It is a strange contradiction with other Roman attitudes 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 illustration 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.

[Illustration:  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 classes, 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 passages 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.