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On his return from Greece, arriving at Naples, because he had commenced his career as a public performer in that city, he made his entrance in a chariot drawn by white horses through a breach in the city-wall, according to the practice of those who were victorious in the sacred Grecian games. In the same manner he entered Antium, Alba, and Rome. He made his entry into the city riding in the same chariot in which Augustus had triumphed, in a purple tunic, and a cloak embroidered with golden stars, having on his head the crown won at Olympia, and in his right hand that which was given him at the Parthian games: the rest being carried in a procession before him, with inscriptions denoting the places where they had been won, from whom, and in what plays or musical performances; whilst a train followed him with loud acclamations, crying out, that " they were the emperor's attendants, and the soldiers of his triumph." Having then caused an arch of the Circus Maximus 1 to be taken down, he passed through the breach, as also through the Velabrum2 and the forum, to the Palatine hill and the temple of Apollo. Every where as he marched along, victims were slain, whilst the streets were strewed with saffron, and birds, chaplets, and sweetmeats scattered abroad. He suspended the sacred crowns in his chamber, about his beds, and caused statues of himself to be erected in the attire of a harper, and had his likeness stamped upon the coin in the same dress. After this period, he was so tar from abating any thing of his application to music, that, for the preservation of his voice, he never addressed the soldiers but by messages, or with some person to deliver his speeches for him, when he thought fit to make his appearance amongst them. Nor did he ever do any thing either in jest or earnest, without a voice-master standing by him to caution him against overstraining his vocal organs, and to apply a handkerchief to his mouth when he did. He offered his friendship, or avowed open enmity to many, according as they were lavish or sparing in giving him their applause.
1 The Circus Maximus, frequently mentioned by Suetonius, was so called because it was the largest of all the circuses in and about Rome. Rudely constructed of timber by 'arquinius Drusus, and enlarged and improved with the growing fortunes of the republic, under the emperors it became a most superb building. Julius Caesar (c. xxxix) extended it, and surrounded it with a canal, ten feet deep and as many broad, to protect the spectators against danger from the chariots during the races. Claudius (c. xxi.) rebuilt the carceres with marble, and gilded the mete. This vast centre of attraction to the Roman people, in the games of which religion, politics, and amusement, were combined, was, according to Pliny, three stadia (of 625 feet) long, and one broad, and held 260,000 spectators; so that Juvenal says, "Totam hodie Roman circus capit."-Sat. xi. 195. This poetical exaggeration is applied by Addison to the Colosseum: "That on its public shews unpeopled Rome."-Letter to Lord Halfax. The area of the Circus Maximus occupied the hollow between the Palatine and Aventine hills, so that it was overlooked by the imperial palace, from which the emperors had so full a view of it, that they could from that height give the signals for commencing the races. Few fragments of it remain; but from the circus of Caracalla, which is better preserved, a tolerably good idea of the ancient circus may be formed. For details of its parts, and the mode in which the sports were conducted, see Burton's Antiquities, p. 309, c.
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