to have been at the upper end, under the ascent to the terrace, being
vaults under that part of the body of the work: whether they were of
the same chalk, or timber, or whether they were arched with brick
or stone, or what other matter, I cannot say; but the ruin thereof
seems to be the reason of the present deformity at that end; so that
it is not easy to guess at its original profile. We may observe that
the parapet and terrace go back there, and, taking a new sweep, fall
beyond the line of the outer oval; for two reasons, as I conceive:
1st, Because by that means there is a greater length obtained for the
ascent to the terrace, which makes it more gradual and easy: 2dly,
Thereby more space is procured for the apartments of the prisoners
under ground. By the section lengthwise, it is easily understood that
I suppose a passage quite through, or subterraneous gallery upon that
end of the longest diameter, under the ascent to the terrace, from the
out-side into the _area_: this must open at the bottom of the _podium_,
as was practised in other works of like nature, with a squarish door,
as Varro tells us, _de re rustica_. “The door (says he) ought to be low
and narrow, of that sort which they call a _cochlea_, as is wont to be
in the cave where the bulls are shut up for fight.” The entrance to
this place might be from without-side the amphitheatre: here is no want
of room for the door within; for the level of the _area_ was at least
twelve feet lower than the _podium_, like our pit at the play-houses;
and it is probable there was a descent of the whole level this way,
to draw off the rain into some subterraneous passage: the _podium_ in
the _castrensian_ amphitheatre is monstrously high. Our _area_, no
doubt, is exceedingly elevated by manuring, ploughing, and ruins: yet
it preserves a dish-like concavity, through innumerable injuries; for
the descent from the entrance is very great, and you go down as into a
pit. I conjecture the middle part of the _area_ is now ten foot lower
than the level of the field: but the field itself, especially about the
entrance, is much lowered by ploughing, because the end of the circular
walk there, which should be even with the ground, is a good deal above
it. The dens and caves of the wild beasts at the great circ in Rome
were only of earth and wood, till Claudius the emperor built them of
marble. This ruin at the upper end is very considerable; for it has so
filled the _arena_ thereabouts, that the cattle plough up to the very
_præcinctio_. On the out-side is a large round tumour, a considerable
way beyond the exterior verge, and regular in figure, which certainly
has been somewhat appertaining to the work: I could wish that a careful
person had liberty of digging into it. Moreover, this _podium_ had a
parapet of earth, if not a balustrade, as was usual in others: behind
this, upon the lowermost seat, was the place of the senators and chief
persons, who often had chairs or cushions: this was the best place for
seeing and hearing, as being nearest the _arena_; whence Juvenal says,
————————_generosior & Marcellis,
Et Catulis Paulique minoribus et Fabiis &
Omnibus ad podium spectantibus_.————
So Suetonius, in _Augusto_, says, the senate made an order, that the
first or lowest seat at public spectacles should be left for them:
probably this was broader than any other seat, with a greater space
between the _podium_ and next seat, for more ease. The chair of state
for the _prætor_ was on one side, and probably another opposite to
it for the emperor, or his legate, which was reserved empty, for
state, in their absence; or for the _editor_ of the shows, who was
generally thus distinguished: and it is remarkable that a little
prominence is still left in these very places. These were set in the
middle of the _podium_, on each side, upon the shortest diameter,
and were covered with canopies like a tabernacle. This _podium_ had,
for greater safety, grates, nets, and lattice work of iron, or more
costly metal, supported by pillars, and the like: beside, there were
rollers of wood or ivory length-wise, which hindered the beasts from
climbing up, by their turning round, as is particularly described
by Calpurnius. And, moreover, in greater amphitheatres, there was a
ditch full of water under it, called _euripus_, first introduced by
Julius Cæsar. In the early times of these buildings, the people sat
all together promiscuously; but after the emperors, the places were
distinguished according to the degrees of quality, senators, knights,
or common people. The knights seats were next to the senators, fourteen
deep in number; so that _gradus quatuordecim_ became a phrase for
the equestrian order. We may suppose these two degrees filled all
the seats in our amphitheatre under the circular walk or ascent. The
common people possessed the remainder, or the whole concavity above
the circular walk, taking the best places as they came first: but the
uppermost seats were reserved particularly for the women; and one
reason of their distance was, I suppose, because the gladiators were
naked. And that no routs and confusions should disturb the order of
these solemnities, there were proper officers appointed, that took care
none should presume to sit out of the seats suitable to his degree.
I imagine the terrace at top in our work was designed for the men
of arms: for they are by no means to be excluded, seeing one of the
primary intents of these diversions was to inure them, as well as the
people, to blood and murder. Hence, before they went upon any great
expedition, or foreign war, these feasts and butcheries were publicly
celebrated: and in my opinion, the two rising plots, that are squarish
on each side upon the shortest diameter, were for the officers. These
are above the level of the walk, or terrace, and might possibly have a
tent set upon them for that purpose. I call them pavilions: they are
of a handsome turn, and capable each of holding two dozen of people
commodiously: their side-breadth is fifteen foot; their length, i. e.
north and south, twenty: they are somewhat nearer the upper end, not
standing precisely upon the shortest diameter, and four foot above the
level of the terrace. I considered with care that seeming irregularity
of the terrace on both sides the lower end; for it is higher within
side than without, yet so as to produce no ill effect below, either
within or without, but the contrary. I find it is a master-piece of
skill, and am surprised that it has not been more defaced in so long
time. The matter is this: the work standing on a declining plain, this
artifice was necessary to render its appearance regular; for when you
stand in the centre within-side, the whole circuit of the terrace
seems and is really of one level: but on the out-side the verge of
the north-easterly part is sloped off gradually toward the entrance
where the declivity is, conformably with it; whence the whole exterior
contour appears of an equal height too: and this could not otherwise
have been obtained, since within it was necessary to keep a true level,
without regard to the outer plain. As to the seats, which I have
supposed in plate 50, they were contrived to be twice as broad as
high: their height was but a small matter more than a foot, and their
breadth not above two feet and a half; half that space being allotted
for the seat of the lowermost, and the other half for the feet of the
uppermost. The declivity of these _gradus_ is justly made within an
angle of thirty degrees, the third part of a quadrant: but this is more
exact at the ends; for in the middle, or towards the shortest diameter
over the elevated part of the circular walk, the upper _series_ of
seats has a somewhat more obtuse angle; the reason of which is obvious,
to overlook the breadth of the circular walk. This is most plainly
seen in the sections, and is done with judgement, because by that
means the upper edge of the amphitheatre is in a right line with the
declivity. As to the disposition of these seats, their method is as
new as curious: it is so contrived, that the circular walks cut the
whole breadth in two equal parts upon the shortest diameter; therefore
an equal number of seats is above and under it: hence the middle seat
at each extremity is in the same level with the elevated part of the
walk. Though these seats in other amphitheatres abroad were made of
stone or marble, yet they were generally covered with boards, because
more wholesome; and that sometimes covered with cushions for the better
sort. Dion Cassius tells us, this piece of nicety was first brought in
by Caligula, who gave cushions to the senators seats, that they might
not sit upon the bare boards, and _Thessalic_ caps to keep them from
the sun. The vulgar had mats made of reeds. I think we may well infer
from hence, that the seats in our amphitheatre were covered too with
plank, if not made wholly of it. The _præcinctiones_, or, as Vitruvius
sometimes calls them in Greek, _diazomata_, which commentators make a
difficulty about, to me seem only balustrades, because he orders them
to be as high as the breadth of the walk along them: beside that upon
the _podium_, here might possibly be one upon the inner edge of the
terrace which separated between the soldiers and the women.
The _area_ in the middle was commonly called _arena_, from the sand
it was strown over with, for the better footing of the combatants,
and to drink up the blood: this again by intervals was fresh strown,
or raked over, to prevent slipperiness; for if, instead thereof,
the pavement had been brick or stone, it would have proved highly
inconvenient. Hence this word became a common appellation of an
amphitheatre, and most of those beyond sea are still called _arena_.
As for the present name of _Maumbury_, perhaps it comes corrupted from
the old British word _mainge_, signifying _scamnum_, _scabellum_, the
same as our bench, from the multitude of seats therein; the remains
of which in former times might very plausibly give occasion to such
an appellation. Or is it not equivalent to the heathen _bury_, from
the memory of these pagan sports therein celebrated? as our ancestors
used to call heathenism by the general name of _maumetry_, corrupted
from _mahometism_: of this my friend Robert Stephens, esq; J. C. first
gave me the hint. Thus in Trevisa’s translation of _Polychronicon_,
XIV. 18. p. 175. “Julianus had commaunded that crysten knyghtes sholde
do sacrefyce to _mawmettes_,” meaning heathen idols. Or is it from
the old-fashioned games of _mummings_, so frequent among us, derived
from _Mimus_ or _Momus_? The _Mimi_ were frequently introduced into
all shows, at theatres, amphitheatres, circs, &c. Or perhaps in the
same sense it is to be understood as in Oxfordshire they call land
_maum_, consisting of a mixture of white clay and chalk, Plot’s hist.
p. 240. The _area_ was originally about 140 feet diameter the shortest
way, 220 the longest; wherein it falls not much short of the compass
of the most considerable ones. The famous amphitheatre at Verona but
233, and 136; and the vast _Colisæum_ at Rome is but 263, 165; but,
I believe, as reckoned by a larger measure, the French foot. That at
Perigusium is less than ours, being 180 one way, 120 the other. I find
the amphitheatre at Silchester is of the same dimension with ours here,
and built of the same materials and form, as far as I could discern,
but more ruinous.
These places, though of absolute necessity open at top, where usually
sheltered from rain in some measure, and from the sun effectually, by
great sail-cloths spread along the top from masts and ropes, which
were managed by the soldiers of the marine affairs, who were more
skilful in such work: a fashion first invented by Q. Catulus when he
was Ædile. The places where these poles were let through the cornices
of the upper order, and rested on corbels, are still visible in the
great amphitheatres. This probably was done in ours by masts and poles
fastened into the ground without-side, and leaning along the outside
bank; which would give them a very advantageous turn in hanging over
the top of the theatre; for the slope of the _agger_ externally is
with an angle of forty five degrees, being half a right angle, the
most natural and commodious for beauty and force to oppose against
the side weight: or they might erect them in the solid work on the
top of the terrace, seeing it has abundantly strength enough. But in
the particularity of these modes no certainty is at this time to be
expected. However, by the situation of the place, the architect has
taken great care, according to Vitruvius his rules about theatres, to
obviate the inconvenience of the sun-beams as well as possible; and
that in three respects. 1st, As he has set it upon a plain declining
northwards, and upon the higher part of the plain; upon the very tip
where the declivity begins. 2dly. By taking the bearing of it exactly,
I found the opening, or entrance thereto, is to the north-east precise:
hence it is very plain and easy to conceive, that from nine o’clock
in the morning till sun-set, in the longest day of the year, the sun
will be on the backs of the spectators, upon the upper or south-west
half of the building; which contrivance is worthy of notice: and that
this is not done upon account of the city of Dorchester lying that way,
but as a thing essential, is plain from the like in the amphitheatre
of Silchester, which opens upon the same point, though directly the
farthest from the city. 3dly, The breadth of the opening or entrance,
level with the surface, and opposite to the falling beams of the sun,
must produce a very great rebatement of the heat thereof, reflected
into this vast concave, and prove a convenience the other amphitheatres
are wholly destitute of: and this purpose is so much regarded, that,
if we consider it with a scrupulous eye, we shall find that the
western side of this upper half of the terrace and the pavilion there
is somewhat broader, and nearer the upper end of the long diameter,
than the eastern. In the midway of the terrace between the pavilions
on both sides and the _cavea_, are still to be seen two round holes,
which seem to be places where they set poles to oppose against those
others leaning on the out-side that bear the sail-cloths. The section
or profile of this work is contrived with exquisite judgement in
proportioning its parts; for the eye of a man standing at the most
retired part of the terrace next the parapet is in the right line of
the declivity within side; of a man standing in the middle of it, his
eye sees the heads of the spectators sitting under him on the upper
_subsellia_, even with the line of the circular walk; the eye of him
standing on the edge of the terrace, sees the heads of those on the
lowermost _subsellia_, even with the edge of the _podium_, and commands
the whole _area_: therefore we may conclude none were permitted to
stand on the circular walk, for that would have obstructed the sight,
but it was left open for passage. I took notice before, that on both
sides, the terrace at the top of the lower half seemed to me narrower
than that at the other and principal half: whether so originally, and
for sake of any advantage to be had in this respect, and that the
meanest of the people stood here, or that it has happened to have
been more wasted away since, I cannot be positive; but I judged it
not material enough to be regarded in the scheme: for, in the main, I
found the breadth of the side of the work, or solid, taken upon the
ground-plot, is equal to half the longest diameter of the _area_, or a
fourth of the whole longest diameter. Its perpendicular altitude, from
the top of the terrace to the bottom of the _area_, is a fourth of the
longest diameter of the _area_.
In the middle of each side we may observe a _cuneus_, or parcel of the
seats, of near thirty feet broad, just over the most elevated part of
the circular work, and reaching up to the terrace, which swells out
above the concavity of the whole, and answering to the rising ground
in the middle of the terrace, which we call the pavilions, and have
assigned for the seats of the officers among the soldiery. This is
upon the shortest diameter, and over the _tribunalia_ of the emperor
and prætor; and consequently cuts each side of the upper _series_ of
seats above the circular walk into two equal parts. I have guessed
only at these reasons for it, which I leave to better judgements. One
might possibly be, to give a greater beauty to the range of seats
over the circular walk by its break, which is a thing not practised
at all in other amphitheatres, unless we suppose this effect produced
by their _vomitoria_: or is it not more necessary here, because of
the circular walk, which causes the _series_ of seats above them to
be broader at the extremity than in the middle, and therein different
from the aspect of common amphitheatres? Or was not this division
useful in distinguishing the great length of that _series_ into
separate compartments for two different sort of plebeians? Or is it
necessary to distribute the three orders of people; the senators under
the circular walk to the _podium_, whose place in general was called
_orchestra_; that half of the upper seats on the upper or south side
of this protuberant part, to the equestrian order; that on the lower
or north side, to the people or vulgar? But there seems to be another
likely reason, that every seat here was divided into two (at least some
part of it) in the nature of steps, as was practised in particular
places of all other amphitheatres: and perhaps there were three of
these ranges of steps, one in the middle, and one on each side: that
in the middle was for the officers to ascend from the circular walk to
their tribunals, or tents, set upon the raised part of the terrace,
whilst the common soldiers went up by the ascent over the cave, at the
upper end. The steps on each side led to the respective halves of the
upper _series_ of seats above the circular walk. All which uses to me
appear convenient and necessary for ease, regularity, and decency.
In the upper or south-west half of the internal slope have been some
deformities, caused by the inner edge of the terrace in some places
cut or fallen down, which spoils the curve a little: and, as the
lower terraces diminish gradually from the pavilions to the entrance,
that on the western end has received great damage over and above; for
the inward verge of it has been thrown down intirely: as for that
north-easterly half of the terrace, which we said was narrower, more
exposed to the sun, and for that reason allotted to the last rabble,
we leave them to scramble up with somewhat more labour over the whole
_series_ of the seats at that end, which we may reasonably judge were
last filled by the spectators.
These noble buildings, which were of a fine invention, and well
calculated for their uses, were most frequently called, from their
hollow figure, _cavea_; of which there are many quotations to be had
out of the old poets, and other writers: and originally it was inherent
to theatres; in which sense commonly used by Cicero and others, but
at length passed chiefly to amphitheatres, as the greater works. The
matter of some was brick, as that near Trajecto in the Campania of
Italy; another at Puteoli; others stone, and others solid marble; as
that famous one at Capua, another at Athens, and that at Verona. The
amphitheatre which is still in part to be seen at Pola in Istria, was
of stone and wood too; for the whole frame of the seats was made of
timber, the portico’s only, or external part, of stone. The wit of man
could not find out a fitter scheme for commodiousness of seeing and
hearing: and in some respect, I conceit, they had an eye to the form
of their harps, fiddles, and such instruments of music, as modulate
sounds in a roundish cavity: the oval turn thereof, and the solidity of
the materials, had all the requisites of receiving and returning the
vibrations of the air to greater advantage. Vitruvius advises, in this
case, that the place, as well as the stuff, wherein these buildings
are set, and of which they are composed, must not be what he calls
_surd_, such as deaden the sound, but make smart repercussions, and in
just space of time; which is of great consequence in the philosophy of
echoes: for if the voice strike upon a solid that is not harmonious
in its texture, that is, whose parts are not of a proper tone or
tenseness, not consentaneous to the vibrations of musical notes; or if
this solid be too near, or too far distant, so that it reverberates
too quick, or too slow, as a room too little, or too great; all the
main business of hearing and sounds is disturbed. Vitruvius is very
large upon this head, to whom I refer the reader. Now I suppose the
ancients learnt by experience and trial, as well as by reasoning
upon the nature of things, that such a capacity and compass, and of
such extent, was best for this end: whence we find, that all their
amphitheatres are much about the same bulk, and executed upon nearly
the same proportions. A thing of this kind deceives the eye without
strict consideration; for it is bigger than it seems, and a person
in the middle of it, to one upon the terrace, looks lesser than one
would imagine. It is true indeed, that ours is not made of so solid
materials as brick, stone or marble; but yet it is possible there may
be as much an error in one extreme as the other, and nature affects
a mediocrity. One shall scarce doubt that a _convallis_, or proper
convexity between two mountains, will give as fine an echo as any
artificial work that can be contrived. I can say, however, in favour
of the subject we are upon, that in effect it has a very fine and
agreeable sound, (as I purposely several times tried) and seems to want
nothing of the compactness of matter, or closeness of the place, though
doubtless much deficient in the original depth, which would improve
it. An echo here is not to be expected, the return being too quick;
but after the voice you hear a ringing, as of a brass pot, or bell;
which shows the proportion well adjusted: and perhaps, if we consider
the great numbers of the stair-cases and openings, or what they call
_vomitoria_, in the other amphitheatres, for the people to come in
and go out at, which are intirely wanting here; we may not be far to
seek for the reason of it, or scruple thinking ours to be the better
model: the sides being perfectly uniform, and free from those frequent
apertures, seem better adapted for the rolling, concentring, and
retorting the voice. It is not unlikely that some may think the great
gap and discontinuity of our entrance an obstacle in the case; but to
such I would propose a _quære_, Whether that single break, which bears
so small a proportion to the whole, in account of those best skilled in
the doctrine of _acoustics_, be not by far more inconsiderable in that
point, than the multiplicity of those other passages which we see in
all drawings of this kind? Or whether again it be not a real advantage
to the sound? as is the hole in the sounding-board of a fiddle, harp,
harpsichord, or the like instrument; or when two holes are made, as
frequently; but, if there were twenty instead thereof, probably it
would be injurious, though of less bulk when all put together. Perhaps
the air intirely pent up in this great hollow, without any collateral
aperture, may be obstructed in the varieties of its necessary motions
and reflections, so as to delight the ear: and I must profess myself
of this opinion, which seems confirmed by Nature’s abhorrence of such
figures, in the constant outlets of valleys some way or other. It is
certain, whatever effect the entrance has as to the sound, it must be
highly useful in cooling the place, in admitting the breezes of the
north-easterly air from over the meadows to refresh them; and the side
of the opposite hill beyond the town, diversified with hedge-grows,
presents a beautiful scene to the better spectators: nor is the present
town deficient in contributing to the landscape: for, as you advance
from the _arena_ toward the entrance, the two handsome towers of the
churches appear very agreeably at each cheek of the entrance.