And Marcus studied painting from another strange man, also a Greek, Diognetus.

“Keep your hand softer, don't strain the brush!” Marcus was taught. “Art is like nature, vague strokes replace clear lines, empty space filled with inner air. This is where the mystery is born. Look at the sculptures covered with toga, tables or cloaks. Behind the soft folds is human flesh, the living soul, though wrapped in marble. This secret of revival is incomprehensible and eternal, but we Greeks still prefer the naked body, with the beauty of which nothing can be compared.”

“Didn't the poet Lucian condemn the call?” Marcus, who studied Lucian's grammar satire, asked.

“Nudity does not hide anything, and this is its appeal,” Diognetus concluded.

Marcus looked at the Greek mentor, absorbed, listened, watched. Diognetus taught him a lot. He was not like the grammar teachers of Alexander of Cotiaeum or Titus Prokul. They forced their pupils to read literature, memorize passages from Latin and Greek authors, to make speeches published by them, and then to disassemble. For example, Marcus had to come up with the text of Cato's speech to the Senate. Or an obituary for the Spartan king Leonid, who died in battle with the Persians.

Grammar exercises awakened the imagination, seemed to Marcus interesting, but Diognetus ridiculed them.

This tall, with a large forehead, sinewy artist, in general turned out to be a great skeptic. Marcus suspected that in Greece Diognetus attended a school of cynics21 and therefore wore a long uncombed beard, a simple squalid cloak. Laughing, he said of himself that he lived like a dog and that he was free from possessing useless things. “I am a true dog,” he grinned.

From him, Marcus learned that only strong personalities, heroes who were not afraid of anything but the gods could trust people. That's why the less you trust, the stronger you become. That's the paradox. Especially it is impossible to rely on magicians, on all sorts of fortune-tellers and broadcasters, who are the real charlatans, because they have appropriated the right of predictions belonging only to the Parks.22 “Their spells are a pittance,” Diognetus said of them harshly and mockingly, “they should be driven away like dirty and smelly dogs, plagued sick.”

Learning about Marcus's long-standing addiction to quail breeding, the free artist-philosopher ruthlessly ridiculed this boyish fascination. The harmless birds made him laugh contemptuously. “Philosophers,” he said morally, “don't breed birds, they eat them.”

Yes, Diognetus taught him a lot besides painting. Because of him, Marcus began to eat only bread and sleep on the floor, on hard skins, because his teacher went through it, and so were real Hellenics brought up.

Perhaps the fascination with cynics had gone too far. Like all boys his age, Marcus was too trusting and malleable to someone else's influence. He turned into soft clay in the hands of a Greek sculptor. It would be nice if these hands were worthy, noble, but not the hands of a cynic philosopher.

No, the strict and attentive Domitia Lucilla did not want her child to become a dog. Into a senator, consul, worthy son of Rome—yes. But into a dog—absolutely not! Diognetus's influence on Marcus seemed too aggressive, premature, and ultimately unnecessary.

She turned to Regin, who recognized her arguments quite fairly, and the artist-philosopher was dismissed from training. However, Marcus took the news quite calmly. By that time, he had already gained a youthful fascination with poverty, when the real world, nature looks like the antipode of patrician life and its inherent luxury, when it seems that rational simplicity is a certain meaning, and material poverty does not mean spiritual poverty.