It was Glaukias the sculptor, her father's tenant; for his work-room stood on the plot of ground by the garden of Hermes, which the gem-cutter had inherited from his father-in-law.
The man's bold, manly features were flushed with wine and revelry; his twinkling eyes sparkled, and the ivy-leaves still clinging to his curly hair showed that he had been one in the Dionysiac revellers; but the Greek blood which ran in his veins preserved his grace even in drunkenness.

He bowed gayly to the young girl, and exclaimed to his companions: "The youngest pearl in Alexandria's crown of beauties!" while Bion, Alexander's now gray-haired master, clapped the youth on the arm, and added: "Yes, indeed, see what the little thing has grown! Do you remember, pretty one, how you once--how many years ago, I wonder ?--spotted your little white garments all over with red dots! I can see you now, your tiny finger plunged into the pot of paint, and then carefully printing off the round pattern all over the white linen.
Why, the little painter has become a Hebe, a Charis, or, better still, a sweetly dreaming Psyche." "Ay, ay!" said Glaukias again.

"My worthy landlord has a charming model.
He has not far to seek for a head for his best gems.

His son, a Helios, or the great Macedonian whose name he bears; his daughter--you are right, Bion--the maid beloved of Eros.

Now, if you can make verses, my young friend of the Muses, give us an epigram in a line or two which we may bear in mind as a compliment to our imperial visitor." "But not here--not in the burial-ground," Melissa urged once more.
Among Glaukias's companions was Argeios, a vain and handsome young poet, with scented locks betraying him from afar, who was fain to display the promptness of his poetical powers; and, even while the elder artist was speaking, he had run Alexander's satirical remarks into the mold of rhythm.