The archæology of Rome, Part 7

by John Henry Parker

Substructures compared.

In treating of the amphitheatres in general, and corroborating the account given in this work of the Colosseum, it must be borne in mind that in every theatre a considerable space is required behind the scenes for the use of the actors. The performances in an amphitheatre would equally require such space for the performers when off the stage, and the only space to which they could possibly retire is under that stage which is called the arena, because it was covered with sand; and it has been shewn that in these substructures there are numerous passages and contrivances for the machines to send up the wild beasts to be hunted, the men and the dogs to hunt them, and the athletes for the wrestling matches; we have also canals for water for the keels of the vessels, in some instances, but not in all; in some cases, the vessels employed could only have been rowing-boats, rates. We have also mention of battles with swords in the naumachia, and of many men being killed. This seems to make it clear that the principal amusement consisted in the crew of one vessel trying to board the other, and the defendants preventing their doing so in every way that they could, either by throwing them off into the water, or with swords and spears.

At Pozzuoli, where the substructures are nearly perfect, there are remains of an intermediate passage, as if for men to run along; and this has been traced to communicate with the Emperor’s seat, and is thought to have been for messengers to go with orders, and to give the necessary directions. All that remains of this intermediate passage are the corbels for carrying a wooden gallery upon. There are similar corbels for an intermediate passage between two floors in the Colosseum, but here in the upper part, apparently for the sailors to run along to furl or unfurl the awning, not in the substructures; there also appear to have been separate stairs and vomitoria for that passage, and as we know that several hundred sailors were employed in the Colosseum, such an arrangement would be quite necessary.

Mention has frequently been made of the great central passage, which exists not only in the Colosseum, but in all other amphitheatres where substructures were made. This passage appears to have served for several useful purposes; there are traces of machines in it for lifting up some large object, not only in the Colosseum but also at Capua; and the things to be lifted up in all probability must have been the vessels for the naval fights. This central passage is mentioned or implied in several instances in the classical authors; it had the appearance of a gulf dividing the earth or arena into two parts. Apuleius calls it vorago terræ (a gulf of the earth); Martial, the via media, or middle way; and Petronius, ruina terræ, from the appearance of a swallowing-up the machines and the gladiators.

The machines used for these public amusements were evidently numerous and important, and required a good deal of space to stow them away, more even than was afforded by the vaults and passages under the arena in the Colosseum. This is implied by the celebrated letter of Apollodorus, the architect, to the Emperor Hadrian, in which the architect told the Emperor that he ought to have built the Temple of Roma at the south end of the Summa Sacra Via, and to have made room for this machinery of the amphitheatre in vaulted chambers under it (as before mentioned); that he did not do so is evident, for the excavations of 1874 brought to light rude concrete walls of the time of the Republic, with a small aqueduct of the time of the Early Empire, made to carry water to the fountains at the corners of the porticus above. The accounts which we have in classical authors, of the machinery employed in the amphitheatre, remind us very much of that used for a Christmas pantomime in one of the London theatres, and all these great shows were very much of the character of a pantomime. To begin at the top, the cords which carried the velarium, or awning, were strong enough for a rope-dancer, and were called by the name of catadromus; and we have an account in Suetonius, in the time of Nero, of an elephant being taught to walk upon these cords with a Roman cavalier on his back[200]. We also have an account of an actor trying to play the part of Icarus, and fly down from the top, falling dead at the feet of Nero, and sprinkling him with his blood[201].

The pegmata have been mentioned as cages for wild beasts, and this was evidently one meaning of the word, as used by Seneca in his Epistles, quoted in a previous page, but this was one meaning only; the same name was applied to a wooden framework of any kind, sometimes evidently what we now call scenery, either fixed or moveable. Josephus mentions pegmata used in the triumphal procession of Titus, one of which was three storeys high, and another four, on which were representations of the capture of Jerusalem. Another is mentioned by Calpurnius as representing the Tarpeian rock[202], and the victims were thrown from the top of it on to the arena, or into the gulf, and killed on the spot. Apuleius also describes one as representing Mount Ida, with trees, and shrubs, and fountains, on which appeared from time to time Paris and Mercury, and the three goddesses, Juno, Pallas, and Venus, with a number of animals to complete the scene[203]. Another is described by Claudian as representing Mount Etna[204], with the flames burning at the top. Others representing Vulcan and Cyclops; these were in the shows of Carinus and Numerianus, and are mentioned by Vopiscus[205]. It is evident that this scenery must have been prepared below and sent up from the central passage, as there was no room anywhere else for sending it up. Martial[206] also mentions pegmata as rising, from this middle way, and that a person could see from thence the Colossus among the stars. As the Colossus stood on an elevated platform on the Summa Sacra Via, just in a line with this middle way, and was itself 120 ft. high, it is quite probable that the head of it could be seen from below, over the upper gallery.

The dens for the wild beasts in the substructures under the podium are found both at Capua and at Pozzuoli, just as in the Colosseum, and the technical name for such a den was catabolus[207]. Besides the mention by Herodian of a hundred lions leaping on to the arena at once, as “if out of the earth,” (mentioned in page 26), the same thing is mentioned by several other authors at different periods, both of lions and of other wild beasts. Vopiscus mentions this in the life of Probus[208], and that all the doorways were stopped for a time; and he distinctly mentions the animals coming out of the caves below. Ammianus Marcellinus[209] also mentions the doorways being often stopped for the wild beasts. Statius mentions the same[210], and Julius Capitolinus, both in the time of Antoninus Pius and Marcus Aurelius. In each case a hundred lions are mentioned, and in the latter that they were killed with arrows; and in the time of Probus, not only a hundred lions, but also a hundred Lybian leopards, a hundred Syrian ones, a hundred lionesses, and three hundred bears. Lampridius[211] also mentions in the time of Gordianus the almost incredible number of a thousand bears, in addition to a hundred Lybian leopards.

To protect the people in the lower gallery from these wild beasts, a strong netting was provided (as has been mentioned); this was of gold wire, fixed in a wooden frame, and at the top was an ivory rod which turned round, so that if an animal should attempt to cling to it, he would necessarily fall back. This net was called retia, and at Puteoli or Pozzuoli it was either of gold, or gilt; and this was the case in the Colosseum also, and in other instances. Our authority for this is Calpurnius in his Eclogues[212].

The naval fights with the larger vessels were sometimes held in the Circus Maximus, which could be flooded to the depth required by stopping up at the lower end the stream that runs through it, which is in fact a branch of the small river Almo, but was in this part called the Euripus. This name was also given to the canals for the naumachia, as in the Colosseum. This must have been the case, because the Emperor Heliogabalus upon one occasion filled these canals with wine, which could not have been done in the Circus Maximus, where the Euripus was a natural running stream of water; but in the Colosseum a canal supplied with water from an aqueduct, which could be let in or drawn off at pleasure, might very well have been filled with wine during an abundant season, when in Rome the wine is sometimes worth less than the vessel that holds it, so that large quantities are frequently wasted for want of casks to put it in. In all wine-growing countries, the same thing occurs from time to time in superabundant seasons. It is true that these naval fights were called Circensian games, because they were sometimes held in a circus (as has been said), but the same name was given to them when they were held in the amphitheatre, as in this instance, by Lampridius[213]. Martial[214] distinguishes very clearly both the one and the other, and makes it evident that the stagna of Nero were used for the naumachia of the Cæsars.

That the vaults under the arena were called caveæ, caves (or cavities), has been already mentioned, and is evident from many passages in classical and mediæval authors; as in Tertullian and in Prudentius[215], when describing the scenes that had taken place in the amphitheatre as the wicked rites in which the gladiators were killed on the arena, and the impious games in which the sad spectacles of funereal character were brought up from the caves, worthy only of the infernal Jupiter (whom the Christians call Satan).