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the finding of the cradle in the Colosseum, it is particularly valuable
for the purpose of comparison.
 THE COLOSSEUM.
PLATE XXVII.
AMPHITHEATRE OR COLOSSEUM AT CAPUA.
 AMPHITHEATRE OR COLOSSEUM AT CAPUA

AMPHITHEATRE WITH AWNING FROM A FRESCO AT POMPEII

Description of Plate XXVII.

 AMPHITHEATRE OR COLOSSEUM AT CAPUA.
This Plate is a reproduction of Photograph with no attempt at
restoration.
The resemblance between this and the Colosseum in Rome is so
remarkable, that there can be no doubt one is a copy from the other.
In this amphitheatre the two canals for water, on each side of the
great central passage, and the curved passage round the outer
edge, are distinctly visible. At Capua, the aqueduct for the water,
and the drain to carry it off, remain.
Amphitheatre at Pompeii, from a Fresco Painting.
The lower view is from a fresco at Pompeii. It shews the awning is
drawn off behind. There is a front built out distinct from the oval
building, with which it is connected by a curved wall at each end,
and on which is a passage with persons upon it; there are two grand
flights of steps leading up to the top, and persons going up them.
These steps are carried on arches, increasing in height as they get
nearer the top. The front passage is also carried on tall arches. All
these arrangements for the entrance and exit seem to be a bad
substitute for the vomitoria of the Roman Colosseum.
There appears to be another place of amusement of some kind by
the side of the amphitheatre. A square space enclosed by a high
wall, with two arches on one side or doorways (?), probably a school
for gladiators, with an impluvium in the middle. There is an
inscription on the wall, of which all that is legible is divcret ...; there
is also in the front of the picture a tent with persons under it, and
two small square or oblong huts, evidently of wood, the planks being
shewn in one with a door; this was probably a wine-shop.
There are a number of figures in active motion in all parts of the
picture, many of them evidently fighting, and it represents a skirmish
between the Nucerini and the Pompeiani; the inhabitants of a
neighbouring town, called Nuceria or Nocera, having made a sudden
inroad on Pompeii, the Pompeians are flying in all directions, closely
followed, some dying and some dead. These hand-to-hand fights are
seen on the arena, in the corridors or ambulatories, on the walls of
the town, and on the esplanade round the building, which is planted
with trees for shade[253].
 THE COLOSSEUM.
PLATE XXVIII.
AMPHITHEATRE AT CAPUA.

AMPHITHEATRE AT CAPUA—VIEW AND DETAILS

Description of Plate XXVIII.

AMPHITHEATRE AT CAPUA.
A. Perspective view, looking down upon it, with a restoration of
the canals for water.
d. The pavement.
g g. Walls to support the canals of water.
 h h. Dens for the wild beasts.
i. Socket for a pivot.
k k. Canals for water.
B. One of the chambers in the substructure of the time of Hadrian,
with the aqueduct, l, and an opening made in the vault.
THE COLOSSEUM.
PLATE XXIX.
AMPHITHEATRE AT CAPUA.
Details.

AMPHITHEATRE AT CAPUA—DETAILS

A. PORTION OF EXTERIOR

B. LONGITUDINAL SECTION

C. PORTION OF ARCADES AND DENS

D. PLAN OF THE SAME

Description of Plate XXIX.

 AMPHITHEATRE AT CAPUA.
Details.
o o o. Portion of the exterior,—all that remains of it being two
arches of the arcade, with pilasters between them, and one pilaster
of the upper storey.
A—B. Transverse section of the remains.
C. Four arches of the inner arcade.
h h h. Dens for wild beasts.
P P P. Corbels, or consoles, as in the Colosseum, Plate XVII.
l l. Aqueduct coming from the chambers of the time of Hadrian.
(See the Plan.)
D. Plan of this portion of the building.
 THE COLOSSEUM.
PLATE XXX.
AMPHITHEATRE AT CAPUA.
Plan of the Substructures, with the Superstructures in dotted lines.
 AMPHITHEATRE AT CAPUA

PLAN WITH THE SUBSTRUCTIONS

Description of Plate XXX.

 AMPHITHEATRE AT CAPUA.
Plan of the Substructures, with the Superstructures in dotted lines.

a. North entrance.
b b b. Central passage.
c c c. Eastern passage.
d. Small chamber of the time of Hadrian.
e e. Western passage.
f f. The galleries.
g g. Substructures with water.
h h h. Dens for the wild beasts.
i i. Sockets for pivots, as in the Colosseum.
k k k. Canals for water.
l l. The aqueduct.
m m. The drain.
n n. Stairs.
o o. Superstructure. The only remains of the exterior façade.
THE COLOSSEUM.
PLATE XXXI.
AMPHITHEATRE AT VERONA.
 AMPHITHEATRE OF VERONA

A. VIEW OF EXTERIOR WITH THE ARCADES

B. VIEW IN INTERIOR WITH SEATS

Description of Plate XXXI.

 AMPHITHEATRE AT VERONA.
(From Photograph.)
A. Exterior, with the double arcade,—and remains of the exterior
front.
B. Interior, with the marble seats. These are the most perfect that
remain anywhere, and they shew what the Colosseum must have
been when perfect.
 THE COLOSSEUM.
PLATE XXXII.
THE AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.

AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.

Description of Plate XXXII.

THE AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.
In this instance the arena has fortunately been preserved, with
the trap-doors in it; those round the edge being for wild beasts, the
others for men and dogs, and the central passage as in the
Colosseum. We see that the central passage has been boarded over
also. The arrangement of the seats in the galleries is also the same,
and the tufa wall behind probably indicates that there was an
awning over the galleries in the same manner. This confirms one
part of the history of the Colosseum, and the Amphitheatre at Capua
confirms another part, the canals for the naumachia or naval battles,
although these were evidently very different from what had formerly
been supposed. At each end of the part that is uncovered of the
central passage it will be observed that there is a short post, looking
very much like a capstan for winding a cord upon, as in Rome,
although in this instance they are square and on the surface, and
not on the pavement below. Each of the openings to the trap-doors
has a groove round it, for a cover to fit into; possibly this was made
water-tight, so that the whole surface could be flooded. The central
passage has the same sort of groove sunk round it. The same
arrangement may have been used in the Colosseum, but in that case
there is the difficulty of the interval between the podium of the lower
gallery and the floor of the arena, which does not appear to have
existed at Pozzuoli. This would have made it impracticable to flood
the whole surface at Rome, which might have been done at Pozzuoli.
 THE COLOSSEUM.
PLATE XXXIII.
AMPHITHEATRE AT POZZUOLI.
Plan.

AMPHITHEATRE AT POZZUOLI—PLAN

Description of Plate XXXIII.

AMPHITHEATRE AT POZZUOLI.
Plan.
A—B. Line of the Longitudinal Section.
C—D. Line of the view of the exterior.
a. Plan of the substructions.
b. With the superstructure in dotted lines.
c. Principal entrance from the west.
d. Eastern entrance.
e. Central passage.
f. Transverse Section.
g. Aqueduct.
h. Dens for animals.
i i. Part of the substructure not yet excavated.
k. Chambers commonly called “the Prison of Nero.”
l l. Drain leading to the sea.
 THE COLOSSEUM.
PLATE XXXIV.
AMPHITHEATRE AT POZZUOLI.

AMPHITHEATRE AT POZZUOLI

Description of Plate XXXIV.

AMPHITHEATRE AT POZZUOLI.
A—B. Longitudinal Section.
c. Principal entrance from the west.
d. Eastern entrance.
 These two entrances are on sloping ground, descending to the
central passage, e e e.
e. The drain to the sea.
C—D. View of the Exterior, from the principal entrance on the
western side.
 THE COLOSSEUM.
PLATE XXXV.
AMPHITHEATRE AT POZZUOLI.

AMPHITHEATRE AT POZZUOLI—DETAILS

Description of Plate XXXV.

AMPHITHEATRE AT POZZUOLI.
E. View in the principal corridor, with the receptacles to collect the
water, m m m.
F. View in a subterranean corridor under the arena, shewing
remains of the decorations thrown down by the hand of men,
through the aperture, n.
 It is here impossible that they could have fallen down in an
earthquake, as was the case in the Colosseum. A garden was made
here upon the arena, and these decorations were removed from the
surface, as interfering with the cultivation of the garden, and thrown
down into the substructures, and then arranged under the vault as
we see them.
 THE COLOSSEUM.
PLATE XXXVI.
PLAN OF THE GREAT DRAIN.

COLOSSEUM—PLAN OF THE GREAT DRAIN

Description of Plate XXXVI.

PLAN OF THE GREAT DRAIN.
A. The Colosseum.
B. Part of the Cœlian Hill, on which the Claudium stood.
C. Part of the Palatine Hill.
 a. Summa Sacra Via.
a*. Clivus Triumphalis.
b. Meta Sudans.
c. Arch of Constantine.
d d. Passage of Commodus.
e. Site on which the steam-engine was placed in 1874-5, to pump
out the water coming from this point.
f. Piscina of the time of Nero.
g. Castellum Aquæ, or reservoir of Alexander Severus.
g*. Aqueduct of the third century.
h h. Exhedra of the Ludus Magnus.
i i i. Great Drain of the Colosseum, to convey the water to the
Tiber.
k. The exact spot where the water runs down from the Cœlian
into the Colosseum, called a natural spring, but not having the usual
bubbling character of a spring.
l. Via di S. Giovanni in Laterano.
m. Via Cœlimontana.
n n n. Orto Botanico. Waste ground at the foot of the Cœlian Hill,
planted with trees and shrubs, called the Botanical Garden, but not
used as such.
o o. Via del Arco di Constantino. The road between the Cœlian
and the Palatine Hill.
p. Podium of the colossal statue of Gordianus, 50 ft. high.
 FOOTNOTES
[1] See Plate XIII.
[2] Ibid. XVII., XVIII.
[3] See Plates V., VI.
[4] See Plate XVI.
[5] Ibid. XXII.
[6] Ibid. XXIII.
[7] Ibid. XXIV., XXV.
[8] Ibid. X.
[9] Ibid. IX., XV.
[10] See Plate IV.
[11] Ibid. XV.
[12] Ibid. I., II.
[13] See Plate XII.
[14] Ibid. XI.
[15] Ibid. XX., XXI.
[16] Ibid. XIV.
[17] Ibid. VII., VIII., XXVI.
[18] Ibid. XIX.
[19] Ibid. XXXVI.
[20] See Plates XXVII., XXVIII., XXIX., XXX., XXXI.
[21] Ibid. XXXII., XXXIII., XXXIV., XXXV.
[22] See the Part of this work on the Forum Romanum and the
Via Sacra for evidence of this.
[23] “Fecit et nova opera ... item amphitheatrum urbe media,
ut destinasse compererat Augustum.” (Suetonius, Vespasianus, c.
9.)
[24] Plinii Nat. Hist., lib. xxxvi. c. 24, s. 8.
 [25] Dionis Hist., lib. xliii. c. 25.
[26] “Non patiemur duos Caios, vel duos Nerones, ne hac
quidem gloria famæ frui: docebimusque etiam insaniam eorum
victam privatis operibus M. Scauri, cujus nescio an ædilitas
maxime prostraverit mores civiles, majusque sit Sullæ malum,
tanta privigni potentia, quam proscriptio tot millium. Hic fecit in
ædilitate sua opus maximum omnium, quæ unquam fuere
humana manu facta, non temporaria mora, verum etiam
æternitatis destinatione. Theatrum hoc fuit. Scena ei triplex in
altitudinem, ccclx columnarum, in ea civitate, quæ sex Hymettias
non tulerat sine probro civis amplissimi. Ima pars scenæ e
marmore fuit: media e vitro, inaudito etiam postea genere
luxuriæ: summa, e tabulis inauratis.” (Plinii Nat. Hist., lib. xxxvi.
24. 7.)
[27] The meaning of this appears to be that the upper part was
temporary, and was removed shortly afterwards, as is related in
another place; but the substructures were permanent, or eternal.
[28] Dionis Hist. Rom., lib. xxxvii. c. 58.
[29] Justi Lipsii de Amphitheatro liber, 1684; et apud Grævii
Thesaurus Ant. Rom., Lugd. Bat. 1699, folio, vol. ix.
[30] “Alter in Amphitheatrali cavea cum adfuturus spectaculis
introiret.” (Ammiani Marcellini, lib. xxix. 1, Valentinianus, &c., a.d.
371.)
[31]

“Quid pulvis Caveæ semper funebris et illa

Amphitheatralis spectacula tristia pompæ.”

(Prudentius contra Symmachum, lib. i. l. 384-5.)

[32]

“... stat cardine aperto

Infelix Cavea et clausis circum undique portis
Hoc licuisse nefas pavidi timuere Leones.”

(Statii Silvæ, lib. ii. 5; Leo Mansuetus imp., l. xi.)

[33] Claudianus de laudibus Stilicho, lib. iii.

[34] Lipsius has collected a host of extracts from the classical
authors respecting this great amphitheatre, and the arrangement
and amusements in it; but as the substance of these is given in
the usual classical dictionaries, especially Dr. Smith’s, and they do
not affect the history of the building, it is not necessary to repeat
them here.
[35] Polybii Hist., i. 84.
[36] Cassiodori Variar., lib. v. epist. 42.
[37] Livii Hist., xxxix. 22.
[38] Ibid., xliv. 18.
[39] Sig. Fabio Gori has collected all these passages, and given
an Italian translation of them in his work entitled Le memorie
storiche, i giuochi e gli scavi dell’ anfiteatro Flavio. Roma, 1874.
[40] Suetonii Julius Cæsar, cap. 39.
[41] That is, chariots on two wheels and others on four wheels.
[42] “In minore Codeta, defosso lacu.”
[43] Vessels with two, or three, or four rows of oars.
[44] See Plate IX.
[45] Every square yard of this part of Rome has been trenched
in the search for statues in the seventeenth and eighteenth
centuries, and records of these numerous excavations are
carefully preserved in the Miscellanea of Fea. Had there been any
such building as would be required for this purpose anywhere
near his palace, it must have come to light, and nothing of the
kind has been found.
[46] See Plate II.
[47] The basin of Nero was possibly cut through the layer of
tufa, which underlies the whole soil of Rome, down to the clay
under it. In some excavations made under my direction in a cave
under the Aventine, near the Marmorata, which was the mouth of
the Aqua Appia, a level bed of white clay was found under the
tufa rock of which the Aventine Hill consists; this would account
for the walls in the central part built of concrete and brick, on this
clay foundation, having been frequently damaged by
earthquakes, while the great stone arcades, being built upon the
tufa rock, did not suffer from the shocks. Clay is always a bad
foundation to build upon, and there are always settlements in
buildings that rest upon it. The objection to this theory is, that
the surface of the water would be twenty-one feet below the
arena and the foot of the podium.
[48] See Plate IX.
[49] In the ancient catalogue of the Emperors and their works,
known as “Catalogus Viennensis Imp. Rom. apud Eccard.,” under
Vespasian, it is stated that he dedicated the first three steps of
the amphitheatre, implying that three were already finished even
in his time.
[a.d. 70.] “Hic prior tribus gradibus amphitheatrum dedicavit;”
That Titus added two more.
[a.d. 81.] “Hic amphitheatrum a tribus gradibus patris sui dura
adjecit.”
And further, that Domitian completed the building up to the
clypea, that is, the top cornice at that time, when the upper
storey was of wood.
[a.d. 92-96.] “Domitianus Imp. ... Amphitheatrum usque ad
clypea.”
[50] See Plates V., VI., XV., XVI.
[51] Photos., Nos. 3136, 3137.
[52] Photos., No. 3204.
[53] This platform was, perhaps, constructed of a great number
of timbers fastened together. Lucan has described such a platform
with a tower on it. (Pharsal., lib. iv. 420, sqq.)
[54] Dionis Hist., lib. lxii. cap. 15.
[55] Ibid., lib. lxi. Nero, vi. c. 9 and 17.
[56] Ibid., lib. lxvi. c. 25.
[57] Ibid., lib. lxii. Nero, iii. c. 15, and 20, 22.
[58] “Spectacula magnifica assidue et sumptuosa edidit, non in
amphitheatro modo, rerum et in circo ... ac in amphitheatro,
navale quoque.” (Suetonii Domitianus, c. 4.)
[59] Dionis Hist., lib. lxii. c. 18.
[60]

“Omnis Cæsareo cedat labor Amphitheatro:

Unum pro cunctis fama loquatur opus....”
 (Martialis, De Spectaculis, Epigr. 1.)

“Hic, ubi conspicui venerabilis Amphitheatri

Erigitur moles, stagna Neronis erant.”

(Ibid., Epigr. 2.)

[61] Taciti Ann., xv. 42.
[62] Ibid., lib. xiv. c. 15.
[63] Ibid., c. 31.
[64] “... lacu in ipso navale prælium adornatur, ut quondam
Augustus, structo cis Tiberim stagno; sed levibus navigiis et
minori copiâ ediderat.” (Taciti Annal., xii. 56.)
[65] “Igitur in stagno Agrippæ (Tigellinus) fabricatus est ratem,
cui superpositum convivium aliarum tractu navium moveretur ...
volucres et feras diversis e terris, et animalia maris Oceano
abusque petiverat.” (Taciti Annal., lib. xv. c. 37.)
[66] Taciti Ann., lib. xv. c. 42.
[67] Ibid., lib. xiv. c. 15.
[68] See p. 5.
[69] Santi-Bartoli (in a paper printed in the Miscellanea, by Fea,
vol. i. p. ccxxiii.) states that in his time a quantity of leaden
water-pipes, which carried water from the Thermæ of Titus to the
Colosseum, were found in an orchard north of the Colosseum.
[70] Suetonii Nero, c. 12.
[71] This dedication is referred to by Eutropius thus,—
“Hic [Titus] amphitheatrum Romæ ædificavit, et in dedicatione
ejus quinque millia ferarum occidit.” (Eutropius, lib. vii. c. 14. See
also Cassiodorus, Variar. l. v. op. 42. Opera omnia, ed. 1679, fol.
vol. i. p. 94, c. 2.)
The account by Suetonius, writing some eighty or ninety years
previously, is very clear:—
“Amphitheatro dedicato, thermisque juxta celeriter exstructis,
munus edidit apparatissimum largissimumque. Dedit et navale
prœlium in veteri naumachia: ibidem et gladiatores: atque uno
die quinque millia omne genus ferarum.” (Suetonius Titus, c. 7.)
These old naumachia were the same as the stagnum navale,
the old place for such amusements on the spot. They have been