DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61893#0143
Ch. IL THROUGH ITALY. 115
ceremony must have presented, to the shows and
the pomps exhibited in the same place in ancient
times. A multitude in both cases equally numer-
ous, then assembled for purposes of cruel and
bloody amusements, now collected by motives of
piety and brotherhood: then all noise, agitation,
and uproar : now all silence and tranquil expec-
tation: then all eyes fixed on the arena, or per-
haps on the Emperor, an arena crowded with
human victims, an Emperor, Gallienus for in-
stance, frowning· on his trembling1 slaves: now
all looks rivetted on the venerable person of a
Christian Pontiff, who, with eyes and hands up-
lifted to heaven, implored for the prostrate crowd
peace and happiness.
The French applied the amphitheatre to a
very different purpose. Shortly after their en-
trance into Verona, they erected a wooden the-
atre near one of the grand portals, and caused
several farces and pantomimes to be acted in it
for the amusement of the army. The sheds and
scaffolding that composed this miserable edifice
were standing in the year 1802, and looked as if
intended by the builder for a satire upon the
taste of the Great Nation, that could disfigure
so noble an arena. The Veronese beheld this
characteristic absurdity with indignation; and
compared the French, not without reason, to the
i 2
ceremony must have presented, to the shows and
the pomps exhibited in the same place in ancient
times. A multitude in both cases equally numer-
ous, then assembled for purposes of cruel and
bloody amusements, now collected by motives of
piety and brotherhood: then all noise, agitation,
and uproar : now all silence and tranquil expec-
tation: then all eyes fixed on the arena, or per-
haps on the Emperor, an arena crowded with
human victims, an Emperor, Gallienus for in-
stance, frowning· on his trembling1 slaves: now
all looks rivetted on the venerable person of a
Christian Pontiff, who, with eyes and hands up-
lifted to heaven, implored for the prostrate crowd
peace and happiness.
The French applied the amphitheatre to a
very different purpose. Shortly after their en-
trance into Verona, they erected a wooden the-
atre near one of the grand portals, and caused
several farces and pantomimes to be acted in it
for the amusement of the army. The sheds and
scaffolding that composed this miserable edifice
were standing in the year 1802, and looked as if
intended by the builder for a satire upon the
taste of the Great Nation, that could disfigure
so noble an arena. The Veronese beheld this
characteristic absurdity with indignation; and
compared the French, not without reason, to the
i 2