LIST OF PLATES.
| [I.] | Exterior—General View. |
| [II.] | Views of Parts—Upper Gallery, and remains of Reservoir in first gallery. |
| [III.] | General View in 1812. |
| [IV.] | View in the Substructures in 1874. |
| [V.] | View in the Interior in 1874. |
| [VI.] | Interior—View at the South-east End. |
| [VII.] | General View in the South-east Part, with the Cradle. |
| [VIII.] | Plan of the Part Excavated. |
| [IX.] | Arches in the Substructure, of the first and second century. |
| [X.] | Canals for the Naval fights. |
| [XI.] | Two Capitals, one from the upper gallery the other from the lower one. |
| [XII.] | Restoration of one Compartment. |
| [XIII.] | Section and Details of one Compartment. |
| [XIV.] | Section of one Bay, and Plans of the Six Storeys. |
| [XV.] | A. Probable Restoration of the Stagna, &c. B. Brick arches of Nero supporting a tufa wall and arch. |
| [XVI.] | Probable Restoration of the Lifts and Pegmata, or cages, with the animals leaping out. |
| [XVII.] | View in the Substructures, shewing the Consoles for placing the boards upon. |
| [XVIII.] | View and Plan of one Division, shewing the great consoles inserted into the old tufa wall. |
| [XIX.] | View in the Substructure, with the mouth of the Great Drain, and the iron grating and the grooves of the sluice-gate. |
| [XX.] | Portion of the Superstructure in the principal gallery. |
| [XXI.] | View in the Upper Part, with the aperture from which a travertine pier has been carried away. |
| [XXII.] | The Graffiti: A. and B. Athletes; C. A hunt of wild beasts. |
| [XXIII.] | A Graffito of the framework of the netting or gilt wire on the podium. |
| [XXIV.] | Representations of the Colosseum on Coins. |
| [XXV.] | Diagrams of the Coins. |
| [XXVI.] | A Roman Galley on a Cradle. |
| [XXVII.] | I. Amphitheatre at Capua. II. Amphitheatre at Pompeii, from a fresco of the first century. |
| [XXVIII.] | Amphitheatre at Capua—Perspective View and Details. |
| [XXIX.] | Amphitheatre at Capua—Details. |
| [XXX.] | Amphitheatre at Capua—Plan of Substructures and Superstructures. |
| [XXXI.] | Amphitheatre at Verona—A. Exterior. B. Interior. |
| [XXXII.] | Amphitheatre at Pozzuoli—Arena. |
| [XXXIII.] | Amphitheatre at Pozzuoli—Plan. |
| [XXXIV.] | Amphitheatre at Pozzuoli—Views and Section. |
| [XXXV.] | Amphitheatre at Pozzuoli—Views in the Interior, subterranean part. |
| [XXXVI.] | Colosseum—Plan of the Great Drain. |
THE FLAVIAN AMPHITHEATRE,
COMMONLY CALLED
THE COLOSSEUM.
The importance of the great excavations made in 1874 and 1875 in this colossal building, and the evidence obtained by them for the history of the fabric, can hardly be overrated. It is now evident that the substructures under the level of the base of the podium are (when not rebuilt) the earliest part of it, and considerably earlier than the time of the Flavian Emperors, who built the magnificent front and corridors around a theatre previously existing on that site.
This great amphitheatre is indeed enumerated by Suetonius[23] among the works of Vespasian, and he adds that an amphitheatre in the centre of Rome had been projected by Augustus. But he does not say that it was then begun, and it seems evident that it was in use in the time of Nero in connection with his great golden house, and was partly built by him, but the exterior left unfinished. It contained the stagna, or stagnum navale, called also Vetus Naumachia, made at a still earlier period on the same site, which was called the old naumachia, when Augustus made new and larger ones in the Trastevere. It also contained his gymnasium on the boarded floor, or arena, of the theatre, over the stagna maritima, or canals for the sham naval fights. We know nothing certain as to the exact date of the commencement, but the building was continued during the reign of Vespasian and till the second year of Titus, namely A.D. 80, when it was dedicated. There is no evidence to prove that it was commenced even under Nero.
Pliny gives an account of a wooden amphitheatre built by Statilius Taurus, which was in the Campus Martius; he says[24] that
“he made two large theatres of wood, morticed together in a singular manner, and suspended so as to turn freely, in which on both sides were exhibited the afternoon shows of plays, then turning them round—nor were the scenes interrupted by the turning—quickly turning to face each other, and (intermediate) boards falling down; and the two parts held together by horns. He made an amphitheatre and exhibited the gladiatorial shows, carrying with him the consent of the greater part of the Roman people. For which was most to be admired, the inventor or the thing invented? The work or its author? To have thought of such a thing, or to have carried it out? To exhibit it, or permit it? Upon all these points there was a furor of the people, to dare to sit on such an unsafe and unstable seat.”
This gave the form of an amphitheatre, or a theatre round at both ends, and not with one side flat, as in the other theatres, but the two names are often used indifferently; this set the fashion, and Julius Cæsar followed it a few years afterwards in his great wooden amphitheatre; but the turning round had been abandoned, and the advantage of substructures under the stage would become apparent for making the shows still more popular. It is mentioned as being very large, to admit of naval fights with large vessels, but this was in the Campus Martius, and was a temporary structure only, as stated by Dio Cassius[25].
The Theatre of M. Scaurus, the ædilis, is mentioned by Pliny[26] as being on an enormous scale,—the scena of triple height, with 360 columns, and he enumerates it among the insane works that were made at his private cost. The upper part was of wood.