The types of spectacle, in which the masses took most delight, were also new and expensive creations. These types were chiefly furnished by the gladiatorial shows and the hunting of wild beasts. Even the former and earlier amusement had had a history of little more than a hundred years. It was believed to be a relic of that realistic view of the after life which lingered in Italy long after it had passed from the more spiritual civilisation of the Greeks. The men who put each other to the sword before the eyes of the sorrowing crowd were held to be the retinue which passed with the dead chieftain beyond the grave, and it was from the sombre rites of the Etruscans that this custom of ceremonial slaying was believed to have been transferred to Rome. The first year of the First Punic War witnessed the earliest combat that accompanied a Roman funeral,[69] and, although secular enjoyment rapidly took the place of grim funereal appreciation, and the religious belief that underlay the spectacle may soon have passed away, neither the State nor the relatives were supposed to have done due honour to the illustrious dead if his own decease were not followed by the death-struggle of champions from the rival gladiatorial schools, and men who aspired to a decent funeral made due provision for such combats in their wills. The Roman magistrate bowed to the prevalent taste, and displays of gladiators became one of the most familiar features of the aediles' shows. Military sentiment was in its favour, for it was believed to harden the nerves of the race that had sprung from the loins of the god of war,[70] and humane sentiment has never in any age been shocked at the contemporary barbarities which it tolerates or enjoys. But a certain element of coarseness in the sport, and perhaps the very fact that it was of native Italian growth, might have given it a short shrift, had the cultured classes really possessed the power of regulating the amusements of the public. Leaders of society would have preferred the Greek _Agon_ with its graceful wrestling and its contests in the finer arts. But the Roman public would not be hellenised in this particular, and showed their mood when a musical exhibition was attempted at the triumph of Lucius Anicius Gallus in 167. The audience insisted that the performers should drop their instruments and box with one another.[71] This, although not the best, was yet a more tolerable type of what a contest of skill should be. It was natural, therefore, that the professional fighting man should become a far more inevitable condition of social and political success than the hunter or the race-horse has ever been with us. Some enterprising members of the nobility soon came to prefer ownership to the hire system and started schools of their own in which the _lanista_ was merely the trainer. A stranger element was soon added to the possessions of a Roman noble by the growing craze for the combats of wild beasts. The first