Circus of Nero

Many early Christians were burned alive to illuminate Nero’s horse races.

From Phillip Schaff’s History of the Christian Church:

To divert from himself the general suspicion of incendiarism, and at the same time to furnish new entertainment for his diabolical cruelty, Nero wickedly cast the blame upon the hated Christians, who, meanwhile, especially since the public trial of Paul and his successful labors in Rome, had come to be distinguished from the Jews as a genus tertium, or as the most dangerous offshoot from that race. They were certainly despisers of the Roman gods and loyal subjects of a higher king than Caesar, and they were falsely suspected of secret crimes. The police and people, under the influence of the panic created by the awful calamity, were ready to believe the worst slanders, and demanded victims. What could be expected of the ignorant multitude, when even such cultivated Romans as Tacitus, Suetonius, and Pliny, stigmatized Christianity as a vulgar and pestiferous superstition. It appeared to them even worse than Judaism, which was at least an ancient national religion, while Christianity was novel, detached from any particular nationality, and aiming at universal dominion. Some Christians were arrested, confessed their faith, and were “convicted not so much,” says Tacitus, “of the crime of incendiarism as of hating the human race.” Their Jewish origin, their indifference to politics and public affairs, their abhorrence of heathen customs, were construed into an “odium generis humani,” and this made an attempt on their part to destroy the city sufficiently plausible to justify a verdict of guilty. An infuriated mob does not stop to reason, and is as apt to run mad as an individual.

Under this wanton charge of incendiarism, backed by the equally groundless charge of misanthropy and unnatural vice, there began a carnival of blood such as even heathen Rome never saw before or since.523  It was the answer of the powers of hell to the mighty preaching of the two chief apostles, which had shaken heathenism to its centre. A “vast multitude” of Christians was put to death in the most shocking manner. Some were crucified, probably in mockery of the punishment of Christ,524 some sewed up in the skins of wild beasts and exposed to the voracity of mad dogs in the arena. The satanic tragedy reached its climax at night in the imperial gardens on the slope of the Vatican (which embraced, it is supposed, the present site of the place and church of St. Peter): Christian men and women, covered with pitch or oil or resin, and nailed to posts of pine, were lighted and burned as torches for the amusement of the mob; while Nero, in fantastical dress, figured in a horse race, and displayed his art as charioteer. Burning alive was the ordinary punishment of incendiaries; but only the cruel ingenuity of this imperial monster, under the inspiration of the devil, could invent such a horrible system of illumination.

This is the account of the greatest heathen historian, the fullest we have—as the best description of the destruction of Jerusalem is from the pen of the learned Jewish historian. Thus enemies bear witness to the truth of Christianity. Tacitus incidentally mentions in this connection the crucifixion of Christ under Pontius Pilate, in the reign of Tiberius. With all his haughty Roman contempt for the Christians whom he knew only from rumor and reading, he was convinced of their innocence of incendiarism, and notwithstanding his cold stoicism, he could not suppress a feeling of pity for them because they were sacrificed not to the public good, but to the ferocity of a wicked tyrant.

Painting excerpt from Nero’s Torches (Polish: Pochodnie Nerona) is an 1876 oil-on-canvas painting by the Polish artist Henryk Siemiradzki. It is also known as Candlesticks of Christianity (Świeczniki chrześcijaństwa).