What more could be expected, then, of the morality of the Greeks and Romans, when we consider the nature of their religion and the character of their gods? Jupiter and Apollo were notorious rakes and libertines; Venus and Flora were brazen-faced courtesans; Harmonia was a Phrygian dancer, who had been seduced by Cadmus; Hercules was a gladiator; Pan was a buffoon; Bacchus was a drunkard, and Mercury was a highway robber. And not only in the poems of Homer and Hesiod did the Greek and Roman youth learn these things, but from the plays of the theaters and from plastic art as well. If we except the gladiatorial fights in the amphitheaters, nothing was more cruel and unchaste than Greek and Roman tragedy and comedy. At the time of Christ, the tastes and appetites of the multitude had grown so fierce and depraved that ordinary spectacles were regarded as commonplace and insipid. Lifelike realities were demanded from the actors on the stage; and accordingly, the hero who played the rôle of the robber chief, Laureolus, was actually crucified before the spectators, and was then torn to pieces by a hungry bear. The burning of Hercules on Mount Oeta and the emasculation of Atys were sought to be realized on the stage by the actual burning and emasculation of condemned criminals. Lustful as well as cruel appetites were inflamed and fed by theatrical representations of the intrigues and adventures of the gods and goddesses. Pantomimes and mimic dances, with flute accompaniment, were employed to reproduce the amours and passionate devotions of the inhabitants of Olympus. The guilty loves of Aphrodite with Mars and Adonis, the adventures of Jupiter and Apollo with the wives and daughters of mortals, were the plays most frequently presented and most wildly applauded. And the ignorant rabble were not the only witnesses of these spectacles. "The sacerdotal colleges and authorities," says Arnobius, "flamens, and augurs, and chaste vestals, all have seats at these public amusements. There are seated the collective people and senate, consuls and consulars, while Venus, the mother of the Roman race, is danced to the life, and in shameless mimicry is represented as reveling through all the phases of meretricious lust. The great mother, too, is danced; the Dindymene of Pessinus, in spite of her age, surrendering herself to disgusting passion in the embraces of a cowherd. The supreme ruler of the world is himself brought in, without respect to his name or majesty, to play the part of an adulterer, masking himself in order to deceive chaste wives, and take the place of their husbands in the nuptial bed."[175]