There is however another side to this picture of fraternal civic life. If some of its pleasures were innocent and even softening and elevating, there were others which pandered to the most brutal and cruel passions. The love of amusement grew upon the Roman character as civilisation developed in organisation and splendour, and unfortunately the favourite amusements were often obscene and cruel. The calendar of the time is sufficiently ominous. The number of days which were annually given up to games and spectacles at Rome rose from 66 in the reign of Augustus, to 135 in the reign of M. Aurelius, and to 175, or more, in the fourth century. In this reckoning no account is taken of extraordinary festivals on special occasions.(1326) The Flavian amphitheatre was inaugurated by Titus with lavish exhibitions extending over 100 days.(1327) The Dacian triumphs of Trajan were celebrated by similar rejoicings for 123 days, and 10,000 gladiators were sent down into the arena.(1328) The rage of all classes of the Roman populace for these sights of suffering and shame continued unabated to the very end of the Western Empire. The lubricity of pantomime and the slaughter of the arena were never more fiercely and keenly enjoyed than when the Germans were thundering at the gates of Trèves and Carthage.(1329)
It is difficult for us now to understand this lust of cruelty among a people otherwise highly civilised, a passion which was felt not merely by the base rabble, but even by the cultivated and humane.(1330) There was undoubtedly at all times a coarse insensibility to suffering in the Roman character. The institution of slavery, which involves the denial of ordinary human rights to masses of fellow-creatures, had its usual effect in rendering men contemptuously callous to the fate of all who did not belong to the privileged class. Even a man of high moral tone like Tacitus, while he condemns Drusus for gloating over his gladiatorial shows, has only a word of scorn for the victims of the butchery.(1331) And the appetite grew with what it fed on. From father to son, for nearly seven centuries, the Roman character became more and more indurated under the influence of licensed cruelty. The spectacle was also surrounded by the emperors, even the greatest and best, for politic reasons, with ever growing splendour. The Flavian amphitheatre, which remains as a monument of the glory of the Empire and of its shame, must have been a powerful corruptor. There, tier above tier, was gathered the concentrated excitability and contagious enthusiasm of 87,000 spectators. The imperial circle and the emperor himself, members of high senatorial houses, the great officers of state, the priests, the vestal virgins, gave an impressive national dignity to the inhuman spectacle. And now and then an Eastern prince or ambassador, or the chief of some half-savage tribe in Germany or Numidia,(1332) amused the eyes of the rabble who swarmed on the upper benches. Every device of luxurious art was employed to heighten the baser attractions of the scene. The magnificent pile was brightened with gems of artistic skill.(1333) The arena was tesselated with rich colouring from the sunlight which streamed through the awnings. The waters of perfumed fountains shot high into the air, spreading their fragrant coolness; and music filled the pauses in the ghastly conflict. From scenes like these was probably drawn the picture in the Apocalypse: _Mulier circumdata purpura et coccino—mater fornicationum—ebria de sanguine sanctorum._