hideous torches, Nero, who had established the custom of evening entertainments, showed himself in the arena, sometimes mingling with the people in the dress of a charioteer, sometimes conducting his chariot and seeking applause. Women and young girls were involved in these horrible games: a _fête_ was made of the nameless indignities which they suffered. Under Nero, the custom was established of compelling the condemned to play in the amphitheatre some mythological part entailing the death of the actor. These hideous operas, where mechanical science attained to prodigious effects, were very popular. The miserable wretch was introduced into the arena, richly costumed as god or hero devoted to death. He then represented by his suffering some tragic scene of the fables consecrated by sculptors and poets. Sometimes it was the furious Hercules burned on Mount [OE]ta, tearing the waxed tunic from his skin; sometimes Orpheus torn in pieces by a bear; Dædalus thrown from heaven, and devoured by beasts; Pasiphæ struggling in the embraces of the bull; Attys murdered. Sometimes there were horrible masquerades, in which the men were dressed like priests of Saturn with a red cloak, the women as priestesses of Ceres with fillets on the brow; finally, at other times, some dramatic work of the time, in which the hero was really condemned to death as Laureolus; or the representations were those of such tragic acts as that of Mucius Scævola. At the end of these hideous spectacles, Mercury, with a red-hot iron wand, touched each corpse to see if it moved. Some masked valets, dressed like Pluto or Orcus, dragged away the dead by the feet, killing with hammers all who still breathed. The Christian ladies of the highest respectability even suffered these monstrosities. Some played the _rôle_ of the Danaïdes, others that of Dirce. It is difficult to say what fable furnishes a more bloody picture than that of the Danaïdes. The suffering which all mythological tradition attributes to these guilty women was not cruel enough to suffice for the pleasure of Nero and the _habitués_ of his amphitheatre. Sometimes they were led out bearing urns, and received the fatal blow from an actor figuring as Lynceus. Sometimes these unhappy beings went through the series of the sufferings of Tartarus before the spectators, and only died after hours of torments. The representations of Hell were quite _à la mode_. Some years previous (the year 41), some Egyptians and Nubians came to Rome, and made a great success in giving evening performances, in which they displayed in order the horrors of the subterranean world, conforming to the paintings of the burial-places of Thebes, notably those of the tomb of Seti I.