grace was a virtue in itself, and said, "Thaïs also is a geometrician!" The ignorant, the poor, the humble, and the timid before whom she consented to appear, regarded her as a blessing from heaven. Yet she was sad amidst all the praise she received, and dreaded death more than ever. Nothing was able to set her mind at rest, not even her house and gardens, which were celebrated, and a proverb throughout the city.
The gardens were planted with trees, brought at great expense from India and Persia. They were watered by a running brook, and colonnades in ruins, and imitation rocks, arranged by a skilful artist, were reflected in a lake, which also mirrored the statues that stood round it. In the middle of the garden was the Grotto of Nymphs, which owed its name to three life-size figures of women, which stood on the threshold. They were represented as divesting themselves of their garments, and about to bathe. They anxiously turned their heads, fearing to be seen, and looked as though they were alive. The only light which entered the building came, tempered and iridescent, through thin sheets of water. All the walls were hung — as in the sacred grottoes — with wreaths, garlands, and votive pictures, in which the beauty of Thaïs was celebrated. There were also tragic and comic masks, bright with colours; and paintings representing theatrical scenes, or gro-
