Renaissance. Particularly is this true of the Villa d'Este and the Villa
Albani, magic gateways both leading directly into that earlier, and only
real, Rome.

For, though separated by the gulf of many centuries from the villa of
the Emperor Hadrian at Tivoli, they are virtually ante-chambers to that
once magnificent palace.

We might turn from the attractive vista which they reveal but for an
alluring phantom which can never be disassociated from those imperial
ruins, a face whose beauty and pathos draws us on irresistibly to solve
the mystery of its gentle sadness.

Who, that has stood before the matchless relief of Antinous in the villa
Albani, does not agree with the assertion, that "it is no shadow of sin
which gives the pure brow its gravity, and that whatever may be the
burden which bows the beautiful head, he bears it with a noble
resignation which proves him superior to his suffering and unsullied by
his doom."

[Illustration: Antinous

Bas-relief found at Hadrian's Villa, now in the Villa Albani]

In the general resurrection of ancient masterpieces which took place
during the Renaissance only one, the Apollo Belvedere, commanded wider
admiration as a type of manly beauty. But the Apollo is a theatrical
manifestation of the popular conception of god-like perfection, while
Antinous makes appeals directly to the heart through his very humanity.

One hundred and thirty-six of his portrait statues, busts, and reliefs
have come down to us, and as many engraved gems and coins bearing
varying interpretations of his familiar and unmistakable personality; so
that it is common to speak of the Antinous type as the last ideal
creation of ancient art. And yet we are assured on the highest authority
that Antinous really lived, and that there is historical foundation for
the authenticity of these portraits.

"He has a distinct individuality always recognisable," says Gregorovius.
"In every case we see a face bowed down, full of melancholy beauty, with
deep-set eyes, slightly arched eyebrows, and abundant curls falling over
the forehead. It is the beautiful expression of a nature which combined
the Greek and the Asiatic characteristics only slightly idealised. We
read the fate of Antinous in this sorrowful figure, for the artists knew
of the death of sacrifice to which he dedicated himself, and this
mysterious sadness would attract the observer even if he could not give
the name to the statue."

But history only whe