And besides, the Emperor continued, with rising animation, that happy chronological accident, the fact that Christianity began in the days of Nero its advance toward world supremacy, had enabled him, by pure luck, to lend to the great poem of his life just the needful felicitous touch of working in a new medium. To burn well-thought-of taxpayers and putative virgins as the torches at your supper parties was a device which, out of a natural desire to surprise and to amuse one’s guests, might have occurred to almost any host in quest of that continual slight novelty which the art of hospitality also demands. But that these flambeaux should later become the brightest glories of a triumphant church had made these supper parties, which were really quite modest affairs, unforgettable. Nero had expressed himself—not merely, as he thought at the time, through persons supposed to be deficient in patriotism and more or less suspected of being (here again, to play with metaphor) not one hundred per cent Roman,—but, as it had turned out, through saints and apostles, and through consecrated religious martyrs, such as not every artist could get for his themes and raw material. So, the succeeding discouragements of Christians had, æsthetically, fallen flat, in their impression upon posterity: their authors had come into this field too late, to find that tragic vein worked out, and all its most striking possibilities exhausted, by the great artist that was Nero. It was hardly remembered that Marcus Aurelius and Diocletian and many others had broken and flayed and mutilated and burned to the very best of their ability: these plodders were but the epigoni and the unimaginative plagiarists of Nero.