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 chap. XL] OF THE ROMAN EMPIRE 227 sunk deep into the mind of Theodora, was felt long afterwards in the administration of the empire. As they improved in age and beauty, the three sisters were successively devoted to the public and private pleasures of the Byzantine people ; and Theodora, after following Comito on the stage, in the dress of a slave, with a stool on her head, was at length permitted to exercise her independent talents. She neither danced, nor sung, nor played on the flute ; her skill was confined to the pantomime arts ; she excelled in buffoon characters, and, as often as the comedian swelled her cheeks, and complained with a ridiculous tone and gesture of the blows that were inflicted, the whole theatre of Constantinople resounded with laughter and applause. The beauty of Theodora 22 was the subject of more flattering praise, and the source of more exquisite delight. Her features were delicate and regular ; her complexion, though somewhat pale, was tinged with a natural colour ; every sensation was instantly expressed by the vivacity of her eyes ; her easy motions displayed the graces of a small but elegant figure ; and even love or adulation might proclaim that painting and poetry were incapable of delineating the matchless excellence of her form. But this form was degraded by the facility with which it was exposed to the public eye and prostituted to licentious desire. Her venal charms were abandoned to a promiscuous crowd of citizens and strangers, of every rank, and of every profession ; the fortunate lover who had been promised a night of enjoyment was often driven from her bed by a stronger or more wealthy favourite ; and, when she passed through the streets, her presence was avoided by all who wished to escape either the scandal or the temptation. The satirical historian has not blushed 23 to describe the naked scenes which Theodora was not ashamed to exhibit in the theatre. 24 After exhausting 22 Her statue was raised at Constantinople, on a porphyry column. See Pro- copius (de iEdif. 1. i. c. 11), who gives her portrait in the Anecdotes (c. 10). Aleman. (p. 47) produces one from a Mosaic at Kavenna [in the apse of the church of San Vitale], loaded with pearls and jewels, and yet handsome. 23 A fragment of the Anecdotes (c. 9), somewhat too naked, was suppressed by Alemannus, though extant in the Vatican Ms. ; nor has the defect been supplied in the Paris or Venice editions. La Mothe le Vayer (torn. viii. p. 155) gave the first hint of this curious and genuine passage (Jortin's Kemarks, vol. iv. p. 366), which he had received from Eome, and it has been since published in the Menagiana (torn. iii. p. 254-259), with a Latin version. 24 After the mention of a narrow girdle (as none could appear stark-naked in the theatre), Procopius thus proceeds : auairewTaiKvU re eV t<5 48<L<pei virria ticeno. ©Tires