Chapter VI: Part 6

[177] The amphitheatre is 1,837 Roman feet in circuit, 638 long, 535 wide, and 165 high from the ground, besides 21 feet for the substructures, so that the whole height was 186 feet. The Roman foot is not quite so long as the English foot, but the difference is trifling. The number of spectators was 87,000 according to the Regionary Catalogue; modern authorities say that the measurement shews this number to be rather exaggerated.

[178] See Nos. 1081, 1762.

[179] See No. 1346.

[180] A coin of Titus shews a colonnade, and one of Domitian also. See Plate XXV.

[181] See p. 11.

[182] See No. 1761.

[183] See Nos. 1758, 1759, 1760, 1763.

[184] They are more clearly shewn in another photograph, No. 827.

[185] See No. 367.

[186] See No. 185.

[187] They were, however, not always of stone or brick; in places where stone was scarce, they were frequently of wood only.

[188] See p. 1.

[189] See p. 7.

[190] See p. 6.

[191] See pp. 2, 9, 23.

[192] See pp. 1, 8. That the amphitheatres were among the finest buildings of the Romans in all their cities it is hardly necessary to say; it seems clear that they were first built for the favourite amusement of the hunting of wild beasts, and that the first name for them was _Theatrum Venatorium_; but the gladiators were soon introduced, for the further amusement of the people in the same buildings. Both amusements are believed to have been used in Greece before they were introduced into Rome, but they were in use in Rome before the time of the Empire. At first, the amphitheatres were temporary buildings of wood only (as has been shewn), but there were several of these. After the great Flavian amphitheatre was completed, this seems to have been the only one in Rome; but those of several other cities, such as Capua and Verona (see the learned work of Scipio Maffei, _Verona Illustrata_, Milano, 1876, parte quarta) must have been nearly equal to it.

[193] The following inscriptions, found upon the spot, agree with the construction, as is always the case when the true date can be ascertained. The first is of the time of Hadrian, A.D. 120, (No. 43 in chapter vii. of the work of Francesco Alvino, which contains the ancient inscriptions found upon the spot); the second (No. 48 of the same collection) appears to be of Septimius Severus and Pertinax, A.D. 192; the third in point of date (No. 16 in the collection) records restorations by Lampridius:—

XLIII.
IMP. CÆS. T. ÆLIO
HADRIANO AVG
PATRI PATRIÆ
SVBLEVATORI ORBIS
RESTITVTORI OPE
RVM PVBLICORVM
INDVLGENTISSIMO
OPTIMAQ. PRINCIPI
CAMPANI
OB INSIGNEM ERGA EOS BE
NIGNITATEM D. D.
XLVIII.
IMP. CÆS. DIVI M. ANTONINI
GERM. SARM. FIL. DIVI COMMODI
FRATRI DIVI ANTONINI PII NEPOTI
DIVI HADRIANI PRONEPOTI DIVI
TRAIANI PARTHICI ABNEPOTI DIVI
NERVAE ADNEPOTI
SEPTIMIO SEVERO PIO PERTINACI
ARABICO ADIABENICO P.P. PONT. MAX
TRIB. POT. I̅I̅I̅I̅. IMP. VIII. COS II. PROC
COLONIA CAPVA

XVI.
POSTVMIO LAMPADIO
V. C.
ET INLVSTRI CON. CAMPANIAE
RESTITVTORI PATRIAE
ET REDINTEGRATORI OPERVM PVBLICORVM

By a singular coincidence, Lampadius was also the name of the Prefect who restored the Flavian amphitheatre in A.D. 445; but though the surname is the same, the prename is not, he was probably of the same family.

[194] See p. 45.

[195] This would be at least equal to £200 of modern money.

[196] Anfiteatro Campano illustrato e Restorato da Franceso Alvino terza edizione col paragone di tutti gli anfiteatri D’Italia ed un cenno sugli antichi monumenti di Capua. Napoli, 1842.

[197] The Neapolitan _palm_ is ten inches English measure. If the measurements of Signor Alvino are reduced to English measure, they do not agree with those of Messrs. Taylor and Crecy for the Colosseum; as he used the same scale for all three, the proportions are the same.

[198] In Rome these are Doric, Ionic, Corinthian, Composite; at Verona, all Tuscan; at Capua, all Doric.

[199] I am indebted for this clear account of the amphitheatre at Pola to Lord Talbot de Malahide, who was there in October, 1875. The excellent drawings of Mr. Arthur Glennie, who resided at Pola for one whole summer, also agree perfectly with the excellent account of that remarkable building, which further contributes to illustrate the Colosseum at Rome. An excellent account of Pola appeared about the same time in the _Saturday Review_, but this is more general, not so specially written with this object in view.

[200] “Notissimus eques Romanus elephanto supersedens per catadromum decucurrit.” (Suetonii Nero, cap. xi. Xiphil. lxi.)

“Ego eo vocabulo funem intelligo, qui summo theatro alligatus, declinis ad imum theatri pertinebat solum defigebaturque, per quem descendere maximi periculi et artis atque adeo miraculi erat.” (Turnebo, Adv. xxvii. 18.)

[201] “Icarus, primo statim conatu, juxta cubiculum ejus (Neronis) decidit, ipsumque cruore respersit.” (Suetonii Nero, c. 12.)

[202]

“Vidimus in cœlum trabibus spectacula textis
Surgere, Tarpeium prope despectantia culmen.”

(Calpurnii, Ecloga vii. v. 23.)

[203] “Erat mons ligneus ad instar incliti montis illius, quem vates Homerus Idæum cecinit, sublimi instructus fabrica, consitus viretis et vivis arboribus summo cacumine, de manibus fabri fonte mænante, fluviales aquas eliquans.” (Apulei, Metamor., lib. x. c. 30.)

[204]

“Mobile ponderibus descendat Pegma reductis
Inque chori speciem, spargentes ardua flammas
Scena rotet: varios effingat Mulciber orbes
Per tabulas impune vagus, pictæque citato
Ludant igne trabes, et non permissa morari
Fida per innocuas errent incendia turres.”

(Claudianus, De Consulatu Mallii. v. 325.)

[205] “Memorabile maxime Cari et Carini et Numeriani hoc habuit imperium, quod ludos populo Romano novis ornatos spectaculis dederunt, quos in Palatio circa porticum statuti pictos vidimus ... centum pantomimos et gymnicos mille pegma præterea, cujus flammis scena conflagravit quam Diocletianus postea magnificentiorem reddidit.” (Vopiscus in Carino, cap. 18, ap. Script. Hist. Aug.)

[206]

“Hic ubi sidereus propius videt astra Colossus,
Et crescunt media Pegmata celsa via,
Invidiosa feri radiabant atria regis.”

(Martialis, De Spectaculis, Ep. 2.)

[207] “Catabolum erat locus, in quo feræ erudiebantur sive ad mansuetudinem sive etiam ad crudelitatem, quam in bestiarios exercerent.” (Papias.)

“Catabolum est clausura animalium, ubi desuper aliquid jacitur.” (Vossii, Lexicon Etymologicum.)

The Catabolensis or Catabolici were the men who fed the wild beasts, and threw down their food from the small passage before mentioned. (See p. 17.)

[208] “Addidit alia die in Amphitheatro una missione centum jubatos leones, qui rugitibus suis tonitru excitabant; qui omnes e POSTICIS interempti sunt, non magnum præbentes spectaculum quo occidebantur. Neque enim erat bestiarum impetus ille, qui esse e caveis egredientibus olet.” (Vopisci Probus, c. 19, ap. Script. Hist. Aug.)

[209] “Ut sæpe faciunt amphitheatrales feræ diffractis tandem solutæ POSTICIS.” (Ammianus Marcellinus, lib. 27.)

[210] “Stat. CARDINE aperto—Infelix cavea.” The door opening on a hinge or a pivot.

[211] “Feras lybicas una die centum exhibuit, ursos una die mille.” (Julii Capitolini, i. c. 3, ap. Script. Hist. Aug.)

[212]

“... Auro quoque torta refulgent
Retia, quæ totis in Arenam dentibus extant.
... nec non, ubi finis Arenæ,
Proxima marmoreo peragit spectaculo muro:
Sternitur adjunctis ebur admirabile truncis,
Et coit in rotulam, tereti qua lubricus axis
Impositos subita vertigine falleret ungues
Excuteretque feras.”

(Calpurnii, Ecl. 7.)

[213] “Fertur in euripis vino plenis Navales Circenses exhibuisse.” (Lampridii Antoninus Heliogabalus, c. 23, ap. Script. Hist. Aug.)

[214]

“Quidquid et in Circo spectatur et amphitheatro,
Dives Cæsarea præstitit unda tibi:
Fucinus et pigri taceantur stagna Neronis:
Hanc norint unam sæcula Naumachiam.”

(Martialis de Spect. Ep. 28.)

That is, the _stagna_ in the amphitheatre were supplied by an aqueduct from the lake of Fucino. This lake has been drained in 1874-75 by Prince Torlonia, by carrying out the project of the great engineers of the time of the Emperor Claudius, and making an _emisarium_, on even a grander scale than the one partially made in the time of Claudius, on a similar plan to those of the lakes of Albano and Nemi.

[215]

“Respice terrifici scelerata sacraria Ditis,
Cui cadit infausta fusus gladiator arena,
Heu male lustratæ Phlegetontia victima Romæ.
Nam quid vesani sibi vult ars impia ludi?
Quid mortes juvenum, quid sanguine pasta voluptas
Quid pulvis Caveæ semper funebris et illa
Amphitheatralis spectacula tristia pompæ?
Nempe Charon jugulis miserorum se duce dignas
Accipit inferias, placatas crimine sacro.
Hæ sunt deliciæ Jovis Infernalis: in istis
Arbiter obscuri placidus requiescit Averni.”

(Aur. Prudentius Clem. contra Symmachum, 379-389.)

[216] 2. “Casu in meridianum spectaculum incidi, lusus expectans et sales et aliquid laxamenti, quo hominum oculi ab humano cruore acquiescant. 3. Contra est: quidquid ante pugnatum est, misericordia fuit. Nunc omissis nugis, mera homicidia sunt. Nihil habent quo tegantur; ad ictum totis corporibus expositi, nunquam frustra mittunt manum mittunt. Hoc plerique ordinariis paribus et postulatitiis præferunt non galea, non scuto repellitur ferrum. Quo munimenta? quo gladii artes? Omnia ista mortes meræ sunt. Mane leonibus et ursis homines, meridie spectatoribus suis objiciuntur. 4. Interfectores interfecturis jubentur objici, et victorem in aliam detinent cædem, exitus pugnantium mors est ferro et ignores geritur. Hæc fiunt dum vacat arena.” (Sen., Epistolæ ad Lucilium, 7.)

[217] See Photos., Nos. 3273, 3274, and Plates XXIII., XXIV.

[218]

“Prima dicte mihi, summa dicende Camœna,
Spectatum, satis et donatum jam rude quæris,
Mæcenas, iterum antiquo me includere ludo.”

(Horatii Epist., lib. i. 1.)

[219]

“Dum peteret pars hæc Myrinum, pars illa Triumphum;
Promisit pariter Cæsar utrâque manu.”

(Martiali de Spectaculis, Epig. 20.)

[220] “Fuerunt sub Gordiano Romæ elephanti triginta et duo, gladiatorum Fisculium paria mille.” (Julii Capitolini Gordianus tertius.)

[221] Suetonii Titus, c. 9.

[222] “Jam ad spectaculum supplicii nostri populus convenerat: jam ostentata per arenam periturorum corpora mortis suæ _pompam_ duxerant.” (Quinctil., Decl. 9.)

[223] Lampridii Commodus Antoninus, 16.

[224] “Contra consuetudinem (Commodus) pænulatos jussit spectatores, non togatos ad munus convenire, quod funeribus solebat, ipse in pullis vestimentis præsidens. Galea ejus per portam Libitinensem elata est.” (Lampridii Commodus Antoninus, ap. Script. Hist. Aug., c. 16.) This circumstance is also mentioned by Dio Cassius, as quoted previously.

[225] “Inter carnifices et fabros Sandapilarum.” (Juvenal, Sat. viii. 175.)

[226] “Ruinart Acta Martyrum Sincera.” (ap. Grævii Thesaurus, tom. ix.)

[227]

“Non omnis moriar, multaque pars mei
Vitabit Libitinam.”

(Horatii Odæ, lib. iii. ode 30.)

[228]

“Effert uxores Fabius, Christilla maritos,
Funereamque toris quassat uterque facem.
Victores committe, Venus, quos iste manebit
Exitus, una duos ut Libitina ferat.”

(Martial. Epig., lib. viii. 43.)

[229] “Ferrarium vicinum, aut hunc qui ad Metam sudantem tubas experitur et tibias.” (Senecæ, Epist. 56.)

Some of the tubes or leaden pipes have been found (as before mentioned).

[230] “Ostium humile et augustum, et potissimum ejus generis, quod _cochleam_ appellant, ut solet esse in _cavea_ ex qua tauri pugnare solent.” (Varr. de Re Rustica, iii. 5.)

[231] “Edidit et Circenses plurimos a mane usque ad vesperam, interjecta modo Africanarum venatione, modo Trojæ decursione: quosdam præcipuos, _minio_ et _chrysocolla_ constrato circo nec ullis nisi ex senatorio ordine aurigantibus.” (Suetonii Caligula, 18.)

[232] “Inquietatus fremitu gratuita in Circo loca de media nocte occupantium, omnes fustibus abegit; elisique per eum tumultum viginti amplius Equites Romani, totidem matronæ, super innumeram turbam ceteram.” (Suetonii Caligula, cap. 26.)

A similar mania has sometimes been heard of in recent times in Paris and in London.

[233] “Bestiariis meridianisque adeo delectabatur, ut et prima luce ad spectaculum descenderet et meridie dimisso ad prandium populo persederet præterque destinatos, etiam levi subitaque de causa, quosdam committeret, de fabrorum quoque ac ministrorum atque id genus numero si automatum, vel pegma, vel quid tale aliud parum cessisset. Induxit et unum ex nomenclatoribus suis, sicut erat togatus.” (Suet. Claudius, c. xxxiv.)

[234] “Visumque jam est Neronis principis spectaculis arenam Circi chrysocolla sterni cum ipse concolori panno aurigaturus esset.” (Plinii Nat. Hist., xxxiii. 27.)

[235] “Subinde intraverunt duo Æthiopes capillati, cum pusillis utribus, quales solent esse qui ARENAM _in amphitheatro_ spargunt.” (Petronii Sat., cap. 34.)

[236] Taciti Annales, lib. xi. c. 11.

[237] “Lithostrota acceptavere jam sub Sulla: parvulis certe crustis exstat hodieque, quod in Fortunæ delubro Præneste fecit. Pulsa deinde ex humo pavimenta in cameras transiere, e vitro: novitium e hoc inventum. Agrippa certe in Thermis quas Romæ fecit, figlinum opus encausto pinxit: in reliquis albaria adornavit: non dubie vitreas facturus cameras, si prius inventum id fuisset, aut a parietibus scenæ, ut diximus, Scauri, pervenisset in cameras. Quamobrem et vitri natura indicanda est.” (Plinii Nat. Hist., lib. xxxvi. 64.)

[238] Friedländer says that a compact floor of glass was found at Veii (vol. iii. p. 103).

[239] This remarkably fine pavement is still preserved (1876) at Præneste, now called Palestrina.

[240] Pliny, Nat. Hist., bk. xxxvi. 2, 3.

[241] Ibid. xxxvi. 24, 7.

[242] “Nerone secundum, L. Pisone consulibus, _pauca memoria_ digna evenere: nisi cui libeat, laudandis fundamentis et trabibus, quis molem amphitheatri apud Campum Martis, Cæsar exstruxerat, volumina inplere: cum ex dignitate populi Romani repertum sit, res inlustres annalibus, talia diurnis urbis actis mandare.” (Taciti Annales, lib. xiii. c. 31.)

[243] See Plate XXVII.

[244] See Plate XXV.

[245] See Plate XX.

[246] The photo-engraver has unfortunately turned this photograph upside down, but it is not of much consequence, as the size and thickness of the bricks of Nero can be seen just the same. The space is so narrow that it was difficult to get a photograph of it at all; but this is just one of the cases in which a photograph is of great importance, because there is nothing in which artists are so careless as in the thickness of the bricks and of the mortar between them; there is nothing in which it would be more easy to play tricks, if they wished to do so.

[247] The fragment of sculpture placed upon this capital has nothing to do with it, being merely placed there by the workmen, but a photograph necessarily reproduces things exactly as they were found at the time the photograph was taken.

[248] The piers of tufa are represented as transparent, to shew the insertion of the consoles in them. This insertion, with the irregularity of the plan of the tufa piers, contrasted with the mathematical accuracy of the work of the Flavian Emperors, proves that they belonged to an earlier building.

[249] In other instances, the brick arches of construction appear to rest on the piers of travertine between them; but as these have been removed, and the brick walls stand equally well without them, it is evident that this is not the case. The tall piers of travertine reach the whole height of the building, to support the upper gallery. In the following plate the same remarkable construction is shewn more clearly, because in this instance the aperture left by the removal of the stone piers is visible in two storeys, and it is seen that three piers extended from the upper gallery to the ground, passing through all the other storeys.

[250] In this plate the coins are taken by photograph from the originals in the British Museum.

[251] Qy. Colonnade of Aqueduct, or Piscina Limaria.

[252] Qy. Reservoir (_castellum aquæ_) of the time of Alexander Severus, of which there are remains.

[253] For further details see the _Descrizione di Pompeii per Giuseppe Fiorelli_, Napoli, 1875, 12mo., pp. 56 and 70. All who are interested in Pompeii should have this valuable little work.

THE
ARCHÆOLOGY OF ROME,

BY
JOHN HENRY PARKER, C.B.
HON. M.A. OXON., F.S.A. LOND.;
KEEPER OF THE ASHMOLEAN MUSEUM OF HISTORY AND ARCHÆOLOGY, OXFORD;
VICE-PRESIDENT OF THE OXFORD ARCHITECTURAL AND HISTORICAL SOCIETY,
AND OF THE BRITISH AND AMERICAN ARCHÆOLOGICAL SOCIETY OF ROME;
MEMBER OF THE ROYAL ARCHÆOLOGICAL INSTITUTE,
MEMBRE DE LA SOCIETÉ FRANÇAISE D’ARCHÉOLOGIE,
HONORARY MEMBER OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS,
AND OF VARIOUS ARCHÆOLOGICAL SOCIETIES, ENGLISH AND FOREIGN.

=PART VII.=

THE FLAVIAN AMPHITHEATRE,
COMMONLY CALLED
THE COLOSSEUM.

=OXFORD:=
JAMES PARKER AND CO.
=LONDON:=
JOHN MURRAY, ALBEMARLE-STREET.
1876.