The baker, for example, was his own miller. There are still standing the mills, with the upper stone--a hollow cylinder with a pinched waist--capable of revolving upon the under stone and letting the flour drop into the rim below. Into the holes in the middle of the upper or "donkey" stone, and across the top, were fixed wooden bars, which were either pushed by men or drawn by a.s.ses yoked to them. The oven is still in place, and, charred as they are, we are quite familiar with the round flat loaves shaped and divided like a large "cross" bun. The dough was kneaded by a vertical shaft with arms revolving in a receptacle, from the sides of which other arms projected inwards, so that there was little room for the dough to be squeezed between them.
We have pictures of the fuller, to whom the woollen garments--the togas and tunics, and the mantles of the women--were regularly sent to be washed by treading in vats, to be beaten, stretched, and bleached with sulphur, and to have their naps raised with a comb or a bunch of thorns. The goldsmith is depicted at his furnace or his anvil. The garland-makers are at work fastening the blossoms or petals on a ribbon or a tough strip of lime-bark. Dealers in other goods are showing the results of their labour to customers, who carefully examine them by eye, touch, and smell. The tablets containing the receipts for sales and rents still exist as they were found in the house of the shrewd-looking Jucundus the auctioneer. They formally acknowledge the receipt of such-and-such sums realised at an auction, "minus commission," although unfortunately they do not happen to tell us how much the commission was. We see the venders of wine filling the jars for customers from the large wine-skin in the waggon. In conclusion to this subject it should be observed that all manner of descriptive signs were in use; and just as one may still see a barber"s pole or a gilt boot in front of a shop, or a painted sign at a public-house, so one might see the representation of a goat at the door of a milk-vender, or of an eagle or elephant at the door of an inn.
[Ill.u.s.tration: FIG. 74.--PLOUGH. (Primitive and later forms.)]
Meanwhile out in the country we can perceive the farm, with its hedges of quick-set, its stone walls, or its bank and ditch. The rather primitive plough--though not always so primitive as it was a generation or so ago in Italy--is being drawn by oxen, while, for the rest, there are in use nearly all the implements which were employed before the quite modern invention of machinery. It may be remarked at this point that the rotation of crops was well understood and regularly practised. Then there are the pasturelands, on the plains in the winter, but in summer on the hills, to which the herdsmen drive their cattle along certain drove-roads till they reach the unfenced domains belonging to the state. There they form a camp of huts or wigwams under a "head man," and surround their charges with strong fierce dogs, whose business it is to protect them, not only from thieves, but also from the wolves which were then common on the Apennines--where, indeed, bears also were to be met. There was no want of occupation in the country in the time of haymaking, of the vintage, or of olive-picking. Even the city unemployed could gather a bunch of grapes or pick an olive, just as they can with us, or just as the London hop-picker can take a holiday and earn a little money in Kent.
In the vineyards, where the vines commonly trailed upon low elms and other trees, various vegetables grew between the rows, as they still do about Vesuvius; on the hills were olive-groves, which cost almost nothing to keep in order, and which supplied the "b.u.t.ter" and the lamp-oil of the Mediterranean world.
[Ill.u.s.tration: FIG. 75.--TOOLS ON TOMB.]
We need not waste much compa.s.sion upon the life of the Roman working cla.s.s. It is true that there was then no doctrine of the "dignity of labour," but that there was reasonable pride taken in a trade reputably maintained is seen from the frequent appearance of its tools upon a tombstone. In respect of the mere enjoyment of life, the labourers, of the Roman world were, so far as we can gather, tolerably happy. They had abundant holidays, mostly of religious origin; but, like our own, so frequently added to, and so far diverted from religious thoughts, that they were more marked by jollity and sport than by any solemnity of spirit. The workmen of a particular calling formed their guilds, "city companies," or clubs, in the interests of their trade and for mutual benefit. There was a guild of bakers, a guild of goldworkers, and a guild of anything and everything else.
Each guild had its special deity--such as Vesta, the fire-G.o.ddess, for the bakers, and Minerva, the G.o.ddess of wool-work, for the fullers--and it held an annual festival in honour of such patrons, marching through the streets with regalia and flag. Doubtless the members of a guild acted in concert for the regulation of prices, although the Roman government took care that these clubs should be non-political, and would speedily suppress a strike if it seriously interfered with the public convenience. The ostensible excuse for a guild, and apparently the only one theoretically accepted by the imperial government, was the excuse of a common worship. It is at least certain that the emperors jealously watched the formation of any new union, and that they would promptly abolish any which appeared to have secret understandings and aims, or to act in contravention of the law. In the towns which possessed local government the munic.i.p.al authorities were still elected by the people; and the guilds, especially of shopkeepers, could and did play their parts in determining the election of a candidate. The elections might make a difference to them in those ways in which modern town-councillors and mayors, may influence the rates, the conditions of the streets, the rules of traffic, and so forth. There are sixteen hundred election notices painted, in red and black about the walls of Pompeii, and we find So-and-So recommended by such-and-such a trade as being a "good man," or "an honest young man," or a person who will "keep an eye on the public purse." It is amusing to note that, in satirical parody of such appeals as "the fruitsellers recommend So-and-So," we find that "the petty thieves recommend So-and-So," or we get the opinion of "the sleepers one and all." Special objects connected with these and other a.s.sociations were the provision of "widows" funds," and of proper burial for the members. Of the importance of the latter to the ancient world we shall speak when we come to a funeral and the religious ideas connected with it.
The most difficult task in dealing with antiquity is to visualise the actual life as it was lived. In the life of the humbler citizens the remains of Pompeii lend more help than anything else to the desired sense of reality, but they are the remains of Pompeii, not of Rome.
Nevertheless there are many points in which we may fairly argue from the little town to the larger, and it is customary to adopt this course.
[Ill.u.s.tration: FIG. 76.--POMPEIAN COOK-SHOP.]
We may, therefore, think of the common people among these ancients as very much alive in their frank curiosity, their broad humour, their love of shows, and their keen enthusiasm for the compet.i.tions, their interest in petty local elections, their advertising instincts, their insatiable fondness for scribbling on walls and pillars, whether in paint or with a "style," a sort of small stiletto with which they commonly wrote on tablets. The ancient world becomes very near when we read, side by side with the election notices, a line from Virgil or Ovid scrawled in a moment of idleness, or a piece of abuse of a neighbouring and rival town--such as "bad luck to the Nucerians"--or a pretty sentiment, such as "no one is a gentleman who has not been in love," or an advertis.e.m.e.nt to the effect that there are "To let, from July 1, shops with their upper floors, a flat for a gentleman, and a house: apply to Prinus, slave of So-and-So"; or "Found wandering, a mare with packsaddle, apply, etc."--the latter, by the way, painted on a tomb.
[Ill.u.s.tration: FIG. 77.--IN A WINE-SHOP.]
For places of social resort there were the baths, the colonnades, the semicircular public seats, the steps of public buildings, the shops, and the eating-houses and taverns. The middle cla.s.ses, in the absence of the modern clubs, met to gossip at the barber"s, the bookseller"s, or the doctor"s. Those of a humbler grade would often betake themselves to the establishments corresponding to the modern Italian _osterie_, where were to be obtained wine with hot or cold water and also cooked food. As they sat on their stools in these "greasy and smoky" haunts they might be compelled, says the satirist, to mix with "sailors, thieves, runaway slaves, and the executioner," but even men of higher standing were often not unwilling to seek low pleasures amid such surroundings, especially when, as was frequently the case, there was provision for secret dicing beyond the observation of the police.
From literature, meanwhile, we may fill in their vivacious language, the courteous terms the people apply to each other, such as "you a.s.s, pig, monkey, cuckoo, chump, blockhead, fungus," or, on the other side, "my honey, my heart, my dove, my life, my sparrowkin, my dainty cheese." But to go more fully into matters like these would carry us too far afield.
We will end this topic with a last look at the ordinary free workman, who wears no toga, but simply a girt-up tunic, a pair of boots, and a conical cap, and who goes home to his plain fare of bread, porridge, lentil soup, goats"-milk cheese, "broad" and "French" beans, beetroot, leeks, salted or smoked bacon, sausages, and black-pudding, which he will eat off earthenware or a wooden trencher, and wash down with cheap but not unwholesome wine mixed with water. He has no pipe to smoke; he has never heard of tea, coffee, or spirits. He may have been told that certain remote barbarians drink beer, and he may know of a thing called b.u.t.ter, but he would not touch it so long as he can get olive-oil. However humble his home, he will endeavour to own a silver salt-cellar, and to keep it as an heirloom.
CHAPTER XV
HOLIDAYS AND AMUs.e.m.e.nTS: THEATRE, CIRCUS, AMPHITHEATRE
These topics bring us naturally to the consideration of the chief amus.e.m.e.nts and entertainments of Rome and of those parts of the empire which were either fairly romanized or else contained a large number of resident Romans.
Holidays, some of them lasting over several days, were at this date liberally spread throughout the year. Most of them belonged to fixed dates, others were festivals specially proclaimed for victories or other causes of rejoicing. We may estimate their average number at Rome itself at about a hundred. At first sight this might indicate an astonishing waste of time and the prevalence of enormous indolence.
But we must remember that the Romans had no such thing as Sunday. Our own Sundays and the weekly half-holidays make together seventy-eight days, and if to these we add the holidays at Christmas, Easter, and other Bank and public "closings," we shall find that our annual breaks in the working year are not very far from the Roman total, however differently they may be distributed. The difference between us and them lies rather in the way in which the holidays were employed.
Originally the holidays did not imply any giving of shows and games in the way of chariot-races, gladiatorial combats, and the like. They were simply festivals of deities--of Flora, the G.o.ddess of flowers, Ceres, the G.o.ddess of crops, Apollo the G.o.d of light and healing, and other divinities--honoured by sacrifices, processions, and feasts. The feast of Saturn, for example, was at first held for only one day.
Later it was extended over five and then over seven days, exactly as our Christmas celebrations--which are a Christian adaptation of it--tend virtually to spread over longer and longer periods. At this winter festival of the Saturnalia there was an interchange of presents--such as confectionery, game, articles of clothing, writing-tablets--and a general outburst of goodwill and merriment. For one day the slaves were allowed to put on the freeman"s cap, the "cap of liberty," and to pretend to be the masters. This is the source of the mediaeval monkish custom of permitting one annual day of "misrule." Meanwhile the citizen threw off the toga and clad himself in colours as he chose. He played at dice publicly and with impunity.
The cry of "Hurrah for the Saturnalia!" was heard everywhere. Later it became customary to hold public shows on these days, and the emperors gave gladiatorial games and acrobatic or dramatic entertainments, at which there were scrambled various objects, articles of food, coins or tickets ent.i.tling the holder to some gift which might be valuable, valueless, or comical. Similarly there was a holiday on New Year"s Day, when presents were again interchanged, regularly including a small piece of money "for good luck." The gifts on this day frequently bore the inscription "a Happy and Prosperous New Year to you."
Presents at all times played a prominent part in Roman etiquette and sociality. Not only were they given at holidays but also at all important domestic events. Even at a dinner-party, besides actual articles of food to be carried home, there were frequently gifts of a kind either expressly adapted to the recipient, or else drawn by a humorous lottery. Among numerous other articles of which one might be the recipient in various seasons and circ.u.mstances, there are mentioned books, pictures, tablets of ivory, wood, or parchment, cushions, m.u.f.flers, hats, hoods, sponges, soap, rings, flasks, baskets, musical instruments, b.a.l.l.s, pens, lamps, tooth-picks, dice, money-boxes, satchels, parrots, magpies, and monkeys. On the Ides of March the poorer cla.s.ses made their way to the Campus Martius beside the river, built themselves arbours or wigwams of boughs, and spent the day and evening in riotous song and jollity.
In general, however, the parts of these festivals to which the people looked forward with liveliest antic.i.p.ation were those public entertainments, commonly known as "the games" or "sports," which were provided for them free of cost. The expense was theoretically borne by the state--whether from the exchequer of the emperor or from that of the senate and the state did indeed spend as much as six or eight thousand pounds upon a particular celebration. But, both in Rome itself and in the provinces, it was practically obligatory that the public officer who had charge of a given festival for the year should spend liberally of his own upon it. No man either at Rome or in a provincial city could permit himself to be elected to such a public position unless he was prepared to disburse a sum perhaps as large as the subvention given by the state. The more he gave, particularly if he introduced some striking or amusing addition to the ordinary shows, the more popular he became for the time being. In the Roman world you must pay for your ambitions, and this was the most approved way of paying. We might moralise over the enormous frivolity which could waste day after day thousands and thousands of pounds upon such transitory pleasures, instead of conferring lasting benefits in the way of hospitals or schools. But it is not the object of this book to moralise. We may feel confident that the Roman populace, if offered the choice, would have voted for the chariot-races or the gladiators, not for the college or the hospital.
[Ill.u.s.tration: FIG. 78: BOXING-GLOVES.]
The entertainments provided were of several kinds, by no means equally popular. There were plays in the theatres; there were contests of running, wrestling, boxing, throwing of spears and disks, and other "events," corresponding to our athletic sports; there were chariot-races in the Circus, answering to our horse-races at Epsom or Newmarket; and there were spectacles in the amphitheatre, to which, happily, we have no modern parallel. These included huntings and baitings of animals, fights with wild beasts--performances far more dangerous than those of the Spanish bull-ring--and, above all, the combats of the gladiators or professional "swordsmen." So far as there exists a later a.n.a.logue to the last it is to be found in the more chivalrous tourney in the lists, but the resemblance is not very close. Least valued among the real Romans were the athletic sports.
For genuine enjoyment of these we must look to the Greek part of the empire. At Rome they appeared tame, for the mind of the Roman populace was naturally coa.r.s.e in grain; what it delighted in was something sensationally acrobatic, or provocative of a rather gross laughter, or else involving a thrilling antic.i.p.ation of danger and bloodshed. In taste the Romans were in fact similar to those modern spectators who love to see a man plunge from a lofty trapeze into a narrow tank, with a reasonable chance of breaking his neck. It is a strange contradiction with other Roman att.i.tudes when we find that they objected to the Greek wrestling or running on grounds of decorum, because it was innocently nude. On the athletic sports, although they were never wanting in the "games" at Rome, we need not therefore dwell. It may be sufficient to show by an ill.u.s.tration what sort of notion the ancient world entertained of interesting pugilism. It is only fair to say that the "boxing-gloves" here given--thongs of leather wrapped tightly round the arm and hand, and loaded or studded with lead or iron--were a notion borrowed from the professional pugilists of Greece.
[Ill.u.s.tration: FIG. 80.--THEATRE AT ASPENDUS.]
Next lowest in esteem stood the plays given on the theatrical stage.
Mention has been made in a previous chapter of the three great theatres of Rome, one of them said, though somewhat incredibly, to be capable of holding 40,000 spectators. Their shape and arrangement have already been hinted at. Huge structures of a similar kind existed in all the great romanized towns of Italy and other provinces. One at Orange in France is still well preserved, and two of smaller dimensions--one without a roof for plays, and one roofed for musical performances--are among the most easily remembered of the remains extant at Pompeii. In the Grecian half of the empire the theatres were not essentially different, the chief distinguishing feature being that, while the Roman auditorium formed half a circle, that of the Greek type formed over two-thirds. In the Roman type the level semicircle in front of the stage, from which we derive the name "orchestra," was occupied by the chairs of the senators, and the fourteen tiers of stone seats immediately behind them by the knights; certain sections were also set apart for special cla.s.ses, one being for soldiers, one for boys not yet of age, and one for women, whose presence was not encouraged, and who, except at the tragedies, would have shown more modesty by staying away. Facing the seats is a stage, higher than among the Greeks, but somewhat lower than it is commonly made in modern times; and at the back of the stage is a wall architecturally adorned to represent a house or "palace" front, and containing one central and two side doors, which served for separate purposes conventionally understood. Over the stage is a roof, which slopes backward to join the wall. The entrances to the ordinary tiers of seats are from openings reached by stairs from the outside arcade surrounding the building; those to the level "orchestra" are from right and left by pa.s.sages under an archway, which supports a private box for the presiding official. The two boxes are approached from the stage, and when the emperor is present he is seated in the one to the spectators" left. Round the top of the building, inside above the seats, runs a covered walk, which serves as a lounge and a _foyer_.
Over the heads of the spectators a coloured awning--dark-red or dark-blue by preference--may be stretched on masts or poles; when no awning is provided, or when it cannot be used because the wind is too strong, the spectator is permitted to wear a broad-brimmed hat, if he finds one desirable for his comfort. The whole building must be thought of as lined and seated with marble, gilded in parts, and decorated with pillars and statues.
The curtain, instead of being pulled up, as with us, when the play begins is pulled down, falling into a groove in the stage. Where we should say the "curtain is up" the Romans would say exactly the reverse, "the curtain is lowered." For plays in which the palace-front was not appropriate, scenery was employed to cover it, being painted on canvas or on boards which could be pulled aside; other scenes were stretched on frames, which could be made to revolve so as to present various faces.
The actors, however much admired for their art, and however influential in irregular ways, were looked upon as in a degraded position, and no Roman who valued social regard would adopt this line of life. Among the Greeks and such Orientals as were under Greek influence no such stigma rested upon the profession, and therefore many of the chief actors of the imperial city had received their training in this more liberal-minded part of the Roman world. The rest were mostly slaves or ex-slaves. If a Roman of any standing took part, it was either because he was a ruined man, or else because the emperor had capriciously ordered him to undergo this humiliation.
[Ill.u.s.tration: FIG. 81.--TRAGIC ACTOR.]
The plays themselves were certainly of no great merit from a constructive or literary point of view. We hear a good deal nowadays of the "decline of the drama," but perhaps in no civilised country has it declined so far as it had descended in Rome by the year A.D. 64.
The regular and cla.s.sical drama--that is to say, literary tragedy and comedy--was not likely to appeal to any ordinary Roman gathering. The philosopher Seneca indeed wrote tragedies in imitation of the Greek, but they were intended for the reader and the library, and there is little probability that they were ever performed, or even offered to the stage. Tragedies were, it is true, represented, but they were mostly Greek, and the performance was in the Greek style. The heroic actors wore masks, covering not only the face but the whole head, which they raised considerably in height. About the body fell long and trailing robes of splendid material and colour, and on the feet were thick-soled boots which increased the height by several inches. The comedian played in low shoes or slippers; and "boot" and "slipper"
were therefore terms in common vogue to distinguish the two kinds of theatrical entertainment. Of Pliny"s two favourite country-houses on Lake Como one was called "Tragedy" as standing high, the other "Comedy" because on a lower site beside the water. The whole effect sought in the heroic play was the grandiose, and no attempt was made to reproduce the actualities of life. In the accompanying ill.u.s.tration will be seen the tragic hero as he appeared upon the Roman stage. In considering this somewhat amazing apparition it must be remembered that at Rome, as in Greece, the theatre was huge, effective opera-gla.s.ses were not known, and subtle changes of facial expression would have pa.s.sed unnoticed. The make-up of the actor, like the painting of the scenes, was compelled to depend upon broad effects.
With its love of the false heroic, of rhetorical bombast, of sumptuous dress, magnificent scenes, and gorgeous accessories in the way of "supers" and processions, the Roman tragic drama of this period must have borne a striking resemblance to the corresponding English pieces of the Restoration or age of Dryden. Perhaps the most popular part of the performance was the music and dancing, whether by individual actors or as ballets, accompanied by the flageolet, the lyre, or the cymbals.
In comedy there was apparently no originality. As in the oldest days of their drama the Romans had copied the Greeks, so they copied them still. We may believe that the acting was often excellent; especially in respect of intonation and gesture, but little can be said for the play, whether from the point of view of literature or of morals. Since verbal description must necessarily be of little force, it will serve better to present here a few specimens of comic masks and a scene from comedy:
[Ill.u.s.tration: FIG. 82.--COMIC MASKS.]
[Ill.u.s.tration: FIG. 83.--SCENE FROM COMEDY.]
Much more in demand were theatrical performances of a lower kind.
These were farces, interludes, character-pieces, and dumb-shows known as "pantomimes." The farce was a loosely constructed form of fooling comedy, containing much of the ready Italian improvisation or "gag," and regularly introducing the four stock characters which have lasted with little disguise for so many centuries There was an old "grandfather," the forerunner of the modern pantaloon; a cunning sharper; a garrulous glutton with a fat face (known as "Chops"); and an amorous Simple Simon. Sometimes types of foreigners or provincials were introduced, with caricatures of their dress and language, after the manner, and probably with the veracity, of the stage Scotchman, Irishman, or Frenchman. All these parts were played in masks.
The interlude again was a slight piece with very little plot, and composed in a large measure of buffoonery, practical jokes, hitting and slapping, and dancing. Topical allusions and contemporary caricatures were freely introduced, and the whole performance, however coa.r.s.ely amusing, was both vulgar and indecent. In these pieces no masks were worn and also no shoes, and the women"s parts--taken in the other instances by men and boys--were actually played by females, whose posture-dances were no credit to their s.e.x.
The dumb-shows or "pantomimes" were performances in which expressive and elaborate gestures and movements were left to tell the whole tale.
For this kind of piece the actors naturally required not only uncommon cleverness but also great suppleness of body. As usual, these qualities, together with the qualities of voice, the magnificent dress, and the carefully cultivated long hair, won for the actor demoralising influence over too large a number of the more impressionable and untrammelled Roman dames.
Meanwhile the huge audience must not be conceived as sitting in quiet and restrained attention, but as roaring with laughter, applauding and stamping, shouting approval and encores, hissing and waving handkerchiefs. And meanwhile the _claqueurs_ will have been duly distributed by those interested in the success of the performance.
Every now and then a fine rain of saffron perfume is shed over the audience from pipes and jets distributed round the building. It deserves remark also that in the theatre, as in the other places of amus.e.m.e.nt, the gathering frequently broke out into demonstrations of its feeling towards persons and politics. There was safety in numbers, and the applause or hissing which greeted a personage or a topical allusion--or a line which could be twisted into such--could hardly be laid to the account of any individual. A certain license was conceded and fully utilised at the festivals: it served as a safety-valve, and wise emperors apparently so regarded it. At Rome the government was indeed "despotism tempered by epigram," but it was no less tempered by these demonstrations at the games and spectacles.
More worthy of imperial Rome were the exhibitions of chariot-races held in the immense Circus Maximus. That building, already described, would at this date probably hold some 200,000 persons, but it could never provide room enough for the excited people, who not only gathered in mult.i.tudes from Rome itself, but also from all the country, even all the empire, within reach. For weeks the chances of the parties have been discussed and betted upon; even the schoolboys have talked chariots, chariot-drivers, and horses. The fortune-tellers have been consulted about them; dreamers have dreamed the winners; and many an underhand attempt, sometimes including the hocussing of men or horses, has been made to corrupt the sport. The struggle is in reality not between chariot and chariot, but between what we should call stable and stable. There are four parties--the white, red, green, and blue--whose drivers will wear the respective colours, in which also the chariots were probably painted. By some means the green and blue have at this date contrived to stand out beyond the others, and the chief interest commonly centres upon these.
The day of the great spectacle arrives. Outside the building and in the porticoes surrounding it the sellers of books of the races and of cushions are plying their trade along with venders of confectionery and perfumes. The people are streaming into the numerous entrances which lead by stairways to the particular blocks or tiers of seats in which they are ent.i.tled to sit, and for which they bear a ticket. Full citizens are wearing the toga, or, if the emperor has not forbidden the practice, the brightly coloured cloak which has been already described. Seats are reserved for officials, senators, knights, and Vestal Virgins; and on the side under the Palatine is a large balcony-box for the emperor and his suite. At these games women have no special place set apart for them; they sit in their richest land showiest attire among the general body of the spectators, and flirting and love-making are part of the order of the day. A very crude form of field-gla.s.s or "spy-gla.s.s" was already in use, apparently consisting generally of a mere hollow tube, but occasionally provided with a magnifying lens. Nero himself, in consequence of his short-sight, had a "gla.s.s" in some way contrived of emerald.
At one end of the Circus is a building containing a curved line of stalls, equidistant from the starting-point, in which the drivers hold their chariots in readiness. These are all barred, and only at the signal will the doors be thrown open. The horses are commonly three-year-olds or five-year-olds. In some races there are two horses to the chariot, in others four. Less commonly there are three or six, or even a greater number. In the year 64 the number of cars running will be four, one for each club. How many races there are to be, and in what variety, will depend upon the presiding officer, who, as has been said, is paying a considerable portion of the expenses, and who will receive or lose applause according to the entertainment he affords to the spectators. Commonly there will be about twenty races run, although occasionally even that number be increased.
Down the middle of the arena, though not quite in its axis, runs a low broad wall called the "backbone," bearing various sculptures along its summit and in the middle an obelisk, now standing in the Piazza del Popolo, which Augustus had brought from Egypt after his conquest of that country. On the extremities of the "backbone" are placed the figures of seven dolphins and seven large eggs, and just free of each end, on a base of their own, stand three tall cones coated with gilt, round which the chariots are to turn as a yacht turns round the buoy.
Seven times will the chariots race down the arena, round the end of the backbone, and back again. At each lap a dolphin and an egg will be removed from the wall, and as the last disappears the winning driver makes straight on for the white line which serves as the winning-post.
[Ill.u.s.tration: FIG. 84.--PLAN OF CIRCUS.]