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).

The Arena.

That one of the modes of putting criminals to death in Rome was to throw them to the wild beasts to be torn to pieces on the arena, to glut the savage taste of the Roman people, is notorious; but that many of the gladiators and other actors were also frequently killed on the arena is not so generally known, and yet the evidence for it is too distinct to be doubted. Seneca mentions distinctly, in one of his Epistles[216], that a number of the bodies were exposed to view, of men who were unable to defend themselves by their swords or their shields. He justly says that the men were as savage as the lions or the bears, and the usual end of these fighting men was death on the arena. There is a representation of them in a fine mosaic picture in the Villa Borghese, with the letter θ, and others on two of the graffiti found in the Colosseum in 1875[217].

It is well known that the Roman people sometimes called upon the emperor to produce the most celebrated gladiators, who had been named in the programme for the show. Horace[218] alludes to this in his Epistles; and Martial[219] speaks of two of these gladiators, one called Myrinus, and the other Triumphus (a name which has misled some of the commentators). Another gladiator of that period was named Columbus, and was called for by the people under Claudius, who promised that he should be exhibited if he could be found, as is related by Suetonius[220]. Under Gordianus we are told that thirty-two elephants, and about a thousand gladiators were exhibited; it is probable that many of these were killed in the fight. It has already been stated that Commodus fought himself with the gladiators on the arena.

There was a particular costume for the athletes, and also for the emperor when he went on to the arena, and Commodus gave offence by not complying with the custom which had been established by Titus at the opening, as is mentioned by Suetonius[221]. The carrying out of the dead bodies from the arena is also mentioned by Quintilian[222] as done with pomp. Lampridius[223] expressly says that Commodus acted contrary to the established custom, and was not dressed in the proper manner; and that his helmet was carried out of the theatre by the gate by which the dead bodies were usually carried out, which was considered a bad omen, and he was murdered soon afterwards. This is also mentioned by Dio Cassius (as quoted on page 23).

The Gates.

There were naturally four gates to this enormous structure, one at each end, and one in the middle of each side; and the same arrangement was followed in all the other amphitheatres. By what names these gates were called, and whether these names were special for each particular building, or general for all, is a question still undecided, and also which was the state entrance. It is commonly said that in the Colosseum the state entrance was on the northern side, next the Esquiline Hill, because there is no number over that arch as there is over the other arches, but this was probably the case with all the four entrances; the other three gates are destroyed. The excavations in 1875 have been supposed to shew that the passage on the southern side towards the Cœlian did not lead direct to the palace of Commodus, but was carried round the outer line of the building to the south-east end, near S. Clemente; the natural entrance from the palace of Nero would be from the gate at the east end, and not on the north side. The names of the gates are not easily fixed; one was called Porta Libitinensis, and from this door the bodies of those who were killed were carried out, as we learn from Lampridius in the life of Commodus[224]. They were carried out of this gate on a special bier provided for the purpose, called sandapila, as is mentioned by Juvenal[225], and explained by the old Scoliast. This name is sometimes written sanavivaria, as in the Acta Martyrum Felicita et Perpetua[226]. The word libitina signifies death, or a funeral, or a bier; it is used also by Horace in his Odes[227], and explained by the Scoliast in the same manner, and by Martial in his Epigrams[228]. It appears that the name of sandapilaria and libitinensis were synonymous. Another gate was called Porta Prætoria, probably that at the south-east end, opening from the road to the Vivarium at the Prætorian Camp. Another, Porta Sacra, probably that at the north-west end, opening to the Via Sacra. The Meta Sudans was close to this gate, and was supplied with water by tubes, as Seneca mentions in his Epistles[229]. His fifty-seventh letter is full of lamentation for the fate of the athletes.

The name of cochlea is given to one of the doors of the amphitheatre, which led from the cavea to the arena. This name is used by Varro[230], and has puzzled all the commentators; it need hardly be said that cochlea is literally “a snail,” and the name has been supposed to apply to some narrow doorway; but the name is well known in mediæval Latin as applied to a winding or newel staircase, popularly called a corkscrew-staircase, and there are two such staircases leading from the substructures or cavea to the level of the arena, one on either side, at the south-east end of the great central passage in the Flavian amphitheatre, to which there can be no doubt that this name was applied. Trajan’s column is frequently called columna cochlea, because there is such a staircase inside of it.

The Games in the Arena.

The importance attached to the public amusements, both by the people and by the emperors, appears extraordinary to modern ideas. Caligula[231] was present from morning to evening, and had a series of the various kinds of hunting in different countries exhibited, such as the hunts of the Africans and of the Trojans; on these occasions, the arena was strewed with red and green foliage. At this period Suetonius also mentions that the people assembled at midnight for the shows of the following day, when they were gratuitous[232]. The Emperor Claudius himself would go at daybreak to the amphitheatre, and see the wild beasts fed, and again at mid-day[233]. The same practice is mentioned by Pliny as used in the time of Nero[234]. Petronius also mentions the custom for two old negroes to sprinkle the arena with scents from small bottles, which they brought for the purpose[235]. Tacitus gives an account of the games performed under his own direction in the time of Claudius[236].