The functions of music in Rome were similar, though in a less degree, to its uses in Greece. At the sacrifice, the banquet, the contest, and the theatre, music was always an important adjunct. Prophets sometimes inspired themselves by it, as in the east. There were various games, public and private, at which competition in music took place. But it was not, as in Greece, an art of simplicity and feeling; the love of the extraordinary, the colossal and _outre_, the desire for the most vulgar modes and excess of obscenity, soon degraded the art from the rude simplicity it possessed in the days of the republic.[67] This desire for colossal effects was apparent in the Roman games. Seneca says that in Nero’s time, the chorus was more numerous than formerly the whole audience. Hosts of trumpeters, flute-players, etc., crowded the stage. It is also well illustrated in the splendor of the Triumph. Triumphs were of two kinds, the lesser of which was called _Ovatio_, and was decreed for unimportant or easily-gained victories. The grand Triumph (for important victories) was the highest military honor that could be bestowed. When it had been decreed by the Senate, the victorious General entered Rome by the triumphal gate, where he was met by a procession of the entire Senate; here he gave an oration in praise of the valor of his army, and entering his triumphal chariot, the procession began. The order was as follows:— Musicians, singing and playing. These were chiefly trumpeters, and the singers chanted triumphal songs. The Senate and Magistrates. The animals for the sacrifice, usually oxen, with their horns gilt, and decked with garlands, accompanied by the priests. Music, flute players, to assist at the sacrificial rites. Wagons, filled with statues, plate, armor, ensigns, etc., the spoil captured from the enemy. The tribute from various countries, usually golden crowns, or ornaments sent to grace the occasion. The captive leaders, kings, or generals, with their wives, in chains. Lictors with the fasces twined with laurel. Musicians and dancers dressed as Satyrs, crowned with gold. In the midst of these was a mimic, dressed as a female, who by his performance and gestures, insulted and burlesqued the captives. Persons sprinkling perfumes. The victorious general, dressed in purple and gold, crowned with laurel; he was seated in a circular chariot, drawn by four white horses. In his right hand he held a branch of laurel, in his left an ivory sceptre, surmounted by an eagle. His face was painted of a vermilion color, and a golden _bulla_ hung from his neck. Sometimes the chariot was drawn by elephants. The children of the victor were allowed to ride with him, and he was attended by many relatives and citizens dressed in white. Behind him stood a slave carrying a richly gemmed crown, whose duty it was to admonish him constantly during the triumph, by whispering in his ear, “Remember that thou art a man.”