Fontana. Nell’ Haia, M.DC.XXV. fol. max.
[111] These views of buildings on coins appear to have been made from
the architect’s designs before they were carried out, and were sometimes
altered. There is no representation of the Colossus of Nero in any of
them. For the shallow channel of water, see Photos., No. 1759.
[112] See No. 302, and 488 c.
[113] On bad impressions of this coin the Meta Sudans looks like a second
smaller figure, or of a youth; but on good impressions the Meta Sudans is
distinct, and the figure behind it overtops it by the head and shoulders
only.
[114] See No. 488 c.
[115] “... Romæ templum Hadriani, honori patris dicatum, Græco-stadium
post incendium restitutum, instauratum amphitheatrum,” &c. (Jul.
Capitolinus-Antoninus Pius, c. 8, ap. Script. Hist. Aug.)
[116] Dionis Cass. lib. lxxii. c. 17-22.
[117] “Postea in theatris tantum umbram fecere: quod primus omnium
invenit Q. Catulus, cum Capitolium dedicaret. Carbasina deinde vela
primus in theatro duxisse traditur Lentulus Spinter Apollinaribus
ludis.... Vela nuper colore cæli, stellata, per rudentes iere etiam in
amphitheatro principis Neronis.” (Plinii Nat. Hist., lib. xix. c. 6.)
[118] See Plate XVII.
[119] Photos., No. 185.
[120] This is reproduced in Plate XXI.
[121] Photos., Nos. 167, 185.
[122] See Regio III., Castra Misenatium.
[123] Calpurnius has usually been considered as a writer of the third
century, but the most recent editor of his Eclogues (Haupt) shews that he
was contemporary with Nero and Titus, and Dean Merivale is of the same
opinion.
[124]
“Vidimus in cœlum trabibus spectacula textis
Surgere, Tarpeium prope despectantia culmen,
Immensosque gradus, et clivos lene jacentes....
Ordine quid referam? vidi genus omne ferarum....
Non solum nobis silvestria cernere monstra
Contigit: æquoreos ego cum certantibus ursis
Spectavi vitulos, et equorum nomine dignum,
Sed deforme pecus (i.e. Nilo).
Ah trepidi quoties nos descendentis arenæ
Vidinus in partes ruptaque voraginæ terræ
Emersisse feras!
Et coit in rotulam teretem quo lubricus axis
Impositos subita _vertigine_ falleret ungues
Excuteretque feras auro quoque torta refulgent
Retia, quæ totis in arenam dentibus extant,
Dentibus æquatis: et erat mihi crede Lycota
Si qua fides, nostro dens longior omnis aratro.”
(T. Calpurnii Siculi Bucol. Ecloga vii.)
[125] Dionis Cass. lib. lxxviii. c. 25.
[126] “Opera publica ipsius præter Æden Heliogabali Dei ... et
amphitheatri instauratio post exustionem ... nulla extant.” (Lampridius,
Antoninus Heliogabalus, c. 17, ap. Script. Hist. Aug.)
[127] “... sumptibus publicis ad instaurationem theatri, circi,
_amphitheatri_, et ærarii, deputavit.” (Lampridius, Alexander Severus,
c. 24.) There are coins of this emperor with the amphitheatre on the
reverse. See Plate XXV.
[128] “Fuerunt sub Gordiano Romæ elephanti triginta et duo, quorum ipse
duodecim miserat, Alexander decem: alces decem, tigres decem, leones
mansueti sexaginta, leopardi mansueti triginta, belbi, id est hyænæ,
decem, gladiatorum fiscalium paria mille, hippopotamus et rhinoceros
unus, archoleontes decem, camelopardali decem, onagri viginti, equi feri
quadraginta, et cetera hujusmodi animalia, innumera et diversa: quæ
omnia Philippus ludis sæcularibus vel dedit vel occidit.” (Jul. Capit.
Gordianus Tertius, c. 33.)
[129] This celebration shews that the chronology then accepted by
the Roman people is the same as that of Livy, which is used as the
chronological table of buildings prefixed to this work.
[130] Suetonius in Gordiano III., c. 33.
[131] Herodian, lib. i. c. 8. Ammianus Marcellinus mentions the same
exhibition, and the same number of lions leaping out at once, lib. xxxi.
c. 19. See Plates VI. and VIII.
[132] “Centum jubatos leones.” (Vopiscus in Vita Probi, c. 19.)
[133] “Eam autem denunciationem adque interpretationem, quæ de jactu
amphitheatri scripta est, de qua ad Heraclianum Tribunum, et magistrum
officiorum scripseras, ad nos scias esse perlatum.” (Codex Theodosianus,
lib. xvi. tit. x. lex 1. Imp. Constantinus ad Maximum, A.D. 321.)
[134] “Amphitheatri molem solidatam lapidis Tiburtini compage, ad cujus
summitatem ægre visio humana conscendit.” (Ammianus Marcellinus, lib.
xvi. c. 10.)
[135] SALV_is_ . _dd._ NN. THEODOSIO . ET . PLACIDO . _valentiniano_ .
_augg._ RVF_v_S CAECINA . FELIX . LAMPADIVS . VC. _et_ . _inl._ _praef._
_vrb._ HAR_e_NAM . AMPHITEATRI . A . NOVO . VNA . CVM . _Podio_ . _et_
. _portis_ . _posti_CIS . SED . ET . REPARATIS . SPECTACVLI . GRADIBVS
_restitvit_.
[136] Paulus Diaconus, Miscell., lib. xiv.; ap. Murat. Rer. Ital.
Script., vol. i. p. 96, c. 1, A.
[137] This appears from another inscription found in 1813:—
DECIVS MARIVS VENANTIVS BASILIVS V̅ C̅ et INL̅. PRAEF V̅RB PATRICIVS
CONSVL ORDINARIVS ARENAM ET PODIVM QVAE ABOMINANDI TERRAEMOTVS RVIN
PROSTRAVIT SVMPTV PROPRIO RESTITVIT.
[138] “Muneribus amphitheatralibus diversi generis feras, quas præsens
ætas pro novitate miraretur, exhibuit. Cujus spectaculi voluptates etiam
exquisitas Africa sub devotione transmisit.” (Cassiodori Chronicon, A.D.
519; inter opera ejus, ed. 1679, fol., tom. i. p. 195, col. 2.)
[139] “Quamdiu stat Colysæus, stat et Roma; quando cadet Colysæus, cadet
et Roma; quando cadet Roma, cadet et mundus.” (Bedæ Opera, Basileæ, 1563,
fol., vol. iii. col. 651.)
[140] Card. de Aragonia, Vita Innocentii II. apud Muratori, Rerum
Italicarum Scriptores, vol. iii. p. 1, p. 435 B.
[141] Cort. de Senatu Romano, lib. vii. c. 1, §. 168.
[142] Delle Memorie Sacre, e profane dell’ Anfiteatro Flavio di Roma,
&c., dal Canonico Giovanni Marangoni Vicentino. In Roma, 1745, 4to. Cap.
l. p. 49, Codice pergameno, Scritto dal celebre Onofrio Panvino inedito
ed intitolato, _de Gente Fregepanica_.
[143] Card. de Aragonia, Vita Alexandri III. ap. Muratori, Rerum Ital.
Script., tom. iii. p. i. p. 459.
[144] Albertino Mussato, Hist. Aug., lib. v.; ap. Murat. Rerum Italic.
Script., tom. x. c. 454. Nibby, Roma nell’ anno MDCCCXXXVIII, parte i. p.
413.
[145] Rainaldi Annal. an. 1244; Panvin. de gente Frangipani; Muratori,
Rerum Italicarum Scriptores, tom. xii. col. 535, 536. Nibby gives a more
complete and accurate version of this occurrence from a better text,
though modernized. See Roma Antica, part i. p. 414.
[146] “... et præterea se omnes emendarent de faciendo tiburtinam
(travertini) quod esset commune id quod judicitur.” (Fea, Dissertazione
nelle Ruine di Roma, p. 398.)
[147] F. Vacca, Memorie ap. Fea, lxxiv. p. 72.
[148] Poggio the Florentine, writing in 1425, says that a large part of
the building was reduced to lime by the stupidity of the Romans:—“...
atque ob stultitiam Romanorum majori ex parte ad calcem delatum.”
(Poggio, de Varietate Fortunæ, lib. i.)
[149] Flaminio Vacca, Memorie, 72; Marangoni, Memorie dell’ Anfiteatro
Flavio, p. 57, quoted by Nibby, Roma nell’ anno MDCCCXXXVIII, parte i.,
Antica, p. 418.
[150] Bellori, Vita di Domenico Fontana. Roma, nell’ anno MDCCCXXXVIII,
&c., parte i., Antica, pp. 414-417. (Le Vite de pittori, &c., Roma, 1728,
4to. p. 93.)
The space enclosed within the outer walls is six acres, and there is an
extraordinary difference of climate between the northern and the southern
side. Dr. Deakin published a work on the Flora of the Colosseum: he found
423 _species_ of plants, belonging to 253 _genera_.
Over the door now generally used is a painting of the heavenly Jerusalem
and the Crucifixion, of the time of Paul III., A.D. 1534-50, in the style
of the older pilgrimage pictures. At the time it was painted the passage
appears to have been filled up with earth to such a height as to make the
picture a conspicuous object in leaving the building; at present it is
quite above the heads of the passers-by, and is seldom noticed or seen.
[151] The interior of the building is still grand in its ruins. This is
well shewn in the photograph (No. 1195,) with the cross, and the altar,
and the stations erected by the pope about 1750, and destroyed in 1874,
in order to excavate the whole of the area. A restoration of the interior
according to Canina can also be seen in another photograph (No. 724).
[152] Etudes Statistiques sur Rome, par le Conte P. N. C. de Tournon.
Paris, Didot, 1821, 8vo., 4 vols., and deuxième edition, 3 Volumes en 8vo
avec atlas, Paris, 1858.
The fine set of drawings made for the French Government at that period
are now preserved in the British Museum, and fully bear out what I
had stated before I had seen them. They clearly shew that the French
excavations were not carried down more than ten feet. The tops of
the arches of the lower passage are shewn in the drawings, but these
excavations appear to have been stopped by water rising to that height.
See Plate III.
[153] See No. 1742, and Plate III.
[154] Probably the aqueduct which passes there had a hole made in it; the
same aqueduct goes on from this side of the building to the south-east
end. This occurred again in 1874, and a steam engine had again to be
employed. This passage, before it turns, goes in the direction of the
_castellum aquæ_ of the time of Alexander Severus, of which there are
considerable remains between this point and the Cœlian. The _specus_
of an aqueduct of the same period passes along between the Cœlian and
the amphitheatre, near the surface of the ground; a portion of this was
visible in 1874.
[155] See Photograph, No. 367.
[156] See p. 5.
[157] In the summer of 1875 they were again suspended for want of funds
to pay for the steam-engine, which costs a pound a-day.
[158] Of which an account has been given in pages 5, 6, 10, 13, 14, 21,
35, of this chapter.
[159] See Plate III.
[160] See Plate XV.
[161] About the year 1865 a new drain was made by the Municipality under
that road, and when it was nearly finished the old drain of the Empire
(?), or of the time of Sylla (?), was found under it at a considerably
lower level. It is fifteen metres below the surface of the ground, and
so much filled up with earth that it is considered (in 1876) quite
impracticable to have it cleared out and repaired.
[162] Photos., Nos. 3203, 3283.
[163] For the _pegmata_, see p. 14, and the authorities quoted in the
note.
[164] See Plates XVIII., XIX., and Photos., No. 3283, and the graffito of
the net, Plate XXIV.
[165] See Photos., No. 3201, and Plate XIX.
[166] See the evidence of this, p. 13.
[167] See Plates XIII. and XVI.
[168] Dionis Cass. Hist. Rom., lib. lxxii. c. 17, 18, 19, 20, 21.
[169] Some scholars say that those scenes could not have taken place on
this site, because the Flavian Amphitheatre was not built in the time of
Nero. But it has been shewn that an awning in the _amphitheatre of Nero_
is described by Pliny, writing at the time, during the life and reign
of Nero, as he uses the expression _principis Neronis_, which he could
hardly have used after his death. No other site but this can be found
for such a large building as an amphitheatre, and this is close to the
Golden House of Nero. In any case athletes or wrestlers, and _naumachia_
or naval fights, are part of the tradition of many Roman amphitheatres,
and there are sufficient remains of the substructures in many places
to prove that this tradition is well founded. The _corridors_ of the
Flavian Emperors, though splendid additions to this great theatre, were
not _necessary_ for the performance of those pantomimes. It has also been
shewn that the old tufa walls _must be_ earlier than the time of Nero,
and are probably of the time of Sylla.
[170] See Plates IV. to X.
[171] They were made at the suggestion of the author of this work,
rather sooner than would otherwise have been the case, in order that
he might be able to see them. Signor Rosa unfortunately began pulling
down the walls of the substructure, calling them “Frangipani walls.” The
Frangipani family had possession of the Colosseum in the twelfth century,
but the construction of that period is totally different from any of the
walls in the Colosseum, either above or below the level of the _arena_.
The Minister of Public Instruction fortunately arrived in Rome in time
to stop their demolition, and obtained an Act of Parliament, in 1875,
appointing a general Archæological Commission for all Italy, with Signor
Fiorelli, from Pompeii, at the head of it; and no individual will in
future be permitted either to destroy antiquities, or to build anything
new, without the consent of the Commission.
[172] See No. 3202, and p. 27.
[173] See No. 3201.
[174] See No. 3263, and Plate VII.
[175] See No. 3203.
[176] The plan of one section of this enormous building (see No. 183 and
Plate XIV.), and those of the six different floors or storeys, shew the
admirable arrangement of the seats and passages, and _vomitoria_ for
the rapid exit of the people, as well as the plan of the whole building
would do. The magnificent stone arcades of the Flavian Emperors, A.D. 80,
appear in many parts to be built against brick walls and galleries of the
time of Nero, originally built for the spectators of the old Naumachia.
(See No. 3205, 1762.)
[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]