NYDIA, assured by the account of Sosia, on his return home, and
satisfied that her letter was in the hands of Sallust, gave herself up
once more to hope. Sallust would surely lose no time in seeking the
praetor--in coming to the house of the Egyptian--in releasing her--in
breaking the prison of Calenus. That very night Glaucus would be free.
Alas! the night passed--the dawn broke; she heard nothing but the
hurried footsteps of the slaves along the hall and peristyle, and their
voices in preparation for the show. By-and-by, the commanding voice of
Arbaces broke on her ear--a flourish of music rung out cheerily: the
long procession were sweeping to the amphitheatre to glut their eyes on
the death-pangs of the Athenian!

The procession of Arbaces moved along slowly, and with much solemnity
till now, arriving at the place where it was necessary for such as came
in litters or chariots to alight, Arbaces descended from his vehicle,
and proceeded to the entrance by which the more distinguished spectators
were admitted. His slaves, mingling with the humbler crowd, were
stationed by officers who received their tickets (not much unlike our
modern Opera ones), in places in the popularia (the seats apportioned to
the vulgar). And now, from the spot where Arbaces sat, his eyes scanned
the mighty and impatient crowd that filled the stupendous theatre.

On the upper tier (but apart from the male spectators) sat women, their
gay dresses resembling some gaudy flower-bed; it is needless to add that
they were the most talkative part of the assembly; and many were the
looks directed up to them, especially from the benches appropriated to
the young and the unmarried men. On the lower seats round the arena sat
the more high-born and wealthy visitors--the magistrates and those of
senatorial or equestrian dignity; the passages which, by corridors at
the right and left, gave access to these seats, at either end of the
oval arena, were also the entrances for the combatants. Strong palings
at these passages prevented any unwelcome eccentricity in the movements
of the beasts, and confined them to their appointed prey. Around the
parapet which was raised above the arena, and from which the seats
gradually rose, were gladiatorial inscriptions, and paintings wrought in
fresco, typical of the entertainments for which the place was designed.
Throughout the whole building wound invisible pipes, from which, as the
day advanced, cooling and fragra