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THE ROMAN EMPERORS IN MARBLE. 1
1
9
adorned to receive him ; the people flocked to the sacred
sports to witness his victories in the games of contest.
The claque alone, that accompanied the emperor from Ita-
ly, was composed of several thousand young men, decora-
ted, all, with the golden ring of knighthood. The whole es-
cort was like an intentional symbol of the emancipation of
the senses, in a world that had banished all moral pathos
to the myths dramatized in the tragedies, and only allowed
it there for the excitement of the feelings. On his return
to Rome, Nero was received with a triumph. And there
was, too, a reason for this. In Caesar’s person, Hellas had
conquered Rome, but only that Rome should in the same
person conquer Hellas. The posterity of yEneas had
avenged the fall of Troy, and the world-known strife
which came from Leda’s &%%, ended with a world-known
feast of reconciliation, when the emperor, after winning
the Olympian olive crown, proclaimed the " liberty of
Greece." A portion of Rome’s city wall was torn down
to make room for the triumphal entry. Foremost, went
eighteen hundred men, with as many crowns which Nero
had won as singer and actor. After these^ spearsmen
with tablets of bronze which announced where, over what
celebrated artists, and in what song or character, every
crown had been won. Next, in the triumphal car of Au-
gustus, Nero himself, in purple tunic worked with gold
and Grecian mantle sprinkled with stars, with the Olym-
pian olive around his locks, and the Pythian bay in his
hand. Following the car of triumph, the praetorians in
their glittering armor ; and lastly, the knighthood in its
holiday dress, and senators, in the purple-bordered toga.
Houses adorned with flowers, the city by night lit with
countless torches, and resounding with the cry: "Hail
Olympionicus ! Hail Pythionicus ! Hail, Nero Apollo !"
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