Here again, Roméo Mivekannin plays with the temporalities of history. Quoting the famous painting by Théodore Chassériau dating from 1853, Mivekannin plunges us into Roman Antiquity, as seen through the eyes of the 19th century. Mivekannin choses this painting amongst a vast body of similar works because the period played a fundamental role in the construction of the representations of the "Others" which will be analysed later by postcolonial studies or gender studies. Here, the eroticism of the bath is tinged with orientalism in a mixture of geographical and chronological eras which betrayed a fantasied vision of history. Mivekannin accentuates this deformation by adding his self-portrait, an other among the "Others".