This town in Macedonia, occupying an important situation on the eastern bank of the river Strymon, just below a small lake into which it widens near its mouth, was originally called "The Nine Ways," and was the scene of a horrible human sacrifice made by Xerxes on his march into Greece. _Thirlwall, History of Greece, chapter 15._ It was subsequently taken by the Athenians, B. C. 437, and made a capital city by them [see ATHENS: B. C. 440-437], dominating the surrounding district, its name being changed to Amphipolis. During the Peloponnesian War (B. C. 424), the able Lacedæmonian general, Brasidas, led a small army into Macedonia and succeeded in capturing Amphipolis, which caused great dismay and discouragement at Athens. Thucydides, the historian, was one of the generals held responsible for the disaster and he was driven as a consequence into the fortunate exile which produced the composition of his history. Two years later the Athenian demagogue-leader, Cleon, took command of an expedition sent to recover Amphipolis and other points in Macedonia and Thrace. It was disastrously beaten and Cleon was killed, but Brasidas fell likewise in the battle. Whether Athens suffered more from her defeat than Sparta from her victory is a question. _Thucydides, History, book 4, section 102-135: book 5, section 1-11._ See, also, ATHENS: B. C. 466-454, and GREECE: B. C. 424-421. Amphipolis was taken by Philip of Macedon, B. C. 358. See GREECE: B. C. 359-358. AMPHISSA, Siege and Capture by Philip of Macedon (B. C. 339-338). See GREECE: B. C. 357-336. AMPHITHEATRES, Roman. "There was hardly a town in the [Roman] empire which had not an amphitheatre large enough to contain vast multitudes of spectators. The savage excitement of gladiatorial combats seems to have been almost necessary to the Roman legionaries in their short intervals of inaction, and was the first recreation for which they provided in the places where they were stationed. ... Gladiatorial combats were held from early times in the Forum, and wild beasts hunted in the Circus; but until Curio built his celebrated double theatre of wood, which could be made into an amphitheatre by turning the two semi-circular portions face to face, we have no record of any special building in the peculiar form afterwards adopted. It may have been, therefore, that Curio's mechanical contrivance first suggested the elliptical shape. ... As specimens of architecture, the amphitheatres are more remarkable for the mechanical skill and admirable adaptation to their purpose displayed in them, than for any beauty of shape or decoration. The hugest of all, the Coliseum, was ill-proportioned and unpleasing in its lines when entire." _R. Burn, Rome and the Campagna, introduction._ AMPHORA.--MODIUS.