was Count Valerian Apollinaris. You know who he was?”

“Of course.” One doesn't need a Cantabrigian education to recognize the name of the architect of the modern Empire, the great five-term Consul of the First War of Reunification. It was Valerian Apollinaris who had dragged the frayed and crumbling Empire out of the sorry era known as the Decadence, put an end to the insurrections in the provinces that had wracked the Empire throughout the troubled twenty-fifth century, restored the authority of the central government, and installed Laureolus Caesar, grandfather of our present Emperor, on the throne. It was Apollinaris who—acting in Laureolus's name, as an unofficial Caesar standing behind the true one—had instituted the Reign of Terror, that time of brutal discipline that had, for better or for worse, brought the Empire back to some semblance of the greatness that it last had known in the time of Flavius Romulus and the seventh Trajan. And then perished in the Terror himself, along with so many others.

I know nothing of this grand-nephew of his, this Nero Romulus Claudius Palladius, except what I've heard of him from Lucilla. But she conveys merely by the way she
utters his name, his full name every time, that he has followed his ancestor's path, that he too is a man of great power in the realm.

And indeed it is obvious to me right away, when Lucilla and I arrive at Count Nero Romulus's Palatine Hill palace, that my guess is correct.

The palace itself is relatively modest: a charming little building on the lower slope of the hill, close to the Forum, that I am told dates from the Renaissance and was originally built for one of the mistresses of Trajan VII. Just as Count Nero Romulus has never bothered to hold the Consulate or any of the other high offices of the realm, Count Nero Romulus doesn't need a grand edifice to announce his importance. But the guest list at his party says it all.

The current Consul, Aulus Galerius Bassanius, is there. So are two of the Emperor's brothers, and one of his sisters. And also Lucilla's uncle, the distinguished and celebrated Gaius Junius Scaevola, four times Consul of Roma and by general report the most powerful man in the Empire next to Emperor Maxentius himself—
more
powerful than the Emperor, many believe.

Lucilla introduces me to Scaevola first. “My friend Cymbelin Vetruvius Scapulanus from Britannia,” she says, with a grand flourish. “We met at Marcello Domiziano's house in Neapolis, and we've been inseparable ever since. Isn't he splendid, Uncle Gaius?”

What does one say, when one is a mere artless provincial on his first night in the capital and one finds oneself thrust suddenly into the presence of the greatest citizen of the realm?

But I manage not to stammer and blurt and lurch. With reasonable smoothness, in fact, I say, “I could never have imagined, when I set out from Britannia to see the fatherland of the Empire, Consul Scaevola, that I would have the honor to encounter the father of the country himself!”

At which he smiles amiably and says, “I think you rank me too highly, my friend. It's the Emperor who's the fa
ther of the country, you know. As it says right here.” And pulls a shiny new sestertius piece from his purse and holds it up so I can see the inscriptions around the edge, the cryptic string of abbreviated Imperial titles that all the coinage has carried since time immemorial. “You see?” he says, pointing to the letters on the rim of the coin just above the eyebrows of Caesar Maxentius. “P.P., standing for
‘Pater Patriae.'
There it is. Him, not me. Father of the country.” Then, with a wink to take the sting out of his rebuke, such as it had been, he says, “But I appreciate flattery as much as the next man, maybe even a little more. So thank you, young man. Lucilla's not being too much trouble for you, is she, now?”

I'm not sure what he means by that. Perhaps nothing.

“Hardly,” I say.

I realize that I'm staring. Scaevola is a gaunt, wiry man of middle height as well, perhaps fifty years old, balding, with his remaining thin strands of hair—red hair, like Lucilla's—pulled taut across his scalp. His cheekbones are pronounced, his nose is sharp, his chin is strong; his eyes are a very pale, icy gray-blue, the blue of a milky-hued sapphire. He looks astonishingly like Julius Caesar, the famous portrait that is on the ten-denarius postage stamp: that same expression of utterly unstoppable determination that arises out of infinite resources of inner power.

He asks me a few questions about my travels and about my homeland, listens with apparent interest to my replies, wishes me well, and efficiently sends me on my way.

My knees are trembling. My throat is dry.

Now I must meet my host the Count, and he is no easy pudding either. Nero Romulus Claudius Palladius is every bit as imposing as I had come to expect, a suave, burnished-looking man of about forty, tall for a Roman and strongly built, with a dense, flawlessly trimmed black beard, skin of a rich deep tone, dark penetrating eyes. He radiates an aura of wealth, power, self-assurance, and—
even I am capable of detecting it—an almost irresistible sensuality.

“Cymbelin,” he says immediately. “A great name, a romantic name, the name of a king. Welcome to my house, Cymbelin of Britannia.” His voice is resonant, a perfectly modulated basso, the voice of an actor, of an opera singer. “We hope to see you here often during your stay in Roma.”

Lucilla, by my side, is staring at him in the most worshipful way. Which should trigger my jealousy; but I confess I feel such awe for him myself that I can scarcely object that she is under his spell.

He rests his hand lightly on my shoulder. “Come. You must meet some of my friends.” And takes me around the room. Introduces me to the incumbent Consul, Galerius Bassanius, who is younger and more frivolously dressed than I would have thought a Consul would be, and to some actors who seem to expect that I would recognize their names, though I don't and have to dissemble a little, and to a gladiator whose name I do recognize—who wouldn't, considering that he is the celebrated Marcus Sempronius Diodorus, Marcus the Lion-Slayer?—and then to a few flashy young ladies, with whom I make the appropriate flirtatious banter even though Lucilla has more beauty in her left elbow alone than any one of them does in her entire body.

We pass now through an atrium where a juggler is performing and onward to a second room, just as crowded as the first, where the general conversation has an oddly high-pitched tone and people are standing about in strangely stilted postures. After a moment I understand why.

There are royals in here. Everyone is on best court behavior.

Two princes of the blood, no less. Lucilla has me meet them both.

The first is Camillus Caesar, the Prince of Constantinopolis, eldest of the Emperor's four brothers. He is
plump, lazy-looking, with oily skin and an idle, slouching way of holding himself. If Gaius Junius Scaevola is a Julius Caesar, this man is a Nero. But for all his soft fleshiness I can make out distinct traces of the familiar taut features that mark the royal family: the sharp, fragile, imperious nose, the heroic chin, above all the chilly eyes, blue as Arctic ice, half hidden though they are behind owlish spectacles. It is as if the stern face of old Emperor Laureolus has somehow become embedded in the meaty bulk of this wastrel grandchild of his.

Camillus is too drunk, even this early in the evening, to say very much to me. He gives me a sloppy wave of his chubby hand and loses interest in me immediately.

Onward we go to the next oldest of the royals, Flavius Rufus Caesar. I am braced to dislike him, aware as I am that he has had the privilege of being Lucilla's lover when she was only sixteen, but in truth he is charming, affable, a very seductive man. About twenty-five, I guess. He too has the family face; but he is lean, agile-looking, quick-eyed, probably quick-witted as well. Since from all I have heard his brother Maxentius is a buffoon and a profligate, it strikes me as a pity that the throne had not descended to Flavius Rufus instead of the other one when their old grandfather finally had shuffled off the scene. But the eldest heir succeeds: it is the ancient rule. With Prince Florus dead three years before his father Laureolus, the throne had gone to Florus's oldest son Maxentius, and the world might be very different today had not that happened. Or perhaps I am overestimating the younger prince. Had Lucilla not told me Maxentius was the best of the lot?

Flavius Rufus—who plainly knows that I am Lucilla's current amusement, and who just as plainly isn't bothered by that—urges me to visit him toward the end of the year at the great Imperial villa at Tibur, a day's journey outside Roma, where he will be celebrating the Saturnalia with a few hundred of his intimate friends.

“Oh, and bring the redhead, too,” Flavius Rufus says cheerfully. “You won't forget her, now, will you?”

He blows her a kiss, and gives me a friendly slap on the palm of my hand, and returns to the adulation of his entourage. I am pleased and relieved that our meeting went so well.

Lucilla has saved the best of the family for last, though.

The dearest friend of her childhood, her schoolmate, her honorary kinswoman: the Princess Severina Floriana, sister of the Emperor. Before whom I instantly want to throw myself in utter devotion, she is so overpoweringly beautiful.

As Lucilla had said, Severina Floriana is dark, torrid-looking, exotic. There is no trace of the family features about her—her eyes are glossy black, her nose is a wanton snub, her chin is elegantly rounded—and I know at once that she must not be full sister to the Emperor, that she has to be the child of some subsidiary wife of Maxentius's father: royals may have but one wife at a time, like the rest of us, but it is well known that often they exchange one wife for another, and sometimes take the first one back later on, and who is to say them nay? If Severina's mother looked anything like Severina, I can see why the late Prince Florus was tempted to dally with her.

I was glib enough when speaking with Junius Scaevola and Nero Romulus Claudius Palladius, but I am utterly tongue-tied before Severina Floriana. Lucilla and she do all the talking, and I stand to one side, looming awkwardly in silence like an ox that Lucilla has somehow happened to bring to the party. They chatter of Neapolis's social set, of Adriana, of Druso Tiberio, of a host of people whose names mean nothing to me; they speak of me, too, but what they are talking is the rapid-fire Roman of the capital, so full of slang and unfamiliar pronunciations that I can scarcely understand a thing. Now and again Severina Floriana directs her gaze at me—maybe appraisingly, maybe
just out of curiosity at Lucilla's newest acquisition; I can't tell which. I try to signal her with my eyes that I would like a chance to get to know her better, but the situation is so complex and I know I am being reckless—how dare I even
think
of a romance with a royal princess, and how rash, besides, inviting the rage of Lucilla Scaevola by making overtures to her own friend right under her nose—!