hundred lions, their tasselled tails sweeping the sand, entered obliquely, and anon a rush of wild elephants, attacked on either side; another moment of sheer delight, in which the hunters were tossed upon the terraces, tossed back again by the spectators, and trampled to death. By way of interlude, the ring was peopled with acrobats, who flew up in the air like birds, and formed pyramids together, much in the fashion that we know them to-day. There was a troop of tamed lions, their manes gilded, that walked on tight-ropes, wrote obscenities in Greek, and danced to cymbals, which one of them played; a chase of ostriches and feats of horsemanship on zebras from Madagascar. The interlude at an end, the sand was re-raked. Then, preceded by the pomp of lictors, interminable files of gladiators entered, while the eyes of the women lighted and glowed; artistic death was their chiefest joy, for there was no cowardice in the arena. The gladiators fought for applause, for liberty, for death—fought manfully, skillfully, terribly too, and received the point of the sword or the palm of victory with an equally unmoved expression, an unchanged face. It was a magnificent conception on which the Romans, or, more exactly, the Etruscans, their predecessors, had devised to train their children for war and allay the fear of blood. It had been serviceable indeed, and though the need of it had gone, the spectacle endured, and, enduring, constituted the chief delight of the Vestals and of Rome. By its means a bankrupt became Consul, an Emperor beloved. It had stayed revolutions,
