Текст книги "Empire"

Автор книги: Steven Saylor

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PART IV
MARCUS
The Sculptor
AD 113

Marcus Pinarius woke with a shiver and a start. The first dim light of morning seeped through the shutters. In the distance, a cock crowed.

A hand touched his face. He drew back with a jerk, then saw his father standing over him.

“You were dreaming, my son,” said Lucius Pinarius.

“Was I?”

“I heard you whimpering, even from my room. Was it the same dream?”

Marcus blinked. “Yes. I think so. It’s already faded away…”

For years, even before his father had found him, Marcus had been haunted by a recurring dream. In the dream he was shivering and frightened and naked, and the place in which he cowered was dank and dark and cold. A giant hand reached for him and grabbed him, and he gave a cry – and at that point in the dream he always woke up. He never saw the giant who caught hold of him. He never knew what happened next.

What did it mean? Did the dream recall a genuine memory, or was it a fantasy from his imagination? The dream always exerted such a powerful spell that after waking, it took Marcus a moment to remember who and what he was: not a child any longer, and not a helpless slave, but a man of twenty-eight, living with his father in their house on the Palatine Hill.

“Are you really my father?” he whispered.

Lucius sighed. “I am. By the shade of the blessed Apollonius of Tyana, I swear it. Never doubt it, my son.”

“But who was my mother?” whispered Marcus.

After much deliberation, and despite the boy’s desperate desire to know his origin, Lucius had made up his mind never to reveal to him the secret of his birth. The truth was simply too dangerous, and not only because Lucius himself had committed a capital crime each time he made love to Cornelia. How could it possibly benefit young Marcus to know that his mother had been a Vestal, that she had broken her sacred vow of chastity, that she had been buried alive, and that his own conception had been the result of a sacrilegious crime? Surely such knowledge could only plague him with more nightmares. Lucius would tell his son only that his mother had been a woman of patrician rank with whom Lucius had carried on an illicit and impossible liaison, whose family would never forgive her lapse, and who had died years ago. “I loved her deeply, and still miss her every day,” he would add, for this was the truth. At the age of sixty-six, Lucius was determined to go to his grave without revealing to anyone the fact that Cornelia Cossa was the mother of his child.

“I, too, woke from a familiar dream,” he said, ignoring his son’s question.

“You were visited again by Apollonius?” said Marcus.

“Yes.”

“He visits you often in your dreams.”

“More often now than when he was alive!” said Lucius with a laugh. “I only wish he had returned to Roma before he died, so that you could have been blessed with the chance to meet him.”

“I have been blessed by having a father who knew him,” said Marcus. He flashed a weak smile. The dreadful spell cast by the nightmare was fading.

“Of course, there are those who question whether Apollonius actually died, at least in the usual sense,” said Lucius, “since no corpse was ever discovered.”

“Tell me the story,” said Marcus, closing his eyes. His father had told him the tale many times before, but Marcus was always glad to hear it. It would help him to forget his bad dream.

“This occurred a few years ago on the island of Crete, where the Teacher had acquired a great following. He arrived late one night at the temple of the Minoan goddess Dictynna, which stands on a rocky promontory overlooking the sea. The wealthy people of Crete deposit their treasures in the temple for safe keeping. At night the doors are locked and fierce dogs stand guard. But when the Teacher approached, the dogs wagged their tales and licked his hands, and the doors of the temple sprang open. When the priests found him sleeping inside the next morning, they accused him of drugging the dogs and using magic to open the doors. They put him in chains and confined him in an iron cage suspended from a precipice overhanging the sea, with crashing waves below. But late that night, unfettered and free, again the Teacher approached the entrance to the temple, and this time there was a great crowd gathered in anticipation of his appearance. Again the dogs grew tame and fawned on him, and again the locked doors sprang open. He stepped inside. The doors shut after him, and from within there came the sound of women singing. ‘Hurry, hurry, upwards, upwards!’ they sang. ‘Fly away from this place and ascend to the heavens!’ When the doors opened, no singers were to be seen – and neither was the Teacher. Apollonius has never again been seen on this earth, except in the dreams of those who knew him.”

“Do you think he’ll ever visit me in my dreams, father?”

“I don’t know, my son.”

“What did he say to you this time?”

“He talked to me about the immortality of the soul. He said, ‘Here is the proof, presented to you from beyond the grave, which I couldn’t offer to you when I was a living man. The fact that I endure, and visit you in your dreams, shows you I have survived beyond my mortal life. Your soul is no less immortal than mine – but it is a fallacy to speak of ‘your’ soul and ‘my’ soul, for the soul is no one’s possession; it emanates from and returns to the Divine Singularity, and the body it inhabits is mere gross matter, which decays and vanishes. When the body dies, the soul rejoices; like a swift horse freed from its traces, it leaps upwards and mingles with the air, loathing the spell of harsh and painful servitude it has endured.’”

“You should write all this down, father.”

Lucius shook his head. “I’m not sure that I should. Because in the next breath, the Teacher told me that all he had just said was of no real value to a living man. ‘But of what use can this knowledge be to you while you live?’ he said. ‘The truth will be known to you soon enough, and you shall have no need for words to explain it or to convince you; you shall experience it for yourself. As long as you live, and move among other living beings, these things will be mysteries to you, like shadows cast on a wall by a light you cannot see.’”

Lucius looked down at his son, who gazed back at him with trusting green eyes – the eyes of his mother. Marcus sometimes still looked like a boy to him, though the world by every measure considered him a man.

“Come,” Lucius said. “Wash your face and dress yourself. Hilarion will have woken the kitchen slaves by now, and our breakfast will be waiting. You have a busy day ahead of you.”

Later that morning, holding a hammer in one hand and a chisel in the other, Marcus stepped back and read aloud the inscription on the massive marble pedestal to which he had been putting some finishing touches: “‘The Senate and People of Roma Dedicate this Monument to the Emperor Caesar Nerva Trajan Augustus Germanicus Dacicus, Son of the Divine Nerva, Pontifex Maximus, in His Seventeenth Year in the Office of Tribune, Six Times Acclaimed as Imperator, Six Times Consul, Father of His Country.’”

He stepped farther back from the immense pedestal and gazed up. The towering column was surrounded by scaffolding, but in his mind’s eye Marcus could see the structure as it would appear when it was completed and the scaffolds were removed. Never before had there existed a monument like this one, and Marcus was immensely proud to have had a hand in creating it.

The column rose 100 feet – if one included the pedestal and the statue that would top the column, the total height would reach 125 feet – and was made of eighteen colossal marble drums stacked one atop another. Within the hollow column was a spiral staircase of 185 steps, lit by narrow slits in the drums. Wrapped around the column in an ascending spiral was a series of relief sculptures depicting Trajan’s conquest of Dacia. These sculptures were the reason for the scaffolds that surrounded the column; the hundreds of images that circled the drums were still being finished and painted.

The height of the column corresponded to the height of the hillside that had been excavated to make room for it; the volume of earth that had been removed by human labour – mostly Dacian slave labour – was staggering. Where before a spur of the Quirinal Hill had blocked the way between the city’s center and the Field of Mars, there was now a new forum bearing Trajan’s name, the centerpiece of which was the enormous column that pierced the sky above Marcus’s head.

He felt a hand on his shoulder. Standing beside him was the man who had designed not just the column but the entire forum complex. People called Apollodorus of Damascus a second Vitruvius, comparing him to the great architect and engineer who had served Julius Caesar. Trajan had met Apollodorus during his service in Syria, had realized his genius, and had kept him busy ever since.

In the Dacian campaigns, Apollodorus had served the emperor by designing siege engines and other weapons. To facilitate troop movements, he had constructed a stupendous bridge across the Danube River, the longest arch bridge ever built. To allow a vast army to move quickly and safely through the Iron Gates of the Danubian gorges, he had built a wooden roadway cantilevered from the sheer rock face; the legions had literally walked on top of the river and penetrated to the heart of the enemy’s territory. Roman bravery, the favour of the gods, and the leadership of the emperor had won the day, but it was the brilliance of Apollodorus that had allowed the legions to move with the speed and force of a lightning bolt.

Early in the Dacian war, Apollodorus had asked Trajan to give him an assistant. The emperor recalled the strikingly handsome youth who had stood before him one day in the House of the People, and the comment made by the boy’s one-time master: “His talent is considerable

… he has a gift from the gods.” It had been the great good fortune of Marcus Pinarius to be summoned by the emperor to serve under Apollodorus of Damascus. Throughout the Dacian war, Marcus was at the man’s side day and night, assisting him, watching him work, learning from him, earning his trust and respect. Now, back in Roma, Apollodorus continued to work for the emperor, and Marcus continued to work under Apollodorus.

Marcus’s aptitude for engineering was considerable, but his special gift had always been for sculpture. Anything he could visualize in his imagination he could render in stone with a sureness and ease that astounded even Apollodorus. While Apollodorus could take credit for the concept and the overall design of the great column, Marcus had sculpted many parts of the spiral relief, as well as the monumental sculpture at the base, a pile of weapons that symbolized the enemy’s defeat. With vivid images of warfare, many witnessed by Marcus firsthand, the spiral relief recounted the struggle of the Dacians, ending in their slaughter and enslavement by the Roman legions. Over and over in the sequence of images, the figure of the emperor appeared, often sacrificing animals to the gods or taking part in a furious battle.

Apollodorus joined Marcus in gazing up at the column. He was a tall man with big arms who kept fit by taking part in the actual construction of his projects, not merely overseeing the work. Like many of Trajan’s legionaries, his hair was shoulder length and he wore a beard, claiming that he had no time for barbers. At middle age, his hair was still thick and dark, with a bit of silver beginning to show at his temples and on his chin.

He gave Marcus’s shoulder a friendly squeeze. His grip was painfully strong. “What do you feel when you look up at it?”

“Pride,” Marcus said. It was true: Marcus took great pride in his artistry. And pride was what Romans were meant to feel when they gazed at the column – pride in their soldiers, pride in their emperor, pride in the conquest of another people. But pride was not all Marcus felt when he looked at the images that wrapped the column. Many of those images had been summoned from his own memories. Though he had not taken part in the fighting, Marcus had seen the aftermath of many battles, stepping over corpses, severed limbs, pools of blood, and scattered entrails. He had seen long trains of exhausted, naked Dacian prisoners, chained neck-to-neck with their hands tied, being driven to their new lives of slavery. He had seen the sack of villages and the rape of women and boys by Roman soldiers enjoying the privileges of victors after the terror and exhilaration of battle.

His father had taught Marcus the precepts of Apollonius of Tyana; it was hard to reconcile the ideas of a man who refused to kill an animal with the horrors Marcus had witnessed in the war, and the fact that the world glorified such horrors. Marcus had experienced life as a slave; it was hard for him to take pride in the enslavement of free men, even though their enslavement meant the enrichment of the Roman state and of Roman citizens like himself.

The war against Dacia had been necessary to secure Roma’s frontiers, and had been sanctioned by the gods, whose favour was made manifest by auguries and other portents. To please Jupiter, the Romans desecrated every temple of the god Zalmoxis, pulling down his altars, smashing his images, and obliterating all inscriptions that referred to him. The Dacians’ holiest shrine, the cave in Mount Kogaionon where Zalmoxis had lived as a mortal, had been ruined, its interior looted and the entrance filled with rubble. Zalmoxis must have been a very weak god, for he had been powerless to save his followers. Except in a few remote corners of Dacia, his worship was now extinct.

The Dacians were an ignorant, impious, and dangerous people, a threat to the Danube frontier and, with their vast hoard of wealth, a menace to Roma itself; so the legionaries were told as their commanders exhorted them to fight. But sometimes it seemed to Marcus that the Dacians were simply a proud people desperately fighting to save themselves, their religion, their language, and their native land. Just as the atrocities he had witnessed in the war sometimes caused him distress, so Marcus’s work on the column that commemorated the war sometimes afflicted him with doubts. However dazzlingly executed the images on the column, were they not a celebration of brute strength and human suffering?

“Let’s take a closer look, shall we?” said Apollodorus, who seemed never to be bothered by such thoughts. He and Marcus mounted the scaffolding. They had examined the images many times before, yet each time, Marcus always saw a bit more work to be done. The most vexing problem at this late stage was the placement of the miniature swords. In numerous places, tiny holes had been drilled so that tiny metal swords could be fitted into the hands of the figures on the relief; it had been Marcus’s idea to use this novel effect, which gave the sculpture even greater depth, especially when seen at a distance. Unfortunately, the artisans responsible for the tedious task of fitting these embellishments had been quite careless and had missed a great many places on the first pass. Every time Marcus inspected the relief he found another area that had been overlooked. With 155 individual scenes, each blending into the next, and more than 2,500 individual figures, perhaps it was not surprising that the workmanship was not always consistent. Still, Apollodorus demanded perfection, and Marcus was determined to meet his expectations.

As the two men ascended the scaffolds, Marcus was swept into the encyclopedic history of the war recounted by the images. Taking thirteen legions – more than 100,000 men – into the field, Trajan’s campaign had resulted not just in victory but in a cultural annihilation. The fortresses of the Dacians had been demolished along with their temples and cities. Facing defeat, King Decebalus made a last, desperate attempt to hide his vast treasure: he diverted a river, buried trunks of gold and silver in the soft riverbed, then returned the river to its course. But an informant revealed the secret to the Romans, and the treasure was recovered. Hundreds of tons of gold and silver had been seized, carted out of Dacia under heavy guard, and brought to Roma. There would be more treasure to come, for the mines of the Dacians had been discovered, and Dacian slaves had been put to work digging new veins.

His armies defeated, his people enslaved, his cities and towns in flames, his treasure stolen, King Decebalus at last killed himself. He was discovered sitting upright on a stone bench outside the sealed cave at Mount Kogaionon, wearing his robes of state and surrounded by a great many of his nobles, who had all taken poison. The body of Decebalus was stripped and decapitated. The robes were burned. The naked, headless body was thrown down the rocky mountainside to be consumed by vultures. The head was taken to Roma by the same speedy messengers who brought news of the war’s successful conclusion. As the people of Roma thronged the Forum to celebrate, the head of Decebalus was displayed on the Capitoline Hill as proof of the Dacians’ defeat, then thrown down the Gemonian Stairs. Someone kicked the head into the crowd, where it was batted about like a ball until it was dropped on the paving stones. The crowd swarmed around it, competing with one another to stamp the last remains of King Decebalus into the ground.

When Trajan returned to Roma, he celebrated with an unprecedented 123 days of games at the Flavian Amphitheatre and at other sites across the city. Ten thousand gladiators fought. Eleven thousand animals were slaughtered. The scale of these spectacles had never been seen before; nor had the scale of his lavish building programme, the results of which were to be seen in all directions from the uppermost tier of the scaffolding around the column. Apollodorus and Marcus gazed down at the largest basilica ever built, a vast hall revetted with marble and flooded with light. An adjoining courtyard, the largest open space in the city center, was dominated by an enormous statue of Trajan on horseback. Farther away, against the cliff face of the excavated Quirinal Hill, a sprawling, multistory shopping arcade was being built. There was also a gymnasium for sporting competitions and a new bathing complex even grander than the one Titus had built. On either side of the column, directly below them, were the two wings of Trajan’s library. The wing for Latin literature was almost finished, and the extravagantly decorated reading room, lined with busts of famous authors, would soon open to the public; the Greek wing was still under construction. Apollodorus, who had served as chief architect and designer of these new constructions, called them “the fruits of Dacia.”

As grand as they were, none of these buildings approached the height of the column. From the topmost scaffold, Apollodorus and Marcus stepped onto the top of the column. Their view of the city in all directions was virtually unimpeded; only the Temple of Jupiter atop the Capitoline loomed higher. Turning slowly, Marcus saw his father’s house and the sprawling House of the People on the Palatine, the Flavian Amphitheatre and the towering statue of Sol at the far end of the Forum, the cluttered tenements of the Subura, the Hill of Gardens, and the vast expanse of the Field of Mars with the bend of the Tiber beyond.

The only man-made object that reached to their level was an enormous crane situated just beyond the Greek wing of the library. Apollodorus pointed to it with a satisfied nod.

“I reworked the last of the calculations last night. Everything is ready. We’ll lift the statue into place today.”

Marcus gazed down at the workmen who surrounded the statue of Trajan that was to be placed atop the column. The men were securing the statue with padded chains and ropes connected to the crane. “How soon?”

“As soon as I can get all the workmen in place. Here, we’ll go down using the stairway inside the column. You can observe as I give my final instructions. Come along, Pygmalion.”

Long ago, from the emperor himself, Apollodorus had learned that Pygmalion had once been Marcus’s name. To Marcus, the name was a reminder of his years as a slave, but when Apollodorus first used it as a pet name for him, he had been too intimidated to object. Apollodorus clearly intended no malice; he seemed to think that the name was a compliment, an acknowledgement of Marcus’s skill as a sculptor.

As they descended, Marcus counted each of the 185 steps. He always did this. All the artisans and workmen practised similar rituals – always tying an odd number of knots, or using an even number of nails, or stepping onto a scaffold with their right foot first.

They walked to the crane and stood before the gilded bronze statue of Trajan. Apollodorus had executed the basic design, but Marcus had sculpted most of the finer details, including Trajan’s face and hands. This had meant spending long stretches of time with the emperor, who listened to reports and dictated correspondence while Marcus observed him and sculpted his likeness, first making preliminary models and then working on the full-scale statue. Marcus vividly remembered his first meeting with Trajan thirteen years ago, when his father had petitioned the emperor to recognize Marcus’s status as a freeborn citizen. Trajan had seemed larger than life to Marcus then, and he still did.

Far more accessible was the emperor’s protege, Hadrian, who had often been present when Marcus was sculpting Trajan’s likeness; perhaps Marcus found the man more approachable because he was closer to Marcus’s own age. Hadrian had distinguished himself in the Dacian wars, commanding the First Legion Minerva, but he also had an avid interest in all things artistic and had strong opinions about everything from the poetry of Pindar (“incomparably beautiful”) to Trajan’s collection of silver Dacian drinking cups (“unspeakably hideous; they should be melted down”). He was known even to dabble in architecture, though none of his fanciful drawings had ever resulted in an actual building.

Hadrian joined them as Apollodorus and Marcus were making a final inspection to see that the statue was securely fitted for lifting.

“Is the operation on schedule?” asked Hadrian.

“We’ll begin at any moment,” said Apollodorus. “Will the emperor be present?”

“He intended to be here, but affairs of state preclude his presence,” said Hadrian. He cracked a smile and lowered his voice. “Actually, I suspect he’s a bit unnerved by the whole thing. I don’t think he fancies the idea of seeing himself being hoisted a hundred feet in the air and dangling from a chain.”

“Perhaps it’s better that he’s not here,” said Apollodorus. “His presence might make the men nervous.”

Hadrian slowly circled the statue, then nodded. “What a clever idea you came up with, Marcus Pinarius, to slightly exaggerate and elongate the emperor’s features, so as to make them appear more natural when viewed by spectators on the ground. What’s the word for that?”

“It’s a trick of perspective called foreshortening,” said Marcus. “I’m grateful that you supported my idea.”

“Let’s hope it works. Caesar was certainly skeptical when he saw the result. Horrified, actually. ‘No man’s nose is that long, not even mine!’ he said. It does look a bit of a caricature when seen this close. But at a distance of a hundred feet and from a low angle, I suspect that nose will actually flatter him.”

The workmen assigned to stand atop the column and guide the placement of the statue were in place; they called and waved to Apollodorus to signal their readiness. The workmen who would operate the various hoists and pulleys of the crane were also at their stations, as were the slaves who would supply the labour to pull the ropes, turn the winches, and steady the counterweights. The statue was ready to be lifted. Apollodorus closed his eyes and muttered a prayer. Marcus touched the fascinum at his breast.

Apollodorus gave the signal for the operation to begin. With a great groaning noise, the various parts of the crane began to move. The statue cleared the ground and began to ascend.

The statue rose to half the height of the column, and then higher still, until it dangled above the column. Apollodorus peered at all the various mechanisms in play, and suddenly seemed nervous. “Marcus, run up to the top of the column,” he said. “See that everything is done correctly.”

Marcus ran to the column, stepped inside, and bounded up the steps. He was so intent on reaching the top that he forgot to count them.

The workmen atop the column stood in a circle, ready to guide the statue into the spot intended for it, the outline of which had been drawn with chalk. Each of the men wore a rope around his waist that was secured to an iron pin driven into the marble, to catch them should they fall. Marcus was not wearing a rope.

The statue seemed to float on the air nearby, twisting slightly so that the gilding reflected sparkles of sunlight. Then it began slowly to move towards them, until it appeared just above their heads. The men reached up and touched the base of the statue, which then began very slowly to descend. Their foreman shouted instructions, making sure the orientation of the statue remained true as it was lowered into place. Marcus stayed out of the way, crouching to keep his balance.

The statue was still two feet above the top of the column when Marcus heard a sharp noise. Somewhere, a chain had snapped.

He looked at the statue, which swayed a bit. He looked at the crane, which also seemed to sway very slightly. Then the crane began to tilt to one side.

“Numa’s balls!” cried the foreman. “The statue’s coming down, right now! Keep it steady!”

The workmen grabbed hold of the statue, but they were powerless to guide it any longer as it swung one way and then the other. With a tremendous cracking noise, part of the crane collapsed. As he strove to keep his balance and stay clear of the statue, Marcus saw in glimpses that a section of the crane was falling and men on the ground were scrambling to get out of the way. He experienced a moment of vertigo in which it seemed that the huge statue was stationary while everything else – earth, sky, and the column under his feet – was spinning off-kilter.

The statue bumped one of the workmen. The movement was relatively small, but the weight of the statue lent tremendous force to the slight contact. The workman went tumbling backwards, paddling his arms in the air. He stepped off the column and onto the topmost scaffold, but couldn’t regain his balance and kept staggering backwards. Marcus waited for the man’s safety rope to stop his fall, but the knot at his waist had been poorly tied. The man slipped free from the rope and went flying off the scaffold, somersaulting backwards. His scream pierced the air as he plummeted to the ground. There was a sickening sound of impact, then a moment of silence, then a tremendous crash as the broken section of the crane fell onto the Greek wing of the library.

Marcus experienced a moment of sheer panic. He imagined the statue swinging ever more wildly out of control, knocking off more and more of the workman, until it actually struck the column, dislodging the top drum, throwing the whole column out of balance and causing it to topple over.

But that was not what happened.

The statue twisted one way, then the other, then suddenly dropped and landed with a jarring thud atop the column. None of the workmen were harmed, and when they took a closer look, they were amazed to see that the statue had landed precisely within the chalk outline. Despite the broken crane, the outcome could not have been more perfect.

For Marcus, the earth and the sky gradually stopped spinning and all was still. He realized that he was clutching the fascinum with his right hand. His knuckles were bone white. As he slowly unclenched his fist, he stepped onto the scaffolding and took stock of the damage below.

The crane was ruined beyond repair. One end of the Greek wing of the library was destroyed, but that part of the building was unfinished and the repairs would be relatively minor. The body of the man who had fallen lay twisted on the paving stones below, surrounded by a pool of blood. As Marcus watched, Apollodorus and Hadrian approached the lifeless body. Apollodorus gazed down at the corpse for a moment, then up at Marcus. His face was ashen.

Marcus, too stunned to speak, extended his arm and turned his thumb upwards to signal that all was well atop the column. Apollodorus looked as if he might faint with relief.

Hadrian took a step back to avoid the spreading pool of blood, then stared up at Marcus, or rather, beyond him, at the towering statue of Trajan. “The nose!” he shouted.

What was Hadrian talking about? Marcus craned his neck to peer up at the statue. The gilding reflected the sunlight so brightly that he was blinded. He looked down at Hadrian and made a quizzical gesture.

Hadrian smiled broadly. He cupped his hands to his mouth and shouted. “The nose… looks… perfect!”

A month later, Lucius Pinarius hosted a small dinner party in honour of his son.

The Column would soon be officially dedicated, and in the various celebrations the emperor and his chief architect would be the focus of all attention. Before that happened, Lucius wanted to acknowledge his son’s accomplishments and tremendous hard work. The dinner party was to be a major event for the Pinarius household, which seldom saw guests outside the small circle of Lucius’s friends, most of whom were advanced in years and fellow followers of Apollonius of Tyana – not a group much given to traditional feasting, since they ate no meat and drank no wine.

No meat had been cooked or served in Lucius’s house for many years, and he could not bring himself to include any sort of flesh, fowl, or fish on the menu; his cook assured him that no one would even notice the omission among the highly spiced delicacies and sumptuous sweets that would be offered. But for a dinner party that included a member of the imperial household – Hadrian had accepted an invitation – there would have to be wine. Lucius never drank wine, but Marcus occasionally did, and Lucius had no objection to serving it to his guests. If they should be disappointed by the absence of meat, he was determined that they would have no cause to be disappointed with the wine; he had stocked a variety of what a reputable merchant assured him were the very finest vintages, both Greek and Italian.