b 
 
7o 
 
JOHN HENRY PARKER C.B. 
 
 HON. M.A, OXON. F.S.A. LONDON etc, etc. 
 
THE 
 
 FLAVIAN AMPHITHEATRE, 
 
 COMMONLY CALLED 
 
 THE COLOSSEUM AT ROME: 
 
 ITS HISTORY AND SUBSTRUCTURES 
 
 COMPARED WITH 
 
 OTHER AMPHITHEATRES. 
 
 BY 
 
 JOHN HENRY PARKER, C.B. 
 
 Hon. M.A. Oxon., F.S.A. Lond. ; 
 
 Keeper of the Ashmolean Museum of History and Antiquities 
 in the University of Oxford, etc. 
 
 -♦*- 
 
 OXFORD: 
 
 JAMES PARKER AND CO. 
 
 LONDON: 
 
 JOHN MURRAY, ALBEMARLE-STREET. 
 
 1876. 
 
PREFACE TO THE COLOSSEUM. 
 
 The great excavations carried on in this colossal building in the 
 years 1874 and 1875, have thrown an entirely new light on its 
 history. These were made under the level of the ground, at the 
 foot of the podium, which is the same as that of the original arena; 
 this large level space had been indifferently called the ground, the 
 floor, the stage, the area, or the arena ; no one had any idea that 
 the original pavement would be found 2 1 ft. below that level, and 
 that the intervening space was filled with walls and passages, dens 
 for wild beasts, places for lifts to send up men, and dogs, and 
 animals : and canals for water, and several other contrivances for 
 the use of the performers on the stage above, for practically the 
 arena was the stage on which the performances took place. These 
 excavations have enabled us to ascertain that this had been a 
 boarded floor covered with sand, or arena (whence its name), and 
 that this floor could be moved and replaced in a short time, at the 
 word of the Emperor 3 . The evidence of this is brought out clearly 
 in the present work. Large corbels, or brackets, are provided for 
 placing the boards upon when removed, and keeping them out of 
 sight of the people in the galleries; they project from the wall 
 below the podium, in the passage over the dens \ 
 
 We had all of us hitherto been taught that this enormous struc- 
 ture had been all built in ten years by the Flavian emperors ; this is 
 the uniform modern history, but no ancient author says so. It is only 
 one of the so-called " Roman Traditions," which (as I am obliged 
 to repeat continually) are nothing but the conjectures of learned men 
 during the last three centuries, especially Panvinius and his school 
 in the seventeenth. In the present instance it is evident that so 
 far from having been all built in ten years, it was more than a cen- 
 tury about from first to last ; it was begun in the time of Sylla the 
 Dictator, by his step-son Scaurus, and is described by Pliny in his 
 " Natural History" by the name of the insane work of Scaurus, who 
 was called insane because he spent such an enormous fortune upon 
 the work, (equal to more than two millions sterling of modern 
 money). It is true that Pliny calls it a theatre and not an amphi- 
 theatre, and this has deceived scholars, who do not perceive that 
 a See Plate XIII. b Ibid. XVII., XVIII. 
 
 a 2 
 
IV PREFACE. 
 
 the two names were used quite indifferently at that period. Pliny 
 himself contrasts it with the great theatre of Pompey, built long 
 afterwards, and when the city had increased so much, yet which 
 only held 40,000 people, while this building would hold 80,000. 
 There is no other site in Rome where 80,000 people could be 
 placed to see a show excepting this and the Circus Maximus, which 
 is never called a theatre. An inscription has been found in the amphi- 
 theatre itself, in which it is called theatrwn and not amphitheatrum, 
 which is still a theatre, though it has two round ends to it, instead of 
 one being flat. The celebrated Greek theatre at Taormina, in Sicily, 
 which has the most perfect scena that is known anywhere, is still 
 called by the people either theatre or amphitheatre indifferently, as 
 I was told by the local guide on the spot, in May, 1876. Either 
 a theatre or an amphitheatre was a place of public amusement. 
 
 This great building of Scaurus was three storeys high. On the 
 level of the ground were marble columns by the hundred, on the 
 first floor glass columns (the only instance on record), on the upper 
 floor they were of gilt wood. Pliny says that part of this insane 
 work was only calculated to be of a temporary character, and it was 
 in fact all destroyed by fire a few years afterwards, and the glass 
 columns perished equally with those of gilt wood ; he also adds 
 that other parts were calculated to be eternal, and this equally 
 applies to the part we have remaining, the great substructures, 
 which being underground, and built of large blocks of tufa, would 
 last as long as the hills if let alone. Many of these great blocks of 
 tufa appear to have been used a second time ; they were most 
 probably brought from the second wall of Rome, which enclosed 
 the two hills (the Capitoline and Palatine) in one City, and there- 
 fore must have passed under the south end of the Palatine, close to 
 this great amphitheatre. Immediately in front of it, and separated 
 from it only by a paved street, the south end of the Surama Sacra 
 Via is supported by a rough concrete wall of the time of Sylla, and 
 on the surface of this concrete wall there are impressions of large 
 blocks of tufa in the plaster with which the concrete is covered. 
 It is well known that Roman mortar is often harder and more 
 durable than stone. A few of the large blocks of tufa also remain 
 in their places, where they were necessary to carry the vault of the 
 platform above. These tufa blocks were used under the podium at 
 the bottom, to the height of twenty feet, and parallel to them is 
 another wall of the same kind, with just room enough for a narrow 
 passage between them c . In these walls, on both sides, are vertical 
 
 c See Plates V., VI. 
 
PREFACE. V 
 
 grooves, evidently for lifts to be pulled up and let down, and larger 
 apertures at intervals for the counter-weights. 
 
 Behind this wall, under the path in front of the podium, are the 
 dens for the wild beasts. At the back of each den, in the corner, 
 is a vertical aperture about four feet square, descending from the 
 passage in front of the podium ; this descends to ten feet from 
 the ground only, and was for the men to go down and feed the 
 animals below without being exposed to danger. In front of each 
 den is a hole in the original brick pavement, sometimes with 
 a bronze socket remaining in its place. These sockets (of which 
 there are a great number in the pavement) are evidently made for 
 a pivot to work in each, and these pivots must have been the 
 lower end of a post for a capstan to wind the twenty-one feet of 
 cord upon, when the animal in his cage was pulled up to the 
 top, and the trap-door opened by the same cord from below, to 
 let him jump out when required for effect on the stage d . It is re- 
 corded by contemporary authors that on several occasions a hundred 
 lions leapt on to the stage or arena at once. Some very curious 
 graffiti, or scratchings on marble, by the workmen of the third cen- 
 tury, have been found, one of which represents a hunt of wild beasts 
 on the arena, in which apparently the dogs have broken loose e . 
 Another shews the framework of the netting of gilt wire in front of 
 the lower gallery f . 
 
 There are five different representations of the Colosseum on the 
 coins or medals of the Emperors, one of Vespasian, two of Alex- 
 ander Severus, and one of Gordianus. These all appear to have 
 been made from the architect's designs before the work was com- 
 pleted ; there are slight variations in the accessories, and the upper 
 storey varies considerably. That of Gordianus has for the legend 
 or inscription — 
 
 MVNIFICENTIA GORDIANI AVG. S 
 
 This great tufa wall, on the inner line, has evidently been much 
 shaken by earthquakes in different parts, and the heads of the aper- 
 tures (which are square-headed when original) have frequently had 
 arches introduced, and are supported by brick walls of different 
 periods \ In one instance an arch of tufa had been much shaken, 
 and this is supported by a brick arch of the time of Nero * ; there 
 are also many other walls and arches of his time in different parts 
 of the building, which make it clear that this building was the 
 amphitheatre for the gymnasium and the naumachia of Nero. It is 
 
 d See Plate XVI. * Ibid. XXII. ' Ibid. XXIII. 
 
 s Ibid. XXIV., XXV. u Ibid. X. ! Ibid. IX., XV. 
 
VI PREFACE. 
 
 the natural site for it, close to his great palace, and the remains of 
 that of Scaurus made him excellent foundations to build upon, 
 according to the fashion of his own time, which was of brick, of the 
 finest brickwork in the world. Those whose eyes are accustomed 
 to it can never mistake the brickwork of the time of Nero ; his 
 awning is also mentioned ; and the first book of the Epigrams of 
 Martial is full of incidents and spectacles in this amphitheatre. 
 
 Down the centre of the building, for the whole length, is a wide 
 passage, which was called the gu// k , and which was necessary for 
 sending up the scenery, of which we read frequently, and which 
 must have been put together below, and then sent up to the stage, 
 as wanted, by means of this passage ; there is no room for it any- 
 where else, and there was no place behind the scenes for the actors 
 and workmen, as in a modern theatre. On each side of this great 
 central passage are remains of two canals for water, each about ten 
 feet square, and about the same height from the ground 1 ; these 
 were evidently filled with water supplied from the aqueducts, and 
 unmistakable traces of three reservoirs for water from the aqueducts 
 have been found in the first gallery. The four canals are not all 
 quite of the same period, nor on the same plan ; one on each side 
 was supported on flat arches of brick of the third century, the other 
 on large beams of wood ; the places to receive the ends of the beams 
 are left in the walls on each side of the passage for the workmen 
 under it. These walls are of such a thickness in proportion to their 
 height, that they were evidently made to support the great weight of 
 water ; these very thick walls served instead of the great projection 
 of the buttresses of the usual reservoirs of the aqueducts. 
 
 There is no bond or junction of any kind between this brick 
 theatre, or amphitheatre, and the magnificent stone corridors and 
 grand front of the Flavian Emperors; these have evidently been 
 added to a brick building previously existing in the centre™. It had 
 long been a matter of wonder to all the great architects of Europe 
 how it could be possible to collect such an enormous mass of mate- 
 rial of all kinds, and put them together in ten years ; to bring that 
 quantity of travertine stone from the quarries at Tivoli, twenty 
 miles oft", cut it, and erect it, was in itself an enormous work. This 
 gigantic building is in round numbers 500 ft. long, 300 ft. wide, and 
 1 20 ft. high above the foundations, and the grand corridors are 
 double all round, with the vomitoria, or stairs from the seats at 
 short intervals, and there are altogether six storeys, including the 
 entresols. 
 
 k See Plate IV. ' ibid. XV. m Ibid. I., II. 
 
PREFACE. Vll 
 
 The upper storey was originally of wood, and was destroyed by 
 a great fire caused by lightning, in the time of the Emperor Macri- 
 nus ; it was rebuilding of stone during the whole reign of Alexander 
 Severus, and was completed by Gordianus III., who commemo- 
 rated it by a medal, taking the credit of the rebuilding to himself. 
 There was a row of columns in front of the upper gallery ; two of 
 the bases remain there, and a number of capitals that belonged to 
 that colonnade n have fallen down in an earthquake, and are now 
 lying about on the ground on the level of the arena, but were found 
 in the substructures. These are very rude workmanship °, perhaps 
 only because they were to be seen from a great distance, but they 
 may possibly have been preserved from the works of Scaurus ; they 
 are very different from the finished capitals used in the lower gallery. 
 This rebuilding and addition of the upper storey alone took twenty 
 years in a great building era. Great changes were made at that 
 time to raise the upper storey securely, and this we have pointed 
 out. It is seen that the builders had no faith in the soft tufa for 
 carrying any considerable weight, and provided piers of the hard 
 travertine at short intervals for that purpose p . There are altogether 
 six storeys in the present building, but three of them may be con- 
 sidered as entresols for passages to and from the vomitoria \ Gor- 
 dianus also rebuilt the front of one bay of the lower storey, which 
 had probably been damaged by some of the burning timber falling 
 in front of it. At the bottom of the great central passage was found 
 a very remarkable wooden framework, resembling what is usually 
 called a cradle in a dockyard, and used for a vessel to stand upon r . 
 This cradle had the appearance of having been burnt, but it is known 
 that long exposure to extreme moisture will give the same appearance 
 to wood that burning it does. At the east end of the passage, at the 
 lowest level, is the great drain, half above and half below the level 
 of the old pavement s . At the entrance to this are the grooves of 
 a sluice-gate in the walls on each side, and an original iron grating 
 to prevent anything being carried through by the rush of water ; by 
 this it is evident the water was let off from the canals from time to 
 time through this drain. Unfortunately the old drain, which was at 
 a great depth, was so much damaged that it was found impracticable 
 to repair it, though it was traced the whole length of the building, 
 as far as the Arch of Constantine at the opposite end l . 
 
 n See Plate XII. ° Ibid. XL p Ibid. XX., XXI. 
 
 i Ibid. XIV. ' Ibid. VII., VIII., XXVI. 
 
 • Ibid. XIX. ' Ibid. XXXVI. 
 
viii PREFACE. 
 
 These interesting discoveries made me think it expedient to pay- 
 fresh visits to other amphitheatres, to examine them again more 
 carefully for the purpose of comparison ; accordingly, I have been to 
 those of Capua", Pozzuoli, Pompeii, and Verona, and found, as I ex- 
 pected, many confirmations of what had been stated in Rome. I 
 took with me Professor Cicconetti, one of the best architectural 
 artists in Rome, to Capua and Pozzuoli x , and have added some 
 photo-engravings from his drawings. I have also been to Pompeii, 
 and to Sicily, to see Syracuse and Taormina, but did not think 
 it necessary to take him there, or add more plates from them. 
 A great work on the Roman amphitheatres in general would be 
 very interesting, but it would be adding too much to the bulk and 
 to the cost of the present work. I believe that enough has been 
 done to illustrate and explain the Colosseum. I should add, that 
 the common idea that this colossal building is named from the 
 Colossal Statue of Nero, is a mistake. That statue, of 120 ft. high, 
 could not have stood on the basement or podium on which the 
 Roman antiquaries would place it, and there is good evidence that 
 a Colossal Statue of Gordianus, about half the size, stood there. 
 The great Colossus was moved by Hadrian from the place on 
 which the Temple of Rome was then built, on the east wall of 
 which the Marble Plan of Rome was fixed (now the church of 
 SS. Cosmas and Damian), to the Summa Sacra Via, where it was 
 used as the statue of Apollo or the Sun, to which Hadrian added 
 one of the Moon. Heliogabalus rebuilt this temple of Egyptian 
 granite, of which the columns are still lying about >' on the edges of 
 the great platform, in the centre of which now stands the church 
 and monastery of S. Francesca Romana, the campanile of which is 
 of about the same height as the Colossus of Nero, and stands near 
 the same place. 
 
 » See Plates XXVII., XXVIII., * See the Part of this work on the 
 
 XXIX., XXX., XXXI. Forum Romanum and the Via Sacra 
 
 * Ibid. XXXII., XXXIII., XXXIV., for evidence of this. 
 XXXV. 
 
CONTENTS.— COLOSSEUM. 
 
 PLATE 
 
 Excavations in 1874 and 1875 shew the foundation to be earlier 
 
 than the Flavian Emperors . . . . .1 
 
 Suetonius mentions it among the works of the Flavian Emperors, 
 
 and proposed by Augustus, but not the beginning of the work ib. 
 
 Part of the Substructures is of the time of Nero . . . ib. 
 
 It contained the Stagna, or old Nau?nachia, under, and the 
 
 Gymnasium, on the aretta . . . . . ib. 
 
 Nothing certain about the commencement . . . ib. 
 
 Modern amphitheatre of Statilius Taurus . . . ib. 
 
 Julius Caesar . . . .2 
 
 The building of M. Scaurus the aedile, in part temporary, other 
 
 parts calculated to be eternal, according to Pliny . . ib. 
 
 This was on the site of the present amphitheatre . . 3 
 
 The Clivus Scauri leads to this site .... ib. 
 
 Cavea, a name for an amphitheatre, applied to the galleries and 
 
 to the dens and passages under the arena . . . ib. 
 
 Wild beasts brought into Rome by L. L. Metellus, B.C. 251 . ib. 
 
 Culprits executed by being thrown to wild beasts . . ib. 
 
 Amphitheatres a Roman invention (?) . . . -4 
 
 Martial's first book, De Spectaculis, relates chiefly to this building ib. 
 
 Mountain of Rhodope represented as a scene . . . ib. 
 
 Exhibitions in the Circus Maximus by Julius Caesar . . ib. 
 
 A separate building required for these exhibitions . . 5 
 
 Gymnasium and Naumachia of Nero on this site . . ib. 
 
 Remains of Aqueducts and Piscina of Nero . . . ib. 
 
 Piscina of Alexander Severus . . . ib. 
 
 The Gymnasium of Nero was on the arena of this building . 6 
 
 Brickwork of the time of Nero in several parts . . . ib. IX. 
 
 A straight vertical joint between the brick galleries and the stone 
 
 corridors . . . . . . . ib. II. 
 
 The external wall of three periods, — Vespasian, Titus, and 
 
 Alexander Severus ...... ib. I. 
 
 The upper storey an addition and an after-thought . . ib. II. 
 
 The arena full of trap-doors, through which the wild animals 
 
 were sent up in cages on lifts . . . .7 XVI. 
 
 Grooves in the walls for the lifts, and sockets in the pavement for 
 the pivots of the capstans, to^wind the cords upon, were 
 
 visible below ...... ib. 
 
 The original walls of tufa are interfered with by later walls of brick ib. 
 
 Inscriptions record the dates of these later walls . . . ib. 
 
 Another inscription gives the word THEATRUM for this amphi- 
 theatre . . . . . . . ib. 
 
CONTENTS. 
 
 PAGE PLATE 
 
 Supper of Nero in this amphitheatre . . . .7 
 
 Exhibitions of Titus at the dedication . . . .8 
 
 Sea water (?) used in the canals . . . . . ib. 
 
 The Naumachia were in this amphitheatre . . . ib. 
 The stagna Neronis are the canals or reservoirs supplied by 
 
 aqueducts . . . . . . . ib. 
 
 They are called by Tacitus Stagnum Navale . . -9 
 by Suetonius a "sea," that is, when the surface was 
 
 flooded . . . . . . ib. 
 
 The new Naumachia were those of Augustus in Trastevere . ib. 
 Stagnum of Agrippa near the Pantheon, supplied by the Aqua 
 
 Virgo . . . . . . . ib. 
 
 Stagna of Nero supplied by three aqueducts . . . ib. 
 The old A T aumachia in this building . . . .10 
 
 No Naumachia in the amphitheatre of Statilius Taurus . . ib. 
 The stagna were boarded over for the gladiators and the wild 
 
 beasts, but the boards could be removed easily . . ib. 
 The canals brought to light in 1812, and more clearly in 1875, 
 
 with the substructures . . . . . ib. III. 
 
 Open channels for running water in many parts of the corridors . 1 1 
 
 Water supplied by aqueducts. — Remains of two piscina: . - ib. 
 
 The arena was of wood covered with sand, and full of trap-doors ib. 
 Corbels, or brackets, provided for placing the boards upon when 
 
 removed . . . . . . . ib. XVII. 
 
 Gymnasium and Naumachia of Nero in this building . . ib. 
 Exterior of the brick theatre left unfinished by Nero, finished by 
 
 the Flavian Emperors in stone .... ib. I. 
 Upper gallery of wood destroyed by fire, A. D. 2 1 7 . .12 
 The original restoration in stone completed, a.d. 240, under 
 
 Gordianus . . . . . . . ib. II. 
 
 Vertical piers of travertine introduced to support this upper floor ib. 
 
 Names of Stagna and Naumachia used indifferently . . ib. 
 The Stagnum of Nero, "like a sea," was in the Colosseum, when 
 
 the surface was flooded . . . . . ib. 
 Some of the walls of the substructures are of brick, of the time 
 
 of Nero . . . . . . . ib. 
 
 The arches of the dens under the podium are of Neronian brickwork ib. 
 
 The walls of tufa in the substructure are older than the time of Nero 13 
 In the superstructure the walls of the front and of the corridors are 
 
 of travertine . . . . . . . ib. 
 
 At Verona and at Capua are similar remains of aqueducts . ib. 
 At Pozzuoli (Puteoli) the arena is of brick, and full of holes for 
 
 trap-doors . . . ... . . ib. 
 
 The surface there seems to have been flooded for the 
 
 Naumachia . . . . . . . ib. 
 
 At Tusculum are canals, as in Rome . . . . 14 
 
 In the Colosseum the two sides appear to have been flooded, 
 
 but not the central passage . . . . . ib. 
 
 The two stagna would be each 300 ft. long, and about 50 ft. wide ib. 
 
CONTENTS. XI 
 
 PAGE PLATE 
 
 The canals were great cisterns or reservoirs under the boarding . 14 
 These are 10 ft. deep, but not always the same width . . ib. 
 
 The walls to support the canals are unusually thick . . ib. 
 
 Canals were lined with lead, one supported on arches, the other 
 
 on great beams of wood, 8 ft. above the pavement . . ib. X. 
 
 The lofty walls of tufa round the edge of the substructure were 
 
 for the lifts, not for the canals .... ib. XV. 
 
 Other lifts for men and dogs on each side of the central passage ib. 
 An arch of tufa shaken by an earthquake, supported by a brick 
 
 wall of the time of Nero, and another half-arch of the same 
 
 period abutting against it . . . . ib. IX. , XV. 
 
 Two small square chambers of Nero are enclosed in the traver- 
 tine walls of the Flavian Emperors . . . -15 
 Augustus intended to build an amphitheatre here, but did not . ib. 
 The tufa walls are probably the work of Scaurus, in the time 
 
 ofSylla . . . . . . . ib. V. 
 
 In these walls are vertical grooves for the lifts and cages . ib. 
 
 Animals were brought from the vivaria outside the walls in 
 
 cages, called pegmata . . . . . ib. VI. 
 
 Podium protected by wire netting and bars . . .16 
 
 Seneca describes the pegmata in this theatre . . . ib. XVI. 
 
 One vivarium was at the Praetorian Camp, the other at the Sessorium ib. 
 A small stream of water ran in front of the dens . . . 1 7 
 
 A pit 4 ft. square, for a man to descend to feed the animals, 
 
 behind each door . . . . . . ib. 
 
 The tufa walls were in some parts supported by brick walls of 
 
 the Flavian Emperors . . . . . ib. IX. 
 
 Curious wooden framework on the floor of the central passage, 
 
 believed to have been a cradle, or dry-dock . . .18 VII. 
 
 The general plan of the Colosseum is oval, with galleries, 
 
 vomito?ia, &c. ...... 
 
 A large part destroyed by having been used as a stone quarry 
 The north side the only part at all perfect 
 
 A great deal of tufa used to fill up between the piers of travertine 
 The tufa taken from the second wall of Rome close at hand 
 Travertine piers cut through the older wall to carry the upper 
 
 gallery . . . . . . 19 XX. 
 
 The front is of three periods, the upper storey added a century 
 
 after the rest . . . . . . ib. 
 
 A great mixture of stone and brick in the construction . . ib. 
 
 Name of the the architect not known ; Gaudentius only employed 
 
 upon it . . . . . .20 
 
 Views on coins, and in sculpture on the tomb of the Aterii, of the 
 
 first century ....... 
 
 Machine for raising stones for the walls .... 
 
 No open space under the arena ..... 
 
 A large number of broken columns and capitals have fallen from 
 
 the upper gallery on to the arena, and into the cavea 
 Representation of the amphitheatre on coins 
 
 ib. 
 
 VIII. 
 
 ib. 
 
 
 ib. 
 
 I. 
 
 ib. 
 
 XXI. 
 
 ib. 
 
 
 ib. 
 
 
 21 
 
 
 ib. 
 
 
 ib. 
 
 XI. 
 
 ib. 
 
 XXI. 
 
xii CONTENTS. 
 
 PAGE PLATE 
 
 Acts of Commodus in this building described by Dion Cassius . 22 
 The awning of Nero mentioned by Pliny . . .23 XIII. 
 
 Contrivances for supporting it. Masts and corbels . . ib. 
 
 Awning of the amphitheatre at Pompeii — shewn in a fresco . 24 
 
 Castra Misenatium, for the sailors employed here in furling and 
 
 unfurling the awning, or vela, or velaria . . . ib. 
 
 The wooden upper storey burnt, a.d. 217 . . -25 
 
 A.D. 217. Restored by Heliogabalus, Alexander Severus, and 
 
 Gordianus . . . . . . ib. 
 
 The number of wild beasts kept for the shows, A.D. 244 . ib. 
 
 100 lions killed at once in the shows . . . .26 
 
 A.D. 320. The building damaged by lightning ; restored by 
 
 Constantine . . . • • . ib. 
 357. Amphitheatre described as perfect by Ammianus 
 
 Marcellinus . . . . . . . ib. 
 
 445. Restored by Lampadius, after being much damaged 
 
 by an earthquake . . • • • -27 
 
 508. Again restored by Venantius Basilius . . . ib. 
 
 519. Used for shows of wild beasts by Theodoric . . ib. 
 
 523. Again used. This is the last occasion mentioned . ib. 
 
 The building apparently perfect in the time of Bede . . ib. 
 
 A.D. 1 130. The building made part of the fortress of the Frangipani 28 
 
 1227. Half of the fortress given to the Annibaldi by Frederic 
 
 II., but the grant rescinded by Innocent IV., in 1244 . ib. 
 
 I349- The building much damaged by an earthquake . ib. 
 
 1362. It is made common property as a stone-quarry for 
 
 the great families . . . . • 29 
 
 Several palaces built of stone from this quarry . ib. 
 
 1 540. Miracle plays performed there . . . ib. 
 
 The view of Jerusalem belongs to this time . . ib. 
 
 1575. Sixtus V. began to make it a cloth manufactory . ib. 
 1703. The building again damaged by an earthquake . 30 
 1728. Benedict XIII. consecrated the whole area as a church ib. 
 1749. The cross and the stations erected by Benedict XIV. ib. 
 1756. A grand mass celebrated here by the Cardinal Vicar ib. 
 Palaces built out of the ruins .... ib. 
 
 The construction of the inner part is made visible by the demo- 
 lition of the outer corridor ..... ib. 
 
 The north-eastern side is nearly perfect .... ib. 
 
 One arch of the lower storey restored by Gordianus, a.d. 220 — 238 31 
 
 a.d. 1 8 10. Excavations begun by the French . . . ib. 
 
 1812. The walls weeded by them ; this was repeated in 1870 ib. III. 
 
 The excavations of the French shew the channels for water . 32 
 
 Upper wall hastily built under Gordianus . . -33 
 
 A.D. 1864-5. Excavations made in search of treasure . . ib. 
 
 Many remains of shallow open channels for water . . ib. 
 
 Also remains of three reservoirs in the principal gallery . . ib. 
 
 And of two piscina under the CcElian, on the same level as this 
 
 gallery . . . . . . . ib. 
 
CONTENTS. 
 
 Xlll 
 
 PAGE PLATE 
 
 The excavations of the French were not deep enough for histo- 
 rical purposes ...... 
 
 When the boards were removed from the arena they were placed 
 
 on the corbels or brackets, or large consoles provided for 
 
 them below ....... 
 
 Apollodorus tells Hadrian that he ought to have provided space 
 
 for all this machinery ..... 
 
 A long and large passage found at the south-east end 
 The original pavement is 21 ft. below the level of the arena 
 In the ancient tufa walls are vertical grooves for the lifts, on which 
 
 the pegmata, or cages for wild beasts, were placed 
 There are also sockets for the pivots of the capstans 
 Under the passage is a large drain 
 An ancient iron grating at the mouth of the drain 
 The place for the flood-gates is plainly visible 
 Large corbels and brackets for placing the boards of the arena 
 
 upon, remain in many parts ..... 
 The martyrdom of the early Christians took place on the sand of 
 
 the arena, not on the soil, 21 ft. below it 
 The results of the excavations of 1874-75 were a great surprise . 
 Many of the lower walls belong to the repairs after earthquakes 
 
 in A. D. 442 and 508 ...... 
 
 A narrow and lofty vaulted chamber on each side of the central 
 
 passage under the galleries, with six sockets in a line 
 The wooden frame-work, cradle, or dry dock, fully described 
 The old substructures were evidently retained and used when 
 
 the upper part was built . . . 
 
 Piers of travertine run from top to bottom of the building to carry 
 
 the upper gallery, and the old tufa walls were cut through . 
 The Evidence of the Construction, and Comparison 40-54 
 Comparison one of the first principles of Archaeology, especially 
 
 useful for this enormous amphitheatre . . .40 
 
 Amphitheatre at Capua is almost the same size as that of 
 
 Rome ...... 40, 41 
 
 • 4i 
 
 . ib. 
 
 . ib. 
 
 . ib. 
 
 34 
 
 ib. XVII. 
 
 ib. 
 
 
 ib. 
 
 IV. 
 
 35 
 
 
 ib. 
 
 VI. 
 
 ib. 
 
 XVII. 
 
 ib. 
 
 
 36 
 
 XIX. 
 
 ib. 
 
 
 ib. XVIII. 
 
 ib. 
 37 
 
 ib. 
 
 38 
 ib. 
 
 39 
 
 ib. 
 
 The substructures more perfect than in Rome . 
 
 Aqueduct and drain ..... 
 
 Dens under the podium . . . . 
 
 Sockets for the pivots for the cages 
 
 Arena of brick, not wood, but had apertures for the 
 
 trap-doors ....... 
 
 Grooves for covers over them to make them water-tight 
 
 The building is of the time of Hadrian 
 
 Inscription . . . . 
 
 XXVII. 
 
 XXVIII. 
 
 XXIX. 
 
 XXX. 
 
 PUTEOLI, OR POZZUOLI .... 
 
 Building much smaller than those of Rome or Capua . 
 
 Substructures more perfect and more highly finished 
 
 Arena of brick, with apertures for trap-doors 
 
 Arrangement for fixing the masts or poles for the awning, 
 
 ib. 
 
 ib. 
 
 40 
 41,42 
 42,43 XXXII. 
 
 . 42 
 
 . ib. 
 . ib. 
 
 as in Rome 
 
 43 XXXIII. 
 
XIV 
 
 CONTENTS. 
 
 Amphitheatre at Puteoli, or Pozzuoli — The building also of the 
 time of Hadrian ...... 
 
 The vaults preserved and used .... 
 
 Verona 
 
 43: 
 
 The outer wall almost destroyed 
 
 Arcade of two lower storeys preserved . 
 
 Comparison of the number that each amphitheatre 
 
 would contain ..... 
 
 The seats remarkably well preserved 
 
 Dimensions of all the three principal amphitheatres 
 
 45, 
 
 at Rome, Verona, Capua .... 
 
 - POLA, IN ISTRIA ..... 
 
 Built in white stone, like marble 
 
 Two tiers of arches remain 
 
 And a curious stone parapet, with indications of the 
 
 awning ..... 
 
 Built against a rocky mountain on the slope 
 
 Substructures in the lower part 
 
 Canal for water visible . 
 
 Square towers (for the musicians ?) 
 
 — i- At Nimes there is still a wooden floor, with trap-doors in it 
 But the arrangements below are quite different 
 
 At Arles, no substructures visible 
 
 At Bordeaux, the remains are called the Arhies, it had 
 
 a boarded floor ...... 
 
 Substructures compared . . . . * . 47 
 
 Space required for the actors is usually given behind the scenes 
 
 in theatres, in an amphitheatre under the stage 
 Vessels employed in the Naumachia were usually rates, or 
 
 rowing-boats ... ... 
 
 The battles were of the sailors with swords, not with the boats . 
 
 At Pozzuoli an intermediate passage for messengers 
 
 In the Colosseum such a passage for the sailors to manage the 
 
 awning ; the corbels that support it are all that remain 
 A great central passage or gulf in all the amphitheatres . 
 Traces of a great machine for lifting up vessels at Capua, as in 
 
 the Colosseum ...... 
 
 Machines required were numerous and large 
 
 Apollodorus told Hadrian that he ought to have provided a place 
 
 for them, but he had not done so 
 Cords for the awning, strong enough to carry an elephant, were 
 
 called catadromus ..... 
 An actor playing the part of Icarus, leaping from the upper 
 
 gallery, fell dead at the feet of Nero 
 Pegmata were not only cages but wooden machines ; these are 
 
 mentioned by Josephus, Calpurnius, Apuleius, Claudian, 
 
 Vopiscus, and Martial ..... 
 
 The Colossus (on the Summa Sacra Via) was visible from the gulf 
 
 PAGE PLATE 
 
 43 XXXIV. 
 
 42 
 
 . fXXXL, 
 
 44 (XXXII. 
 
 43 
 44 
 
 ib. 
 
 ib. 
 
 45 
 46 
 ib. 
 ib. 
 
 ib. 
 ib. 
 ib. 
 ib. 
 46 
 ib. 
 ib. 
 ib. 
 
 ib. 
 -52 
 
 47 
 
 ib. 
 ib. 
 ib. 
 
 ib. 
 ib. 
 
 ib. 
 48 
 
 ib. 
 
 ib. 
 
 ib. 
 
 49 
 ib. 
 
CONTENTS. 
 
 XV 
 
 That a hundred lions leaped on to the stage or arena, at once, is 
 mentioned not only by Herodian, but by Vopiscus, Julius 
 Capitolinus, Lampridius, Ammianus Marcellinus, Statius 
 
 The netting to protect the lower gallery was of gold (or gilt) 
 wire, and was called retia, as mentioned by Calpurnius 
 
 Naval fights sometimes held in the Circus Maximus 
 
 but must have been in the canals of the Colosseum, 
 
 because Heliogabalus filled them with wine 
 
 They were called Circensian games, because sometimes held in 
 the circus ....... 
 
 Martial clearly distinguishes them .... 
 
 That the vaults under the arena were called cavece 
 
 The Arena ....... 
 
 Criminals torn to pieces by wild beasts upon it . 
 
 The gladiators and other actors often killed 
 
 Celebrated gladiators were called for by the people 
 
 Usually four gates to each amphitheatre .... 
 
 The names of these not easily ascertained 
 
 One was called sandapila, or sanavivaria, or libitinensis, from 
 libit ina, "death" ...... 
 
 Others — Porta Pretoria, Porta Sacra, Porta Cochlea 
 
 The Games on the Arena . .... 
 
 Great importance attached to them 
 
 The Emperor went to see the wild beasts fed 
 
 Tacitus gives an account of games performed under his own direction 
 
 PAGE PLATE 
 
 So 
 
 ib. 
 ib. 
 
 5i 
 
 ib. 
 ib. 
 ib. 
 
 52 
 ib. 
 ib. 
 
 ib. 
 
 53 
 ib. 
 
 ib. 
 54 
 55 
 ib. 
 ib. 
 ib. 
 
 XXII. 
 
 Appendix. 
 
 Scaurus ....... 
 
 The name means club-footed, from the first member of 
 
 the family, but it was a great family, the Gens /Emilia 
 One of the family built the Basilica ^Emilia 
 The insane works of Scaurus, their enormous cost 
 His theatre, to hold 80,000 people, could only be on the site 
 
 of the Colosseum .... 
 No other theatre is three storeys high 
 Extract from Pliny, relating to Scaurus and his works 
 The amphitheatre of Nero not in the Campus Martins 
 The sreat drain 
 
 56 
 
 ib. 
 ib. 
 
 ib. 
 
 ib. 
 ib. 
 ib. 
 58 
 59 
 
 XXXVI. 
 
XVI 
 
 CONTENTS. 
 
 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 Pegmaia, 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 evi- 
 dent 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 a 
 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 Ndu- 
 machia, 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 y or 
 canals for the sham naval fights. We know nothing certain as 
 to the exact date of the commencement, but the building was con- 
 tinued 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 b 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 in- 
 terrupted by the turning — quickly turning to face each other, and (interme- 
 diate) boards falling down; and the two parts held together by horns. He 
 made an amphitheatre and exhibited the gladiatorial shows, carrying with him 
 
 • "Fecit et nova opera . . . item amphitheatrum urbe media, ut destinasse 
 compererat Augustum." (Suetonius, Vespasianus, c. 9.) 
 b Plinii Nat. Hist., lib. xxxvi. c. 24, s. 8. 
 
2 The Flavian A mphitlicatre, or Colosseum. 
 
 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 fiat, as in the other theatres, but 
 the two names are often used indifferently ; this set the fashion, and 
 Julius Cassar 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 c . 
 
 The Theatre of M. Scaurus, the asdilis, is mentioned by Pliny a 
 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. 
 
 " He made, during the time that he was cdile, the greatest work that ever was 
 made by human hands, not for temporary use only, but destined for eternity 
 also e . This was a theatre ; the scena of it was triple in height. There were three 
 hundred and sixty columns in that building, of which six were brought from 
 Ilymettus, not without reproach at the sumptuousness of a citizen. The lowest 
 part of the scena was of marble, the middle part of glass, an unheard-of luxury in 
 that kind of work ; the highest part of gilt wood. The columns were at least 
 thirty-eight feet high ; the images between the columns were three thousand in 
 number ; the cavea itself held eighty thousand people." 
 
 Scena usually means the stage for the actors to perform upon, 
 but how could this be triple, and three storeys high? To what 
 other site in Rome, excepting this great amphitheatre, which held 
 80,000 people, could all this possibly apply? 
 
 This was in the time of Sylla ; the site is not mentioned. Dio 
 
 c Dionis Hist., lib. xliii. c. 25. Theatrum hoc fuit. Scena ei triplex in 
 
 d " Non patiemur duos Caios, vel altitudinem, ccclx columnarum, in ea 
 
 duos Nerones, ne hac quidem gloria civitate, qua; sex Hymettias non tule- 
 
 famse frui : docebimusque etiam insa- rat sine probro civis amplissimi. Ima 
 
 niam eorum victam privatis operibus pars scena; e marmore fuit : media e 
 
 M. Scauri, cujus nescio an aedilitas vitro, inaudito etiam postea genere 
 
 maxime prostraverit mores civiles, ma- luxurise : summa, e tabulis inauratis." 
 
 jusque sit Sulke malum, tanta privigni (Flinii Nat. Hist., lib. xxxvi. 24. 7.) 
 
 potentia, quam proscriptio tot millium. e The meaning of this appears to be 
 
 Hie fecit in aedilitate sua opus maxi- that the upper part was temporary, and 
 
 mum omnium, quae unquam fuere hu- was removed shortly afterwards, as is 
 
 mana manu facta, non temporaria mora, related in another place ; but the sub- 
 
 verum etiam seternitatis destinatione. structures were permanent, or eternal. 
 
On the site of the Theatre of M. Scanrus. 
 
 mentions f a great flood in the time of Julius Caesar, a.u.c. 694 
 (b.c. 59), extending as far as the great wooden theatre. The clivus 
 Scauri descends from that part of the Ccelian Hill on which the 
 Claudium was afterwards built, to the level of the road or street 
 that leads from the Circus Maximus to the Colosseum. All this 
 was under water at the time of the great flood in 187 1. 
 
 The name of cavea is said by Lipsius g to be applied to the amphi- 
 theatre by several classical authors. He cites Ammianus Marcel- 
 linus h , Prudentius \ and others, as using that name for it ; but they 
 probably meant not only the hollow where the seats were placed, but 
 also the hollow space under the arena, with the dens for the wild 
 beasts, to which that name was also applied. Statius j uses the 
 word cavca for the cages for lions, with doors round them, the 
 closing of which frightened the lions. Livy mentions iron cages 
 (caveas), but Claudian says that the animals were shut into wooden 
 houses k ; probably the cages in which they were brought from the 
 vivaria were of iron, but wooden cages (pcgmata) were sufficient to 
 place upon the lifts, and send the animals up to the trap-doors 1 . 
 
 Long before this time wild beasts had been brought into Rome 
 for exhibition, in the year 502 of Rome™ (b.c. 251). Lucius Cae- 
 cilius Metellus, the pro-consul, when he had conquered Sicily from 
 the Carthaginians, brought into Rome 142 elephants taken from 
 them, which he exhibited in the Circus Maximus. The custom of 
 sending culprits to execution by being torn to pieces by wild beasts 
 is very ancient in the East, as the well-known history of Daniel and 
 the lions clearly shews. The invention of circuses and amphi- 
 theatres for the exhibition of hunts is attributed to the Athenians 
 by Cassiodorus n ; but it is generally thought to be a Roman in- 
 vention, although the name is Greek. Livy records that in the 
 
 f Dionis Hist. Rom. , lib. xxxvii. c. 58. h "Alter in Amphitheatrali cavea 
 
 s Justi Lipsii de Amphitheatre) liber, cum adfuturus spectaculis introiret." 
 
 1684; et apud Grsevii Thesaurus Ant. (Ammiani Marcellini, lib. xxix. 1, Va- 
 
 Rom., Lugd. Bat. 1699, folio, vol. ix. lentinianus, &c, a.d. 371.) 
 
 1 "Quid pulvis Cavea: semper funebris et ilia 
 Amphitheatralis spectacula tristia pompce." 
 
 (Prudentius contra Symmachum, lib. i. 1. 3S4-5.) 
 >".... stat cardine aperto 
 
 Infelix Cavea et clausis circum undique portis 
 Hoc licuisse nefas pavidi timuere Leones." 
 
 (Statii Silvffi, lib. ii. 5 ; Leo Mansuetus imp., 1. xi.) 
 
 k Claudianus de laudibus Stilicho, usual classical dictionaries, especially 
 
 lib. iii. Dr. Smith's, and they do not affect the 
 
 1 Lipsius has collected a host of ex- history of the building, it is not neces- 
 
 tracts from the classical authors respect- sary to repeat them here, 
 
 ing this great amphitheatre, and the m Polybii Hist., i. 84. 
 
 arrangement and amusements in it ; but n Cassiodori Variar., lib. v. epist. 42. 
 
 as the substance of these is given in the ° Livii Hist., xxxix. 22. 
 
 B 2 
 
The Flavian A mpJiithcatre, or Colosseum. 
 
 year 568 of Rome (b.c. 217), Marcus Fulvius Nobilior, after the 
 war with the vEtolians, exhibited for the first time "the athletes, 
 and the hunting of lions and panthers." 
 
 In the year 586 of Rome (b.c. 227), Livy p also relates that 
 " P. Cornelius Scipio Nasica and P. Lentulus, the ALdiles Curules, 
 exhibited 63 African wild beasts, 40 bears and elephants." Martial, 
 who was a contemporary of Vespasian and Titus, Domitian and 
 Trajan, has numerous epigrams on the subject of scenes that took 
 place in the Amphitheatre of the Caesars, by which he obviously 
 means the Colosseum ; a large part of his first book, de Spectacle lis, 
 relates to such scenes on this spot q . On one occasion, he men- 
 tions that a representation of Rhodope (a mountain in Thrace), 
 where Orpheus sang, with the rocks and woods, was given upon the 
 stage. It is evident from this, and from many other passages in 
 the classical authors, that the stage, called the Arena, was on the 
 level of the podium, and visible to the people in every part of the 
 great theatre ; and not at the bottom of a pit twenty feet deep, 
 where only a small number could have seen it, although some per- 
 sons maintain this opinion. 
 
 We are told by Suetonius again 1 in the life of Julius Caesar, 
 that — 
 
 "these spectacles were exhibited in the Circus Maximus, in the circuit of the 
 Euripus, with races of bigce, and quadriga*, and horses, with the young nobles 
 for riders or drivers. Hunting of wild beasts for five days, and sham fights, 
 castles being made over the metez ; a stadium or stage was made in the Campus 
 Martius for the athletes, and naval fights in the smaller codeta '," (which was in 
 the Trastevere, and probably on the site on which Augustus afterwards made his 
 great Naumachia,) "and in the lake then dug out, biremes, and triremes, and 
 quadriremes*- of the Tynan and /Egyptian fleets, in great number, fought to- 
 gether. The whole population of Rome was attracted by those exhibitions, so 
 that the streets and houses were quite empty ; and from the pressure of the 
 crowd several persons were crushed to death, including two senators." 
 
 These attractive exhibitions obviously required a building espe- 
 cially prepared and calculated for them, which Augustus proposed 
 to provide, but left for his successors to carry out the plan. It is 
 probable that in the time of Nero the great work was commenced 
 on the site of that of Scaurus v , and making use of his substructures, 
 
 p Ibid., xliv. 18. s That is, chariots on two wheels and 
 
 q Sig. Fabio Gori has collected all others on four wheels. 
 
 these passages, and given an Italian ' "In minore Codeta, defosso lacu." 
 
 translation of them in his work entitled u Vessels with two, or three, or four 
 
 Le memorie storiche, i giuochi e gli scavi rows of oars. 
 
 delT anfitealro Flavio. Roma, 1874. T See Plate IX. 
 
 ' Suetonii Julius Caesar, cap. 39. 
 
The Gymnasium and Naumachia of Nero. 5 
 
 was carried on gradually, and eventually completed in this colossal 
 building. 
 
 We are told that Nero made a Gymnasium and Naumachia in 
 connection with his great palace, or golden house, and no vestiges 
 of any such buildings have been found w , unless both were com- 
 bined in the great building called the Colosseum from its colossal 
 size. The amphitheatre at Capua, being also a very large one, 
 is said to have been called a Colosseum, but on rather doubt- 
 ful authority. It is, however, certain that the name had nothing 
 to do with the Colossus of Nero. It is evident that Nero made 
 a great reservoir of water on this spot, which was supplied from his 
 aqueduct on the Coelian x . The sfiecus, or channel for this water, 
 remains in the wall of the Claudium, on the northern side, opposite 
 the Palatine ; and at the north-east corner of that part of the 
 Ccelian Hill on which the Claudium stood, are remains of a piscina 
 of the time of Nero, obviously intended for the filtering-place before 
 the water went across into the Colosseum. At a short interval only, 
 about a hundred yards to the south of this, is another piscina of the 
 time of Alexander Severus, when the upper storey was added, and 
 the whole building repaired after the great fire. It is quite possible 
 that Nero made a large oval reservoir on this spot, adjoining to his 
 palace, supplied by an aqueduct, similar to the great oval reservoir 
 on the Palatine, near the house of Augustus, excavated in 1872. 
 The Romans were fond of the oval form for a sheet of water ; the 
 basin of the fountain of Domitian, also on the Palatine, is oval ; 
 and the remains of the fountain of Juturna in the Forum Romanum 
 shew the same form y. The long canals for the vessels to float in, 
 which are ten feet deep, about the same width, and the same height 
 
 w Every square yard of this part of rata, which was the mouth of the Aqua 
 
 Rome has been trenched in the search Appia, a level bed of white clay was 
 
 for statues in the seventeenth and eigh- found under the tufa rock of which the 
 
 teenth centuries, and records of these Aventine Hill consists ; this would ac- 
 
 numerous excavations are carefully pre- count for the walls in the central part 
 
 served in the Miscellanea of Fea. Had built of concrete and brick, on this 
 
 there been any such building as would clay foundation, having been frequently 
 
 be required for this purpose anywhere damaged by earthquakes, while the 
 
 near his palace, it must have come to great stone arcades, being built upon 
 
 light, and nothing of the kind has been the tufa rock, did not suffer from the 
 
 found. shocks. Clay is always a bad founda- 
 
 1 See Plate II. tion to build upon, and there are always 
 
 y The basin of Nero was possibly settlements in buildings that rest upon 
 
 cut through the layer of tufa, which it. The objection to this theory is, 
 
 underlies the whole soil of Rome, down that the surface of the water would be 
 
 to the clay under it. In some excava- twenty-one feet below the arena and 
 
 tions made under my direction in a cave the foot of the podium, 
 under the Aventine, near the Marmo- 
 
The Flavian A mpliitlicatre, or Colosseum. 
 
 above the original pavements, are not so early as the time of Nero ; 
 they are of the third century, with many later repairs. 
 
 To include the Gymnasium in the same building, Nero made 
 a wooden floor over the reservoir, which he could remove and re- 
 place at pleasure ; this was covered with sand for the athletes to 
 wrestle upon, and became the Arena. Around this great oval 
 basin galleries were erected for the spectators, which were gra- 
 dually enlarged and raised higher as the seats were further off; and 
 the great stone arcades of the Flavian Emperors, with the cor- 
 ridors in them, are built round those older galleries, which were 
 chiefly faced with brick. Several of the arches of the galleries, in 
 the fine brickwork of Nero, remain in the Colosseum"; and the 
 stone arcades were evidently built up against them without any 
 junction between the two in any part. The bricks on the side of 
 the arch next the stone piers of the corridors, are in many places 
 cut in half, to make way for the stone piers. The straight vertical 
 joints between the brick galleries and the stone arcades are often 
 two or three inches wide ; this may be the effect of an earthquake, 
 but there is no bonding between one and the other. The enormous 
 arcades and corridors are in themselves a gigantic work, and it was 
 evidently difficult to obtain so great a supply of materials. 
 
 The external wall and corridor are of three periods. The first 
 is the ground floor only, with the Doric order of columns; the 
 first and second floor, with the Corinthian columns, belong to the 
 second period, and it is a little later than the lowest part, but not 
 with any long interval ; the upper floor is an addition of the third 
 century, and replaces a wooden storey. 
 
 In the interior of the building, as we are told in the anonymous 
 chronicle published by Eccard, which is good authority 8 , Vespasian 
 dedicated the three lower steps, and Titus added two others to the 
 three placed by his father. The wooden gallery, built upon the top 
 of the great corridors or arcades (for the plebs), appears to have 
 been an afterthought, not part of the original design, but an addition 
 obviously called for. The large space at that height gave accommo- 
 
 z See Plate IX. amphitheatrum dedicavit ;" 
 
 a In the ancient catalogue of the Em- That Titus added two more, 
 
 perors and their works, known as [a.d. 81.] " Hie amphitheatrum a tri- 
 
 "Catalogus Viennensis Impp. Rom. bus gradibus patris sui dura adjecit. " 
 
 apud Eccard.," under Vespasian, it is And further, that Domitian completed 
 
 stated that he dedicated the first three the building up to the clypea, that is, 
 
 steps of the amphitheatre, implying that the top cornice at that time, when the 
 
 three were already finished even in his upper storey was of wood, 
 
 time. [a.d. 92 — 96.] "Domitianus Imp. ... 
 
 [A.D. 70.] "Hie prior tribus gradibus Amphitheatrum usque ad clypea." 
 
The A rena a Wooden Floor or Stage. 
 
 dation for an enormous number of people, which could not have 
 been given before, to see what was going on upon the Arena or 
 Stage during the performance. This had numerous trap-doors 
 in it, under which were lifts for the wild beasts in their cages to 
 be sent up on to the stage when wanted. The performance was in 
 many respects like our pantomimes. There are evident traces of the 
 lifts below, by the vertical grooves in the tufa walls for them to slide 
 up and down b ; and recesses remain in these walls for the counter- 
 weights also to work in, with holes in the pavement for the sockets 
 of pivots for the capstans necessary to wind up the cords, and loose 
 them as required. These original walls, with the grooves for the old 
 machines, are in many parts interfered with by more modern walls 
 built up between them, probably in the fifth and sixth centuries, 
 when great repairs were made after earthquakes, or perhaps ren- 
 dered necessary by the weight of the water under the wooden floor 
 in the central part. 
 
 Two important inscriptions relating to the history of the building 
 have been preserved : one found in 1810 on the western side, re- 
 cording the repairs after an earthquake by the preefect Basilius, a.d. 
 445 ; the other in 18 13, recording similar repairs by Lampadius, 
 a.d. 508. Three of the marble seats were also brought to light, one 
 with the number xviii., another with the word equiti, the third, 
 with an inscription, the beginning of which is broken off : — 
 
 tr IB IN . THEATR . LEGE . PL . VI 
 
 vind icet . p . x . II. 
 
 This is important, because it shews the use of the word Thea- 
 trum d , and not Amphitheatrum, for the colossal building ; which 
 agrees with the usage of Dio and other contemporary authors, who 
 always call it THEATRUM/<2r eminence, or the great theatre of Rome, 
 there being no need to distinguish it further. 
 
 The following extracts from Dio Cassius can only apply to the 
 great amphitheatre : — 
 
 " Such was the shamelessness of Nero, that he himself drove chariots in public; 
 and, sometimes, having slain wild beasts, and having suddenly introduced water 
 into the area, he made a naval battle ; and then withdrawing the water, he in- 
 troduced the gladiatorial strife. Then again introducing it, he gave in public 
 a sumptuous supper. Tigellinus was the prefect (or overseer) of the supper, 
 and it was a supper of the grandest magnificence, arranged in this manner. In 
 the middle of the amphitheatre and in the water great wooden wine-casks were 
 
 b See Plates V., VI., XV., XVI. c Photos., Nos. 3136, 3137. 
 
 rt Photos., No. 3204. 
 
8 The Flavian Amphitheatre, or Colosseum. 
 
 placed, and upon them a floor of planks e was laid, and around this, booths and 
 small chambers were erected f . " 
 
 "Nero had various kinds of shows in the amphitheatre, sometimes filling it 
 with sea-water, in which fishes and sea monsters swam, and made a naval fight 
 between the Persians and the Athenians ; then suddenly withdrawing the water, 
 and drying the ground, he ordered a number of men on foot to rush in, not 
 singly, but in numbers and close together 8." 
 
 "When he (Titus) dedicated the theatre for hunting, and the thermce called 
 after him, he exhibited many wonderful things. Cranes fought and four ele- 
 phants, nine thousand wild boars and other beasts were killed, which women, 
 even some of noble rank, had brought together. Many contests, also, on foot, 
 and naval fights took place, for suddenly filling the amphitheatre with water, 
 he introduced horses and bulls, and other tame animals, who had been taught 
 to act in the water as on land. He also introduced men in ships, who, in the 
 guise of Corcyrians and Corinthians, imitated a naval battle \" 
 
 In another chapter Dio repeats the same account, with the 
 addition of "a public supper V This shews that the arrangements 
 in the amphitheatre were the same in the time of Nero as in the 
 time of Commodus, when Dio was himself present, and describes 
 what he saw. If the water was really sea- water, it could only have 
 been in the canals. The fact of three aqueducts having converged 
 to this point to bring water to the great building, makes it most 
 probable that the water was not really sea-water, but perhaps had 
 sea-weed inserted in it to suit the fishes and the sea monsters. 
 Suetonius also mentions the naumachia in the amphitheatre i in the 
 time of Domitian, among the magnificent shows that he provided 
 for the people. Dio clearly distinguishes between the Amphitheatre 
 of Nero and that of Statilius Taurus in the Campus Martius, which 
 he also calls Theatrum Ta//ri k . 
 
 The word stag/turn is commonly translated pond, but it does not 
 necessarily mean only a pond ; any reservoir of water might be so 
 called ; the castellum aqnce, or large cistern for the water supplied 
 by the aqueducts, was also a stagnum. The " Stagna Neronis ] " 
 
 : This platform was, perhaps, con- ' Ibid., lib. lxii. Nero, iii. c. 15, and 
 
 structed of a great number of timbers 20, 22. 
 
 fastened together. Lucan has described J " Spectacula magnifica assidue et 
 such a platform with a tower on it. sumptuosa edidit, non in amphitheatre) 
 (Pharsal., lib. iv. 420, sqq. ) motto, rerum et in circo . . . ac in am- 
 
 Dionis Hist. , lib. lxii. cap. 15. phitheatro, navale quoque." (Suetonii 
 
 e Ibid., lib. lxi. Nero, vi. c. 9 and 17. Domitianus, c. 4.) 
 h Ibid., lib. lxvi. c. 25. k Dionis Hist., lib. lxii. c. 18. 
 
 1 "Omnis Caesareo cedat labor Amphitheatro : 
 Unum pro cunctis fama loquatur opus. . ." 
 
 (Martialis, De Spectaculis, Epigr. 1.) 
 Hie, ubi conspicui venerabilis Amphitheatri 
 Erigitur moles, stagna Neronis erant." (Ibid., Epigr. 2.) 
 
The Stagna of Nero, Agrippa, &c. 
 
 are mentioned by Martial, as well as by Tacitus m , who also men- 
 tions a stagnant navale among the games in the public theatre of 
 Augustus n . 
 
 Suetonius ° compares the Stagnum of Nero to a "sea" surrounded 
 by the buildings of a city : a strong expression, which shews that 
 there were some buildings immediately round it. The Claudium 
 on the Coelian, the Porticus Livias on the Surama Sacra Via, and 
 Porticus of Nero himself on the Esquiline, would be visible on 
 three sides of it. The representation of this great building on the 
 coin of Titus was evidently taken from the design of the architect. 
 It represents a building of two storeys only, with gigantic statues 
 under each of the arches of the corridors. 
 
 The new nanmachia made by Augustus in the Trastevere were 
 larger reservoirs for the same purpose ; this nanmachia is also called 
 a stagnum by Tacitus p, who describes a similar scene in the stag- 
 num of Agrippa 9 (which was in his thermae, near the Pantheon), 
 with the letting in the water suddenly for a naval battle ; and then 
 letting it off again as suddenly, and having a supper in the same 
 place; he also mentions the stagna of Nero r , and the stagnum 
 navale of Augustus s . The stagnum of Agrippa was supplied with 
 water by his aqueduct (the Virgo), and it has been mentioned 
 that those of Nero were supplied by three aqueducts, two from the 
 Coelian and one from the Esquiline. The remains of the specus and 
 of the piscinae have been already mentioned '. There are slight 
 remains of three reservoirs in the gallery, lined with the peculiar 
 cement used only for the aqueducts, called opus signinum. From 
 the Esquiline the water was brought to the Amphitheatre in leaden 
 pipes, after serving the Thermae of Titus ; a quantity of these 
 leaden pipes have been found in excavations at different periods", 
 as recorded at the time by eye-witnesses, and some of them are 
 still preserved as mementoes in the office of the Municipality. 
 
 m Taciti Ann., xv. 42. Oceano abusque petiverat." (Taciti 
 
 " Ibid., lib. xiv. c. 15. Annal., lib. xv. c. 37.) 
 
 Ibid., c. 31. r Taciti Ann., lib. xv. c. 42. 
 p ". . . lacu in ipso navale prae- 8 Ibid., lib. xiv. c. 15. 
 
 Hum adornatur, ut quondam Augustus, ' See p. 5. 
 
 Structo cis Tiberim stagno ; sed levi- u Santi-Bartoli (in a paper printed 
 
 bus navigiis et minori copia ediderat." in the Miscellanea, by Fea, vol. i. p. 
 
 (Taciti Annal., xii. 56.) cexxiii. ) states that in his time a quart- 
 
 1 " Igitur in stagno Agrippre (Tigel- tity of leaden water-pipes, which carried 
 linus) fabricatus est ratem, cui super- water from the Thermae of Titus to the 
 positum convivium aliarum tractu na- Colosseum, were found in an orchard 
 vium moveretur .... volucres et feras north of the Colosseum. 
 
 diversis e terris, et animalia maris 
 
io The Flavian Amphitheatre, or Colosseum. 
 
 Suetonius v mentions that some of the amusements for the people 
 provided by Nero were held in the wooden amphitheatre of Statilius 
 Taurus in the Campus Martius, but he mentions the naumachia 
 separately, and we have no account of any stagnum having been 
 there, nor is it probable, as it could only have been supplied with 
 water by the aqueduct of Agrippa, and it was originally built before 
 that aqueduct was made. The naumachia were an essential part of 
 the amusements of many Roman amphitheatres, and there are con- 
 siderable remains of the canals for them at Capua and at Tusculum. 
 
 Suetonius, in his life of Titus, thus writes : — 
 
 "Having dedicated the Amphitheatre, and having quickly completed the 
 Thermae hard by, he provided the most magnificent and expensive entertainment 
 [for the people]. He exhibited a naval fight in the old Naumachia, and also 
 a combat of gladiators ; and, in one day also, five thousand wild beasts of all 
 sorts w ." 
 
 Those stagna were boarded over for the gladiators and for the 
 wild beasts, but the boards could be moved and naval fights ex- 
 hibited at other times, as had previously been done on the same 
 spot in "the old Naumachia x ." The account of the scenes that 
 took place here, described by Dio Cassius, agrees with this. The 
 excavations made in 1814 shewed that there were canals built of 
 brick running parallel to each other the whole length of the area, 
 as at Capua, and in several other amphitheatres ; these were, no 
 doubt, for the naval fights. The vessels were probably towed along 
 from the opposite ends, and where they met were lashed together, 
 and the sailors of one of them tried to board the other : to prevent 
 this was the naval fight. Probably the space between these two 
 canals was flooded when the water was let in. These canals, reser- 
 voirs, or stagna, were brought out more clearly in 1875, and the 
 substructures which supported them were then made visible ?. 
 
 T Suetonii Nero, c. 12. machia : ibidem et gladiatores : atque 
 
 w This dedication is referred to by uno die quinque millia omne genus 
 
 Eutropius thus, — ferarum." (Suetonius Titus, c. 7.) 
 
 "Hie [Titus] amphitheatrum Romae These old naumachia were the same 
 
 redificavit, et in dedicatione ejus quinque as the stagnum navale, the old place 
 
 millia ferarum occidit." (Eutropius, lib. for such amusements on the spot. They 
 
 vii. c. 14. See also Cassiodorus, Variar. have been supposed to be the Nau- 
 
 1. v. op. 42. Opera omnia, ed. 1679, fol. machia of Augustus in the Trastevere, 
 
 vol. i. p. 94, c. 2.) but without authority; and the men- 
 
 The account by Suetonius, writing tion of the gladiators in connection 
 
 some eighty or ninety years previously, with them implies that it was at the 
 
 is very clear : — same place. 
 
 " Amphitheatre dedicato, thermis- x See Fhotos., Nos. 326S, 3269, 
 
 que juxta celeriter exstructis, munus and the drawing of this restored in 
 
 edidit apparatissimum largissimumque. Plates VII. and XV. 
 Dedit et navale prcelium in veteri nau- y See p. 37, and Plate X. 
 
Water supplied by the Aqueducts. 1 1 
 
 In the corridors are many remains of the open channels for the 
 water brought from the aqueducts. They are not more than a foot 
 deep, often not so much, being frequently much worn : when perfect 
 they are nearly of that depth, and are lined with the peculiar cement 
 used only for the aqueducts, called Opus signinum, and in Italian, 
 Coccio-pcsto. This is an invariable mark of an aqueduct ; this open 
 channel must have been brought across from the Ccelian reservoir 
 on the colonnade, shewn upon the coin of Titus. The system of 
 drainage for the rain-water is quite distinct from the channels for 
 the aqueducts. 
 
 The floor of the Arena for the gymnastics and the slaughter of 
 wild beasts was of wood covered with sand ; on one occasion (as 
 we have shewn) placed upon wine-barrels in the parts that had 
 been flooded ; the boards could be removed or replaced with fa- 
 cility. It was full of trap-doors with lifts under them, some large 
 for the animals to jump through, these are over the passage round 
 the outer line, in front of the dens under the podium; others 
 smaller for men and dogs for the hunt ; these are on each side of 
 the central passage. Large corbels, with bold projections for placing 
 the boards upon when removed from the floor of the stage, are 
 provided over the stream of water, in front of the podium, but at 
 a lower level ; they are in pairs six feet apart, and also served to 
 stiffen the lower end of the masts or poles for the awning ; on the 
 surface of them a notch is cut to place the boards upon, and 
 ready access was given by the passage in front of the podium. 
 The gymnasium and the stagna were in one and the same build- 
 ing used for both purposes, and Nero probably built galleries of 
 brick round it for the accommodation of the people, according 
 to the fashion of his time. The exterior was left unfinished for 
 some years, and completed of stone by Titus and the Flavian em- 
 perors on a more magnificent scale. The space for the upper 
 galleries was afterwards very much enlarged by building them upon 
 the magnificent double arcades of stone round it, and so com- 
 pleting the great building known as the Colosseum. The straight 
 vertical joint, which is plainly seen between the old brickwork 
 within and these stone galleries and corridors, and the want of 
 any bond between them, is thus accounted for 2 . The upper 
 gallery for the common people was an addition to the original 
 design over these arcades and corridors, and was originally of 
 wood; it was destroyed by fire caused by lightning in the time 
 
 1 Photos., Nos. 1 761, 1762. 
 
12 The Flavian Amphitheatre, or Colosseum. 
 
 of the Emperor Macrinus, a.d. 217, and restored in stone in about 
 twenty-three years, having been completed by Gordianus III., a.d. 
 240. To support this upper gallery of stone at that enormous 
 height vertical piers of travertine are introduced, cutting through 
 the walls of the lower galleries from top to bottom a ; these walls 
 are of tufa, faced with brick. In several instances portions of these 
 piers of travertine have been removed for building purposes in the 
 Middle Ages, and the space that had been occupied by the piers 
 is left empty. The brick facing of the walls on either side stands 
 just as firm without these travertine piers as with them, a clear 
 proof that their object was to support the upper gallery when it 
 was rebuilt in stone, and not to support the brick walls of the 
 lower one through which they were cut, although they appear to 
 do so. This accounts for the fact that in the brick arches of con- 
 struction (as they are called), the bricks, originally two feet square, 
 are cut down to a few inches b . 
 
 The names of stagnum or stagna, and naumachia, are evidently 
 used indifferently by the classical authors. It has been already 
 mentioned that in the description of the far-famed palace of Nero, 
 reaching from the Esquiline to the Palatine Hill, Suetonius also 
 speaks of it having " a lake {stagnum) like a sea surrounded by 
 buildings, after the fashion of cities e ." This could only apply to 
 the Colosseum, and from this it would appear that in the time of 
 Nero the surface could be flooded when required for theatrical 
 display. Probably in two parts, divided by the great central pas- 
 sage or the gulf, and these two parts were called the stagna. It 
 must always be remembered that the one object of the whole 
 building was a theatre for the amusement of the people, very much 
 like the Crystal Palace for London. 
 
 The probability is that some of the walls of the buildings of Nero 
 round his stagna were used as part of the lower galleries of the 
 Colosseum ; these walls and arches are a mixture of stone and brick, 
 and some of the brickwork has quite the character of the time of 
 Nero, so well known to Roman antiquaries as the finest brickwork 
 in the world' 1 . The excavations of 1874 and 1875 have confirmed 
 
 a Photos., No. 3279, and Plates II. that an experienced architect would cut 
 
 and XX. through old tufa walls of this kind as 
 
 b It is important to notice this, be- easily, and with as little scruple, as he 
 
 cause some able architects did not see would cut through cheese, and the brick 
 
 it at first sight, and imagined that these facing made no material difference, 
 
 brick arches rested upon the stone piers, c ". . .. item stagnum maris instar, 
 
 which was evidently not really the case, circumseptum axlificiis ad urbium spe- 
 
 though it appears to be so. ciem." (Suetonii Nero, c. 31.) 
 
 M. Viollet-le-Duc, one of the most i Photos., Nos. 3282, 32S5. 
 eminent architects of our time, says 
 
Some Walls of the Substructure of tJie time of Nero, i 
 
 o 
 
 this opinion ; there is a series of arches over the entrance to the 
 dens for wild beasts, under the podium, which are distinctly of the 
 well-known brickwork of Nero. Some of these walls of the sub- 
 structure are earlier than the time of Nero, others are later, with 
 large repairs of the fifth and sixth centuries. The great external 
 corridors are entirely built of stone, and are evidently added on to 
 the galleries ; there is a straight joint from top to bottom in all parts, 
 and no junction with ties anywhere in the original construction. The 
 construction of the walls of the Colosseum in the interior shews such 
 evident patchwork of different periods, that it is impossible to be- 
 lieve they were all built within ten years, as is commonly said. 
 
 In many other places besides Rome, part of the amphitheatre 
 was at times filled with water for the exhibition of naval fights, in- 
 deed the actual remains of the conduit for the water are shewn in 
 more than one place. At Verona, where the area of the amphitheatre 
 is considerably below the level of the adjacent ground, the conduit 
 or specus is shewn at the level of the second gallery, and below that 
 of the upper one, and the water seems to have gone down a cascade 
 into the end of a corridor or passage at the lowest level. At Capua 
 the aqueduct for bringing in the water and a large drain for car- 
 rying it off rapidly, are shewn, both at a low level e . In either of 
 these cases, the substructure is to a great extent filled up with 
 vaulted brick chambers separated by passages, but the walls and 
 vaults are lined with that peculiar cement that resists water, and 
 thus a great part of the surface may have been covered with water 
 to a sufficient depth for the purpose. At Puteoli or Pozzuoli, 
 near Naples, the underground chambers of the amphitheatre are 
 unusually perfect, and the brick floor over them, with numerous 
 trap-doors, with deep grooves round the edge for a cover to fit 
 tight over them when the surface was flooded f ; at Tusculum 
 one of the canals has been excavated, the other is still buried. 
 From these it appears that the naval fights were represented as 
 in a river, rather than in the sea. There are two long straight 
 passages, the whole length of the central space, with no doors 
 in them ; and the walls are faced with the peculiar water-cement. 
 These passages are wide enough for a trireme to pass along, and 
 it seems more probable that the naval fight took place on this 
 sort of river than on the whole surface, which would have been 
 necessary for a sea-fight. 
 
 This obviously applies equally to the Colosseum, where the great 
 • See Plate XXI. « See Plate XXII. 
 
14 The Flavian Amphitheatre, or Colosseum. 
 
 excavations in 1875 shewed that there were two canals on each 
 side of a great central passage, parallel to it and to each other, 
 with an interval of about six feet between them, which was flooded 
 when the water was let in to make two fine sheets of water the 
 whole length of the arena, each about three hundred feet long 
 and fifty feet wides. These were just under the boards, which 
 were carried away and placed on the corbels provided for them in 
 front of the podium, but below the level of the base of it. The 
 walls to support this body of water are unusually thick, and have 
 buttresses on both sides for greater strength \ The two canals 
 were not of the same width, but of the same depth, ten feet, with 
 passages, ten feet high, under them. The most narrow canal is 
 nearest to the centre, and has been supported on great beams of 
 wood resting upon the massive walls ; the places for the ends of 
 the beams are left at short intervals in the walls. The other and 
 wider canal had brick arches to support it, which remain, though 
 the great leaden cistern in the form of a canal has been destroyed. 
 
 The two great lofty walls of tufa are independent of the brick 
 walls supporting the canals. The lifts, or pcgmata for the wild 
 beasts, were placed in the outer passage between the two tufa 
 walls, just under the edge of the podium' 1 . On each side of the 
 central passage are a series of small square closets for lifts, for men 
 and dogs to ascend from the passages at the lowest level to the 
 floor above, through the trap-doors. These continue visible for the 
 whole length of the surface and central passage. The pavement 
 of these passages is of brick in herring-bone fashion, such as was 
 common in Rome during the first three centuries. Some persons 
 have imagined that the walls are built upon this pavement, but if 
 this is the case anywhere, of which there is no evidence, it would 
 only be a part of the later repairs of the fifth or sixth century. 
 
 There are some portions of a third wall of tufa parallel to the 
 other two, and within them ; this has been much damaged, and 
 very little of it remains. In one place, near the south-west end, 
 there is an arch in this tufa wall apparently much shaken by an 
 earthquake, and consequently supported by two brick arches of 
 Nero, one under it, the other abutting against it, like a flying 
 
 e See Plate XV. between the two old tufa walls, during 
 
 h Photos., No. 3268, 3269. the repairs after the earthquakes. This 
 
 1 Photos., Nos. 3203, 3205, 3282, 3283. is at first sight rather puzzling, until 
 
 In some parts a brick wall of the fifth it is examined and properly consi- 
 
 or sixth century has been introduced dered. 
 
Grooves for Lifts of the Pegmata. 1 5 
 
 buttress in a medieval church i. The long, thin bricks of the time 
 of Nero are perfectly well known to all Roman archaeologists, and 
 are only met with in buildings of his time. Two other small 
 square chambers, one on either side of the great central passage, 
 also remain at the south end, with an arch of the brickwork of Nero 
 on each side k . These chambers are enclosed in stone, so that half 
 the thickness of the wall is of brick, the other half of travertine. 
 This wall, therefore, affords conclusive evidence that there was 
 a great theatre on this spot before the time of Vespasian, and that 
 the tufa walls are earlier than the time of Nero. 
 
 We are expressly told that Augustus had intended to build an 
 amphitheatre here, but had not done so. We have no mention 
 of Claudius having built one, we are therefore driven back to an 
 earlier period (probably to the amphitheatre of Scaurus, in the time 
 of Sylla) for the date of the tufa walls, with the grooves for lifts, or 
 pegmata, in them, as has been mentioned. Outside of these great 
 walls of tufa, and under the path in front of the podiian, are a num- 
 ber of dens for lions, or other wild beasts of that size \ And in 
 front of each is an opening large enough for the animal to pass 
 through into a cage placed on a lift in the passage between the 
 two tufa walls, and in each of these walls are vertical grooves cut 
 in them for the lifts to work up and down ; also deeper grooves, 
 about a yard long, for the counter-weights™. Behind the place 
 for each cage, in the passage, is a socket let into the pavement 
 for a pivot to work in n , apparently for a capstan or post to 
 wind the cord upon to pull up the lifts and cages. These cages 
 were of wood, and called pegmata. The word pcgma is used in 
 different senses by Pliny, Martial, and others for a wooden box, 
 cage, or framework ; and the wild beasts were brought in such 
 cages from the places where they were kept outside the walls, 
 called vivaria. 
 
 There were two vivaria, one on the southern side of the Pras- 
 torian Camp, of which there are some remains. The evidence 
 for this is an inscription of the time of Gordianus III. (a.d. 241), 
 which mentions a keeper of the vivarium ° belonging to the sixth 
 
 J Photos., No. 3271. ° This vivarium is a triangular piece 
 
 k Photos., Nos. 3285, 32S6. of ground, the wide end of which touches 
 1 For elephants there are four larger the wall of the Amphitheatrum Cas- 
 
 dens provided, two on either side of trense ; the narrow end is only just 
 
 the central passage. See the Plan. wide enough for the body of a man 
 
 m Photos., No. 3282. to pass through an aperture made in 
 
 n See Plates XVI., XVII. it, as the ground is between a wall of 
 
1 6 The Flavian A mphitheatre, or Colosseum. 
 
 Cohort of the Praetorian and Urban p Guards. The other was on the 
 southern side of the Sessorium, which was both a palace and a Prae- 
 torian Camp. 
 
 The podium was protected by nets'*; and there were projecting 
 bars for rollers, which turned round when touched, so that the 
 claws of an animal could have no hold upon them : these are 
 mentioned by Calpurnius. Seneca, in his Epistle (88) uses the word 
 pcgma for " a wooden machine in the theatres," which raised and 
 lowered itself impc7'ceptibly — evidently what we now call a lift — 
 the machinery of which was not seen by the spectators. Wooden 
 towers used on the stage in sham fights were also called pcgmata r . 
 The following account given by Seneca 3 , who wrote about a.d. 20, 
 of these machines, clearly applies to the Colosseum and the sub- 
 structures under it. As that was before the time of the Flavian 
 Emperors, it is probable that the wooden amphitheatre on this spot 
 was in existence in his time, and that the tufa walls for the lifts now 
 remaining were then standing and in use. He says — 
 
 "There are games that give pleasure to the eyes and the ears. Among these 
 we may enumerate the machines which cause the cages to raise themselves, and 
 silently rise to the top of the wooden floor (or stage), and others in unexpected 
 variety, either gaping open or coalescing again, others which were distant drawing 
 together again spontaneously, or those which were near gradually retiring from 
 each other. The eyes of the silly people are astonished at all these sudden move- 
 ments, the causes of which they do not understand." 
 
 Aurelian on the inner side, and a wall ambuscade of Eelisarius, by means of 
 
 of the Sessorium on the outer side, which the Goths were driven away from 
 
 preserved by Aurelian as an outwork. Rome, as described by Procopius (De 
 
 This was the scene of the celebrated Bello Gothico, lib. i. c. 22.) 
 
 p PRO S. IMP. M. ANTONI . GORDIANI . PII 
 FELICIS AVG. ET TRANQVILLINAE SABI 
 NAE AVG. VENATORES IMMVN. CVM CV 
 STODE VIVARI PONT. VERVS MIL. COH 
 VI. PR. CAMPANIVS VERAX. MIL. COH. VI 
 PR. FVSCIVS CRESCENTIO ORP CVSTOS 
 VIVARI. COHH. PRAETT. ET VRBB 
 DIANAE AVG. D. S. EX. V. P. 
 DEDICATA XII. KAL. NOV. 
 IMP. D. N. GORDIANO AVG. ET POMPEIANO COS. 
 
 (Inscription found in Rome in 1710, and printed by Nibby, Roma Antica, 
 vol. i. p. 386.) 
 
 1 A compartment of this is shewn in mata per se surgentia excogitant, et 
 
 one of the graffiti, found in the exca- tabulata tacite in sublime crescentia, 
 
 vations of 1874. et alias ex inopinato varietates, aut 
 
 1 "Caius princeps in circo pegma dehiscendentibus qua; cohaerebant, aut 
 
 duxit." (Plinii Nat. Hist., xxxiii. 16.) his quae distabant, sua sponte coeunti- 
 
 8 " Ludiviae sunt, qua? ad voluptatem bus aut his quce eminebant paulatim 
 
 oculorum atque aurium tendunt. His in se residentibus." (Seneca, Epist., 
 
 annumeres licet machinatores, qui peg- 88, s. 19.) 
 
Wooden Cradle, or Dry-dock for the Galleys. 17 
 
 Juvenal, writing about a.d. 100, also mentions the pegmata in the 
 Colosseum *, with the velaria. 
 
 There is a small stream of water in front of the dens, supplied 
 by the aqueducts, from which the animals could drink. Behind 
 each den is a small cell, four feet square, descending from above, 
 called catabolicus" 1 , but not lower than ten feet from the ground, 
 apparently for a man to go down and feed them safely. 
 
 In what seems the earliest part of the two tufa walls, near the 
 south-west end of the building, the apertures in the inner part are 
 square-headed doorways, and not arches v . These are filled up with 
 brick walls of the time of the Flavian emperors, or later \ In other 
 parts of these tufa walls there are arches in the inner wall, also 
 supported by brick arches of the time of the Flavian emperors, 
 in which the bricks are thicker, and there is more mortar between 
 them than in those of the time of Nero. 
 
 On the floor of the central passage is a remarkable piece of 
 ancient wooden framework lying on the ground 7 , which has the ap- 
 pearance at first sight of having been burnt, but long exposure to 
 wet will have the same effect on wood that fire has. (The Irish 
 bog-oak often appears as if it had been burnt, and wood has been 
 dug from under the foundations of an Irish round tower that had 
 the same appearance.) This framework is a good deal worn, as if it 
 had been much used ; it has all the appearance of a dry dock, or 
 a cradle for a vessel to stand upon. When the stagnum navale of 
 Nero was in use, there must have been some machinery for lifting 
 up the vessels and placing them on the canals. They must also 
 have been removed out of the way when the water was let off, and 
 the boarded floor of the stage or arena replaced z . 
 
 On each side of this wooden framework is a series of slabs of 
 stone about a yard square, placed upright, with a hole through each 
 
 ' "Sic pugnas Cilicis laudabat, et ictus ; 
 
 Et pegma et pueros inde ad velaria raptos." 
 
 (Juvenal, Satyr iv. 121, 122.) 
 
 " See p. 49. in boats might have been performed 
 
 T Photos., No. 3283. in the Colosseum, and a great deal of 
 
 x Photos., No. 3286, and Plate VII. machinery must have been required to 
 
 y Photos., No. 3263. remove the floor and replace it. 
 
 1 Those English people who remem- A wooden Roman bridge still remains 
 
 ber Sadler's Wells Theatre in London under water near Compiegne in France, 
 
 about 1820, must know that there was of which M. Peigne Delacourt has pub- 
 
 always a sheet of water or reservoir lished an account, with engravings of it, 
 
 under the stage, and trap-doors in the so that wood under water is preserved 
 
 floor by which sea-monsters could be in the same manner as when it is buried 
 
 introduced. The amusements of the in a wet soil. This is well known in 
 
 old Roman people seem to have been the case of piles for bridges, and in 
 
 frequently of this kind. Naval fights those under the city of Amsterdam. 
 
1 8 The Flavian Amphitheatre, or Colosseum. 
 
 for a water-course. These seem to have been for fixing the wooden 
 frame of a cradle for the vessels to stand upon, and to keep them 
 upright. This plan is well shewn in a drawing of a trireme that was 
 made for Napoleon III., to shew the French people what a Roman 
 trireme was like a . 
 
 It is well known that the general form of the Colosseum is oval, 
 and that it had four principal entrances, one of which only remains ; 
 this is said to have been the entrance for the emperor and his suite, 
 it is not numbered as the other entrances and seats were b . The 
 theatre, as we are told in the Regionary Catalogues, was calculated 
 to hold 87,000 people, and was admirably adapted for its purpose. 
 There were four principal staircases, by which the spectators could 
 ascend to the highest tier of seats, and these were so arranged that 
 the different orders could disperse without meeting each other. 
 The numerous places of egress, called vomitoria, and the windows 
 to light the staircases, were contrived with great skill. 
 
 Vast as this amazing edifice still is, the whole of the outer wall 
 with the arcades and corridors, on the south and west sides, have been 
 destroyed, having been used as a stone quarry for building some 
 of the largest palaces in Rome, but on the north and east sides it 
 is tolerably perfect. A correct idea of the whole can only be formed 
 by mounting to the top, and surveying the whole extent from thence. 
 The finest view of the exterior is from the Thermae of Titus, or the 
 windows or the garden of the monastery of S. Pietro in Vincoli, on 
 the hill opposite the north front. 
 
 The great mass of the building under the corridors is of tufa, 
 and was probably taken from that part of the second wall of Rome 
 which passed under the south end of the Palatine close at hand ; 
 each block of tufa, being of large size and a ton in weight, was likely 
 to be brought from the nearest point. It has been mentioned that 
 
 a See Plate XXVI. cvratore . thyrso . l 
 
 b It appears evident from the inscrip- fratribvs . arvalibvs . M^NIANO . 
 
 tions from the College of the Arvales that ^ CVN _ — l _ GRADIBVS . M ARM . V in . 
 
 the seats were regularly and perma- GRADVI . P . v = grad . vin . ped . 
 
 nently allotted to different persons hold- y =£. ¥ , PED . xxxxn s . gradv. i.vno. 
 
 ing different offices, according to their p _ xxn s # ET # MAENIANO . SVMMO . 
 
 rank, lhe lower seats being of marble, 
 
 the upper ones of wood. 
 
 There are many inscriptions relating 
 
 to the seats in the different theatres and maeniano . svmmo . IN . ligneis 
 
 II . CVN . VI . GRADIB . MARM . IV 
 GRADV . I . VNO . P . XXII S . ET . 
 
 amphitheatres in Rome : 
 
 EOCA . ADSIGNATA IN AMPHITEATRO 
 
 TAB . LIII . GRADIBVS . XI . GRADV . 
 I PED . V = GRAD . XI . PED . V= = — ) 
 
 L . AELIO . PLAVTIO . LAMIA . Q . PAC- F . PED . LXIII S = = — SVMMA . PED . 
 
 TVMEIO FRONTONE . COS . CXXVIIII S = = 
 
 acceptvm . ab . laberio . MAXIMO (Gius.-Ant. Guattari, Roma descritta 
 
 procvratore . praef . annonae ed illustrata, &c. Roma, 1805, 4to., 
 
 L . VENNVLEIO . APRONANO . MAG . vol. ii. p. 13.) 
 
Construction of Walls of different periods. 19 
 
 there are piers of travertine at short intervals, as if the builders 
 were afraid to trust the ' soft tufa to carry so great a weight c . 
 These piers go right through the walls from top to bottom, to 
 carry the weight of the upper gallery when full of people ; tufa 
 is too soft a material to be trusted for this purpose, and the brick 
 facing did not add materially to the strength. It is faced with 
 cut stone (travertine) on the exterior, and with brick on the in- 
 terior. The work, as said before, was evidently carried on for 
 a long time. Three periods may be perceived d in the stonework, 
 with apparently an interval of some years between them. The 
 upper storey is of a later date, of the time of Alexander Severus 
 and Gordianus, and was evidently completed in great haste, of 
 materials previously prepared, (as may be distinctly seen in the in- 
 terior) ; this upper wall is built also in the most slovenly manner, 
 with portions of cornices and of columns, or fragments of old 
 tombs, built into it as mere pieces of stone e . On the interior of 
 this wall large corbels remain distinctly visible, which could only 
 be for the floor of the wooden gallery. 
 
 In the lower series of seats the vaults under them are not original, 
 except those on the ground-floor ; and in the corridors the large cor- 
 bels for wooden floors and galleries still project from the face of the 
 wall very distinctly f . The mixture of stone and brick in the con- 
 struction is curious, and in several parts indicates the great repairs 
 in the fifth and sixth centuries recorded by inscriptions found during 
 the excavations. 
 
 There is a series of arches on the first floor within, some of 
 them begun, and some completed, in stone, but the greater part 
 have springing stones only upon the stone jambs, the arches after- 
 wards being completed in brick, and brick vaults introduced in place 
 of the original wooden floors and galleries ; above, nearly all is 
 brick, except the corridors and the outer facing. The construction 
 of this part is very good throughout ; the stones are in large oblong 
 blocks, closely fitted together, originally held with iron clamps, 
 fragments of which remain, as may be seen or felt in the interior 
 of the building in apertures of the wall : the holes where other 
 iron clamps have been, are left all over the face of the building, 
 and in the corridors, always at the edges of the stones, where in 
 rusting they have split the stone and fallen out. They were of this 
 
 c Photos., No. 3279. upper corridor seems to have been for 
 
 d See p. 6, and Plates II. and XX. a wooden gallery, for the use of the 
 
 e See Photos., Nos. 367. sailors going to furl or unfurl the 
 
 1 One series of these corbels in the awning. 
 
 C 2 
 
20 The Flavian A mphitJieatre, or Colosseum. 
 
 form I 1 5. On the west side, where the outer wall is gone, the 
 inner wall (now external) shews distinctly the flat pilasters of stone 
 carried up nearly to the top, but left unfinished, and continued 
 with brick afterwards. 
 
 Nothing is known with certainty of the architect of the work ; an 
 inscription found in the Catacomb of S. Agnes, in memory of Gau- 
 dentius, has given rise to the legend that he was the architect 11 , and 
 that he afterwards suffered as a martyr within its walls. Twelve 
 thousand Jewish slaves are said to have been employed upon it 
 during five years, and ten million Roman scudi expended upon it 
 in the same time. 
 
 The fine tomb of one of the family of the Aterii found at Cento 
 Celle, and now preserved in the Lateran Museum, is covered with 
 panels of sculpture of numerous buildings packed closely together, 
 of which there is reason to believe some are only designs, and 
 were never executed. This makes it probable that it was the tomb 
 of an architect, and one of the sculptures represents the Suraraa 
 Sacra Via as he thought it ought to have been. One building is 
 a triumphal arch, with a colossal figure under it, and an inscrip- 
 tion on the cornice — arcvs in sacra via svmma ; another triumphal 
 arch has the inscription arcvs ad isis. Between these two is seen 
 the Colosseum looking down upon it, represented as of two storeys 
 only, and not quite the same as the existing building, but the figures 
 under the arches are shewn as on the coin. Another sculpture 
 on the same tomb represents the machine for raising large stones 
 to the top of a high wall or building, described in Part III. of 
 this work (Construction, p. 91). From the circumstance of this 
 machine being represented upon the tomb, it seems most probable 
 that the person here interred was the inventor, or had made some 
 improvement in it, and that it was especially intended for the 
 Colosseum, for which it certainly would have been very useful. 
 The date of the tomb is of the first century \ Such a machine is 
 mentioned by Vitruvius, and similar machines are still in use in 
 some parts of Switzerland. 
 
 e Some clamps of the same form TR y in CELO. This inscription only 
 
 were found, in 1870, in the interior of s h ews that he was employed upon the 
 
 the wall of Servius Tullius, (in the part wor k . lt is preserved in the church of 
 
 destroyed for the railway,) where the s. Martino a Monti. See Nibby, Roma 
 
 stones were joined together by them. nell > anno mdcccxxxviii. parte i. An- 
 
 h SlC PREMIA SERVAS VESPASIANE t j ca p _ aqq 
 
 dire premiatvs es morte gavdenti i' See photographs, Nos. iSooand 
 
 letare civitas vbi glorie tve av- i5 oi, and the Photo-engraving, Plate 
 
 tori promisit iste dat kristvs om- XXIII. of Supplement to vol. i. 
 nia tibi qvi alivm paravit thea- 
 
Fragments of Columns and Capitals. 2 1 
 
 The numerous walls that intersect the space under the stage shew 
 clearly that there could be no area in this theatre, that there is no 
 open space excepting on the stage itself, and this was the boarded 
 floor, called the arena, from the sand with which it was covered. 
 The latter is quite a different thing from an area, and yet almost 
 all the modern writers on the antiquities of Rome fall into this 
 mistake. The passage cited in a previous page from Dio Cassius, 
 who describes what he saw, is quite decisive that the arena was 
 a boarded floor covered with sand. 
 
 A great number of large marble columns and capitals of the Com- 
 posite order, rudely worked, as if on purpose to be seen from a great 
 distance only, have rolled down from the edge of the upper gallery 
 to the arena below, probably in an earthquake. They must have 
 fallen before the substructures were filled up with earth, as many of 
 them were found at the bottom on the old pavement, which they 
 had damaged by falling upon it, and some have made holes through 
 great walls, and were found lying with half the column on the inner 
 side of the wall, and the other half on the outer one. Probably 
 the cords for the awning were caught on the entablature of this 
 colonnade as they passed, the length from top to bottom* being too 
 great to keep them tight. There must have been at least a hundred 
 of these columns ; possibly there were two colonnades, the second 
 on the edge of one of the lower galleries, but they are work of the 
 third century, not earlier, and as the upper gallery was added at 
 that time, they must have belonged to that period. 
 
 The Flavian Amphitheatre and Meta Sudans are represented on 
 four coins of the emperors, one of Vespasian j , a.d. 80, with the 
 head of Titus, and inscription on the obverse. This is a bird's- 
 eye view, represented with the walls of the two storeys, and with 
 the Meta Sudans on one side, and a double range of columns on 
 the opposite side, one over the other. This medal was used by 
 Fontana in his plans and drawings of a restoration k , though he 
 does not give an engraving of it. The upper storey is very dif- 
 ferent from the existing building ; in the interior the upper gallery 
 is evidently represented on this medal as of wood ; the colonnade 
 or arcade, of two storeys, connecting the amphitheatre with the 
 Coelian, seen on the coin, was most probably to carry the shallow 
 open channel of water from the Aqueduct \ The second of Domi- 
 
 i See Photos., No^SS, and Plates Nell' Haia, m.dcxxv. fol. max. 
 
 XXIV., XXV. ' These views of buildings on coins 
 
 k L'Anfiteatro Flavio descritto e de- appear to have been made from the 
 
 lineato dal cavaliere Carlo Fontana. architect's designs before they were car- 
 
22 The Flavian Amphitheatre, or Colosseum. 
 
 tian, nearly the same as the last, but with a double arcade instead 
 of colonnade ; the third of Alexander Severus, with the Meta 
 Sudans m on the right, and a group of figures on the left. There are 
 two coins of this emperor with the same subject on the reverse, not 
 of the same size, and not quite alike. The fourth of Gordianus III., 
 with the legend on the obverse, imp. gordianus . pivs . felix . avg. ; 
 on the reverse the view of the Colosseum, as if looking down upon 
 it, with the masts for the awning, and a wild-beast hunt going on at 
 a high level, certainly not at the bottom (as has been said). On 
 the left, standing behind the Meta Sudans, is a colossal figure 
 about fifty feet high". On the right is a small building which is just 
 below, and a gable end to the roof, probably the piscina of Alex- 
 ander Severus, of which we have remains. Over the Colosseum is 
 the legend munificentia gordiani avg. In this the upper storey 
 is represented as of stone. 
 
 a.d. 150. By the time of Antoninus Pius the amphitheatre needed 
 repairs, as we learn that it was restored by him p. 
 
 In a.d. 191, Dio Cassius, who was a Roman senator in the time 
 of Commodus, was an eye-witness of the games, and gives an ac- 
 count of the manner in which that emperor amused himself in 
 this amphitheatre. 
 
 " He used to put on, before he entered the amphitheatre, a tunic with sleeves 
 made of white silk embroidered with gold, and thus habited we (the Senators) 
 saluted him ; but on entering it he put on his purple robe sprinkled with gold, 
 like a Greek chlamys, and a gold crown with Indian jewels ; he was also accus- 
 tomed to carry a cadnceus like Mercury. In the street some one carried before 
 him a lion's skin and a club. But when he went into the theatre he sat on a gold 
 seat. He also entered the theatre in the costume of Mercury, and threw aside 
 the other things which he had carried except the tunic. 
 
 "On the first day he alone killed a hundred bears with javelins thrown from 
 the paths in the upper part. For the amphitheatre being everywhere divided by 
 diametrical partitions, each division having a roof, round which he could go, he 
 could the more readily strike down the wild beasts, who were themselves divided 
 into four divisions 
 
 "These things being done on the first day, on other days he descended from 
 the upper place into the area of the amphitheatre, and killed the fatted beasts 
 
 ried out, and were sometimes altered. distinct, and the figure behind it over- 
 There is no representation of the Colos- tops it by the head and shoulders only, 
 sus of Nero in any of them. For the ° See No. 488 c. 
 shallow channel of water, see Photos., p "... Romce templum Hadriani, ho- 
 No. 1759- nori patris dicatum, Grseco-stadium post 
 See No. 302, and 488 C incendium restkuium, instauratum am- 
 
 n On bad impressions of this coin phitheatrum," Tec. (Jul. Capitolinus- 
 
 the Meta Sudans looks like a second Antoninus Fius, c. 8, ap. Script. Hist, 
 
 smaller figure, or of a youth ; but on Aug. ) 
 good impressions the Meta Sudans is 
 
An A wning of the lime of Nero. 2 3 
 
 when they came near to him, or were led to him, or brought in cages ; he killed 
 a tiger, and an hippopotamus, and an elephant : having done these things he went 
 away. Then after dinner he went through the gladiatorial exercise armed as 
 a gladiator, with the shield on his right arm, and holding the wooden sword in his 
 left hand, of which he was very proud, as he was left-handed. . . . For fourteen 
 days exhibitions of this kind were continued, and I can certify that we senators 
 always came with the knights, except Claudius Pompeianus, the senior, he never 
 
 was there, but sent his sons to see the shows 
 
 "But of the rest of the people many did not go into the amphitheatre, and some 
 after they had seen a little went away, some from being ashamed of what they saw 
 done there, others from fear, because it was reported that the Emperor wished to 
 kill some of them with arrows as Hercules formerly killed the Stymphalidas. . . . 
 This fear was common to all, belonging not more to others than to us ; for even 
 to us Senators he did things in such a manner, that for any cause we expected to 
 be killed. He even killed an ostrich and cut off its head, when he came to the 
 place where we were seated, holding in his left hand the head and in his right his 
 bloody sword, and saying nothing, he moved it grinning, to shew he would 
 serve us in the same manner ; and which many people laughed at seeing our fear, 
 &c. . . . These things being done he comforted us, and ordered us, when he was 
 fighting in the manner of a gladiator, to go into the theatre in our habits and 
 cloaks as knights : in which costume we were not accustomed to go into the 
 theatre except on the death of the Emperor. It happened also to him that on 
 the last day of the games his helmet was carried through the door by which 
 the dead were usually carried, which things, in the opinion of many, were done 
 to indicate to every body his approaching death. It is certain that soon after he 
 died, or rather was killed i." 
 
 The spectators were protected from the heat of the sun by a great 
 awning, which was suspended from masts or poles at the top by 
 cords. Pliny mentions an awning painted in imitation of the sky, 
 with stars in it, in the amphitheatre of the Prince Nero r . There 
 were similar poles at the bottom also, to support the lower end of 
 the cords over the heads of the spectators in the galleries s . These 
 are likely to have had the great beams of the screen in the front 
 of the podium fixed to them. The contrivances for supporting 
 them at the top were very ingenious, and can still be seen. On 
 the exterior there is a row of corbels, ten feet below the summit, for 
 the ends of the poles to rest upon, and holes are left in the cornice 
 for them to pass through. These masts stood full twenty feet above 
 the walls ; and on the inner side of the upper wall are also corbels for 
 the cords to be fastened to, to keep them upright. At the bottom of 
 the galleries, in front of the podium, there are similar contrivances 
 
 1 Dionis Cass. lib. lxxii. c. 17 — 22. Apollinaribus ludis Vela nuper 
 
 r " Postea in theatris tantum umbram colore caeli, stellata, per rudentes iere 
 
 fecere : quod primus omnium invenit etiam in amphitheatre principis Nero- 
 
 Q. Catulus, cum Capitolium dedicaret. nis." (I'linii Nat. Hist., lib. xix. c. 6.) 
 Carbasina deinde vela primus in thea- 3 See Plate XVII. 
 
 tro duxisse traditur Lentulus Spinter 
 
24 The Flavian A mplritJieatre, or Colosseum. 
 
 to support the poles for the awning, a recess in the wall of tufa, 
 with a piece of travertine let in for the lower ends to stand upon, 
 and long corbels on each side to support and stiffen the lower 
 part*. The central space was not covered over, and the athletes 
 were exposed to the weather. There is an excellent representation 
 of an amphitheatre, with the awning partly closed and partly open, 
 in a fresco-painting of the first century at Pompeii, which has been 
 engraved in the valuable Journal of Pompeii, edited by the learned 
 Keeper of the Museum, Sig. Com. Fiorelli u . The construction of the 
 upper walls is quite different from, and very inferior to that of 
 the great arcades ; this belonging to the third century, not to the 
 first; and part of it has all the appearance of having been com- 
 pleted in a great hurry, as we see in the interior many pieces of 
 stone evidently prepared for other parts of the building, and used 
 as blocks of old material only, some with inscriptions on them, 
 apparently taken from tombs T . The tradition is that the Emperor 
 Gordianus insisted on the completion of the building-contract by 
 the time appointed, which was done with great difficulty. 
 
 A large number of sailors were kept continually employed in 
 furling and unfurling the great awning, and attending to the ma- 
 chinery. They had a camp provided for them near at hand, called 
 Castra Misenatium, because the sailors came originally from the 
 fleet at Misenum (in the bay of Naples). The exact site of this 
 camp has not been ascertained. Some suppose it to have been on 
 the Ccelian, near where the navkella, or model of a galley in mar- 
 ble, now stands w , but it was not in that Regio ; it must have been 
 on the Esquiline, immediately to the north of the great building, 
 or on the Velia. The awning was called vela or vel/ela, an old 
 Latin word, from which came also the name of velabrum, meaning 
 "sails." The modern name " veil" is supposed to come from it. 
 
 Calpurnius* describes a visit to Rome by a country lad, and 
 gives an account of the amphitheatre : — 
 
 " We saw the theatre (amphitheatre) with interwoven beams rising to heaven, 
 so high as almost to overlook the Tarpeian rock, and the immense steps and the 
 sloping passages gently descending. . . . What shall I describe further? I saw 
 all kinds of wild beasts, . . . not only those carniverous monsters of the forest, 
 but sea-monsters together with fighting bears. I saw seals, and herds of shape- 
 less animals bearing the name of horses (hippo-potami), but deformed, the off- 
 
 * Photos., No. 185. sidered as a writer of the third cen- 
 " This is reproduced in Plate XXI. tury, but the most recent editor of his 
 v Photos., Nos. 167, 185. Eclogues (Haupt) shews that he was 
 
 * See Regio III., Castra Misenatium. contemporary with Nero and Titus, and 
 x Calpurnius has usually been con- Dean Merivale is of the same opinion. 
 
Upper storey burnt and rebuilt. 25 
 
 spring of the Nile. Oh how often have we trembling seen the arena sinking in 
 parts, and a gulf burst open in the ground from which wild beasts have 
 emerged y. " 
 
 In a.d. 217, the amphitheatre was struck by lightning and burnt 
 under Macrinus, as we are told by Dio Cassius. This passage 
 shews that the upper storeys were of wood, and that there was 
 much woodwork about the galleries and corridors. 
 
 "The amphitheatre also was struck by lightning on the very day of the Vul- 
 canalia (23rd of August), all was consumed to such an extent that the upper 
 precinct and whatever was on the area was burned, and all the remaining part 
 shivered in pieces by the heat ; nor could the fire have been extinguished by 
 human means, although there was plenty of water, had there not also been copious 
 and vehement rain from the heavens. All the gladiatorial games, consequently, 
 for many years were transferred to the Stadium 1 ." 
 
 The restoration was begun in the time of Heliogabalus a , and 
 continued through the whole reign of Alexander Severus b , a.d. 
 222 — 235 ; and finished under Gordianus III., a.d. 244, as has 
 been shewn by his coin. In a.d. 248 the games, which had been 
 transferred for a time to the Circus Maximus, were again cele- 
 brated here. 
 
 In a.d. 238-44, we learn that the number of wild beasts kept in 
 Rome for the use of the amphitheatre during the time of the Emperor 
 Gordianus was as follows: 32 elephants, 10 elks, 60 tame lions, 
 10 tigers, 30 leopards, 10 hyenas, 1 hippopotamus, 1 rhinoceros, 
 
 f " Vidimus in ccelum 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 : sequoreos ego cum certantibus ursis 
 Spectavi vitulos, et equorum nomine dignum, 
 Sed deforme pecus (i.e. Nilo). 
 Ah trepidi quoties nos descendentis arenae 
 Vidinus in partes ruptaque voraginaa terrae 
 Emersisse feras ! 
 
 Et coit in rotulam teretem quo lubricus axis 
 Impositos subita ve7'tigine falleret ungues 
 Excuteretque feras auro quoque torta refulgent 
 Retia, qua? totis in arenam dentibus extant, 
 Dentibus sequatis : et erat mihi crede Lycota 
 Si qua fides, nostro dens longior omnis aratro." 
 
 (T. Calpurnii Siculi Bucol. Ecloga vii.) 
 
 z Dionis Cass. lib. lxxviii. c. 25. b ". . . sumptibus publicis ad instau- 
 
 ■ " Opera publicaipsius propter /Eden rationem theatri, circi, amphitkeatri, 
 
 Heliogabali Dei . . . et amphitheatri et rerarii, deputavit. " (Lampridius, Alex- 
 
 instauratio post exustionem . . . nulla ander Severus, c. 24. ) There are coins 
 
 extant." (Lampridius, Antoninus He- of this emperor with the amphitheatre 
 
 liogabalus, c. 17, ap. Script. Hist, on the reverse. See Plate XXV. 
 Aug. ) 
 
26 The Flavian A mphitheatrc, or Colosseum. 
 
 10 wild lions, 10 camelopards, 20 wild asses, 40 .wild horses, and 
 many other wild animals, besides two thousand hired gladiators c . 
 All these, the Chronicler adds, were exhibited or slain by Philippus, 
 at the Ludi Sacculares which he celebrated with great pomp for 
 the thousandth 11 anniversary of the foundation of Rome, a.d. 248, 
 when he had gladiatorial and wild-beast exhibitions in the am- 
 phitheatre c . 
 
 Herodian f , the Greek historian, writing about the middle of the 
 third century, says that a hundred lions, killed in the amphitheatre 
 by Commodus, appeared to leap out from under the earth. More 
 strictly speaking, they came from under the sand on the stage, as 
 they were sent up in cages which opened at the top, and naturally 
 sprang out as soon as liberty was given to them. 
 
 In a.d. 250, another fire took place under Decius, but the damage 
 was speedily repaired. 
 
 In a.d. 280, the Emperor Probus in his triumphal shows again 
 had a hundred lions killed in the amphitheatre g . 
 
 In a.d. 320, the amphitheatre was again damaged by lightning, 
 but was soon restored by Constantine h . An attempt was made, 
 a.d. 325, to abolish the barbarous combats, and the exposure of 
 convicts, but this was not effected until the martyrdom of Telema- 
 chus, an Oriental monk, a.d. 403, who made a pilgrimage from the 
 East on purpose to be martyred here, and during one of the san- 
 guinary shows he rushed into the midst, and falling on his knees, 
 entreated the spectators to have mercy on their victims. He was 
 immediately stoned to death, but so great a sensation was caused 
 by this martyrdom, that the emperor Honorius was able to take 
 advantage of it to suppress the shows. 
 
 In a.d. 357, the amphitheatre is described by Ammianus Marcel- 
 
 c " Fuerunt sub Gordiano Romae of buildings prefixed to this work, 
 
 elephanti triginta et duo, quorum ipse e Suetonius in Gordiano III., c. 33. 
 
 duodecim miserat, Alexander decern : f Herodian, lib. i. c. 8. Ammianus 
 
 alces decern, tigres decern, leones man- Marcellinus mentions the same ex- 
 
 sueti sexaginta, leopardi mansueti tri- hibition, and the same number of lions 
 
 ginta, belbi, id est hytenae, decern, gladi- leaping out at once, lib. xxxi. c. 19. 
 
 atorum fiscalium paria mille, hippopo- See Plates VI. and VIII. 
 
 tamus et rhinoceros unus, archoleontes s "Centum jubatos leones." (Vopis- 
 
 decem, camelopardali decern, onagri cus in Vita Probi, c. 19.) 
 
 viginti, equi feri quadraginta, etcetera h "Earn autem denunciationem ad- 
 
 hujusmodi animalia, innumera et di- que interpretationem, quce de jactu am- 
 
 versa : qua; omnia Philippus ludis ssecu- phitheatri scripta est, de qua ad Hera- 
 
 larihusvel dedit veloccidit." (Jul. Capil. clianum Tribunum, et magistrum offici- 
 
 Gordianus Tertius, c. 33. ) orum scripseras, ad nos scias esse per- 
 
 d This celebration shews that the latum." (Codex Theodosianus, lib. xvi. 
 
 chronology then accepted by the Ro- tit. x. lex 1. Imp. Constantinus ad 
 
 man people is the same as that of Livy, Maximum, a.d. 321.) 
 which is used as the chronological table 
 
Repairs after damage by earthquake. 27 
 
 linus as perfect, and as a marvellous work, from its great height, and 
 its immense size. He also mentions the massive walls of rough 
 stone, or concrete (moles), bound together by travertine (lapis 
 tiburtinus) K 
 
 a.d. 445. The amphitheatre was much repaired by the Pre- 
 fect Rufus Cecina Felix Lampadius, under Theodosius II. He 
 restored the seats, the arena, and the podium, as appears from 
 an inscription 11 dug up on the spot in 18 14, and fixed on the 
 wall within the building to preserve it. These repairs are sup- 
 posed to have been required in consequence of the damage done 
 during the siege by the Goths under Alaric, or more probably from 
 the effect of the earthquake mentioned by Paulus Diaconus J as 
 taking place in that year, when he says that many of the great 
 buildings in Rome were damaged. 
 
 a.d. 508. The Prefect Venantius Basilius also repaired the arena 
 and the podium, which had been damaged by an earthquake" 1 . 
 
 It was again used for the show of wild beasts under Theodoric 
 in a.d. 519", and under Anicius Maximus, a.d. 523. These 
 were the last occasions on which we have any mention of these 
 savage exhibitions. In the beginning of the eighth century it ap- 
 pears to have been still perfect, from the well-known proverb 
 preserved in Bede's Excerptio?ies patrum, Collectanea, &c. ; that the 
 Colosseum and Rome would stand or fall together ° ; but during that 
 century it was again seriously damaged by an earthquake, and it 
 was then so much in ruins that it was not used until the eleventh, 
 when it was converted into a fortress, and the southern side is 
 said to have been much damaged by Robert Guiscard and his 
 Normans, but more probably by the travertine stone being car- 
 ried away for building materials. 
 
 ' "Amphitheatri molem solidatara la- v c et INL _ PRAEF VRB PATRICIVS CON - 
 pidis I lburtmi compage, ad cujus sum- 
 mitatem xgre visio humana conscendit." 
 (Ammianus Marcellinus, lib. xvi. c. 10. ) 
 
 k SALVis . dd. NN. THEODOSIO . ET . 
 
 SVL ORDINARIVS ARENAM ET PODIVM 
 QVAE ABOMINANDI TERRAEMOTVS RVIN 
 PROSTRAVIT SVMPTV PROPRIO RESTI- 
 
 TVIT. 
 
 placido . valentimano . augg. rvfps > "Muneribus amphitheatralibus di- 
 
 CAECINA . FELIX . LAMPADIVS . VC. versi ris feras> quas pnesens ffitas 
 
 et . ml. praef. vrb. har^nam . amphi- pro novitate miraretur, exhibuit. Cujus 
 TEATRI . A . novo . VNA . CVM . spec taculi voluptates etiam exquisitas 
 Podio . et . porta . posticis . sed . et . Africa sub devo tione transmisit." (Cas- 
 REPARATis . SPECTACVLI . GRADIBVS s iodori Chronicon, A.D. 519 ; interopera 
 
 ejus, ed. 1079, fob, torn. 1. p. 195, col. 2. 
 
 rest 1 to it. 
 1 
 
 Paulus Diaconus, Miscell. , lib. xiv. ; „ «< Q uam diu stat Colysaeus, ' stat et 
 
 ap.Murat.Rer. Ital. Script, vol. i. Roma . quando cadet Colysseus, cadet 
 
 P' 2 ?n.'- ' ' r , . . et Roma ; quando cadet Roma, cadet 
 
 This appears from another inscnp- et mundus .» (BedsB Qpera, Basile.e, 
 
 tion found in 1813 :- 6 fol vol m cq1< 6 ' } 
 
 DECIVS ALARIVSVENANTIVS BASILIVS J 
 
28 The Flavian Amphitheatre, or Colosseum. 
 
 In 1 130, it became the chief fortress of the Frangipani family, and 
 Pope Innocent II. took refuge here from the anti-pope Anacletus p . 
 
 In 1 142, the Roman people had driven out the barons, and had 
 possession of this with their other fortresses, as appears from the 
 records of the Roman Senate at that period q . But the Frangi- 
 pani' soon recovered it, and the pope of their party, Innocent III., 
 a.d. 1 180 (called by the opposite party the anti-pope), was their guest ; 
 and from hence he fulminated his excommunication against the 
 emperors, but he was soon afterwards captured and banished. 
 
 In 1 160, Alexander III. 8 (Bandinelli of Siena, called the orthodox 
 Pope) in his second year, being besieged by the Emperor Frederic 
 Barbarossa, abandoned the Lateran Palace, and took refuge in the 
 stronghold of the Frangipani, with his brothers and their families. 
 He there held courts, treated causes, and also waited for opportu- 
 nities. At that time the Colosseum gave its name to the district 
 around it. The fortifications included part of the Palatine Hill, 
 with the Arch of Titus, on which was a large tower. 
 
 Under Gregory IX., a.d. 1227, the Annibaldi family obtained 
 a decree from Frederic II., requiring the Frangipani to cede to 
 them one -half of the Colosseum fortress, which might have led 
 to its entire destruction; but Innocent IV., in 1244, rescinded the 
 engagement, and declared this building to be under the direct domi- 
 nion of the Holy See. During the residence of the Popes at Avignon, 
 the Colosseum belonged to the Annibaldi or Annibaldeschi, who 
 were then in the ascendant*. In 13 12, the Emperor Henry VII. 
 obliged them to give it up, and placed it under the care of the 
 municipality, who appropriated it to bull-fights ; but this only lasted 
 until 1332, when eighteen youths of noble families were killed by 
 the infuriated bulls, of which a minute account is given in the 
 chronicle of Monaldeschi, printed in Muratori's collection u . 
 
 In 1349, it was again damaged by the earthquake described in 
 Petrarch's letters; after this the great families entered into a cora- 
 
 p Card, de Aragonia, "Vita Inno- III. ap. Muratori, Rerum Ital. Script., 
 
 centii II. apud Muratori, Rerum Itali- torn. iii. p. i. p. 459- 
 carum Scriptores, vol. iii. p. I, p. 435 B. ' Albertino Mussato, Hist. Aug., lib. 
 
 «) Cort. de Senatu Romano, lib. vii. v. ; ap. Murat. Rerum Italic. Script., 
 
 c. 1, §. 168. torn. x. c. 454. Nibby, Roma nell' 
 
 1 Delle Memorie Sacre, e profane anno mdcccxxxviii, parte i. p. 413. 
 dell' Anfiteatro Flavio di Roma, &c, u Rainaldi Annal. an. 1244; Panvin. 
 
 dal Canonico Giovanni Marangoni Vi- de gente Frangipani ; Muratori, Rerum 
 
 centino. In Roma, 1745, 4to. Cap. 1. Italicarum Scriptores, torn. xii. col. 535, 
 
 p. 49, Codice pergameno, Scritto dal 536. Nibby gives a more complete and 
 
 celebre Onofrio Panvino inedito ed in- accurate version of this occurrence from 
 
 titolato, de Gente Fregepanka. a better text, though modernized. See 
 
 s Card, de Aragonia, Vita Alexandri Roma Antica, parti, p. 414. 
 
Barbarous works of the Popes. 29 
 
 pact, in 1362, to make the ruins common property as a quarry, by 
 which all might profit*. In 1381, the senate gave a portion of the 
 arcades to the Chapter of the Lateran, for a ward to their hospital. 
 Their badge, the head of Christ between two candlesticks, is carved 
 over some of the archways. 
 
 In 1438, Eugenius IV. built two walls to connect the Colosseum 
 with the monastery ofS. Pietro in Vincoli, in order to prevent the evil 
 doings that were going on there ; but after the death of that Pope, 
 the Roman people went in a crowd and pulled down those walls 
 which had shut them out of the great building. The monks stated to 
 Flaminius Vacca that they had preserved the deed of gift, and if they 
 ever had a pope from their monastery, it would be acted upon y . 
 
 In the fifteenth century, the great palace of S. Mark of Venice, 
 built by Paul II., 1464 — 147 1, at the south end of the Corso, the 
 Farnese in 1534, the Cancelleria in 1495, tne Borghese in 1590, 
 and many other edifices z , were built out of this quarry. 
 
 In the sixteenth century it was used for miracle plays ; this prac- 
 tice began under Paul III. in 1540% a purpose to which it had pre- 
 viously been applied on Good Friday in each year by the " Confra- 
 ternity of the Gonfalone;" this is mentioned as early as 1263. 
 
 We have one vestige of this remaining, a view of Jerusalem 
 with the Crucifixion, painted on the wall over the principal en- 
 trance then in use at the north end over the arch, and seen in 
 going out as we look up. It shews to what a height the earth 
 had then been raised to make this a convenient place for such 
 a picture. 
 
 Sixtus V. proposed to turn it into a cloth manufactory, and 
 drawings for that purpose were actually prepared by his archi- 
 tect, Fontana b , in 1590; but the design was abandoned at the 
 death of the Pope. 
 
 x ". . . et prreterea se omnes emen- p. 57, quoted by Nibby, Roma nelP 
 
 darent de faciendo tiburtinam (tra- anno mdcccxxxviii, parte i., Antica, 
 
 vertini) quod esset commune id quod p. 418. 
 
 judicitur." (Fea, Dissertazione nelle b Bellori, Vita di Domenico Fontana. 
 
 Ruine di Roma, p. 398.) Roma, nelP anno mdcccxxxviii, &c., 
 
 y F. Vacca, Memorie ap. Fea, lxxiv. parte i., Antica, pp. 414 — 417. (Le Vite 
 
 p. 72. de pittori, &c, Roma, 1728,410. p. 93.) 
 
 2 Poggio the Florentine, writing in The space enclosed within the outer 
 1425, says that a large part of the walls is six acres, and there is an extra- 
 building was reduced to lime by the . ordinary difference of climate between 
 stupidity of the Romans : — ". . . atque the northern and the southern side, 
 ob stultitiam Romanorum majori ex Dr. Deakin published a work on the 
 parte ad calcem delatum." (Poggio, de Flora of the Colosseum : he found 423 
 Varietate Fortunae, lib. i.) species of plants, belonging to 253 genera. 
 
 a Flaminio Vacca, Memorie, 72 ; Ma- Over the door now generally used 
 
 rangoni, Memorie dell' AnfiteatroFlavio, is a painting of the heavenly Jeru- 
 
30 The Flavian AmpJiitJicatre, or Colosseum. 
 
 In 1703 it was again damaged by an earthquake, and soon after- 
 wards Clement XL destroyed the lower arches of the western side of 
 the corridor, and used some of the stone to build the steps at the Port 
 of Ripetta, on the Tiber. He employed other parts as a warehouse 
 for saltpetre for the neighbouring manufactory of gunpowder, on the 
 hill adjoining, near the church of S. Pietro in Vincoli, still indicated 
 by the name of the street, and this manufactory continued in use 
 until 181 1. 
 
 In 1728, Benedict XIII. consecrated the whole area, at the insti- 
 gation of a Carmelite friar, Angelo Paoli. A small chapel was made 
 under one of the archways, and dedicated to 6". Maria della Picta. 
 In 1 74 1, a hermit was appointed to reside here, but in the follow- 
 ing year he was stabbed by an assassin, and although the wound 
 did not prove fatal, the Pope ordered the closing of every ingress 
 by gates locked and barred. About the same period, Leonardo da 
 Porto Maurizio, a Minorite friar, drew immense congregations to his 
 sermons in the Colosseum. 
 
 In 1749, Benedict XIV. ordered the erection at his private ex- 
 pense of the central cross, and the fourteen stations of the Via 
 Cruris, which remained until 1874, when they were removed for the 
 ground to be excavated. 
 
 In 1756, a grand mass was celebrated here by the Cardinal Vicar 
 of Rome under Benedict, in the presence of a very numerous 
 assembly. The same ceremony was repeated a few years afterwards 
 under Clement XIII. 
 
 The outer arcade on the south-western side of this colossal 
 building was entirely destroyed in the middle ages by the Pon- 
 tifical families, who used it as a stone-quarry for building their great 
 palaces. This enables us to see more clearly the construction of 
 the walls of the corridors and front of the three periods : — 
 
 First, the arches on the ground-floor, built of travertine. 
 Second, the first-floor, also of travertine, not long after the other. 
 Third, the upper storey, of brick on the inner side, of the be- 
 ginning of the third century. 
 
 We also see the numerous holes left by the iron clamps with 
 which the edges of the stones were bound together, according 
 to a Roman fashion which has been in use from the time of Servius 
 
 salem and the Crucifixion, of the time to such a height as to make the picture 
 
 of Paul III., a.d. 1534-50, in the style a conspicuous object in leaving the 
 
 of the older pilgrimage pictures. At building ; at present it is quite above 
 
 the time it was painted the passage ap- the heads of the passers-by, and is sel- 
 
 pears to have been filled up with earth dom noticed or seen. 
 
Work of the French i?i 1812. 31 
 
 Tullius to the present time. On the north-eastern side the front 
 is perfect, and we see the ornamental columns and cornices in the 
 two lower storeys, and in the upper one the corbels for the masts 
 to carry the awning, with holes in the cornice to let them pass 
 through. One of the arches of the lower storey has been restored 
 in the time of the Gordians, a.d. 220 — 238, and is a good example 
 of the still good construction of that period, though not so good as 
 that of the time of Titus and Vespasian c . 
 
 In 18 10, when Rome was incorporated in the French Empire, 
 the Governor, Baron Daru, placed the Colosseum under the direc- 
 tion of the Roman architect Valadier, to carry on regular excava- 
 tions, which were continued for four years, from 1810 to 1S14; of 
 these works the Comte de Tournon d , then prefect, has written an 
 account. 
 
 In 181 2, under the French, the ruins of the walls and the surface 
 of the vaults were weeded of the vegetation which threatened their 
 ultimate destruction, and the uprooting of the shrubs had become 
 necessary to save the walls. In sixty years they had again grown 
 up so vigorously that another weeding was absolutely required, and 
 in November, 1870, the whole of the ruins of the Colosseum were 
 cleared of weeds and shrubs, under the direction of Signor Rosa, 
 who was appointed by the Italian Government to superintend the 
 works, and to carry on excavations on a large scale, from that build- 
 ing to the Forum Romanum. There is no doubt that it was quite 
 time this clearing should take place, as the roots of the plants were 
 in many parts displacing the stones, and would soon have clone 
 serious mischief. There was a great outcry against this necessary 
 work by the botanists and the lovers of the picturesque, but archae- 
 ologists must approve of it. Many things are now brought into view 
 more clearly than they were before. 
 
 A view of these excavations was taken and engraved in 1813. 
 
 c The interior of the building is still ieme edition, 3 Volumes en 8vo avec 
 
 grand in its ruins. This is well shewn atlas, Paris, 1858. 
 
 in the photograph (No. 1195,) with the The fine set of drawings made for 
 
 cross, and the altar, and the stations the French Government at that period 
 
 erected by the pope about 1750, and are now preserved in the British Mu- 
 
 destroyed in 1874, in order to excavate seum, and fully bear out what I had 
 
 the whole of the area. A restoration stated before I had seen them. They 
 
 of the interior according to Canina can clearly shew that the French excava- 
 
 also be seen in another photograph tions were not carried down more than 
 
 (No. 724). ten feet. The tops of the arches of 
 
 the lower passage are shewn in the 
 
 d Etudes Statistiques sur Rome, par drawingSj but these excavations appear 
 
 le Conte P. N. C. de Tournon. Paris, to have been stopped by water rising to 
 
 Didot, 1821, 8vo., 4 vols., and deux- that height. See Plate III. 
 
32 The Flavian Amphitheatre, or Colosseum. 
 
 It represents clearly the passages round it, and two straight parallel 
 channels down the middle of it for the naval fights, which were in 
 reality not a representation of sea-fights but of river-fights. In 
 1 8 14, and again in 1867, the subterranean passage leading from 
 the Amphitheatre on the side next the Coelian was excavated as 
 a private speculation in search of treasure, which was not found ; 
 but the passage was left open as we now see it e . 
 
 In 1864-5, considerable excavations were made between the 
 Colosseum and the Coelian, in search of treasure supposed to have 
 been buried there, but only a subterranean passage was found. 
 The work was interrupted by water gushing out in great abundance, 
 — to such an extent that the area of the Colosseum was completely 
 inundated, and the water was obliged to be drawn off by a steam 
 engine f . The passage then discovered is still left open ; the upper 
 part of the vault only is removed, which formed the floor, or rather 
 supported the floor, of another passage on the present level of 
 the ground, leading from the podium, or lowest storey, towards the 
 Coelian. The point where the water gushed out and stopped the 
 work was just outside of the site of the outer wall, long since de- 
 stroyed on that part of the building. The great excavations of 
 1874 shewed that this passage turned to the left or south when 
 it reached the outer wall, and followed the line of it until it 
 joined the outer end of the long straight passage down the centre 
 of the building. 
 
 The upper wall on the north side, where it remains perfect, formed 
 the back of the wooden gallery over the corridors for the common 
 people, and was faced with brick, but the greater part of the ancient 
 brickwork had fallen down, and has been copied in modern times ; 
 a great deal of the back of the stone wall, left exposed, shews the 
 hasty construction s, in the time of Gordianus. 
 
 The remains of Aqueducts and Piscintz have already been men- 
 tioned 1 ", but some further account of them seems to be requisite. 
 A piscina always consists of four vaulted chambers, two above and 
 two below, and the middle wall of the two lower chambers has 
 
 e See No. 1742, and Plate III. there are considerable remains between 
 
 1 Probably the aqueduct which passes this point and the Crelian. The specus 
 
 there had a hole made in it ; the same of an aqueduct of the same period 
 
 aqueduct goes on from this side of the passes along between the Coelian and 
 
 building to the south-east end. This the amphitheatre, near the surface of 
 
 occurred again in 1874, and a steam the ground ; a portion of this was 
 
 engine had again to be employed. This visible in 1874. 
 
 passage, before it turns, goes in the g See Photograph, No. 367. 
 
 direction of the castellum aqua of the h See p. 5- 
 time of Alexander Severus, of which 
 
Remains of Reservoirs of Aqueducts, 33 
 
 small holes in it, for straining the water as it passes through. The 
 lower chamber of a piscina is also known by having no windows in 
 it, and the lining being of the water-cement (opus signinum). The 
 lower chambers of two piscince only remain; of the northern one 
 the middle wall between the two lower chambers is the only part 
 now visible, this is faced with opus reticidatum of the time of Nero, 
 and has the usual small holes for water-pipes through the wall. The 
 southern one is of brickwork of the third century, of the time of 
 Alexander Severus ; of this there is much more remaining, one end 
 with the usual boldly projecting buttresses to support the weight 
 of water, and part of two other chambers of the reservoir. 
 
 The excavations which had been made in the time of the first 
 Napoleon and of Pope Pius VII., 1810 — 1814, were filled up again 
 after drawings and plans had been made of them. They were 
 not considered satisfactory by scholars because the excavations 
 had not gone deep enough, having been stopped by water, as 
 very often happens in Rome at certain periods of the year, when 
 the springs are high. They were again suspended by the same 
 cause in the spring and summer of 1874, but Signor Rosa, with 
 his usual energy, obtained machinery and a steam-engine to pump 
 the water out 1 . The whole area was found to be undermined by 
 chambers and passages, with walls chiefly of brick, but some of 
 tufa, with indications of several different periods J. 
 
 When the Pontifical Government returned to power in 18 15, 
 Pope Pius VII. ordered the enormous buttress to be built, for 
 supporting one end of the wall then left broken, and preventing 
 the ruin from extending further. We have already lost forty-seven 
 out of the eighty arches, which have been destroyed for using the 
 materials by previous Popes to build their family palaces, or monas- 
 teries and churches, so that there remain only thirty-three of the 
 external arches of travertine. The other end of the wall, near 
 the Meta Sudans, was left in a dangerous state until that was also 
 supported by the great buttress of Leo XII. In 1828, Gregory XVI. 
 followed the example of his immediate predecessors, and rebuilt in 
 brick some arches of what had been the internal corridors, but had 
 become external, owing to the demolition of the great outer arcades 
 in earlier ages. In 1852, Pius IX. repaired the principal entrance 
 from the Esquiline side, and some more of the arches of the inner 
 arcade. 
 
 ' In the summer of 1875 they were ' Of which an account has been 
 
 again suspended for want of funds to given in pages 5, 6, IO, 13, 14, 21, 35, 
 
 pay for the steam-engine, which costs of this chapter, 
 a pound a-day. 
 
 D 
 
34 The Flavian A mpJiitJicatre, or Colosseum. 
 
 Under the arena was all the machinery usual under the stage 
 of a large theatre ; and much space was required for it. When 
 the boards had to be cleared off the central part, to leave open the 
 four long channels of water, which are seen in the view of the 
 Colosseum taken in i8i2 k , and the space between them which was 
 probably flooded to the depth of a few feet for effect, the boards 
 removed from the centre must have been piled up at the sides, and 
 on the large corbels before mentioned \ Apollodorus, the archi- 
 tect, in his celebrated reply to the Emperor Hadrian, told him that 
 he ought to have prepared a place for the machinery of the great 
 amphitheatre under the platform, and in such a manner that the 
 great building should have been visible from the Forum Romanum. 
 The site intended by him for the temple evidently was the large 
 level platform on the Summa Sacra Via, on which S. Francesca 
 Romana now stands ; and the place for the machinery intended by 
 him was obviously that excavated in the spring of 1874, under the 
 south-east end of the platform immediately opposite to the Colos- 
 seum, a very convenient place for the purpose. There still re- 
 mains a rude rubble vault, of the time of the Republic, with 
 a small aqueduct introduced in the time of the early Empire to 
 carry water to the fountains at each corner of the Porticus Livias, 
 which must have been on this site, but which did not extend to 
 the end. There is an excellent place for a temple at the end of 
 the porticus or colonnade ; and the platform could easily have been 
 extended several yards nearer to the Colosseum : it is evident that 
 this is what Apollodorus said that Hadrian ought to have done, but 
 that he had not done so. 
 
 At the south-east end, under the old entrance, at the present 
 level of the ground, a long passage has been found, with a series of 
 square-topped arches, at about fifteen feet below that level. This 
 has been traced further to the south, beyond the limits of the build- 
 ing; it must have led from the great foss-way in that direction. 
 There is a large and deep drain extending from the south end of the 
 Colosseum, turning at an angle and passing at the foot of the Clau- 
 dium to the Meta Sudans, near the arch of Constantine. It was 
 continued under the present Via di S. Gregorio, and the south- 
 east end of the Palatine m . 
 
 k See Plate III. time of Sylla (?), was found under it at 
 
 1 See Plate XV. a considerably lower level. It is fifteen 
 
 m About the year 1865 a new drain was metres below the surface of the ground, 
 
 made by the Municipality under that and so much filled up with earth that it 
 
 road, and when it was nearly finished is considered (in 1876) quite impractic- 
 
 the old drain of the Empire (?), or of the able to have it cleared out and repaired. 
 
The Dens and L ifts under the A vena. 3 5 
 
 In one part, near the south end, on the western side of the central 
 passage at the lowest level, which is twenty-one feet below the pre- 
 sent level of the ground and the top of the walls of the substructure, 
 the two ancient tufa walls (before mentioned) remain nearly perfect, 
 with the vertical grooves opposite to each other, evidently for lifts 
 to slip up and down, and in each instance in the wall on one side 
 a hollow is cut, for the counter-weight to work up and down n . 
 These lifts are very near together in the outer passage, in front of 
 the podium, but far below the bottom of it. Behind each of them is 
 a small square chamber under the passage in front of it, with a nar- 
 row entrance to it, and a small stream of water running in front 
 for the use of the animals, as these are plainly the dens for the 
 wild beasts to be placed in temporarily, and there is just space 
 enough for the animal to pass through into the wooden cage 
 (pegma ), which had two doors, one at the side, the other at 
 the top. When the cage on the lift was pulled up to the level 
 of the floor of the stage or arena, under one of the trap-doors, 
 the upper part was pulled up by a cord from below along with 
 the trap-door, and the animal thus placed at liberty sprang out 
 on to the stage. In the original pavement, which remains round 
 a great part in the passages, behind the place for each of the lifts, 
 is a round hole for the socket of a pivot to work in, evidently for 
 the windlass for winding up the cord p . It is calculated that there 
 was one of these lifts in front of each arch, and a den behind 
 each, all round the enceinte of the building, so that all the wild 
 beasts could spring on to the stage at once with tremendous effect. 
 The persons in the lower gallery were protected by strong nets, and 
 by bars that turned round on pivots, so that the claws of wild 
 beasts had no hold upon them. 
 
 Under the long passage which comes in at the south end is a large 
 drain at a considerably lower depth ; there are gratings in the 
 paved floor of the passage above opening into it, which had un- 
 fortunately been stopped up in some of the great floods, but was 
 partially cleared out as far as the Meta Sudans in 1875. The paved 
 floor of the passage over the drain under the arena is three feet 
 above the level of the pavement, which is of herring-bone brickwork 
 (opus spicatum), and the passage before mentioned goes all round 
 the building nearly under the edge of the podium. Modern iron 
 steps have been placed for people to descend to the bottom of the 
 
 n Photos., Nos. 3203, 3283. p See Plates XVIIL, XIX., and 
 
 For the pegmata, seep. 14, and the Photos., No. 3283, and the graffito of 
 authorities quoted in the note. the net, Plate XXIV. 
 
 D 2 
 
36 The Flavian Amphitheatre, or Colosseum. 
 
 building, and under these is seen the ancient iron grating to pre- 
 vent anything being carried off by the rush of water 1. From this 
 it is evident that the great drain was to carry off the water used 
 in the canals for the naumac/iia, when the Emperor "ordered the 
 water to be let off and the boards to be replaced." There are 
 evident marks of a great flood-gate or sluice drawn up, as a port- 
 cullis, at the entrance to this drain. It also appears that the ves- 
 sels were floated down on the wooden framework on which they 
 were dragged along, now made visible, but it does not appear that 
 they could have been floated up also to the level of the canals. 
 The space between the wooden floor of the stage, called the arena, 
 and the original pavement being twenty-one feet, the canals were 
 ten feet deep, and yet room is left for the passages and machinery 
 under them. Possibly, but not probably, the whole central space 
 could be floated, excepting just at the south end, where room was 
 left for the machinery. The vessels were probably never removed 
 from the building, but left under the vaults, and dragged out when 
 required. 
 
 The tufa walls with the grooves for lifts belong to the earliest 
 part of the building, and must be earlier than the time of Nero r , 
 as has been shewn ; and his stagnum navale, or naumachia, his 
 venationes, or wild-beast hunts, and gymnasium, which are recorded 
 as belonging to his great palace, could have been nowhere else but 
 on this spot. 
 
 We now see distinctly the large corbels s all round the building at 
 a certain height, about six feet below the present level of the soil, 
 for carrying the boards of the great floor covered with sand called 
 the arena, upon which the athletes wrestled, the wild beasts were 
 killed, and the persons condemned to death were torn to pieces 
 by wild beasts ; so that the martyrdom of the early Christians 
 who were condemned to death in this manner took place on 
 the sand of the arena, and not on the soil of the area. These cor- 
 bels, in some instances, at the south end of the building, have 
 the ends of them built into the old tufa wall, which is cut away to 
 receive them. This old wall is not so regular in plan as the great 
 work of the Flavian Emperors, the architect of which probably in- 
 tended to destroy these old walls ultimately. Dio Cassius (him- 
 self a Roman senator) gives a vivid description of scenes which 
 took place in this Amphitheatre 1 in his presence, in the time of 
 
 1 See Photos., No. 3201, and Plate ■ See Plates XIII. and XVI. 
 
 XIX. t Dionis Cass. Hist. Rom., lib. Ixxii. 
 
 r See the evidence of this, p. 13. c. 17, 18, 19, 20, 21. 
 
The Tufa Walls the earliest of the Building. 37 
 
 Commodus (as has been said), which leaves no doubt about the 
 matter. Similar scenes are described in the time of Nero. The 
 whole of the arena was, in fact, supported in all directions by 
 the walls of the chambers or passages not more than ten feet 
 apart; one object of which, no doubt, was to carry the great 
 boarded floor, that could be removed at pleasure by the order of 
 the emperor, and replaced as readily u . 
 
 The excavations of 1874 and 1875 s ver y much astonished the 
 people in Rome, and more especially the English visitors, who 
 had been long accustomed to consider the area and the arena to 
 be the same thing ; they were amazed to see the whole of the area 
 undermined with walls y . The walls that were first seen are for the 
 most part brick walls of the fifth century, and the inscription z 
 found there in 18 14 records that they had been repaired by 
 Lampadius, prefect, a.d. 442. This was after they had been much 
 damaged by an earthquake. Another inscription records repairs of 
 the arena and the podium by Basilius, prefect and consul, a.d. 508, 
 after another earthquake. A long subterranean passage a at a con- 
 siderable depth, leads out at the south-east end in the direction of the 
 church of S. Clement ; this passage passes under a number of square- 
 topped arches or doorways, and has rather the appearance of having 
 been a state entrance at the time that the level of the street was as 
 
 u Some scholars say that those scenes x See Plates IV. to X. 
 
 could not have taken place on this site, y They were made at the suggestion of 
 
 because the Flavian Amphitheatre was the author of this work, rather sooner 
 
 not built in the time of Nero. But it than would otherwise have been the case, 
 
 has been shewn that an awning in the in order that he might be able to see 
 
 amphitheatre of Nero is described by them. Signor Rosa unfortunately began 
 
 Pliny, writing at the time, during the pulling down the walls of the substruc- 
 
 life and reign of Nero, as he uses the ture, calling them " Frangipani walls. " 
 
 expression principis Nerouis, which he The Frangipani family had possession of 
 
 could hardly have used after his death. the Colosseum in the twelfth century, 
 
 No other site but this can be found for but the construction of that period is 
 
 such a large building as an amphi- totally different from any of the walls 
 
 theatre, and this is close to the Golden in the Colosseum, either above or below 
 
 House of Nero. In any case athletes or the level of the arena. The Minister 
 
 wrestlers, and naumachia or naval fights, of Public Instruction fortunately arrived 
 
 are part of the tradition of many Roman in Rome in time to stop their demolition, 
 
 amphitheatres, and there are sufficient and obtained an Act of Parliament, in 
 
 remains of the substructures in many 1875, appointing a general Archaeo- 
 
 places to prove that this tradition is logical Commission for all Italy, with 
 
 well founded. The corridors of the Signor Fiorelli, from Pompeii, at the 
 
 Flavian Emperors, though splendid ad- head of it ; and no individual will in 
 
 ditions to this great theatre, were not future be permitted either to destroy 
 
 necessary for the performance of those antiquities, or to build anything new, 
 
 pantomimes. It has also been shewn without the consent of the Commission, 
 
 that the old tufa walls must be earlier l See No. 3202, and p. 27. 
 
 than the time of Nero, and are probably a See No. 3201. 
 of the time of Sylla. 
 
38 The Flavian Amphitheatre, or Colosseum. 
 
 low as that passage, that is, before the filling-up of the foss-ways, 
 which began in the second century. On each side of this passage 
 is a long narrow vaulted chamber parallel to it, under the corridor, 
 •and in the pavement of each of these chambers is a series of six 
 round holes lined with hard copper or bronze, for a pivot to work 
 in ; they are somewhat worn, and in a straight line one behind the 
 other. The most probable use for these was for a windlass or 
 capstan to be worked in each, and by these means to drag along 
 the vessels in the canals before mentioned, as extending down the 
 centre of this colossal building. 
 
 It has also been mentioned that a very ancient wooden frame, 
 calculated for the keel of a vessel to slide upon, remained on the 
 ground in 1875, just within the passage at the south-east end of the 
 building, as if the vessels used in the sham fights could be placed 
 out of sight in the lofty central passage. This is said by those 
 accustomed to dockyards to have all the appearance of a dry dock, 
 or a cradle for vessels to stand upon b . We read of the vessels 
 being divided into two nations or sides, there were probably six 
 on each side, and each nation occupied one of the canals. It is 
 probable that the surface between the two canals on either side of 
 this central passage, just under the level of the arena (which was 
 twenty-one feet above the brick floor), was flooded with two or 
 three feet in water, but the keels of the vessels were in the canals. 
 On either side of the passages before mentioned are remains of 
 other walls of tufa, with vertical grooves in them, as if for lifts ; the 
 brick walls, between those of tufa, have been introduced at a later 
 period, and in these instances the grooves are not opposite each 
 other. This shews that great alterations have been going on at 
 different periods in these subterranean works, some of which are 
 earlier than the existing building, and others considerably later" 1 . 
 In one place, near the south-east entrance, the two old stone walls, 
 with the vertical grooves, remain in their original places facing each 
 other, so that lifts might work up and down in them. 
 
 Architects had long wondered where the builders could possibly 
 have obtained such an immense mass of materials in so short 
 
 b See No. 3263, and Plate VII. exit of the people, as well as the 
 
 c See No. 3203. plan of the whole building would do. 
 
 d The plan of one section of this The magnificent stone arcades of the 
 
 enormous building (see No. 183 and Flavian Emperors, A.D. 80, appear in 
 
 Plate XIV.), and those of the six dif- many parts to be built against brick 
 
 ferent floors or storeys, shew the ad- walls and galleries of the time of Nero, 
 
 mirable arrangement of the seats and originally built for the spectators of the 
 
 passages, and vomitoria for the rapid old Naumachia. (See No. 3205, 1762.) 
 
Ancient Wooden Frame, or Cradle for the Galleys. 39 
 
 a time, it was therefore evidently natural that they should make 
 use of anything that served their purpose. It appears that in 
 some parts the galleries for the spectators of the old Naumachia 
 were thus made use of as they stood, without actually rebuilding 
 them. The great tufa blocks of the second wall of Rome were 
 also used as old materials for the substructure of the great stone 
 arcades ; but the builders, who had to add the upper gallery, were 
 afraid to trust the soft tufa to carry so great a weight e , and there- 
 fore built piers of travertine about four feet wide 1 . These piers 
 to support the upper gallery go right through the walls of all the 
 lower galleries, from the top to the bottom of the building (as has 
 been said on p. 12). 
 
 The architectural details of the Colosseum are much admired 
 by architects ; the cornice-mouldings of the lower storey are good 
 examples of the style of the latter part of the first century s. The 
 supply of water for the naval fights must have been from the Aque- 
 ducts ; the water was brought from the Ccelian in a shallow channel, 
 carried upon a lofty double colonnade, or arcade h . It has been 
 mentioned * that there are slight remains of three reservoirs to 
 receive it, which can be traced by remains of the particular cement 
 used only for the aqueducts'*. The continuations of the shallow 
 channel along the corridors can be seen in many places, and are 
 shewn in the photographs l . 
 
 In the upper storey of the third century, on the exterior, the cor- 
 bels for the masts to rest upon, and the holes in the cornice for 
 them to pass through, have been mentioned m . On the interior of 
 this wall, now that it has been stripped of plaster, and the wooden 
 gallery that had been built up against it has been destroyed, we see 
 clearly how hastily it has been built of old materials 11 . In other 
 parts it has been cased with modern brickwork, but the corbels for 
 fastening the masts on the inside are preserved °. 
 
 e The amphitheatre is 1,837 Roman f See Nos. 1081, 1762. 
 
 feet in circuit, 638 long, 535 wide, and « See No. 1346. 
 
 165 high from the ground, besides h A coin of Titus shews a colon- 
 
 21 feet for the substructures, so that nade, and one of Domitian also. See 
 
 the whole height was 186 feet. The Plate XXV. 
 
 Roman foot is not quite so long as the * See p. II. 
 
 English foot, but the difference is tri- h See No. 176 1. 
 
 fling. The number of spectators was l See Nos. 1758, 1759, 1760, 1763. 
 
 87,000 according to the Regionary m They are more clearly shewn in 
 
 Catalogue ; modern authorities say that another photograph, No. 827. 
 
 the measurement shews this number to n See No. 367. 
 
 be rather exaggerated. ° See No. 185. 
 
40 The Flavian Amphitheatre, or Colosseum. 
 
 The Evidence of the Construction, and Comparison. 
 
 It is well known that the first principle of the modern science of 
 archaeology is comparison. To compare small remains of one place 
 with more perfect remains of the same kind, and as far as may be, 
 of the same period, in other places. By these means, what has been 
 destroyed in one is frequently supplied by the corresponding part 
 in another. This is remarkably the case with regard to the amphi- 
 theatres, which are very numerous ; there was one to every Roman 
 town of importance, and such large buildings have almost invariably 
 left remains visible p . It appears nearly certain that the Colosseum 
 in Rome was the earliest, and that this was the type generally fol- 
 lowed more or less closely by the others. This was a gradual de- 
 velopment, and not merely one original design ; the magnificent 
 front and stone corridors of the Flavian emperors, which constitute 
 what is usually considered to be the amphitheatre, were in fact built 
 round a theatre previously existing* 1 ; that the names of theatre or 
 amphitheatre were used indifferently is implied in many instances, 
 and is distinctly shewn by an inscription found in the Colosseum 
 itself, and preserved on the spot, in which it is called theatrum, and 
 not amphitheatrum x . The theatre, or amphitheatre, round which 
 the corridors were built, has been shewn to have been in parts of 
 the time of Nero s , and other parts earlier, most probably the work 
 of Scaurus in the time of Syila*. This colossal building was finished 
 and consecrated by Titus in the year 80 u . 
 
 Capua. 
 
 The great amphitheatre at Capua is almost of the same size as 
 the Colosseum in Rome, and a remarkably exact copy of it ; some 
 say that it was called by the same name, but this is rather doubtful, 
 
 p They were, however, not always of the same buildings. Both amusements 
 
 stone or brick ; in places where stone are believed to have been used in Greece 
 
 was scarce, they were frequently of before they were introduced into Rome, 
 
 wood only. but they were in use in Rome before 
 
 1 See p. 1. r See p. 7. the time of the Empire. At first, the 
 
 8 See p. 6. * See pp. 2, 9, 23. amphitheatres were temporary build- 
 
 u See pp. I, 8. That the amphi- ings of wood only (as has been shewn), 
 
 theatres were among the finest build- but there were several of these. After 
 
 ings of the Romans in all their cities it the great Flavian amphitheatre was 
 
 is hardly necessary to say ; it seems completed, this seems to have been the 
 
 clear that they were first built for the only one in Rome ; but those of several 
 
 favourite amusement of the hunting of other cities, such as Capua and Verona 
 
 wild beasts, and that the first name for (see the learned work of Scipio Maffei, 
 
 them was Theatrum Venatorium ; but Verona Illit strata, Milano, 1876, parte 
 
 the gladiators were soon introduced, for quarta) must have been nearly equal 
 
 the further amusement of the people in to it. 
 
Capua. 41 
 
 as persons who have resided at Capua for years say they have never 
 heard it so called; the name is not of much importance : the plan 
 and arrangements are identical, and although the superstructure has 
 been almost entirely destroyed, the substructures at Capua are far 
 more perfect than in Rome ; and here we have the mouth of an 
 aqueduct perfect in these substructures, and remains of canals for 
 water, with the very massive walls to support them, exactly as in 
 Rome. The great drain to carry off the water also remains, but on 
 rather a different plan ; instead of being carried under a low arch at 
 the end of the great central passage, as in Rome, the water is con- 
 veyed into a large and deep well in the centre of the building, with 
 four small channels running into it, beside the great central opening. 
 From this well there is a large and deep drain leading to the river. 
 There are the same dens for wild beasts under the podium, and in 
 the pavement the same sockets for pivots to work in, to pull up the 
 cages, or pegmata, or lifts. The arena, instead of being a boarded 
 floor, is of brick, carried on vaults, with numerous square apertures 
 for the trap-doors. The central passage is vaulted at the two ends, 
 but open in the greater part. Round each of the openings there is 
 a deep groove, as if a wooden cover had been fitted tightly over 
 each and made water-tight, so that the surface of the arena might 
 be flooded for naval fights ; but there is reason to believe that only 
 rowing-boats, drawing little water, were used in this instance, and 
 not galleys. 
 
 The earliest part of the building at Capua is of the time of the 
 Emperor Hadrian, but only a small part of that period remains, as 
 shewn by the construction (reticulated work with a framework of 
 brick). Most of the walls in the substructure are faced with brick 
 of the second or third century, with later repairs T . 
 
 T The following inscriptions, found ancient inscriptions found upon the 
 upon the spot, agree with the construe- spot) ; the second (No. 48 of the same 
 tion, as is always the case when the collection) appears to be of Septimius 
 true date can be ascertained. The first Severus and Pertinax, a.d. 192 ; the 
 is of the time of Hadrian, A.D. 120, third in point of date (No. 16 in the 
 (No. 43 in chapter vii. of the work of collection) records restorations by Lam- 
 Francesco Alvino, which contains the pridius : — 
 
 XLIII. 
 
 IMP. CMS,. T. JELIO 
 
 HADRIANO AVG 
 
 PATRI PATRI.'E 
 
 SVBLEVATORI ORB1S 
 
 RESTITVTORI OPE 
 
 RVM PVBLICORVM 
 
 INDVLGENT1SSIMO 
 
 OPTIMAQ. PRINCIPI 
 
 CAMPANI 
 
 OB INSIGNE.M ERGA EOS BE 
 NIGNITATEM D. D. 
 
42 The Flavian Amphitlicatre, or Colosseum. 
 
 PUTEOLI OR POZZUOLI. 
 
 This amphitheatre is very much smaller than either the Colos- 
 seum in Rome, or the amphitheatre at Capua ; the superstructure 
 is in a very ruinous state, but the substructure is almost perfect, 
 and the work is much more highly finished than in either of the 
 others. There are considerable remains of rich stucco ornament 
 on the vault over the passage to one of the side doors. The arena 
 is nearly intact, and is of brick, carried on vaults, what the Italians 
 call pensile; this word does not mean literally hanging, but hol- 
 low underneath ; and this brick floor is full of square holes for 
 trap-doors; round the edge of each is a deep groove, as if for 
 a cover to fit into, which may very well have been made water- 
 tight. Signor Scherillo, a native of Pozzuoli, and now a canon 
 of the cathedral at Naples, has published several papers on this 
 amphitheatre in the Atti delP Accademia di Areheologia, Lettera- 
 tura e belle Arti di Napoli. He is of opinion that the arena was 
 flooded to the depth of about three feet, or about half way up the 
 podium; the water would only cover the two or three lower steps, 
 and there were probably also water-tight doors at the foot of them. 
 At a short distance in front of the podium is a channel about a foot 
 deep, in which probably a beam of wood has lain, and at intervals 
 of ten or twelve feet is a square hole, evidently for a beam of wood 
 to have stood in, no doubt the lower part of the frame for the 
 netting to keep off the wild beasts from the people in the lower 
 gallery, as in the Colosseum, and probably carried up as poles or 
 
 XLVItl. 
 
 IMP. CMS. DIVI M. ANTONINI 
 
 GERM. SARM. FIL. DIVI COMMODI 
 
 FRATRI DIVI ANTONINI PII NEPOTI 
 
 DIVI HADRIANI PRONEPOT1 DIVI 
 
 TRAIANI PARTHICI ABNEPOTI DIVI 
 
 NERVAE ADNEPOTI 
 
 SEPTIMIO SEVERO PIO PERTINACI 
 
 ARABICO ADIABENICO P.P. PONT. MAX 
 
 TRIB. POT. IIII. IMP. VIII. COS II. PROC 
 
 COLONIA CAPVA 
 
 XVI. 
 
 POSTVMIO LAMPADIO 
 
 V. C. 
 
 ET INLVSTRI CON. CAMPANIAE 
 
 RESTITVTORI PATRIAE 
 
 ET REDINTEGRATORI OPERVM FVBLICORVM 
 
 By a singular coincidence, Lampadius A. D. 445 ; but though the surname is 
 was also the name of the Prefect who the same, the prename is not, he was 
 restored the Flavian amphitheatre in probably of the same family. 
 
Pozzuoli — Verona. 43 
 
 masts to receive the lower ends of the cords to carry the awning ; 
 there are also remains at the top of the outer wall of the same 
 arrangement of fixing the masts there as in the Colosseum, and the 
 same thing can be seen in many other amphitheatres where the 
 outer wall remains perfect. This amphitheatre is entirely of the 
 time of Hadrian, a beautiful piece of construction. It seems to 
 have been a favourite show-place of the Emperors on state occa- 
 sions, for the upper classes and foreigners, when the fleet was 
 assembled in the Bay of Naples, in which the Cape of Misenum 
 is one of the promontories near this spot. The enormous reservoir 
 of water for the supply of the fleet, called the Piscina Mirabilis, is 
 also not far off; and the amphitheatre belonged to the great imperial 
 villa, originally of Nero, in the bay adjoining. 
 
 This amphitheatre has been shamefully used in the Middle Ages, 
 the arena having been made into a cabbage garden, with a deep 
 bed of earth upon it. The upper parts of the walls had probably 
 been damaged by the great earthquake, and in order to get rid of 
 the numerous broken columns and capitals lying about, the gar- 
 deners threw them down the openings into the vaults below, where 
 they are stacked up under the arches like so many mere blocks of 
 stone, to put them out of the way. Fortunately it is owing pro- 
 bably to the vaults having thus been made use of, that they have 
 been so well preserved, and also because there was not much Call 
 for building-stone in the neighbourhood, as the ruins of the villa 
 and the temples had supplied as much as was wanted. 
 
 Verona. 
 
 In many of the Italian cities, as well as in Gaul and Britain, the 
 amphitheatre was made of earth and wood only, the seats cut out 
 in banks on the slope of a hill or of an agger, in districts where 
 stone was scarce. In the Circus Maximus also the seats for the 
 plebs on the Aventine seem to have been made in that manner, the 
 stone galleries were on the Palatine only. 
 
 At Verona, as in many other instances, the outer wall has been 
 almost entirely destroyed ; two bays, or four arches of it only re- 
 main, but these are sufficient to shew the plan, and that it was three 
 storeys high, the Tuscan order of columns being used throughout. 
 The upper storey seems to have been for the passage round the 
 seats over the corridors ; the two lower ones with the seats re- 
 main nearly perfect, forming a fine double arcade on the outer side 
 without columns, now made visible by the demolition of the outer 
 
44 The Flavian Amphitheatre, or Colosseum. 
 
 corridor and wall. In its present state it is one of the finest buildings 
 of its class. There seems to be no historical evidence of its date ; 
 in Murray's Handbook it is said to be of the time of the Flavian 
 Emperors, but no authority for this is given, and it is not probable. 
 The measurements given by Maffei do not quite agree with those 
 taken by Alvino x , but the variations are not great; and as one is 
 taken in Neapolitan palms often inches, the other in Veronese feet, 
 the apparent variation probably arose only from the different mode 
 of calculating. None of them agree with those in Murray's Hand- 
 books, which are taken from the Lectures of Mr. Woods. The 
 general proportions may be judged of by the number of persons 
 that each would contain ; Publius Victor states that the Colosseum 
 had 87,000 places, and Maffei states that this at Verona had 77,000, 
 this would make it one-eighth less. The variations are not of much 
 importance. The outer wall was partly destroyed by an earthquake 
 in 1 184, and the stones were then used as building material, as in 
 other places, but this was soon stopped. The unusually perfect 
 state of the seats arises from the care taken of them in the Middle 
 Ages, very much to the credit of the inhabitants at that period. As 
 early as 1228, it was agreed that each podesta (or mayor) should 
 expend 500 lire (about ^2os) on the repairs of this building; and 
 in 1435 penalties were inflicted on any one who removed any of 
 the stone. This shews that the people of Verona were more civil- 
 ized than the Romans at that period. In 1545 a special officer was 
 appointed to take charge of it. The restoration of the seats has 
 been carefully done, and is not perceived without some examination. 
 This restoration was begun by voluntary subscription as early as 
 1568, and continued as late as 1805. The arches were numbered 
 on the exterior, as in the Colosseum ; the four that remain have the 
 numbers LXIIII to LXVII over them. The arrangement of the 
 masts and poles for the awning are the same as in Rome, and 
 were managed in the same manner. The plan of the vomitoria is 
 also nearly the same. No excavations appear to have been made 
 under the arena ; a plan and section of the substructures under 
 the galleries is given by Maffei, they are similar to those in Rome. 
 He does not appear to have been aware that there was likely to 
 have been anything under the arena; he mentions the conduits 
 of aqueducts, and drains for carrying off the water, which seem to 
 shew that naumachia were held here, but we have no information 
 as to how they were managed. 
 
 x See p. 45. y This would be at least equal to ,£200 of modern money. 
 
The A mphitheatre at Pola, in I stria. 
 
 45 
 
 The proportions of the three principal amphitheatres, as given in 
 the work of Alvino z , in Neapolitan palms a of ten inches are : — 
 
 Length of interior 
 Breadth of interior . 
 Length of arena . . 
 Breadth of arena 
 Height of first order 
 Entire height of interior 
 No. of orders b 
 Actual height of ruins 
 No. of arches . . 
 
 Circuit 
 
 Gates 
 
 Width of arches . 
 Breadth of pilasters . 
 
 Colosseum, 
 
 Verona. 
 
 639 
 
 522 
 
 527 
 298 
 186 
 
 417 
 
 252 
 149 
 
 35 
 
 29 
 
 174 
 
 91 
 
 4 
 171 
 
 3 
 62 
 
 80 
 
 72 
 
 170 
 
 134 
 
 2 
 
 1 
 
 15 
 
 8 
 
 \2\ 
 
 Capua, 
 
 645 
 530 
 289 
 
 174 
 
 36 
 
 169 
 
 4 
 
 75 
 
 80 
 
 178 
 
 2 
 i5 
 
 The Amphitheatre at Pola, in Istria. 
 
 This fine structure is built of beautiful white stone, almost 
 marble, in large blocks without mortar, but it had metallic fasten- 
 ings, which have all disappeared, and left their marks behind them. 
 There are two rows of arches, and above a line of square windows ; 
 also a curious stone parapet, with very distinct indications of ar- 
 rangement for spreading the velarium or vela (the awning). There 
 is only one line of columns, but there was originally a second, and 
 most of the bases of them are still in situ. The amphitheatre is 
 built against a rocky mountain, which causes the northern part of 
 the ellipse to be much lower than the outer one. There are nu- 
 merous passages and substructures, except on the rocky half of the 
 building. There are two principal entrances facing each other, and 
 in a line with them is a trench exactly similar to the one in the 
 Colosseum, and at Capua, &c. These canals for conducting water 
 into the arena can still be seen, and there seems no doubt of its 
 having been used for naumachia. There are but few remains of the 
 seats, except a large accumulation of debris, and traces of the stairs 
 and vomitoria. The whole line of the podium is also perfectly 
 preserved, but no trace of the concentric euripus found in other 
 
 z Anfiteatro Campano illustrate* e 
 Restorato da Franceso Alvino terza 
 edizione col paragone di tutti gli anfi- 
 teatri D'ltalia ed un cenno sugli anti- 
 chi monumenti di Capua. Napoli, 1842. 
 
 a The Neapolitan palm is ten inches 
 English measure. If the measurements 
 of Signor Alvino are reduced to Eng- 
 
 lish 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. 
 
 In Rome these are Doric, Ionic, 
 Corinthian, Composite ; at Verona, all 
 Tuscan ; at Capua, all Doric. 
 
\6 The Flavian Amphitheatre, or Colosseum. 
 
 amphitheatres. The most puzzling parts of the structure are four 
 rectangular towers, which appear to have had no special staircases 
 leading to them from the ground ; antiquaries, with all their in- 
 genuity, have not yet given any satisfactory explanation of these 
 objects. They were most probably for the music, as in the circus 
 of Maxentius on the Via Appia, near Rome, where one tower 
 remains at each end of the carceres c . 
 
 The amphitheatre at Nimes, in Aquitaine, still has a wooden floor 
 with trap-doors in it ; the present floor is not ancient, but no doubt 
 replaces an old one ; there is no staircase, and the only access to 
 the passages below is by a step-ladder, and the arrangement of the 
 substructures is quite different from that in Rome, or at Capua, or 
 Puteoli. There are large masses of stone at intervals to support the 
 floor, and wide passages between them. On two of these massive 
 piers are inscriptions, with the name of the architect, the same 
 inscription repeated twice, in characters of the third century. There 
 are no signs of naumachia, or of aqueducts ; the seats and the 
 superstructure are more perfect than usual, and have a very fine 
 effect. 
 
 At Aries the superstructure also is very grand, but there are no 
 substructures under the arena visible. It is partly cut out of the 
 rock, the lower part supported by massive substructures, but no 
 passages in them are visible. Excavations have not been made 
 there, and the doorways appear to be filled up to half their height, 
 as at the Porta Tiburtina in Rome. 
 
 At Bordeaux the ruins of the amphitheatre are called the (arencs) 
 arena, and it evidently had a boarded floor covered with sand, as in 
 the Colosseum ; and the superstructures, with the seats, are more 
 perfect than in Rome. There is a great general resemblance, but 
 the details are not the same. The Colosseum is the only amphi- 
 theatre which has double corridors round it, and the absence of this 
 outer passage makes a different arrangement of the stairs to the 
 vomitoria necessary in this and other amphitheatres, where the 
 people went straight out through each archway. 
 
 c I am indebted for this clear account count of that remarkable building, 
 
 of the amphitheatre at Pola to Lord which further contributes to illustrate 
 
 Talbot de Malahide, who was there in the Colosseum at Rome. An excellent 
 
 October, 1875. The excellent drawings account of Pola appeared about the 
 
 of Mr. Arthur Glennie, who resided same time in the Saturday Revieiv, but 
 
 at Pola for one whole summer, also this is more general, not so specially 
 
 agree perfectly with the excellent ac- written with this object in view. 
 
Substructures compared. 47 
 
 Substructures compared. 
 
 In treating of the amphitheatres in general, and corroborating 
 the account given in this work of the Colosseum, it must be borne 
 in mind that in every theatre a considerable space is required be- 
 hind the scenes for the use of the actors. The performances in an 
 amphitheatre would equally require such space for the performers 
 when off the stage, and the only space to which they could possibly 
 retire is under that stage which is called the arena, because it was 
 covered with sand ; and it has been shewn that in these substruc- 
 tures there are numerous passages and contrivances for the ma- 
 chines to send up the wild beasts to be hunted, the men and the 
 dogs to hunt them, and the athletes for the wrestling matches ; we 
 have also canals for water for the keels of the vessels, in some 
 instances, but not in all ; in some cases, the vessels employed could 
 only have been rowing-boats, rates. We have also mention of 
 battles with swords in the naumachia, and of many men being 
 killed. This seems to make it clear that the principal amusement 
 consisted in the crew of one vessel trying to board the other, and 
 the defendants preventing their doing so in every way that they 
 could, either by throwing them off into the water, or with swords 
 and spears. 
 
 At Pozzuoli, where the substructures are nearly perfect, there are 
 remains of an intermediate passage, as if for men to run along; and 
 this has been traced to communicate with the Emperor's seat, and 
 is thought to have been for messengers to go with orders, and to 
 give the necessary directions. All that remains of this intermediate 
 passage are the corbels for carrying a wooden gallery upon. There 
 are similar corbels for an intermediate passage between two floors 
 in the Colosseum, but here in the upper part, apparently for the 
 sailors to run along to furl or unfurl the awning, not in the sub- 
 structures ; there also appear to have been separate stairs and 
 vomitoria for that passage, and as we know that several hundred 
 sailors were employed in the Colosseum, such an arrangement 
 would be quite necessary. 
 
 Mention has frequently been made of the great central passage, 
 which exists not only in the Colosseum, but in all other amphi- 
 theatres where substructures were made. This passage appears to 
 have served for several useful purposes ; there are traces of ma- 
 chines in it for lifting up some large object, not only in the Co- 
 losseum but also at Capua; and the things to be lifted up in all 
 probability must have been the vessels for the naval fights. This 
 
48 The Flavian Amphitheatre, or Colosseum. 
 
 central passage is mentioned or implied in several instances in the 
 classical authors ; it had the appearance of a gulf dividing the earth 
 or arena into two parts. Apuleius calls it vorago terra (a gulf of 
 the earth); Martial, the via media, or middle way; and Petronius, 
 ruina terra, from the appearance of a swallowing-up the machines 
 and the gladiators. 
 
 The machines used for these public amusements were evidently 
 numerous and important, and required a good deal of space to 
 stow them away, more even than was afforded by the vaults and 
 passages under the arena in the Colosseum. This is implied by 
 the celebrated letter of Apollodorus, the architect, to the Emperor 
 Hadrian, in which the architect told the Emperor that he ought to 
 have built the Temple of Roma at the south end of the Suraraa 
 Sacra Via, and to have made room for this machinery of the amphi- 
 theatre in vaulted chambers under it (as before mentioned) ; that he 
 did not do so is evident, for the excavations of 1874 brought to light 
 rude concrete walls of the time of the Republic, with a small aque- 
 duct of the time of the Early Empire, made to carry water to the 
 fountains at the corners of the porticus above. The accounts which 
 we have in classical authors, of the machinery employed in the 
 amphitheatre, remind us very much of that used for a Christmas 
 pantomime in one of the London theatres, and all these great 
 shows were very much of the character of a pantomime. To begin 
 at the top, the cords which carried the velarium, or awning, were 
 strong enough for a rope-dancer, and were called by the name of 
 catadromus; and we have an account in Suetonius, in the time of 
 Nero, of an elephant being taught to walk upon these cords with 
 a Roman cavalier on his back d . We also have an account of an 
 actor trying to play the part of Icarus, and fly down from the top, 
 falling dead at the feet of Nero, and sprinkling him with his blood e . 
 
 The pegmata have been mentioned as cages for wild beasts, and 
 this was evidently one meaning of the word, as used by Seneca in 
 his Epistles, quoted in a previous page, but this was one meaning 
 only; the same name was applied to a wooden framework of any 
 kind, sometimes evidently what we now call scenery, either fixed or 
 moveable. Josephus mentions pegmata used in the triumphal pro- 
 cession of Titus, one of which was three storeys high, and another 
 
 d "Notissimus eques Romanus ele- baturque, per quern descendere maximi 
 
 phanto supersedere per catadromum periculi et artis atque adeo miraculi 
 
 decucurrit." (Suetonii Nero, cap. xi. erat." (Turnebo, Adv. xxvii. 18.) 
 
 Xiphil. lxi. ) e " Icarus, primo statim conatu, juxta 
 
 "Ego eo vocabulo funem intelligo, cubiculum ejus (Neronis) decidit, ip- 
 
 qui summo theatro alligatus, declinis ad sumque cruore respersit." (Suetonii 
 
 imum theatri pertinebat solum defige- Nero, c. 12.) 
 
Substructures compared. 49 
 
 four, on which were representations of the capture of Jerusalem. 
 Another is mentioned by Calpurnius as representing the Tarpeian 
 rock f , and the victims were thrown from the top of it on to the arena, 
 or into the gulf, and killed on the spot. Apuleius also describes 
 one as representing Mount Ida, with trees, and shrubs, and foun- 
 tains, on which appeared from time to time Paris and Mercury, and 
 the three goddesses, Juno, Pallas, and Venus, with a number of 
 animals to complete the scene s. Another is described by Claudian 
 as representing Mount Etna h , with the flames burning at the top. 
 Others representing Vulcan and Cyclops ; these were in the shows 
 of Carinus and Numerianus, and are mentioned by Vopiscus 1 . It 
 is evident that this scenery must have been prepared below and 
 sent up from the central passage, as there was no room anywhere 
 else for sending it up. Martial k also mentions pegmata as rising 
 from this middle way, and that a person could see from thence the 
 Colossus among the stars. As the Colossus stood on an elevated 
 platform on the Summa Sacra Via, just in a line with this middle 
 way, and was itself 120 ft. high, it is quite probable that the head of 
 it could be seen from below, over the upper gallery. 
 
 The dens for the wild beasts in the substructures under the 
 podium are found both at Capua and at Pozzuoli, just as in the 
 Colosseum, and the technical name for such a den was catabolus \ 
 
 f " Vidimus in coelum trabibus spectacula textis 
 Surgere, Tarpeium prope despectantia culmen." 
 
 (Calpurnii, Ecloga vii. v. 23.) 
 b " Erat mons ligneus ad instar in- summo cacumine, de manibus fabri 
 cliti montis illius, quem vates Homerus fonte mcenante,fluviales aquas eliquans." 
 Idseum cecinit, sublimi instructus fab- (Apulei, Metamor., lib. x. c. 30. ) 
 rica, consitus viretis et vivis arboribus 
 
 h " Mobile ponderibus descendat Pegma reductis 
 Inque chori speciem, spargentes ardua flammas 
 Scena rotet : varios effingat Mulciber orbes 
 Per tabulas impune vagus, pictseque citato 
 Ludant igne trabes, et non permissa morari 
 Fida per innocuas errent incendia turres." 
 
 (Claudianus, De Consulatu Mallii, v. 325.) 
 1 " Memorabile maxime Cari et Carini centum pantomimos et gymnicos mille 
 et Numeriani hoc habuit imperium, pegma prseterea, cujus flammis scena 
 quod ludos populo Romano novis orna- conflagravit quam Diocletianus postea 
 tos spectaculis dederunt, quos in Palatio magnificentiorem reddidit." (Vopiscusin 
 circa porticum statuti pictos vidimus . . . Carino, cap. 18, ap. Script. Hist. Aug.) 
 
 k "Hie ubi sidereus propius videt astra Colossus, 
 Et crescunt media Pegmata celsa via, 
 Invidiosa feri radiabant atria regis." 
 
 (Martialis, De Spectaculis, Ep. 2.) 
 1 "Catabolum erat locus, in quo " Catabolum est clausura animalium, 
 
 fera5 erudiebantur sive ad mansuetu- ubi desuper aliquid jacitur." (Vossii, 
 dinem sive etiam ad crudelitatem, quam Lexicon Etymologicum.) 
 inbestiariosexercerent." (Papias.) The Catabolensis or Catabolici were 
 
50 The Flavian Amphitheatre, or Colosseum. 
 
 Besides the mention by Herodian of a hundred lions leaping on 
 to the arena at once, as " if out of the earth," (mentioned in 
 page 26), the same thing is mentioned by several other authors 
 at different periods, both of lions and of other wild beasts. Vo- 
 piscus mentions this in the life of Probus m , and that all the door- 
 ways were stopped for a time ; and he distinctly mentions the ani- 
 mals coming out of the caves below. Ammianus Marcellinus n also 
 mentions the doorways being often stopped for the wild beasts. 
 Statius mentions the same , and Julius Capitolinus, both in the 
 time of Antoninus Pius and Marcus Aurelius. In each case 
 a hundred lions are mentioned, and in the latter that they were 
 killed with arrows ; and in the time of Probus, not only a hundred 
 lions, but also a hundred Lybian leopards, a hundred Syrian ones, 
 a hundred lionesses, and three hundred bears. Lampridius p also 
 mentions in the time of Gordianus the almost incredible number 
 of a thousand bears, in addition to a hundred Lybian leopards. 
 
 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 q . 
 
 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 
 
 the men who fed the wild beasts, and c. 19, ap. Script. Hist. Aug.) 
 
 threw down their food from the small " " Ut sa;pe faciunt amphitheatrales 
 
 passage before mentioned. (See p. 17.) ferse diffractis tandem solutae posticis." 
 
 m " Addidit alia die in Amphitheatro (Ammianus Marcellinus, lib. 27. ) 
 
 una missione centum jubatos leones, qui ° "Stat. Cardine aperto — Infelix 
 
 rugitibus suis tonitru excitabant ; qui cavea." The door opening on a hinge 
 
 omnes e posticis interempti sunt, non or a pivot. 
 
 magnum prasbentes spectaculum quo p " Feras lybicas una die centum ex- 
 
 occidebantur. Neque enim erat besti- hibuit, ursos una die mille. " (Julii 
 
 arum impetus ille, qui esse e caveis Capitolini, i. c. 3, ap. Script. Hist, 
 
 egredientibus olet." (Vopisci Probus, Aug.) 
 
 1 " . . . . Auro quoque torta refulgent 
 
 Retia, quae totis in Arenam dentibus extant. 
 .... nee non, ubi finis Arense, 
 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, Eel. 7.) 
 
Substructures compared. 5 1 
 
 part called the Euripus. This name was also given to the canals 
 for the naumac/iia, 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 r . Martial s distinguishes very clearly 
 both the one and the other, and makes it evident that the sictgna of 
 Nero were used for the naumachia of the Caesars. 
 
 That the vaults under the arena were called cavece, caves (or 
 cavities), has been already mentioned, and is evident from many 
 passages in classical and mediaeval authors ; as in Tertullian and 
 in Prudentius*, 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 
 
 r "Fertur in euripis vino plenis Navales Circenses exhibuisse." (Lampridii 
 Antoninus Heliogabalus, c. 23, ap. Script. Hist. Aug.) 
 
 s " Quidquid et in Circo spectatur et amphitheatro, 
 Dives Csesarea prsestitit unda tibi : 
 Fucinus et pigri taceantur stagna Neronis : 
 Hanc norint unam saecula Naumachiam." 
 
 (Martialis de Spect. Ep. 28.) 
 That is, the stagna in the amphi- Emperor Claudius, and making an 
 theatre were supplied by an aqueduct emisarium, on even a grander scale 
 from the lake of Fucino. This lake has than the one partially made in the time 
 been drained in 1874-75 by Prince Tor- of Claudius, on a similar plan to those 
 Ionia, by carrying out the project of of the lakes of Albano and Nemi. 
 the great engineers of the time of the 
 
 1 " Respice terrifici scelerata sacraria Ditis, 
 Cui cadit infausta fusus gladiator arena, 
 Heu male lustrata; Phlegetontia victima Roma?. 
 Nam quid vesani sibi vult ars impia ludi ? 
 Quid mortes juvenum, quid sanguine pasta voluptas 
 Quid pulvis Cavea; semper funebris et ilia 
 Amphitheatralis spectacula tristia pompae? 
 Nempe Charon jugulis miserorum se duce dignas 
 Accipit inferias, placatas crimine sacro. 
 Ha? sunt deliciae Jovis Infernalis : in istis 
 Arbiter obscuri placidus requiescit Averni." 
 
 (Aur. Prudentius Clem, contra Symmachum, 379 — 389.) 
 
 E 2 
 
$2 The Flavian Amphitheatre, or Colosseum. 
 
 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 fre- 
 quently 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", 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 B, and 
 others on two of the graffiti found in the Colosseum in 1875 v . 
 
 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 x alludes to 
 this in his Epistles ; and Martial ? 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 \ Under Gordianus we 
 
 2. "Casu in meridianum specta- munimenta? quo gladii artes? Omnia 
 culum incidi, lusus expectans et sales et ista mortes merse sunt. Mane leonibus 
 aliquid laxamenti, quo hominum oculi et ursis homines, meridie spectatoribus 
 ab humano cruore acquiescant. 3. Con- suis objiciuntur. 4. Interfectores inter- 
 tra est : quidquid ante pugnatum est, fecturis jubentur objici, et victorem in 
 ntisericordia fuit. Nunc omissis nugis, aliam detinent ctedem, exitus pugnan- 
 mera homicidia sunt. Nihil habent quo tium mors est ferro et ignores geritur. 
 tegantur; ad ictum totis corporibus ex- Hrec hunt dum vacat arena." (Sen., 
 positi, nunquam frustra mittunt manum Epistolae ad Lucilium, 7.) 
 
 mittunt. Hoc plerique ordinariis pari- T See Photos., Nos. 3273, 3274, and 
 
 bus et postulatitiis prseferunt non ga- Plates XXIIL, XXIV, 
 lea, non scuto repellitur ferrum. Quo 
 
 x "Prima dicte mihi, summa dicende Camoena, 
 Spectatum, satis et donatum jam rude quaeris, 
 Maecenas, iterum antiquo me includere ludo." 
 
 (Horatii Epist., lib. i. I.) 
 y "Dum peteret pars hasc Myrinum, pars ilia Triumphum ; 
 Promisit pariter Cassar utraque manu." 
 
 (Martiali de Spectaculis, Epig. 20.) 
 
 1 "Fuerunt sub Gordiano Romce elephanti triginta et duo, gladiatorum Fiscu- 
 lium paria mille." (Julii Capitolini Gordianus tertius. ) 
 
The Gates. 53 
 
 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 a . The carrying 
 out of the dead bodies from the arena is also mentioned by Quin- 
 tilian b as done with pomp. Lampridius c expressly says that Com- 
 modus 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 com- 
 monly 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 pro- 
 bably 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 Ccelian 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 d . They were carried 
 
 " Suetonii Titus, c. 9. c Lampridii Commodus Antoninus, 
 
 b " Jamadspectaculum suppliciinos- 16. 
 
 tri populus convenerat : jam ostentata d "Contra consuetudinem (Commo- 
 
 per arenam periturorum corpora mor- dus) psenulatos jussit spectatores, non 
 
 tis suee pompam duxcrant." (Quinctil., togatos ad munus convenire, quod fui e- 
 
 Decl. 9.) ribus solebat, ipse in pullis vestimentis 
 
54 The Flavian Amphitheatre, or Colosseum. 
 
 out of this gate on a special bier provided for the purpose, called 
 sandapila, as is mentioned by Juvenal e , and explained by the old 
 Scoliast. This name is sometimes written sanavivaria, as in the 
 Acta Martyrum Felicita et Perpctna*. The word libitina signifies 
 death, or a funeral, or a bier; it is used also by Horace in his 
 Odes g , and explained by the Scoliast in the same manner, and 
 by Martial in his Epigrams h . It appears that the name of sauda- 
 pilaria and libiiinensis were synonymous. Another gate was called 
 Porta Pretoria, probably that at the south-east end, opening from 
 the road to the Vivarium at the Praetorian 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 '. 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 amphi- 
 theatre, which led from the cavea to the arena. This name is used 
 by Varro k , 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 mediaeval Latin as applied to a winding or newel stair- 
 case, 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 fre- 
 quently called columna cochlea, because there is such a staircase 
 inside of it. 
 
 pnesidens. Galea ejus per portam Libi- Aug., c. 16. ) This circumstance is also 
 tinensem elata est." (Lampridii Cora- mentioned by Dio Cassius, as quoted 
 modus Antoninus, ap. Script. Hist. previously. 
 
 e " Inter carnifices et fabros Sandapilarum." (Juvenal, Sat. viii. 175.) 
 1 " Ruinart Acta Martyrum Sincera." (ap. Grsevii Thesaurus, torn. ix. ) 
 
 « " Non omnis moriar, multaque pars mei 
 
 Vitabit Libitinam." (Horatii Odoe, lib. iii. ode 30.) 
 
 h "Effertuxores Fabius, Christilla maritos, 
 
 Funereamque toris quassat uterque facem. 
 Victores committe, Venus, quos iste manebit 
 Exitus, una duos ut Libitina ferat." 
 
 (Martial. Epig., lib. viii. 43.) 
 
 1 " Ferrarium vicinum, aut hunc qui k "Ostium humile et augustum, et 
 
 ad Metam sudantem tubas experitur et potissimum ejus generis, quod cochleam 
 
 tibias." (Seneca?, Epist. 56.) appellant, ut solet esse in cavea ex qua 
 
 Some of the tubes or leaden pipes tauri pugnare solent." (Varr. de Re 
 
 have been found (as before men- Rustica, iii. 5. 
 tioned). 
 
55 
 
 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 ] 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 m . The 
 Emperor Claudius himself would go at daybreak to the amphi- 
 theatre, and see the wild beasts fed, and again at mid-day n . The 
 same practice is mentioned by Pliny as used in the time of Nero°. 
 Petronius also mentions the custom for two old negroes to sprinkle 
 the arena with scents from small bottles, which they brought for 
 the purpose p . Tacitus gives an account of the games performed 
 under his own direction in the time of Claudius <J. 
 
 "During the same consulship, in the year of Rome eight hundred, the secular 
 games were celebrated, after an interval of sixty-four years since they were last 
 solemnized in the reign of Augustus. 
 
 "Being at that time one of the college of fifteen, and invested with the office 
 of praetor, it fell to my province to regulate the ceremonies. Let it not be ima- 
 gined that this is said from motives of vanity. The fact is, that in ancient times the 
 business was conducted under the special directions of the quindecemviral order, 
 while the chief magistrates officiated in the several ceremonies. Claudius thought 
 proper to revive this public spectacle. He attended in the circus, and, in his 
 presence, the Trojan game was performed by the youth of noble birth. Britan- 
 nicus, the emperor's son, and Lucius Domitius, who by adoption took the name 
 of Nero, and afterwards succeeded to the empire, appeared, with the rest of the 
 band, mounted on superb horses. Nero was received with acclamations, and that 
 mark of popular favour was considered as an omen of his future grandeur. " 
 
 1 "Edidit et Circenses plurimos a ad prandium populo persederet prse- 
 
 mane usque ad vesperam, interjecta terque destinatos, etiam levi subitaque 
 
 modo Africanarum venatione, modo de causa, quosdam committeret, de fa- 
 
 Trojp3 decursione : quosdam preecipuos, brorum quoque ac ministrorum atque 
 
 vmno et chrysocolla constrato circo nee id genus numero si automatum, vel 
 
 ullis nisi ex senatorio ordine auriganti- pegma, vel quid tale aliud parum ces- 
 
 bus." (Suetonii Caligula, 18.) sisset. Induxit et unum ex nomencla- 
 
 m "Inquietatus fremitu gratuita in toribus suis, sicut erat togatus." (Suet. 
 
 Circo loca de media nocte occupantium, Claudius, c. xxxiv. ) 
 
 omnes fustibus abegit ; elisique per eum e "Visumquejam est Neronis prin- 
 
 tumultum viginti amplius Equites Ro- cipis spectaculis arenam Circi chryso- 
 
 mani, totidem matronae, super innu- colla sterni cum ipse concolori panno 
 
 meram turbam ceteram." (Suetonii aurigaturus esset." (Plinii Nat. Hist., 
 
 Caligula, cap. 26.) xxxiii. 27.) 
 
 A similar mania has sometimes been •> " Subinde intraverunt duo ^Ethi- 
 
 heard of in recent times in Paris and opes capillati, cum pusillis utribus, 
 
 in London. quales solent esse qui arenam in a»i- 
 
 n " Bestiariis meridianisque adeo de- phitheatro spargunt." (Petronii Sat., 
 
 lectabatur, ut et prima luce ad specta- cap. 34.) 
 
 culum descenderet et mericlie dimisso 1 faciti Annates, lib. xi. c. II. 
 
APPENDIX. 
 
 SCAURUS. 
 
 The meaning of the word Scaurus is " club-footed," and no doubt 
 the first member of the family had that peculiar formation of the 
 foot ; but this family was a branch of the great Gens ^Emilia, one 
 member of that family built the Basilica ^Emilia in the Forum 
 Romanum, and another was one of the second Triumvirate. The 
 Scaurus who built this great amphitheatre was a man of enormous 
 wealth, and a great builder ; he is mentioned by several of his con- 
 temporaries, of whom one was Cicero ; he was an cedile, and was 
 noted for his great liberality in his aedileship. His father was an 
 orator, and was consul in the year of Rome 688 (b.c. 35) ; his mother, 
 when a widow, married Sylla the dictator. Pliny mentions him seve- 
 ral times in his Natural History a ; he calls his buildings insane 
 works, on account of the enormous sum expended upon them, which 
 must have exceeded the equivalent of two millions sterling of our 
 money. The temporary amphitheatre which he built would hold 
 80,000 persons, it was three storeys high, and had 360 marble 
 columns in it ; these were on the ground-floor, and it is mentioned 
 that those on the first floor were of glass b , a luxury before unheard 
 of (and apparently not repeated), on the upper storey they were of 
 gilt wood. Pliny thus describes this building of Scaurus : — 
 
 "Mosaic pavements were first introduced in the time of Sylla; at all events, 
 there is still in existence a pavement c , formed of small segments, which he ordered 
 to be laid down in the Temple of Fortune, at Praeneste. Since his time, these 
 mosaics have left the ground for the arched roofs of houses, and they are now 
 made of glass. This, however, is but a recent invention ; for there can be no 
 doubt that, when Agrippa ordered the earthenware walls of the hot baths, in the 
 thermae which he was building at Rome, to be painted in encaustic, and had 
 the other parts coated with pargetting, he would have had the arches decorated 
 with mosaic in glass, if the use of them had been known ; or, at all events, if 
 
 a "Lithostrota acceptavere jam sub imus, Scauri, pervenisset in cameras. 
 
 Sulla : parvulis certe crustis exstat ho- Quamobrem et vitri natura indicanda 
 
 dieque, quod in Fortunse delubro Prce- est." (Plinii Nat. Hist., lib. xxxvi. 
 
 neste fecit. Pulsa deinde ex humo 64. ) 
 
 pavimenta in cameras transiere, e vitro : b Friedliinder says that a compact 
 
 novitium e hoc inventum. Agrippa floor of glass was found at Veii, (vol. 
 
 certe in Thermis quas Romse fecit, fig- iii. p. 103). 
 
 linum opus encausto pinxit : in reliquis c This remarkably fine pavement is 
 
 albaria adornavit : non dubie vitreas still preserved (1876) at Praeneste, now 
 
 facturus cameras, si prius inventum id called Palestrina. 
 fuisset, aut a parietibus scenrc, ut dix- 
 
Scaurus. 5 7 
 
 from the walls of the theatre of Scaurus, where it figured, as already stated, 
 glass had by that time come to be used for the arched roofs of apartments. It 
 will be as well, therefore, to give some account also of glass d ." 
 
 "It may possibly be observed, that this was because marble was not then 
 introduced. Such, however, is not the fact ; for in the sedileship of M. Scaurus, 
 three hundred and sixty columns were to be seen imported, for the decorations 
 of a temporary theatre, too, one that was destined to be in use for barely a single 
 month. And yet the laws were silent thereon, in a spirit of indulgence for the 
 amusements of the public, no doubt. But then, why such indulgence ? or how 
 do vices more insidiously steal upon us than under the plea of serving the 
 public? By what other way, in fact, did ivory, gold, and precious stones, first 
 come into use with private individuals? 
 
 " Can we say that there is now anything that we have reserved for the exclu- 
 sive use of the gods ? However, be it so, let us admit of this indulgence for the 
 amusements of the public ; but still, why did the laws maintain their silence when 
 the largest of these columns, pillars of Lucullan marble, as much as eight-and- 
 thirty feet in height, were erected in the atrium of Scaurus ? a thing, too, that 
 was not done privately, or in secret ; for the contractor for the public sewers 
 compelled him to give security for the possible damage that might be done in 
 
 the carriage of them to the Palace Already had L. Crassus, the orator, 
 
 he who was the first to possess pillars of foreign marble, and in this same Pala- 
 tium too, received from M. Brutus, on the occasion of a dispute, the nickname 
 of the 'Palatine Venus,' for his indulgence in this kind of luxury. The mate- 
 rial, I should remark, was Hymetian marble, and the pillars were but six in 
 number, and not exceeding some twelve feet in height .... These particulars, 
 and others in the sequel, will shew that we are so far improved ; for who is there 
 at the present day that has, in his atrium, any such massive columns as these 
 of Scaurus • ?" .... 
 
 "I will not permit, however, these two Caiuses, or two Neros, to enjoy this 
 glory even, such as it is ; for I will prove that these extravagant follies of theirs 
 have been surpassed, in the use that was made of his wealth by M. Scaurus, 
 a private citizen. Indeed, I am by no means certain that it was not the sedileship 
 of this personage that inflicted the first great blow upon the public manners, and 
 that Sylla was not guilty of a greater crime in giving such unlimited power to his 
 step-son, than in the proscription of so many thousands. During his aedileship, 
 and only for the temporary purposes of a few days, Scaurus executed the greatest 
 work that has ever been made by the hands of man, even when intended to be 
 of everlasting duration ; his theatre, I mean. This building consisted of three 
 storeys, supported upon three hundred and sixty columns ; and this, too, in 
 a city which had not allowed without some censure one of its greatest citizens 
 to erect six pillars of Hymetian marble. The ground-storey was of marble, the 
 second of glass, a species of luxury which ever since that time has been quite 
 unheard of, and the highest of gilded wood. The lowermost columns, as pre- 
 viously stated, were eight-and-thirty feet in height ; and, placed between these 
 columns, as already mentioned, were bronze statues, three thousand in number. 
 The area of this theatre afforded accommodation for eighty thousand spectators ; 
 and yet the theatre of Pompey, after the city had so greatly increased, and the 
 inhabitants had become so vastly more numerous, was considered abundantly 
 
 d Pliny, Nat. Hist., bk. xxxvi. 2,3. e Ibid, xxxvi. 24, 7. 
 
5 8 Appendix. 
 
 large, with its sittings for forty thousand only. The rest of the fittings of it, what 
 with Attalic vestments, pictures, and the other stage properties, were of such 
 enormous value that, after Scaurus had conveyed to his Tusculan villa such 
 parts thereof as were not required for the enjoyment of his daily luxuries, the 
 loss was no less than three hundred millions of sesterces, when the villa was burnt 
 by his servants in a spirit of revenge. . . . C. Curio, who died during the civil wars, 
 fighting on the side of Csesar, found, to his dismay, that he could not, when cele- 
 brating the funeral games in honour of his father, surpass the riches and magni- 
 ficence of Scaurus — for where, in fact, was to be found such a step-sire as Sylla, 
 and such a mother as Metella, that bidder at all auctions for the property of the 
 proscribed ? Where, too, was he to find for his father, M. Scaurus, so long the 
 principal man in the city, and one who had acted, in his alliance with Marius, as 
 a receptacle for the plunder of whole provinces ? Indeed, Scaurus himself was 
 now no longer able to rival himself ; and it was at least one advantage which he 
 derived from this destruction by fire of so many objects brought from all parts of 
 the earth, that no one could ever after be his equal in this species of folly. Curio, 
 consequently, found himself compelled to fall back upon his own resources, and 
 to think of some new device of his own." 
 
 The points on which this account agrees with the Colosseum are 
 so remarkable, that there can hardly be a doubt that the enormous 
 building of Scaurus was on this site, and the old tufa walls of the 
 substructure must have belonged to his building. This was the 
 earliest amphitheatre, and in none of the other amphitheatres built 
 in imitation of it do we find similar old tufa walls, although in other 
 respects some are exact copies of the Colosseum. 
 
 Amphitheatre of Nero. 
 
 Some persons interpret a passage in the Annals of Tacitus f to 
 mean, that the amphitheatre of Nero was in the Campus Martius, 
 but this is only a wrong interpretation of the passage ; he is speak- 
 ing of the great wooden amphitheatre which Julius Caesar built 
 there, and which was repaired and restored to use in the second 
 consulate of Nero (a.d. 56). He mentions foundations and beams 
 only, and especially says it was of little importance. The time of 
 Nero was a great building era in Rome, and he no doubt repaired 
 all the public buildings that required it. 
 
 1 " Nerone secundum, L. Pisone con- erat, volumina inplere : cum ex digni- 
 
 sulibus, pauca memoria digna evenere : tate populi Romani repertum sit, res 
 
 nisi cui libeat, laudandis fundamentis inlustres annalibus, talia diurnis urbis 
 
 et trabibus, quis molem amphitheatri actis mandare. '' (Taciti Annales, lib. 
 
 apud Campum Martis, Caesar exstrux- xiii. c. 31.) 
 
The Great Drain. 59 
 
 The Great Drain. 
 
 There is considerable difficulty at the present time (in 1876) in 
 obtaining correct information on the subject of the great drain, 
 which carried off the water from the substructures. The entrance 
 to it from the south-east end, under the entrance for animals, has 
 been mentioned before, with the sluice-gate, which lifted up like 
 a portcullis, and the grooves for it remain. Openings into it, 
 covered with modern iron gratings, are seen in the floor of the 
 passage, and across the mouth of it is an ancient iron grating. 
 This great and deep drain carried the water in a straight line 
 beyond the outer wall of the building, and just at this point a steam 
 engine was placed in the years 1874 and 1875 to pump out the 
 water, which gushed out of the earth a little further on, in the direc- 
 tion of the church of S. Clement, with a divergence to the south 
 towards the Ccelian Hill. This water was very abundant, but it 
 appeared more like the continuous stream of an aqueduct than 
 a natural spring of water ; it was at a very low level, quite 30 ft. 
 underground. At a considerably higher level, and near the surface 
 of the ground, was an aperture into the brick specus or conduit of an 
 aqueduct of the third century, in which the water was flowing steadily 
 along from west to east ; this continued all the summer of 1874, and 
 the water was always flowing. This aperture was closed in the sum- 
 mer of 1875, and the whole specus buried again ; where the water was 
 sent to is not known to any one but the persons employed, and 
 they say that this water had little to do with the other water 
 which they pumped out, although both were always good clear 
 limpid streams of drinking water. The water was pumped out and 
 conveyed in an open channel, parallel to the building, to the Arch 
 of Constantine, where it made a small flood during all the spring 
 of 1875, an d was then carried into a modern drain under the road 
 between the Ccelian and the Palatine, after passing over the road 
 and washing the base of the Arch of Constantine for several months. 
 The old drain, at a great depth, was traced the whole length of the 
 Colosseum, parallel to it, close under the foot of that part of the 
 Ccelian Hill on which the Claudium stood, and under which the two 
 piscince, one of the time of Nero, the other of Alexander Severus, 
 have been mentioned. The workmen employed to clear out the 
 old drain were alarmed at the great depth ; an enormous quantity of 
 earth had been thrown upon it, and they were afraid of its falling 
 in behind them, and blocking up their only mode of exit ; deep 
 wells were made down into it, but after they had gone nearly as 
 
6o Appendix. 
 
 far as the Arch of Constantine at this depth, they were stopped for 
 want of air. Another well, or air-pipe, was necessary, but the works 
 were then all suspended for want of funds. It is known that an 
 ancient drain, at a great depth, went under the road, and at a much 
 lower level than a modern drain, which passes near the monastery 
 or church of S. Gregory on the Coelian, between that and the Pala- 
 tine ; and there can be little doubt that this was a continuation of 
 the same drain, and that it might all be cleared out and repaired, 
 but unless air-pipes can be put down by boring the expense would 
 be enormous. 
 
 Another small ancient drain has also been found coming from the 
 Summa Sacra Via, apparently for the fountains at the four corners 
 of the Porticus Livias. The workmen had been told that they were 
 to find the great drain passing under that part, and going on to the 
 Cloaca Maxima in the Forum Romanum, but this could not be 
 found, and did not appear practicable. 
 
 Father Mullooly, the excellent Prior of S. Clement, says he has 
 observed that the water under this church always rises and falls at 
 the same time as that under the Colosseum, and he is convinced 
 that they both come from the same source. It seemed probable that 
 this source, or at least one of the sources of this water, is the great 
 reservoir of the earliest aqueduct, the Aqua Appia, under the gar- 
 den of the Villa Coelimontana, formerly called Villa Mattei, which 
 is now the property of the Baron Hoffman, at the west end of the 
 Ccelian Hill, on a high level. The Baron wanted to make this 
 old vaulted reservoir into a wine-cellar, but found it impossible to 
 get rid of the water, which is always two or three feet deep, and 
 as fast as he pumped it out it filled again to the same level, but 
 no higher; this shews that there must be some outlet to it, but 
 so deep underground that no one knows which way it goes. This 
 old reservoir is nearly under the great reservoir of Nero for the 
 Anio Novus, which was fifty feet higher, and carried on his arches, 
 for which also the Arch of Dolabella was used as a substructure 
 only. We have found in our examination of the aqueducts that 
 the later ones always followed the same course as the earlier ones, 
 not exactly over them, but by the side of them, each succeeding 
 aqueduct being always on a higher level, and there is always a sub- 
 terranean reservoir of one of the earlier aqueducts nearly under 
 those of the later period. The Appia was made nearly four centu- 
 ries before the Anio Novus, still it is very probable that the same 
 plan was followed in both cases. We have found that the aqueduct 
 of Claudius and Nero, called the Anio Novus, was divided into 
 
The Great Drain. 6 1 
 
 three branches at this point ; one went straight on over the Palatine 
 to the Capitoline Hill, another branch went to the left, or south, of 
 the Aventine, and a third to the right, or north, to the Colosseum. 
 It seems extremely probable that the same plan had been followed 
 with the Appia, both were carried along the high ground of the 
 Ccelian Hill as far as could be done, and then each was divided 
 into three branches. We traced one branch of it over the Porta 
 Capena to the Aventine and the Tiber ; this is now necessarily out 
 of use, the gate on the arch of which it was carried having been 
 destroyed. A landslip in the garden of the Marchese Rappini, in 
 February, 1876, between the Villa Ccelimontana and the Palatine, 
 served to shew that a specus or conduit passed there, now also out 
 of use. An excavation was made there in April of the same year, 
 but all that came to light was a deep well, an ancient quarry of 
 tufa, also at a great depth, and the specus of the aqueduct coming 
 from the reservoir under the Claudium, called a vivarium, and 
 going in the direction of the valley in which was the Porta Capena. 
 This specus has been long out of use, and could not have had any 
 connection with the flood in the Colosseum, which was the object 
 of the search. The water conveyed in this specus originally must 
 have been one of those that passed over the short agger of Servius 
 Tullius from the Ccelian to the Aventine, found in the excavation 
 of 1868, and traced also in 1876 in the cave under S. Sabba, by the 
 side of the Aqua Appia, in the same tunnel, but in a terra-cotta 
 pipe, not in the stone specus. The third branch, in the direction 
 of the Colosseum, may still be in use, though so deep as to be 
 unknown, supplying wells only, and this may be the one tapped 
 by the workmen employed by Signor Rosa, and which now floods 
 the Colosseum, and S. Clement's also. The only outlet from a 
 large reservoir, in which the water is always three feet deep, must 
 afford a very abundant supply of water, and the account given by 
 the workmen who made this branch of it agrees with this. They 
 say it was a steady constant stream of water, and it did not gush 
 out of the earth in the manner that a natural spring does ; the 
 spring must therefore be at some distance. If this view is cor- 
 rect, it would be comparatively easy to turn the stream into a 
 drain under the Clivus Scauri, and into the one made by the Muni- 
 cipality about 1865, under the road near the church of S. Gregory, 
 between the Ccelian and the Palatine, and to carry it in that manner 
 to the Tiber. 
 
 It is however probable that this spring alone, which was only 
 a subsidiary spring to the Appian aqueduct, is not sufficiently 
 
62 Appendix. 
 
 abundant to supply the quantity of water, which now rises to the 
 height of about ten feet, or quite three metres, in the substructures of 
 the Colosseum. There is another spring, or perhaps more than one, 
 in the ancient stone quarry under the garden of the monks of SS. 
 John and Paul, on the other side of the Clivus Scauri, on the site 
 of the Claudium, or that square part of the Ccelian Hill which is 
 nearest to the Colosseum. This site is marked on an old plan of 
 Rome, of the sixteenth century, as a reservoir of water, and there 
 are no less than ten wells that descend into this old stone quarry. 
 In the eighteenth century, and down to the middle of the nine- 
 teenth, this was called a vivarium, and was supposed to be the 
 place where the wild animals were kept for exhibitions in the Colos- 
 seum, but there is no visible communication from one to the other. 
 A plan of the old quarry, which was made for this work some years 
 since, shews that this was not a vivarium. There are three ponds, 
 but perhaps only one spring of water in it, and if the outlet for 
 this water was stopped, the whole of the quarry, or caves as they 
 are called, would soon be full of water. It seems probable that 
 this is the place from which the greater part of the water comes 
 that floods both the Colosseum and the cave of Mithras, nearly 
 under the church of S. Clement. It seems also quite practicable to 
 remove the water by an iron pipe into the drain under the road 
 between the Ccelian and the Palatine, made by the Municipality 
 about 1866. The level of the quarry is eight metres above that of 
 the Colosseum ; the soil there is on the level of the arena, and that 
 is seven metres above the original pavement ; the water in the old 
 quarry is therefore fifteen metres, or about 45 ft. above the level of 
 the old drain of the Colosseum, and nearly six metres above the 
 drain made by the Municipality. 
 
 This opportunity may be taken to say, that great credit is due to 
 the Municipality of Rome for the energy and perseverance with 
 which they have carried on an admirable system of new drainage 
 for the city ; and not only the new city on the hills on the site of 
 the city of the Kings and of the Empire, but also of the modern city 
 of the Popes, built in the swamp between the hills and the Tiber, 
 the draining of which is by no means easy. Nothing can be better 
 than the old Cloaca Maxima, which is still the chief drain to this 
 part of Rome, or for that of part of the old city ; it drains the water 
 of the streams that run down from three hills, the Palatine, the 
 Capitoline, and the Quirinal, on this side. But on the northern side 
 of the Capitoline Hill, in which was the Campus Martius, the 
 medieval drains are by no means equally good with those of the 
 
The Great Drain. 63 
 
 Kings ; the mouths of these drains are always open to the Tiber, 
 and when there is a flood of the river the water runs up the drains, 
 and the Pantheon, which stands on very low ground, is always the 
 first place in Rome to be flooded. Surely a sluice-gate might be 
 placed at the mouth of each drain, suspended from a bar at the 
 top, and worked on pivots only, which would let the water out, but 
 would not let any in, as in the common traps of a drain in daily 
 use in England. 
 
 The Roman authorities say that the water of the Tiber would 
 close the doors, and not let any of the water in the drain pass out, 
 but if the door was placed obliquely, and let the water flow past it 
 with as little pressure upon it as possible, the water in the drains, 
 which runs rapidly and with considerable force, would very soon 
 force open the door that was suspended at the mouth of it. Any 
 embankment of the Tiber would be money thrown away; if the 
 great engineers and architects who built the wall of Aurelian, could 
 not make it secure on the bank of the Tiber, no modern engineers 
 or architects will do so. We see that nearly the whole of the great 
 wall of Aurelian, on the bank of the Tiber, has been swept away by 
 the great floods; the substructures of the towers, under water, re- 
 main, and are visible when the water is low in the river, but all 
 along the bank has been swept away. When the water rises at the 
 rate of a foot in an hour, and continues to do so for twenty hours 
 consecutively, and runs at the rate of nine or ten miles an hour, 
 no wall can stand against it that offers any resistance to it ; smooth 
 walls parallel to the course of the river might stand, as the quay of 
 the Ripa Grande does, because it offers no resistance to the water. 
 
 After the greater part of this chapter was written and in type, 
 I thought it necessary to go to Capua and Pozzuoli again to examine 
 the remains of these amphitheatres, and I did so in November, 
 1875 ; it was my intention at the same time to have gone to Pompeii, 
 to examine the amphitheatre there also, but the weather was so bad 
 at that time I found it quite impracticable to do so ; I therefore did 
 so in May, 1876, and I find that the amphitheatre at Pompeii is of 
 the time of Sylla the Dictator, and that the arrangements are not 
 the same as those of the Roman amphitheatre; there are no sub- 
 structions under the arena, and it appears there never could have 
 been any, as in the centre there is the top of an original well, and 
 the floor seems always to have been of earth only ; there are no 
 preparations for Naumachia, and the dens for the wild beasts are on 
 the same level as the arena, and behind the podium. In the prin- 
 
64 Appendix. 
 
 cipal entrances there are sockets for a wooden balustrade, to separate 
 the people from the wild beasts. The corridor round at the back 
 of these dens has the original walls of brickwork, of good hard 
 bricks, but rather thick, somewhat similar to those of the Pantheon 
 at Rome, but much thicker than those of the time of Nero; the 
 brick vaults of this corridor, or passage under the lower gallery, are 
 modern or mediaeval repairs. Many of the seats have been pre- 
 served or restored, they are of stone of volcanic character, the stone 
 of the country, in fact, but they are of a convenient height, and 
 comfortable to sit upon, though closely packed ; the seat is raised 
 two or three inches above the place for the feet of those in the next 
 seat above. The construction of the outer wall is of blocks of lava, 
 about the shape of English bricks, but rather larger, and with opus 
 rcticulatitm, the pattern of large size, enclosed in a sort of framework 
 of these quasi-bricks, very similar to the Muro Torto at Rome. 
 The fresco of the first century found on a wall here, and now pre- 
 served in the Museum at Naples s, is a caricature of the building ; and 
 the vomitoria, which form a conspicuous object in the front of the 
 picture, are greatly exaggerated, made much more lofty and more 
 long and narrow than they really are. They are said to be the ladies' 
 entrance to their gallery, which was the upper gallery at the back ; 
 but as the slope was very gradual, and the building not nearly so 
 high as the Colosseum, they would be able to see perfectly well, 
 and their entrance and exit being entirely on the exterior of the 
 building, while that of the men was from the interior, was a very 
 convenient arrangement. It seems probable that Scaurus, the step- 
 son of Sylla, had seen this building in progress, and as the Romans 
 always had the idea of making Rome the most magnificent city in 
 the world, he built the far more magnificent amphitheatre in Rome ; 
 but as the upper part was built of wood, though magnificently deco- 
 rated with columns of marble, of glass, and of gilt wood, as we have 
 said, it seems to have offended the Republican notions of the 
 Romans, and this upper part was entirely destroyed, or this may 
 have happened from an accidental fire; but as the substructures were 
 of tufa they were everlasting, as Pliny says, and they still remain as 
 the principal foundations of the Colosseum, with brick walls and 
 galleries erected upon them in the time of Nero, and the whole 
 enclosed by the magnificent stone front and double corridors of the 
 Flavian Emperors. 
 
 « See Plate XXVII. 
 
ALPHABETICAL INDEX. 
 
 THE COLOSSEUM. 
 
 Actors, space required for, under the 
 
 stage, 47. 
 Alexander Severus, Piscina of, 5 ; walls 
 
 of, 6. 
 Amphitheatres a Roman invention (?), 
 4 ; — of Nero not in Campus Martius, 
 56, 58 ; — represented on coins, 21 ; — - 
 described as perfect by Ammianus 
 Marcellinus, a. d. 357, 26; — restored 
 by Lampadius, A.D. 445, 27 ; — again 
 by Venantius Basilius, A.D. 508, ib. ; 
 — used for shows of wild beasts by 
 Theodoric, a.d. 519,^. ; — again used 
 in 5 23, the last occasion mentioned, ib. ; 
 — again damaged by earthquake, A.D. 
 1703, 30; — consecrated as a church, 
 A.D. 1724, ib. ; — north-western side 
 nearly perfect, ib. ; — Arch of lower 
 storey restored by Gordianus, A.D. 
 220—238, 31. 
 
 at Aries, 46. 
 
 at Bordeaux, 46. 
 
 at Capua, 40, 41. 
 
 at Nismes, 46. 
 
 at Pompeii, 63. 
 
 at Pozzuoli, 42, 65. 
 
 of Scaurus, on this spot, 56. 
 
 at Verona, 43, 65. 
 
 Animals brought from vivaria in cages, 
 
 called pegmata, 15. 
 Apollodorus told Hadrian he ought to 
 have provided space for the machi- 
 nery, 34. 
 Apuleius mentions pegmata in amphi- 
 theatre, 49. 
 Arch of tufa shaken by an earthquake, 
 supported by brick wall of Nero, 14. 
 Arena, for the gymnasium, 1 ; — of wood 
 covered with sand, and full of trap- 
 doors, 7, 1 1 ; — no open space under 
 the, 21 ; — criminals torn to pieces 
 upon it, 52. 
 Aries, Amphitheatre at, 46 ; no sub- 
 structures visible, ib. 
 Augustus intended to build an amphi- 
 theatre here, but did not, 15. 
 Awning of Nero mentioned by Pliny, 
 23 ; contrivances for supporting it, 
 ib. ; at Pompeii, shewn in a fresco, 
 24 ; an intermediate passage for 
 sailors to manage awning, 47 ; cords 
 for it, strong enough to carry an ele- 
 phant, called catadrormis, 48. 
 
 Battles of sailors with swords, not with 
 boats, 47. 
 
 Benedict XIII. consecrated area of am- 
 phitheatre as a church, a.d. 1728, 30. 
 
 Benedict XIV. erects cross and stations 
 in amphitheatre, a.d. 1749, 30. 
 
 Boards removed from arena placed on 
 corbels provided for them, 34. 
 
 Bordeaux, Amphitheatre at, 47 ; Re- 
 mains called the Arenes, it had a 
 boarded floor, ib. 
 
 Brick-work of Nero here, 6. 
 
 Building apparently perfect in time of 
 Bede, 27 ; — made part of fortress of 
 Frangipani,A.D. 1130,28 ; — half given 
 to Annibaldi by Frederick II., grant 
 rescinded by Innocent IV. in a.d. 
 1244, ib. ; — much damaged by an 
 earthquake, a.d. 1349, ib. ; — made 
 common property as a stone-quarry, 
 a.d. 1362, 29 ; — several palaces made 
 out of this quarry, ib. 
 
 Calpurnius mentions pegmata in am- 
 phitheatre, 49. 
 
 Canals brought to light in 18 12 and 
 1875, with substructures, IO ; — great 
 cisterns under boards, 14 ; about 10 ft. 
 deep, but not always the same width, 
 ib. ; — walls to support unusually thick, 
 ib. ; — lined with lead, one on arches, 
 the other on beams of wood, ib. 
 
 Capitals fallen from upper gallery, 21. 
 
 Capstans, sockets for, 7. 
 
 Capua, Amphitheatre almost the same 
 size as that of Rome, 40 ; — Substruc- 
 tures more perfect, ib. ; — Aqueduct 
 and drain, ib. ; — Remains of aqueduct, 
 13 ; — Dens under the podium, 40 ; — 
 Sockets for pivots for cages, ib. ; — 
 Arena of brick, not wood, but aper- 
 tures for trap-doors, ib. ; — Grooves 
 for covers over them to make them 
 water-tight, ib. ; — Building of the time 
 of Hadrian, ib. ; — Inscription, 41 ; — 
 Machine for lifting vessels, as in the 
 Colosseum, 47. 
 
 Castra Misenatium, for sailors employed 
 in furling awning, or vela, or vela- 
 ria, 24. 
 
 Catadromus, cords for awning, 48. 
 
 Cavea, name for an amphitheatre, 3 ; 
 and for vaults under it, 51. 
 
 E* 
 
66 
 
 A Iphabetical Index. 
 
 Chambers, narrow and lofty vaulted, 
 on each side of central passage, 38. 
 
 Circensian games, name retained in 
 amphitheatre, 51. 
 
 Circus Maximus, sometimes used instead 
 of amphitheatre, 50. 
 
 Claudian mentions pegmata in amphi- 
 theatre, 49. 
 
 Clivus Scauri, Arcade to this amphi- 
 theatre, 3. 
 
 Colossus visible from gulf in amphi- 
 theatre, 49. 
 
 Columns and capitals fallen from upper 
 gallery on to arena, and into cavea, 
 21. 
 
 Commodus, acts of, in this building, 
 described by Dion Cassius, 22. 
 
 Comparison and construction, 40 ; — one 
 of the first principles of archaeology, 
 ib. ; — especially useful for this amphi- 
 theatre, ib. 
 
 Construction, here made visible by de- 
 molition of outer corridor, 30. 
 
 Corbels or brackets for placing boards 
 of arena upon, 11, 36. 
 
 Corridors, open channels for running 
 water, in amphitheatre, 1 1 ; — water 
 supplied by aqueducts, ib. 
 
 Cradle, or dry-dock, in central pas- 
 sage, 18, 38. 
 
 Culprits executed by being thrown to 
 wild beasts in this amphitheatre, 3. 
 
 Dens under the podium have arches of 
 Neronian brickwork, 12; — small 
 stream of water in front of them, 1 7. 
 
 Drain, large, under passage, 35, and 
 in Appendix, 56, 59 ; ancient iron 
 grating at mouth of, 36 ; place for 
 flood-gates visible, ib. 
 
 Emperors went to see wild beasts fed, 
 
 , 55- 
 
 Evidence of construction, and compa- 
 rison, 40. 
 
 Excavations begun by the French, A. D. 
 1810, 31 ; not deep enough, 33 ; shew 
 channels for water, 32 ; — made in 
 search of treasure, a.d. 1864, 1865, 
 33; — a.d. 1874, 1875, i; results of 
 them a great surprise, 37. 
 
 Exhibitions by Julius Caesar in circus 
 required a separate building, 5. 
 
 Framework, curious wooden, on floor 
 of central passage, a cradle, or dry- 
 dock, 18. 
 
 Frangipani make amphitheatre part of 
 fortress, a.d. 1130, 28. 
 
 Front of three periods, upper storey 
 added a century later, 19. 
 
 Gallery, upper, of wood, destroyed by 
 
 fire, 12 ; restored in stone, completed 
 A. D. 240, under Gordianus, ib. 
 
 Games on arena, 55 ; great importance 
 attached to them, ib. 
 
 Gates, usually four to each amphi- 
 theatre, 53 ; names of, not easily as- 
 certained, ib. ; one called sandapila, 
 ib. ; others called Porta Proetoria, 
 Porta Sacra, Porta Cochlea, 54. 
 
 Gaudentius employed upon it, not the 
 architect of it, 20. 
 
 Gladiators often killed, 52 ; — called for 
 by the people, ib. 
 
 Gordianus completed the building, and 
 restored arch of lower storey, A.D. 
 220—238, 31. 
 
 Grooves in walls for lifts, 7. 
 
 Gulf, or central passage, in all amphi- 
 theatres, 47. 
 
 Gymnasium on the arena, 1 ; of Nero 
 also here, 6. 
 
 Hadrian and Apollodorus, 34. 
 Herodian mentions 100 lions leaping on 
 to the arena in amphitheatre, 50. 
 
 Icarus, an actor playing part of, fell 
 
 dead at feet of Nero, 48. 
 Inscriptions record dates of later walls, 
 
 7 ; — gi y e the word Theatrum for 
 
 Amphitheatre, ib. 
 
 Jerusalem, view of, century xvi., 29. 
 
 Joints, straight vertical, between the 
 brick galleries and stone corridors, 6. 
 
 Josephus mentions pegmata in amphi- 
 theatre, 49. 
 
 Julius Caesar, Amphitheatre of, 2. 
 
 Julius Capitolinus mentions 100 lions 
 in amphitheatre, 50. 
 
 Lampadius restores amphitheatre, A.D. 
 445,. 27. 
 
 Lampridius mentions 100 lions in am- 
 phitheatre, 50. 
 
 Lifts for men and dogs on both sides of 
 central passage, 14 ; grooves for, re- 
 main in walls, 7. 
 
 Lions, 100 killed at once in the shows, 
 26. 
 
 Machine for raising stones for walls, 21.' 
 
 Machines required, numerous and large, 
 48. 
 
 Martial's first book, De Spcctacuhs, re- 
 lates to this amphitheatre, 4 ; — men- 
 tions pegmata in amphitheatre, 49. 
 
 Martyrdom of early Christians on sand 
 of arena, not on soil 21 ft. below, 
 
 36. 
 
 Mass celebrated in amphitheatre by 
 Cardinal Vicar, A.D. 1756, 30. 
 
 Masts, or poles, and corbels for awn- 
 ing, 24. 
 
A IpJiabetical Index. 
 
 6 7 
 
 Miracle plays performed in amphi- 
 theatre, A.D. I540, 29. 
 
 Mixture of stone and brick in construc- 
 tion, 19. 
 
 Naumachia, the new, those of Augustus 
 in Trastevere, 9 ; — the old, in this 
 building, 1, 8, 10 ; — none in amphi- 
 theatre of Taurus, 10 ; — and Stag- 
 na, names used indifferently, 12 ; — 
 the two sides were flooded, not the 
 central passage, 14; — vessels em- 
 ployed in usually rates, 47. 
 
 Naval fights held sometimes in Circus 
 Maximus, 50 ; — must have been in 
 canals of Colosseum, as Heliogabalus 
 filled them with wine, 5 1 ; — called Cir- 
 censian games, ib. ; — Martial distin- 
 guishes them, ib. 
 
 Nero, substructures part of the time of, 
 I, 12 ; — gymnasium and naumachia 
 of, on site of this amphitheatre, 5 ; — ■ 
 remains of aqueducts and piscina, ib. ; 
 — gymnasium of, on the arena, 6 ; — ■ 
 brickwork of time of, ib. ; — supper of, 
 in the amphitheatre, 7 ; — exterior of 
 brick unfinished by him, and finished 
 by Flavian Emperors in stone, 1 1 ; — 
 two small chambers of brick, of his 
 time, enclosed in travertine walls, 15 ; 
 — awning of, mentioned by Pliny, 
 23 ; — amphitheatre of, not in Campus 
 Martius, 56 ; — his Stagna were canals 
 of aqueducts, 8. 
 
 Netting to protect lower gallery of gold 
 (or gilt) wire, called retia, 5°- 
 
 Nismes, amphitheatre still has a wooden 
 floor with trap-doors in it, 46 ; ar- 
 rangements below quite different, ib. 
 
 Palaces, several made out of amphi- 
 theatre, 29. 
 
 Passage, great, found at S.-E. end, 34. 
 
 Passages, small special, for messengers, 
 intermediate between the great ones 
 at Pozzuoli, and in Colosseum at 
 Rome, 47 ; — central, or gulf, in all 
 the amphitheatres, ib. 
 
 Pavement, original here, 21 ft. below 
 level of arena, 35. 
 
 Pegmata, cases for wild beasts, 15 ; — 
 described by Seneca, 16 ; — not only 
 cages, but wooden machines, 49. 
 
 Piers of travertine, introduced to sup- 
 port floors, 12 ; — from top to bottom, 
 to carry upper gallery, 39. 
 
 Piscinae, remains of two, n. 
 
 Pit for a man to descend to feed the 
 animals, 17. 
 
 Plan, general, is oval, with galleries, 
 vomitoria, &c, 18. 
 
 Pliny mentions Scaurus and his insane 
 works, 56. 
 
 Podium protected by wire netting and 
 bars, 16. 
 
 POLA, IN Istria, Amphitheatre at, 
 45, 46 ; — built of white stone, ib. ; — 
 two tiers of arches remain, ib. ; — A cu- 
 rious stone parapet, with indications 
 of awning, ib. ; — Built against rocky 
 mountain,//'. ; — Substructures in lower 
 part, ib. • — Canal for water visible, ib. ; 
 — Square towers (for musicians?), 46. 
 
 Pozzuoli (Puteoli), Arena of brick full 
 of trap-doors, 13, 42 ; — Surface there 
 flooded for naumachia, 13; — An in- 
 termediate passage for messengers, 
 47; — Building much smaller than 
 those of Rome and Capua, 42 ; — 
 Substructures more perfect and more 
 highly finished, ib. ; — Arena of brick, 
 with apertures for trap-doors, ib. ; — 
 Arrangement for fixing masts for 
 awning, as in Rome, 43 ; — Building 
 also of time of Hadrian, ib. ; — -Vaults 
 preserved and used, ib. 
 
 Rhodope, mountain of, represented as 
 a scene here, 4. 
 
 Scaurus, Family of ^Emilius, 56 ; — 
 name means club-footed, ib. ; — one of 
 the family built Basilica yEmilia, ib. ; 
 — insane works of, so called from their 
 enormous cost, ib. ; — his theatre to 
 hold 80,000 people could only be on 
 site of Colosseum, ib. ; — no other the- 
 atre three storeys high, ib. ; — extract 
 from Pliny, ib. ; — walls of, 15 ; — build- 
 ings of, parts temporary, other parts 
 eternal, according to Pliny, on site 
 of present amphitheatre, 3 ; — Clivus 
 of, leads to this site, ib. 
 
 Sea-water (?) used in canals, 8. 
 
 Seneca, pegmata described by, 16. 
 
 Severus, Alexander, piscina of, 5 ; wall 
 of, 6. 
 
 Sockets in the pavement for pivots of 
 capstans, 7, 35. 
 
 Stagna, or old naumachia, under the 
 arena, I, 12 ; — of Neio supplied by 
 three aqueducts, 9 ; — boarded over for 
 gladiators and wild beasts, but boards 
 removed easily, 10; — two, each 300ft. 
 long, and about 50 wide, 14. 
 
 Stagnum of Nero, "like a sea," when 
 surface was flooded, 9, 12. 
 
 Navale of Tacitus, 9. 
 
 of Agrippa near the Pantheon, 9. 
 
 Statilius Taurus, Amphitheatre of, I. 
 
 Storey, upper, an addition and an after- 
 thought, 6. 
 
 Substructures, part of the time of Nero, 
 I ; — evidently retained and used when 
 upper part was built, 39 ;— compared 
 with others, 47. 
 
6S 
 
 Alphabetical Index. 
 
 Suetonius does not mention the begin- 
 ning of the work, i. 
 
 Tacitus gives an account of games here 
 under his own direction, 55- 
 
 Taurus, Statilius, Amphitheatre of, I. 
 
 Theatrum and Amphitheatrum, names 
 used indifferently for this building, 
 
 7- 
 
 Theodoric uses amphitheatre for shows 
 
 of wild beasts, A. D. 519, 27. 
 Titus, wall of, 6 ; — exhibitions of, at the 
 
 dedication, 8. 
 Trap-doors in the arena numerous, 7. 
 Travertine piers cut through older wall, 
 
 of tufa and brick, to carry upper 
 
 gallery, 19. 
 Tufa, much used to fill up between 
 
 piers of travertine, 18; — taken from 
 
 second wall of Rome, ib. 
 Tusculum, canals in amphitheatre, as 
 
 in Rome, 14. 
 
 Upper storey, of stone, an addition to 
 the plan, 6, 12; damaged by light- 
 ning, A.D.230, 26; of wood, burnt, 
 A.D. 217, 25 ; restored by Heliogaba- 
 lus, Al. Severus, and Gordianus, ib. 
 
 Vaults under arena called cavea, 51. 
 
 Venantius Basilius restores amphithe- 
 atre, a.d. 508, 27. 
 
 Verona, Amphitheatre at, 43, 44 ; — 
 Outer wall almost destroyed, 43 ; — Ar- 
 cade of two lower storeys preserved, 
 44 ; — Comparison of the number that 
 each amphitheatre would contain, ib. ; 
 — Seats remarkably well preserved, 
 ib. ; — Dimensions of the three prin- 
 cipal amphitheatres, Rome, Verona, 
 Capua, 45 ; — and Capua, remains of 
 aqueducts, 13. 
 
 Vertical joints, open, between brick 
 
 walls of galleries, and stone walls of 
 
 corridors, 6. 
 Vespasian and Titus, Walls of, 6. 
 Vessels employed in naiunachia usually 
 
 rates, 47. 
 View of Jerusalem, century xvi., 29. 
 Views on coins, and in sculpture on 
 
 tomb of Aterii, 20. 
 Vivaria outside walls of Rome, 15 ; — 
 
 one at Praetorian camp, 16 ; — the 
 
 other at Sessorium, ib. 
 Vopiscus mentions pegmata and 100 
 
 lions in amphitheatre, 49. 
 
 Wall, the outer, of three periods, Vespa- 
 sian, Titus, and Alexander Severus, 6. 
 
 Walls, original, of tufa, interfered with 
 by later work, 7 ; — of tufa in substruc- 
 ture older than time of Nero, 13 ; — of 
 front, and of the corridors in the su- 
 perstructure, are of travertine, ib. ; — 
 of tufa, round edge of substructure 
 for lifts, not for canals, 14 : — of tufa, 
 probably of Scaurus, time of Sylla, 
 15 ; — grooves in, for lifts and cages, 
 15, 35 ; — of tufa, in parts supported by 
 brick walls of Flavian Emperors, 17 ; 
 — part destroyed by being used as a 
 stone - quarry, 1 8 ; — north side only 
 part perfect, ib. ; — weeded by the 
 French in 1812, this repeated 1870, 
 31 ; — upper, hastily built under Gor- 
 dianus, 33 ; — lower, of brick, belong 
 to repairs after earthquakes in A.D. 
 442, and 508, 37. 
 
 Water, shallow open channels for, re- 
 main, 33; — reservoirs in principal 
 
 gallery, ib. ; — two piscina; or , 
 
 under Ccelian, ib. 
 
 Wild beasts brought to Rome, B.C. 251, 
 3 ; — number kept for shows, 25. 
 
THE COLOSSEUM, 
 PLATE I. 
 
 SUPERSTRUCTURE. 
 Exterior, from the Thermae of Titus. 
 
Colosseum. 
 
 Description of Plate I. 
 SUPERSTRUCTURE. 
 
 Exterior, from the Thermae of Titus. 
 
 This view shews the only part that is at all perfect of the mag- 
 nificent work of the Flavian Emperors, consisting of the grand front 
 and the splendid corridors, built around the brick theatre of Nero, 
 with the galleries for spectators, which are surrounded by these 
 stone corridors. These are of the best building stone to be had 
 in Rome, — the travertine from the quarries near Tibur, now Tivoli. 
 
 The front had evidently been left unfinished by Nero, as we find 
 no traces of any brick front according to the fashion of his time, 
 when the brick-work was the finest that the world has ever seen. 
 
 It will be observed that the lower part of the ground-floor is 
 concealed in the view by the bank of earth on which the modern 
 road is carried, and the parapet wall of that road. It will also be 
 observed that each storey is different ; the lower storeys have dif- 
 ferent orders of architecture, but with scarcely any difference of plan 
 or of construction, whereas the upper storey is quite different from 
 the rest. There are no arches in it, but flat pilasters instead of 
 columns, small square windows, and a row of corbels projecting 
 boldly from the wall, and a prominent cornice over it. These cor- 
 bels were for the purpose of carrying the feet of the masts that sup- 
 ported the awning over the heads of the spectators in the galleries, 
 and these masts passed through holes left for them in the cornice, 
 as will be seen more plainly in Plate XI L 
 
 This upper storey is more than a century later in date than the 
 lower parts of the building ; it replaces a wooden gallery for the 
 common people, which had been made upon the top of the great 
 corridors, which was too tempting a place for the purpose to be lost, 
 although this wooden gallery does not appear to have formed part 
 of the original design, — to judge from the representations of the 
 building on the coins, which are probably made from the designs of 
 the architects before the work was executed. There are six designs 
 extant on the coins, and no two of them are exactly alike, especially 
 for this upper storey". 
 
 See Plate XXV. 
 

 ^ 
 
 X 
 
 o 
 
 
 1 
 
 > 
 
 Sm 
 O 
 
 W 
 
 M 
 
 a 
 
 w 
 
 as 
 
 o 
 
 a 
 
 o 
 
 3 
 
 it 
 
THE COLOSSEUM. 
 PLATE II. 
 
 S UPERSTRUCTURE. 
 Views of Parts of the Building. 
 
 f 2 
 
Colosseum. 
 
 Description of Plate II. 
 
 SUPERSTRUCTURE. 
 
 Views" of Parts of the Building. 
 
 A. The upper view is taken from the top gallery looking down, 
 and shewing the ruins of the lower brick galleries, with the windows 
 of the corridors. Behind the wall in which these windows are placed 
 is seen part of one of the corridors without its roof or vault, but 
 with the steps of one of the vomitoria, and at the back of that the 
 arches can be seen of the outer corridor ; for it must be remembered 
 that there was a double corridor all round this enormous fabric. The 
 object of this was to facilitate ingress and egress from the rest of the 
 building, and the galleries were divided into many distinct parts, 
 each with its own passages and steps, so that there would be no 
 more confusion or pressure in emptying this enormous building than 
 from the emptying of an ordinary room that would hold fifty people. 
 In the upper part of this view, on the right hand, is seen in the 
 distance the church of S. Stefano Rotondo and the trees on the 
 Ccelian Hill. 
 
 B. The lower view is taken from the inner side of the chief gallery 
 on the first floor, looking outwards, through one of the arches of the 
 corridor. In this particular compartment was one of the reservoirs 
 of water supplied by the aqueducts. The evidence for this is seen 
 on the right-hand side of the picture, where the lower part of a specus 
 or channel for the water remains, with some of the peculiar cement 
 used only for the aqueducts, against the wall and lining the specus. 
 
 Half way along this brick wall is seen a part of one of the narrow 
 piers of travertine which go from the top to the bottom of the build- 
 ing, to cany the upper gallery at that enormous height, as the en- 
 gineers were afraid to trust the soft tufa wall with the facing of 
 brick. A little further on the right is seen the opening between 
 the brick w r all of the gallery and the stone wall of the corridor ; 
 the light is seen shining through the opening, which is here about 
 three inches wide, and there is no bonding anywhere between the 
 brick wall of the gallery and the stone wall of the corridor. Towards 
 the south end of the building on this level, in at least two instances, 
 the stone piers have been -carried away for building materials, and 
 the lower part of the brick wall through which it had been cut, 
 stands just as well without it as with it. The object of this tall 
 stone pier was to carry the upper gallery only, not to support the 
 old walls of the lower galleries b . 
 
 b See Plate XX. 
 
THE COLOSSEUM. 
 PLATE III. 
 
 SUPERSTRUCTURE AND SUBSTRUCTURE. 
 
Colosseum. 
 
 Description of Plate III. 
 SUPERSTRUCTURE AND SUBSTRUCTURE. 
 
 The Interior as it appeared in 1812, when partially excavated 
 by order of the French Government. This view, taken from an en- 
 graving of the period, helps to explain what follows, but the excava- 
 tions at that time were only carried to the depth of ten feet, and 
 the original pavement was found only (in 1874) at the depth of 
 twenty-one feet from the foot of the podium, which is on the ordi- 
 nary level of the soil. Consequently, we only have here visible the 
 surface, with the central passage and the two canals on each side 
 of it, and the side passage round the edge just under the podium. 
 The square openings for the lifts for men and dogs are seen on each 
 side of the central passage. The ruins of the brick galleries are 
 also seen much as they remain now. 
 
 The view is taken from above, at the north end. It is singular 
 that the engineers at that time did not see that they had excavated 
 the tops of arches of which the lower parts were still buried, yet the 
 same thing is clearly seen in the excellent set of drawings made for 
 the French Government at the time, and now preserved in the 
 British Museum. In these all the details are given with exact 
 measurements, and yet they appear not to have seen that they had 
 excavated the tops of a series of arches and left the rest buried. 
 

THE COLOSSEUM. 
 PLATE IV. 
 
 SUBSTRUCTURES IN 1874. 
 Interior, at the South-east end. View in the Passages. 
 
Colosseum. 
 
 Description of Plate IV. 
 
 THE COLOSSEUM IN 1874. 
 
 Substructure. 
 Interior, at the South-east end. View in the Passages. 
 
 In the centre of the view, at the foot, are seen the boards for the 
 wheelbarrows of the workmen, leaning against the top of the arch 
 of the great subterranean drain to carry off the water when it was 
 let off with a rush after the naval fights. Under the boards are 
 remains of an ancient iron grating, to prevent any object being car- 
 ried off into the drain by the force of the water. On each side of 
 these boards are traces of the flood-gate, by which the water could 
 be stopped, or the rate of it regulated. 
 
 Beyond this, on each side, is a wide arch of stone parallel to the 
 great central passage. These arches open- into two large and lofty 
 vaulted chambers of considerable length, passing under the galleries. 
 In the pavement of the floor in each of these is a line of seven 
 sockets for pivots to work in, some of which retain the bronze 
 socket, in others it has been torn out. 
 
 Between the two great round-headed arches is seen a square- 
 topped opening at the end of a long passage over the great drain. 
 This was the passage for the animals that were brought through it 
 in their cages, excepting the elephants, which were led into the 
 large dens provided for them, two on each side of the passage 
 further on. 
 
 Above this was the state entrance from the south towards S. Cle- 
 ment's and the Lateran, and on each side are the ruins of the 
 galleries as before. 
 
THE COLOSSEVM IN 1814. 
 
 
 INTElilOU S.E. ENU. - TUB PASSAGES 
 
THE COLOSSEUM. 
 PLATE V. 
 
 INTERIOR, TOWARDS THE SOUTH-WEST, 
 With the Substructures in 1874. 
 
Colosseum. 
 
 Description of Plate V. 
 
 INTERIOR, TOWARDS THE SOUTH-WEST, 
 With the Substructures in 1874. 
 
 Immediately to the right, and nearly in the centre of the picture, 
 is seen the earth not then excavated when this view was taken. In 
 front of this, as shewn to the right of the picture, is one of the 
 ancient walls of tufa faced with brick, which carries on its right- 
 hand side one of the canals of water. To the left of the view, close 
 under the podium, is seen another wall of tufa, but cut, and with 
 vertical grooves clearly seen in it ; these were for the lifts. Behind 
 this are the arches of the dens of the wild beasts, under the path 
 in front of the podium ; then the podium itself, with square recesses 
 in it, usually said to have been for men to take refuge in, should the 
 animals be able to spring over the net-work in front ; but this is not 
 probable, when we see the precautions taken : they were more likely 
 for the athletes, or for the attendants or guards under the state 
 gallery. Behind this are the ruins of the galleries and the windows 
 of the corridors, as before. 
 
THE COLOSSEVM IN 1874 
 
 IXTKKIOU S.W.-TUE SVPriTKVCTVKE- 
 
THE COLOSSEUM. 
 PLATE VI. 
 
 INTERIOR, AT THE SOUTH-EAST END. 
 With the early Walls of Tufa. 
 
Colosseum. 
 
 Description of Plate VI. 
 
 INTERIOR, AT THE SOUTH-EAST END. 
 With the early Walls of Tufa. 
 
 In this view the grooves in the walls are clearly seen on both 
 sides of the passage between them, and the arches of the dens 
 behind the outer wall. The lions, or other wild animals about 
 that size, passed from the dens through an opening in the wall 
 into the cages provided for them in this passage. The cages were 
 placed upon lifts, and when the word was given by the emperor, 
 were all pulled up at once to the arena, or floor of boards, with 
 trap-doors in it all along over this passage. We are told by Hero- 
 dian (as has been shewn in the text, p. 26) that on one occasion 
 a hundred lions leaped on to the stage or arena at the same time, 
 and appeared to the spectators in the gallery to " leap out of the 
 earth ;" the sand with which the floor was covered over would have 
 that appearance when the trap-doors, and lifts, and the tops of 
 the cages along with them, were opened from below. In the 
 passage is a long series (one behind the place for each cage and 
 lift) of sockets seen in the pavement, apparently each for a capstan 
 to wind the twenty-one feet of cord upon, when the cage was 
 pulled up to the top, and the trap-doors opened. 
 
00 
 
 z 
 
 > 
 
 m 
 
 e» 
 -n 
 
 O 
 
 o 
 o 
 
 H 
 E-" 
 
THE COLOSSEUM. 
 PLATE VII. 
 
 VIEW AT THE SOUTH-EAST END. 
 
Colosseum. 
 
 Description of Plate VII. 
 VIEW AT THE SOUTH-EAST END. 
 
 This plate is from an excellent drawing of Signor Cicconetti, 
 made chiefly from the photographs, in order to explain them more 
 clearly. The photographs are evidence of historical facts, which no 
 drawing alone can be, because drawings are always liable to errors, 
 accidentally or otherwise. Unfortunately drawings are very often 
 made to suit the idea either of the artist who draws the object as 
 he thinks " it must have been," or to suit the view of the person 
 who orders the drawing. These drawings can be compared with the 
 photographs throughout, and make them more easy to understand. 
 
 A, Wooden framework (?), cradle (?), or dry dock (?). 
 
 B, B. Marble slabs placed upright, to serve as struts to support 
 the galleys standing on the frame. 
 
 C, C. Walls of the central passage. 
 
 D, Line of one of the canals. 
 
 E, E. Ancient tufa walls, with the dens behind them. 
 
 F, F. Podium and state gallery. 
 
 G, G. Principal gallery. 
 H, H. Second gallery. 
 
 I. Top gallery, added after the fire. 
 
 K. Drain or cloaca. 
 
 L. Passage for animals. 
 
 M. State entrance and corridor. 
 
 N. Modern buttress. 
 
THE COLOSSEUM 1875. 
 
 H 
 
 r 
 
 c 
 
 H 
 
 G 
 
 F 
 
 I: 
 
 C B V P 
 
 VIEW OF SOUTH EAST END 
 
THE COLOSSEUM. 
 
 PLATE VIIL 
 
 PLAN OF THE SOUTHERN HALF, AT THE LOWEST 
 
 LEVEL, 
 
 Shewing the Excavations in 1874 and 1875. 
 
Colosseum. 
 
 Description of Plate VIII. 
 
 PLAN OF THE SOUTH-EASTERN HALF, AT THE 
 
 LOWEST LEVEL, 
 
 Shewing the Excavations in 1874 and 1875. 
 
 A, A. The frame, cradle, or dry dock, for the galleys to stand 
 upon when not wanted for use. 
 
 F, F. The podium. 
 
 L. The passage for animals. 
 
 T, T. Lofty vaulted chambers, with seven sockets in a line in 
 each. 
 
 V. Subterranean side-passage, called of Commodus. 
 
 a. The dens for wild beasts. 
 
 b. The shaft for a man to descend and feed the animals. 
 
 c. The drain and flood-gate at the mouth of it. 
 
 e, e. Small brick chambers of the time of Nero. 
 
 All the sockets that are visible are shewn in the plan, whether 
 in the passages or in the chambers. 
 
00 
 
 w 
 
 H 
 go 
 
 W 
 
 O 
 
 w 
 
 a 
 
 H 
 
 55 
 
 3 
 t) 
 W 
 
 CO 
 GO 
 
 o 
 
 o 
 o 
 
 fcj 
 
 1X1 
 H 
 
THE COLOSSEUM. 
 PLATE IX. 
 
 ARCHES IN THE SUBSTRUCTURE. 
 
Colosseum. 
 
 Description of Plate IX. 
 
 i. ARCH OF THE SECOND CENTURY IN 
 THE SUBSTRUCTURE. 
 
 In addition to the two ancient walls of tufa parallel to each other 
 round the edge, with the grooves for lifts in them, there are some 
 remains here and there of a third wall of tufa within the other two, 
 and this appears to have been much shaken by an earthquake. In 
 this, little is perfect, but in the parts that remain there are arches, 
 and these arches are supported by brick walls of different periods. 
 The upper arch in this plate is supported by a brick wall of the 
 second century, as is seen by the thickness and quality of the bricks 
 and of the mortar between them. This is shewn by the six-foot 
 rule, each foot painted alternately black and white, by which the 
 bricks can be counted the same as on the spot. 
 
 2. Arch of the First Century in the same. 
 
 This small arch is in the same wall, but in this case the brick 
 arch that supports the tufa is clearly of the time of Nero c . The 
 long, thin bricks of his time, nine or ten to the foot, are well known 
 to all Roman archaeologists, and are so marked that there is no 
 mistaking them : they are thus good evidence that the amphitheatre 
 of Nero, mentioned by Pliny, was on the same site as the Flavian 
 Amphitheatre. A segment of another arch of the same period abuts 
 against it, to support it like a flying buttress, and is seen in the 
 plate. 
 
 c The photo - engraver has unfortu- cases in which a photograph is of great 
 
 nately turned this photograph upside importance, because there is nothing in 
 
 down, but it is not of much conse- which artists are so careless as in the 
 
 quence, as the size and thickness of thickness of the bricks and of the mor- 
 
 the bricks of Nero can be seen just tar between them ; there is nothing in 
 
 the same. The space is so narrow that which it would be more easy to pkty 
 
 it was difficult to get a photograph of tricks, if they wished to do so. • 
 it at all ; but this is just one of the 
 
COLOSSEUM. 
 
 Arch of the Second Century, in the Substructure. 
 
 Brick Arch of Nero, in the Substructure. 
 
THE COLOSSEUM. 
 PLATE X. 
 
 SUBSTRUCTURES. 
 
 Remains of two Canals, one supported on Timbers, 
 the other on brick arches. 
 
 G 2 
 
Colosseum. 
 
 Description of Plate X. 
 SUBSTRUCTURES. 
 
 Remains of two Canals, one supported on Timbers, 
 the other on brick arches. 
 
 These two canals, parallel to each other, to be supplied with water 
 by the aqueducts, and used for the naumachia or naval fights, are 
 among the most curious discoveries brought to light in the recent 
 explorations. They shew how completely the whole of the great 
 public exhibitions of the ancient Romans were theatrical displays, 
 with all the usual tricks of a theatre, just the same as in a Christmas 
 pantomime. 
 
 This shews also that stagna do not necessarily mean ponds ; any 
 reservoir of water is a stagnum, whether supplied by a natural spring 
 or by an aqueduct. Neither of these now remaining are of the time 
 of Nero, they belong to later repairs or alterations ; but the great 
 thickness and strength of the wall of so little height could only 
 have been made to support the weight of water. This is especially 
 evident in the upper view, where the wall is nearly as thick as it 
 is high. In this passage the canal, lined with lead, was supported 
 on massive wooden beams ; in the lower view the canal in that pas- 
 sage, which is wider than the other, was supported on the brick 
 arches of the second or third century, shewn in this view. 
 
 It is even probable that the stagna of Nero were in the same 
 place as these, as a good deal of brick-work of his time is on a higher 
 level than these walls, and the two sheets of water, one on either side 
 of the great central passage, would have been magnificent sheets of 
 water, about three hundred feet long and fifty or sixty or more wide 
 in the central part, though narrow at both ends. It is still possible, 
 though not probable, that the stagna of Nero were on a lower level, 
 cut through a bed of tufa, which is not generally very thick, to the 
 clay of the Tiber valley beneath. This would account for the cen- 
 tral passages on the site of the stagna having suffered so much from 
 the earthquakes, while the great corridors of the Flavian Emperors, 
 standing on the bed of tufa, have not suffered at all. 
 
COLOSSEUM — SUBSTRUCTURES 
 
 1 
 
 y& 
 
 '$%. 
 
 ■■?•*-- 
 
 A. REMAINS OF A CANAL SUPPORTED ON TIMBERS 
 
 B. OF ANOTHER CANAL SUPPORTED ON ARCHES 
 
THE COLOSSEUM. 
 PLATE XI. 
 
 TWO CAPITALS. 
 
 A. From the Upper Storey. 
 
 B. From the lower one, or the Podium. 
 
Colosseum. 
 
 Description of Plate XI. 
 
 TWO CAPITALS. 
 
 A. From the Upper Storey. 
 B. From the lower one, or the Podium. 
 
 It will be seen at once that this capital (A) is intentionally left 
 in a rude state to be seen from a distance d , the upper gallery being 
 nearly a hundred feet above the level of the arena. A great num- 
 ber of these capitals, and of the white marble columns to which 
 they belonged, have rolled down from the top of the building to 
 the bottom in an earthquake, crushing all the seats of the galleries 
 in their fall ; as many as forty of them have been found, and a still 
 larger number of broken columns, which have evidently fallen with 
 great force ; some of them have been found passing quite through 
 the walls in the substructure, and can be still seen with one end on 
 one side of the wall, and the other on the opposite side. 
 
 B. is a highly -finished capital of the Corinthian order : of this 
 kind only three or four have been found, but much more perfect 
 than most of the others. They were probably on the short columns 
 of the podium by the side of the state entrance. 
 
 d The fragment of sculpture placed cessarily reproduces things exactly as 
 
 upon this capital has nothing to do they were found at the time the photo- 
 
 with it, being merely placed there by graph was taken, 
 the workmen, but a photograph ne- 
 
COLOSSEUM - TWO CAPITALS 
 
 B 
 
 A. OF UPPER STOREY — B. OF LOWER 
 
THE COLOSSEUM. 
 PLATE XII. 
 
 RESTORATION OF ONE COMPARTMENT OF THE 
 SUPERSTRUCTURE. 
 
Colosseum. 
 
 Description of Plate XII. 
 
 RESTORATION OF ONE COMPARTMENT OF THE 
 SUPERSTRUCTURE. 
 
 Shewing the colonnade of the third century, on the upper storey, 
 after the burning of the wooden upper floor ; to this colonnade 
 the capitals and columns that have fallen down in an earthquake 
 have belonged, — shewing also the arrangement of the seats, the 
 corridors, and the vomhoria. 
 
COLOSSEUM — SUPERSTRUCTURES 
 
 i— i — i — i — t- 
 
 10 n yo m 
 
 RESTORATION OF ONE COMPARTMENT 
 
THE COLOSSEUM. 
 PLATE XIII. 
 
 SECTION AND DETAILS OF ONE COMPARTMENT, 
 
 Including the Substructures below, and 
 the Awning above. 
 
Colosseum. 
 
 Description of Plate XIII. 
 
 SECTION AND DETAILS OF ONE COMPARTMENT, 
 
 Including the Substructures below, and 
 the Awning above. 
 
 A, A, A. The wooden framework. 
 
 C. Wall of central passage. 
 
 D. Wall of central passage. 
 
 E. E, E. The ancient tufa walls. 
 
 F. The podi 'u m. 
 
 G. First gallery. 
 H. Second gallery. 
 
 I, I. Upper galleries. 
 
 K. The drain or cloaca. 
 
 L. The passage for animals. 
 
 M, M. The state corridors. 
 
 O, O, O, O. Corbels at the foot of the masts. 
 
 P, P. The dens, and vertical shafts for a man to descend to feed 
 the animals. 
 
 R, R, R, R. Corbels to stiffen the masts, and to carry the boards 
 or planks of the arena. 
 
 S. Passage from the den to the cage. 
 
 a. Series of lattice-work to protect the lower gallery from the 
 wild beasts. 
 
 b, b, b. Masts to carry the awning. 
 
 e. Place for the counter-weight in the tufa wall. 
 
 f, f. Sockets in the pavement of the passage, for the pivots of the 
 capstans to work in. 
 
CZ5 
 
 < 
 
 a 
 
 Q 
 
 < 
 o 
 
 cc 
 
 16 
 
 00 
 
 H 
 
 W 
 
 O 
 J 
 
 o 
 o 
 
THE COLOSSEUM. 
 PLATE XIV. 
 
 SECTION OF ONE BAY OR COMPARTMENT, AND 
 PLANS OF THE SIX STOREYS. 
 
Colosseum. 
 
 Description of Plate XIV. 
 
 SECTION OF ONE BAY OR COMPARTMENT, AND 
 PLANS OF -THE SIX STOREYS. 
 
 a. Ground-storey and corridor. 
 
 b. First storey and upper corridor. 
 
 c. Second storey and vomitoria. 
 
 d. Third storey, passage, and vomitoria. 
 
 e. Fourth storey with vomitoria. 
 
 f. Upper storey. 
 
 It has not been generally observed that there are so many floors 
 or storeys in the Colosseum. Two of these are only subdivisions 
 for the vomitoria, still, to give a complete idea of the whole 
 building, it was necessary to have them. 
 
COLOSSEUM 
 PLANS OF THE STX STOREYS 
 
 //jmiv 
 
 J • y a j J 3 * 
 
 c-*-^ 
 
 1'WWS 
 
 J J a y J 9 3 J 
 
 
 
 
 1 j V,l; gferff 
 
 SECTION OF ONE HAY 
 
THE COLOSSEUM. 
 PLATE XV. 
 
 SUBSTRUCTURES, 
 With probable Restorations of the Stagna, the Arena, &c. 
 
 Two Views. 
 
Colosseum. 
 
 Description of Plate XV. 
 
 SUBSTRUCTURES, 
 
 With probable Restorations of the Stagna, the Arena, &c. 
 
 Two Views. 
 
 A. Stagnum and Arena. 
 h, h. Stagnum. 
 
 i, i. Space between two canals, flooded at the time of the shows, 
 g, g, g. Passage under the canals. 
 A. The wooden framework. 
 
 F, F, F. Narrow platform and passage in front of the podium, 
 and one of the dens. 
 
 I, I, I. The trap-doors for the lifts. 
 
 k, k. Smaller trap-door for lifts, (for dogs ?). 
 
 B. Brick Arches of Nero supporting the Tufa Wall 
 
 and Arch. 
 
 n, n, n. Level of the original pavement. 
 
 o. Passage. 
 
 p. Ancient tufa wall. 
 
 q. Brick arch of Nero, under an arch of tufa. 
 
 r. Segment of another brick arch of Nero, abutting against the 
 centre of the tufa arch to support it, like an arch-buttress or flying- 
 buttress of the Middle Ages. (For the Phototype of this arch, see 
 Plate IX.) 
 
 s. Socket for a pivot to work in. 
 
". S* 
 
 
 B ' X' HI 
 
 El $ i n 
 
 $M * * if ' 
 
 > t. M$:-&- gel .. fi'. i * 
 
 !3 
 
 5 H 
 
 Q C 
 
 Cm « 
 
 0- -*; 
 
 O % 
 
 O "" 
 
 O 
 
 
 3 
 
 < 
 
 c/: 
 
 
THE COLOSSEUM. 
 PLATE XVI. 
 
 SUBSTRUCTURES EXCAVATED IN 1875, 
 With probable Restorations of the Lifts or Pegmata. 
 
Colosseum. 
 
 Description of Plate XVI. 
 
 SUBSTRUCTURES EXCAVATED IN 1875, 
 
 With probable Restorations of the Lifts or Pegmata. 
 
 The object of this plate is to make more clear to the eye what 
 has previously been explained. An animal is represented first as 
 coming out of the den behind the tufa wall into the cage, with 
 the empty socket behind, as they actually remain, and a capstan 
 with the cord is placed in the socket on the opposite side of the 
 cage. The second is half-way up, to shew the action of the cords, 
 which seems the only mode of explaining the things found. In 
 the third the animal is leaping out on to the stage or arena, as 
 described by Herodian. In front of the podium a piece of trellice- 
 work is shewn in its place, taken from a graffito found on the spot. 
 
 

 7^*^11' .. If 
 
 *K ■>;-"'■-- . _■ f? - 
 
 ' 
 
 10 
 
 oc 
 
 1 W-P- < 
 
 In-; ^ a' 'i '■•'. ■ 
 
 s E J H :hw> i 
 
 K 
 
 a; 
 
 H 
 
 o 
 
 a: 
 
 I I 
 
 |l ■ 
 
 I 
 
 K 
 
 O 
 
 c 
 
 j-l H b ' '-3 
 
 I . . . . 
 < ■ mr 
 
 MX*. 
 
 IV . ' J'.'.-™ 
 
 
THE COLOSSEUM. 
 PLATE XVII. 
 
 VIEW IN THE SUBSTRUCTURES. 
 
 H 
 
Colosseum. 
 
 Description of Plate XVII. 
 
 VIEW IN THE SUBSTRUCTURES. 
 
 E. The Consoles, for placing the boards of the arena upon when 
 not in use. 
 
 F. F. The Podium. X. The level of the arena. 
 
 a a a. Doorways to small chambers, to descend to feed the wild 
 beasts in their dens. 
 
 b b b. The dens for the wild beasts. 
 
 c c c. Blocks of travertine to support the foot of the masts. 
 
 d d d. Aperture at the foot of the small chambers, for feeding the 
 wild beasts ; these are ten feet from the ground. 
 
 e e e. Small water-course in front of the dens. 
 
 f. Socket for the pivot of a capstan. 
 
 g g. Original pavement of bricks, arranged herring-bone fashion. 
 
 h h. Sites of piers of tufa, (removed in the drawing to shew what 
 is behind them). 
 
VIEW IN THE SUBSTRUCTURES. 
 
 _^~ ^_ 
 
 r\ 
 
 
 
 %^^m*mS^ms& : jz 
 
 
 =3JL 
 
 
THE COLOSSEUM. 
 PLATE XVIII. 
 
 VIEW IN THE SUBSTRUCTURES. 
 
 H 2 
 
Colosseum. 
 
 Description of Plate XVIII. 
 VIEW IN THE SUBSTRUCTURES . 
 
 E. The consoles, for placing the planks of the arena upon. 
 
 E*. Consoles, now enclosed in the older tufa wall, in which holes 
 are cut to insert them. 
 
 F. The podium. X. Level of the arena. 
 
 a. Doorways of the small descending passages, for feeding the 
 wild beasts in the dens below. 
 
 b. The dens for the wild beasts. 
 
 c. Blocks of travertine, to support the lower end of the masts 
 for the awning. 
 
 d. Recesses for lamps. 
 
 e. Small drain for water, which runs round the building in fron t 
 of the dens. 
 
 f. Sockets for the pivots of the capstans. 
 
 g. Brick pavement of the second century, in herring-bone pattern, 
 h. Line of the profiles of ancient tufa piers of arches. (The se are 
 
 represented by dotted lines only, as if transparent, to shew the con- 
 soles of the Flavian Emperor inserted in them.) 
 
 i*. Line of second arcade of tufa. 
 
 A. Plan. B. Section. 
 
 The same letters of reference are used in the plan of this section. 
 
 e The piers of tufa are represented as tufa piers, contrasted with the mathe- 
 
 transparent, to shew the insertion of matical accuracy of the work of the 
 
 the consoles in them. This insertion, Flavian Emperors, proves that they 
 
 with the irregularity of the plan of the belonged to an earlier building. 
 

 u 
 
 'Si 
 
 W 
 
 w 
 
 1— I 
 
THE COLOSSEUM. 
 PLATE XIX. 
 
 VIEW IN PART OF THE SUBSTRUCTURE, 
 WITH PLAN AND SECTION. 
 
Colosseum. 
 
 Description of Plate XIX. 
 
 VIEW IN PART OF THE SUBSTRUCTURE, 
 WITH PLAN AND SECTION. 
 
 E E. The consoles. 
 F F. The podium. 
 
 a. Entrance to the descent to feed the animals. 
 
 b. One of the dens. 
 
 c. The stream of water in front of the dens. 
 
 f f. The sockets for pivots for the capstan to work in. 
 
 g g. The original pavement. 
 
 h h. Piers of tufa in front of the dens. 
 
 k k. Long and lofty chamber under the gallery, in which are seven 
 sockets for the pivots of the capstan to work in. 
 
 y. Mouth of the great drain, with the iron grating. 
 
 z. Site of the sluice-gate, and groove for it to work in, as a port- 
 cullis. 
 
 A. The Plan of this part. 
 
 B. The Section of it. 
 
«2 
 
 w 
 ai 
 
 H 
 U 
 
 & 
 
 a; 
 H 
 
 PQ 
 
 1/3 
 
 w 
 
 E 
 H 
 
 t-H 
 
 > 
 
THE COLOSSEUM. 
 PLATE XX. 
 
 PORTION OF THE SUPERSTRUCTURE IN THE 
 PRINCIPAL GALLERY. 
 
Colosseum. 
 
 Description of Plate XX. 
 
 PORTION OF THE SUPERSTRUCTURE IN THE 
 PRINCIPAL GALLERY. 
 
 A A. Walls of brick, dividing the different bays of the gallery. 
 
 B B. Arches of construction, to make the brick facing adhere 
 better to the mass of tufa concrete behind it. 
 
 CCA void space from which a pier of travertine has been 
 carried away for building purposes f . 
 
 D D. The great pier of travertine on one of the arches of the 
 corridor of the Flavian Emperors. 
 
 f In other instances, the brick arches ing plate the same remarkable con- 
 
 of construction appear to rest on the struction is shewn more clearly, because 
 
 piers of travertine between them ; but as in this instance the aperture left by the 
 
 these have been removed, and the brick removal of the stone piers is visible in 
 
 walls stand equally well without them, two storeys, and it is seen that three 
 
 it is evident that this is not the case. piers extended from the upper gallery 
 
 The tall piers of travertine reach the to the ground, passing through all the 
 
 whole height of the building, to sup- other storeys, 
 port the upper gallery. In the follow- 
 
PORTION OF THE SUPERSTRUCTURE IN THE PRINCIPAL GALLERY, 
 
 • o 
 
THE COLOSSEUM. 
 PLATE XXL 
 
 VIEW IN THE UPPER PART. 
 Details. 
 
Colosseum. 
 
 Description of Plate XXI. 
 
 VIEW IN THE UPPER PART. 
 
 Details. 
 
 AA.1 . 
 . > Piers of the great corridor. 
 
 a a. Aperture from which a pier of travertine has been removed 
 for building material, by the Barberini (?). 
 
 b b. Wall of brick, with arch of construction standing equally well 
 without the support of the travertine pier. 
 
 c c. Wall of tufa, of a lower storey. 
 
 d d. Vault of a third storey, below. 
 
 e e. Remains of the vault of the stairs to the upper storey. 
 
 f f. Floor of the second corridor. 
 
 g g. Floor of the principal gallery. 
 
 The object of this plate is to make it still more clear that the 
 brick arches of construction did not really rest on the piers of 
 travertine, although at first sight they appear to do so. The Roman 
 bricks of the first century are two feet square and one inch thick, 
 but in these arches they are cut down from two feet to three or four 
 inches at the impost, or springing of each arch, just where the 
 greatest strength would have been required. They have evidently 
 been cut through to admit the stone piers, which were required to 
 carry the upper gallery, when that was built of stone instead of 
 wood. 
 
COLOSSEUM 
 
 DETAILS IN I ri'tlll I'.VHT 
 
THE COLOSSEUM. 
 PLATE XXII. 
 
 THE GRAFFITI, 
 
 Or Scratchings on Marble by the Workmen of 
 the Second Century. 
 
Colosseum. 
 
 Description of Plate XXII. 
 
 THE GRAFFITI, 
 
 Or Scratchings on Marble by the Workmen of 
 the Second Century. 
 
 A. An athlete, commonly called a wrestler \ but the athletes were 
 more than merely wrestlers, they were often men of high rank, and 
 fought with weapons also, sometimes with fatal results. This is 
 a prize-man with his palm-branch in his hand. 
 
 B. Athletes. — On this fragment of marble the drawing is very 
 indistinct, but there appear to be two figures only, with arms in 
 their hands, and their heads bare, their helmets being on a table 
 behind them. Inscriptions are scratched upon these, which are 
 rather difficult to make out, but seem to be — on one, ivtor (?) ; on 
 another, limeni nik^e ; on a third, ovim. The rest are too indistinct 
 to be read. 
 
 C. A hunt of wild beasts. — This is extremely curious, but not 
 very distinct in the original, and therefore not in the photo-en- 
 graving, which admits of no restorations. There are five animals 
 all of the same kind, but what animal they are intended for it is 
 not easy to say ; they have claws, the heads look like wolves'. 
 Each has a broken cord hanging to its neck. There are two hunts- 
 men with spears in their hands running after them ; they are clothed 
 in tight dresses, with bands round the waist and the knees, and 
 with buskins on their feet. 
 

 Vr-i 
 
 O 
 
 H 
 Z 
 
 CO 
 
 W 
 « 
 
 o 
 
 fa 
 fa 
 
 < 
 
 o 
 
 D 
 to 
 
 CO 
 
 o 
 o 
 
 
 ffl 
 
 CO 
 
 w 
 
 H 
 W 
 
 m 
 
 < 
 
 « 
 
THE COLOSSEUM. 
 PLATE XXIII. 
 
 GRAFFITO OF THE PODIUM, &c. 
 
Colosseum. 
 
 Description of Plate XXIII. 
 
 GRAFFITO OF THE PODIUM, &c. 
 
 This is one of the four graffiti found during the excavations in 
 1874. It represents the front of the. podium, with the framework for 
 the netting to protect the spectators in the lower gallery, or state- 
 gallery, from the wild beasts, if they should attempt to spring up 
 into it when hunted on the stage or arena below, at the foot of the 
 podium. This fragment shews the lower portion of the screen, 
 which is recorded to have had a bar at the top that turned round, 
 so that if any animal tried to cling to it he would fall backwards 
 on the arena. This was level with the foot of the podium, and 
 twenty-one feet above the pavement at the bottom, on the level of 
 the dens for the wild beasts, and the floor of the passage between 
 the two walls of tufa, with vertical grooves in them for the lifts, 
 with the cages upon them. Behind the place for each cage in the 
 paved floor of the passage, is a socket for a pivot to work in, at 
 the foot of a capstan or post, to wind the twenty-one feet of cord 
 upon, with the lift, when pulled up to the trap-door of the arena. 
 This pavement is represented as resting on the top of a series of 
 arches with bars across ; these are probably intended for the doors 
 of the wild beasts below, but rudely represented, and with some 
 sort of performance going on in front. 
 
o 
 
 I. 
 
 f. 
 
THE COLOSSEUM. 
 PLATE XXIV. 
 
 REPRESENTATIONS ON COINS OR MEDALS. 
 
Colosseum. 
 
 Description of Plate XXIV. 
 
 REPRESENTATIONS ON COINS OR MEDALS s. 
 
 i. Titus sitting upon a trophy of arms (a.u.c. 823, a.d. 80). 
 
 On the obverse the legend is, tib. vesp. avg. p.m. tr. p.p. 
 cos. viii. s.c. 
 
 On the reverse is the amphitheatre, with the Meta Sudans to the 
 left, and on the right a double colonnade, one over the other, for 
 the aqueduct (?). 
 
 2. Head of Alexander Severus, a.d. 224. 
 Legend : — imp. cesar divi sev. Alexander. 
 
 Reverse : — The Amphitheatre, with the Meta Sudans on the 
 right, and two figures on the left, with the legend of the dates of 
 his tribuneship and consulate. 
 
 3. Obverse : — Head of Alexander Severus (a.u.c. 937, a.d. 224). 
 Legend : — imp. caes. divi. sev. Alexander. 
 
 Reverse : — Amphitheatre, with a group of figures to the left, and 
 a building of two storeys to the right h . 
 
 Legend : — Dates of tribuneship and consulate. 
 
 4. Obverse : — Head of Gordianus III. (a.u.c. 997, a.d. 244). 
 Legend : — imp. gordianvs pivs felix avg. 
 
 Reverse : — Amphitheatre, with a colossus on the left, and a small 
 building on the right [ . 
 
 Legend : — munificentia gordiani. avg. 
 
 s In this plate the coins are taken by Piscina Limaria. 
 
 photograph from the originals in the ' Qy. Reservoir [castellum agiur) of 
 
 British Museum. the time of Alexander Severus, of 
 
 h Qy- Colonnade of Aqueduct, or which there are remains. 
 
REPRESENTATIONS ON COINS OR MEDALS. 
 
THE COLOSSEUM. 
 PLATE XXV. 
 
 DIAGRAMS OF COINS OR MEDALS. 
 
Colosseum. 
 
 Description of Plate XXV. 
 
 DIAGRAMS OF COINS OR MEDALS. 
 
 i. Obverse: — Head of Titus. 
 Legend : — vesp. gens. t. caes. imp. 
 
 Reverse : — Amphitheatre, with Meta Sudans to the left, and 
 double colonnade to the right. (Same as No. i, Plate XXIV.) 
 
 2. Obverse : — Head of Domitian, with legend, imp. caes. domit. 
 
 AVG. GERM. P.M. TRP. XIIII. 
 
 Reverse : — Amphitheatre, with Meta Sudans and colonnade, pro- 
 bably of aqueduct from the Ccelian. 
 
 3. Obverse : — Head of Alexander Severus (same as No. 3, Plate 
 XXIV.), with legend, imp. caes. m. avr. sev. Alexander, avg. 
 
 Reverse : — Amphitheatre, with group of figures on the left, and 
 a small building on the right {castelhim aqncel). 
 
 4. Obverse : — Head of Gordianus III. 
 Legend : — imp. gordianvs. pivs. felix. avg. 
 
 Reverse : — Amphitheatre, with a colossus and a building. 
 Legend : — mvnificentia gordiani. avg. 
 
COLOSSEUM - REPRESENTATIONS ON COINS 
 
 
 
THE COLOSSEUM. 
 
 PLATE XXVI. 
 A ROMAN GALLEY ON A CRADLE FOR LAUNCHING. 
 
 I 2 
 
Colosseum. 
 
 Description of Plate XXVI. 
 
 A ROMAN GALLEY ON A CRADLE FOR LAUNCHING. 
 
 This is drawn from a restoration made by M. Viollet-le-Duc for 
 Napoleon III. at Compiegne. It illustrates in a very remarkable 
 manner the cradle found in the Colosseum, with the struts on each 
 side. As this cradle was made from the best authorities long before 
 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. 
 
Colosseum. 
 
 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 inscrip- 
 tion 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 skir- 
 mish between the Nucerini and the Pompeiani ; the inhabitants of 
 a neighbouring town, called Nuceria or Nocera, having made a sud- 
 den 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 k . 
 
 k For further details see the Descri- All who are interested in Pompeii 
 zione di Pompeii per Giuseppe Fiord li, should have this valuable little work. 
 Napoli, 1S75, I2mu., p[). 56 and 70. 
 
AMPHITHEATRE OR COLOSSEUM AT CAPUA 
 
 I 
 
 AMPHITHEATRE WITH AWNING FKOJI A FRESCO AT POMPEJ 
 
THE COLOSSEUM. 
 PLATE XXVIII. 
 
 AMPHITHEATRE AT CAPUA 
 
Colosseum. 
 
 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 Ha- 
 drian, with the aqueduct, 1, and an opening made in the vault. 
 
< 
 
 05 
 < 
 
 a: 
 
 B 
 
 — ! . - ■ ..,,.■ ; -—7-= 3 
 
 
 r* 
 
 ar 
 
THE COLOSSEUM. 
 PLATE XXIX. 
 
 AMPHITHEATRE AT CAPUA. 
 Details. 
 
Colosseum. 
 
 Description of Plate XXIX. 
 
 AMPHITHEATRE AT CAPUA. 
 
 Details. 
 
 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. 
 
 1 1. Aqueduct coming from the chambers of the time of Hadrian. 
 (See the Plan.) 
 
 D. Plan of this portion of the building. 
 
< 
 
 Q 
 
 < 
 
 < 
 
 
THE COLOSSEUM. 
 PLATE XXX. 
 
 AMPHITHEATRE AT CAPUA. 
 
 Plan of the Substructures, with the Superstructures 
 
 in dotted lines, 
 
Colosseum. 
 
 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. 
 
 1 1. The aqueduct. 
 
 m m. The drain. 
 
 n n. Stairs. 
 
 o o. Superstructure. The only remains of the exterior facade. 
 
AMPHITHEATRE AT CAPUA 
 
 ,- St ft 
 
 f Ju 
 
 o 
 
 .-Pi 
 
 ...-tr-u 
 
 •%*>, 
 
 .-$>,,■< 
 
 / • _.-'i. ••'■ w u •-•; a if.' •« > 
 
 i 
 
 V 
 
 \ 
 
 \ ^Q//////.^5 
 
 4^ 
 
 ; 
 
 
 PLAN WITH THE SIBSTM CTNAS 
 
THE COLOSSEUM. 
 PLATE XXXI. 
 
 AMPHITHEATRE AT VERONA. 
 
Colosseum. 
 
 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. 
 
AMPHITHEATRE OF VERONA 
 
 A 
 
 A*A'-. 
 
 
 lit 
 
 M 
 
 B 
 
 
 
 
 
 
 
 
 > *?^^B- -f"- — «** "■*- *•**■** 
 
 Mr 
 
 
 w- ~._r^ 
 
 
 ^rsl|L ^L^f.'x 
 
 ..==^ — xsrg* 
 
 
 mm 
 
 
 
 
 ••'•ir 
 
 ■* ; J 2 
 
 ^ ^r3B» 
 
 gM 
 
 J -- C ^ n ^^f"'"3 Lt)i rfww » ' 
 
 bL ^tl 
 
 ■ 
 
 . ■ * 
 
 
 
 jj 
 
 A. VIEW OF EXTERIOR WITn THE ARCADES 
 
 B. VIEW IN INTERIOR WITH SEATS 
 
THE COLOSSEUM. 
 PLATE XXXII. 
 
 THE AMPHITHEATRE AT POZZUOLL NEAR NAPLES. 
 
Colosseum. 
 
 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 Colos- 
 seum. 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 con- 
 firms 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, look- 
 ing 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 arrange- 
 ment 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. 
 
Colosseum. 
 
 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." 
 
 1 1. Drain leading to the sea. 
 
\ \\ \\ \\ 
 
 / . \ nSS\^ , n 9 
 
 
 . '■■ Vs v A '■.'•■ \\ 
 
 V> a \\ Y\ \\ ti 
 
 ■■--. CvXVvvVV 
 
 J / 
 
 i 
 
 ■ .. 
 
 -.. | 1 
 
 ■■-> 
 
 , 
 
 i 
 
 ■ 
 
 
 I 
 
 
 i 7~ 
 
 i «... 
 
 ■ 
 
 
 I ii 
 
 i r 
 
 
 I 
 
 
 o 
 
 D 
 IS 
 IS 
 
 c 
 a. 
 
 •< 
 
 63 
 
 aJ 
 
 a. 
 
* 
 
 r : 
 
 * 
 
THE COLOSSEUM. 
 PLATE XXXIV. 
 
 AMPHITHEATRE AT POZZUOLI. 
 
Colosseum. 
 
 Description of Plate XXXIV. 
 
 AMPHITHEATRE AT POZZUOLL 
 
 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. 
 
- 
 
 m 
 
 V 
 
 Mb 
 
 _3 
 C 
 £3 
 NS 
 
 Nl 
 
 O 
 CU 
 
 Eh 
 
 < 
 
 Ed 
 
 
 4%= I! 
 
THE COLOSSEUM. 
 PLATE XXXV. 
 
 AMPHITHEATRE AT POZZUOLI. 
 
Colosseum. 
 
 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 re- 
 mains 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. 
 
E- 
 
 < 
 
 a 
 
«■* 
 
THE COLOSSEUM, 
 PLATE XXXVI. 
 
 PLAN OF THE GREAT DRAIN. 
 
Colosseum. 
 
 Description of Plate XXXVI. 
 
 PLAN OF THE GREAT DRAIN. 
 
 A. The Colosseum. 
 
 B. Part of the Coelian 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 Aquas, 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 Ccelian 
 into the Colosseum, called a natural spring, but not having the usual 
 bubbling character of a spring. 
 
 1. Via di S. Giovanni in Laterano. 
 
 m. Via Ccelimontana. 
 
 n n n. Orto Botanico. Waste ground at the foot of the Ccelian 
 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 Ccelian 
 and the Palatine Hill. 
 
 p. Podium of the colossal statue of Gordianus, 50 ft. high. 
 
< 
 
 < 
 
 ps 
 
 < 
 a* 
 
 O 
 
THE 
 
 ARCHAEOLOGY OF ROME, 
 
 BY 
 
 JOHN HENRY PARKER, C.B. 
 
 Hon. M.A. Oxon., F.S.A. Lond. ; 
 
 KEEPER OF THE ASHMOLEAN MUSEUM OF HISTORY AND ARCHEOLOGY, OXFORD ; 
 
 VICE-PRESIDENT OF THE OXFORD ARCHITECTURAL AND HISTORICAL SOCIETY, 
 
 AND OF THE BRITISH AND AMERICAN ARCHAEOLOGICAL SOCIETY OF ROME ; 
 
 MEMBER OF THE ROYAL ARCHAEOLOGICAL INSTITUTE, 
 
 MEMBRE DE LA SOCIETE FRANgAISE D'ARCHEOLOGIE, 
 
 HONORARY MEMBER OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS, 
 
 AND OF VARIOUS ARCHAEOLOGICAL SOCIETIES, ENGLISH AND FOREIGN. 
 
 PAET VII. 
 THE FLAVIAN AMPHITHEATRE, 
 
 COMMONLY CALLED 
 
 THE COLOSSEUM. 
 
 OXFORD: 
 
 JAMES PARKER AND CO. 
 
 LONDON: 
 
 JOHN MURRAY, ALBEMARLE-STREET.. 
 
 1876. 
 
CATALOGUE OF PHOTOGKAPHS.— PART IV. 
 
 The Forum Romanum in 1872. 4to. 2959 
 
 Near the north end, shewing the column of Phocas in front of the Arch 
 of Septimius Severus, and the fragments of the marble wall of the Comi- 
 tium in front of the Church of S. Hadrian and S. Luke. 
 
 Sculpture — One side of one of the Marble "Walls of the 
 Comitium. 8vo. 2960 
 
 Shewing the Magistrate (?) or the Emperor (?) seated on his curule chair 
 surrounded by the officers of the court, and the procession of voters 
 coming up to vote, according to one interpretation ; in the back-ground 
 the entablature and cornice and panelling of a basilica, or market-hall, is 
 represented. This is believed to be a view of the Forum Romanum itself 
 at that period. It is of the time of Hadrian, and the figure seated on 
 a throne is probably that Emperor. 
 
 Sculpture — One side of the second Wall of the Comitium, 
 in fragments, as it was found, before it was put together. 
 
 8vo. 2961 
 
 A procession of persons carrying books or tablets is distinctly visible, they 
 are supposed to represent the books of the taxes which Hadrian had cancelled, 
 and they are bringing them up to be burnt ; the sculpture thus represent- 
 ing an historical event of importance. In the background are seen the 
 porticoes of two temples, with an arch between them, which there is reason 
 to believe is also a view of the Forum. It is evident that the sculptures 
 on these two marble walls of the Comitium must be considered as a con- 
 tinuation of the same subject, and this most probably is the great donation 
 to the Roman people by the Emperor Hadrian. 
 
 In this view the original stone wall of foundation, of an earlier period, 
 is seen under the marble wall. 
 
 Sculpture — Other fragments of the Marble Wall of the 
 Comitium, as found. 8vo. 2962 
 
 This view shews the same wall as 2961 in perspective, and on the back 
 of the other wall the three animals prepared for sacrifice — the Bull, the 
 Earn, and the Boar, decorated with garlands of flowers. The Comitium is 
 mentioned by Varro as a law court (de Ling. Lat., v. 154), and he says 
 that the Grsecostasis was near to it, and that above this (that is, on a higher 
 level) were the Senaculum, the Temple of Concord, and the Basilica 
 Opimia. The discovery of the Comitium on a low level, therefore, fixes the 
 sites of the other buildings. Livy says that the Comitium was covered 
 over at the time that Hannibal was in Italy, but the roof was probably of 
 wood, or perhaps an awning only (Livii Hist., lib. xxvii. c. 36). 
 
 Fountain in the Piazza Tartaruga, near the Ghetto. 4to. 2963 
 
 The design is by Giacomo Delia Porta, incorrectly attributed to Raphael. 
 The figures by Taddeo Landini. The water flows from the mouths of 
 toads standing on the margin of a circular basin ; it is popularly called the 
 toad fountain. 
 
 Primitive Fortifications— Sections of the Ccelian Hill. 4to. 2964 
 
 B 
 
2 Excavations. 
 
 Excavations, 1872 — Sculpture — Small Statue representing 
 the young Hercules, found in the Campo Verano in the 
 spring of 1872. 8vo. 2965 
 
 Excavations, 1872 — Sculpture — Statue representing Tellus, 
 or the Earth, seated, found in the spring of 1872 in the 
 Campo Verano. 8vo. 2966 
 
 Excavations, 1873 — Architectural Details — Gigantic Cor- 
 nice, found at the Maccao, near the Praetorian Camp, in 
 1873. 4to. 2967 
 
 Excavations, 1873 — Remains of a House of the time of 
 
 the Antonines, shewing the Fountain or Cistern, on the 
 
 ground-floor. 4to. 2968 
 
 Found in 1S73, against the cliff of the Esquiline, at the point where the 
 Via Nazionale touches the Via de Serpenti. 
 
 Excavations, 1873 — Remains of a House of the time of 
 tlrfc Antonines — View shewing the Construction, on the 
 upper floor. 4to. 2969 
 
 Excavations, 1873 — Mosaic Pavement of a House of the 
 time of the Antonines. 4to. 2970 
 
 Excavations — Architectural Details — Base of a large Column 
 of the fourth century, time of the Emperor Constantius. 
 
 8vo. 2971 
 
 Found in the Forum Roman um, and now placed at the entrance to the 
 Palaces of the Caesars, with sculptures representing the three animals for 
 sacrifice, the same as on the wall of the Comitium. 
 
 Palatine — Palaces of the Caesars — Part of the Palace of the 
 
 time of Trajan. 4to. 2972 
 
 With square brick piers added in the time of Hadrian, to carry a lofty 
 vault over the paved road that descends near the north-east angle of the 
 Palatine Hill, called the Via Triumphalis. (This Palace is miscalled that 
 of Tiberius.) 
 
 Palatine — Palaces of the Caesars — Wall of a Chamber of the 
 
 time of Hadrian, adjoining the paved road called the Via 
 
 Triumphalis, at the north-east angle. 4to. 2973 
 
 This adjoins the paved road, and corresponds exactly with a similar wall 
 in the Villa of Hadrian, at Tivoli. 
 
 Palatine — Part of the Palace of Tiberius against the west 
 
 &■ 
 
 cliff, near the middle of the Palatine Hill. 4to. 2974 
 
 Palatine — Details of the Palace of Tiberius. 4to. 2975 
 
 These details correspond exactly with the sleeping-places of the guards 
 inside the north wall of the Praetorian Camp, built in the time of Tiberius. 
 
 Excavations, 1872 — Architectural Details — Fragments of 
 Cornices and Bases of the second century, found in the 
 Palazzo Fiano, and now in the courtyard of the same 
 palace. 4to. 2976 
 
Excavations — Crypt of 8. Peter's. 3 
 
 Excavations, 1872 — Architectural Details — Fragments of 
 Cornices, with elegant foliage of the second century, 
 found in the Palazzo Fiano, and now in the courtyard of 
 the same palace. 4to. 2977 
 
 Excavations, 1872 — Architectural Details — Fragment of 
 Sculpture on a Base, found in the Palazzo Fiano, and 
 now in the courtyard of the same palace. 8vo. 2978 
 
 Excavations, 1872 — Architectural Details — Base of a Pilas- 
 ter, with foliage of the second century, found in the 
 Palazzo Fiano, and now in the courtyard of the same 
 palace. 8vo. 2979 
 
 Sarcophagus of the second century, with figures of actors 
 and masks, now in the garden of the Villa Celimontana, 
 formerly called Villa Mattei. 8vo. 2980 
 
 It was found in this garden on the site of one of the Cohortes of the 
 Vigili, or barracks of the firemen and night police of the Empire. 
 
 Excavations, 1872 — Fresco Painting in a subterranean cham- 
 ber of the private house of Trajau, on the Aventine. 4to. 2981 
 
 Tombs — Fresco Painting of a female figure holding a crown, 
 the Genius of Death (?), in the Pyramid of Caius Cestius, 
 b.c. 30(?), outside the Porta S. Paolo. 
 
 Taken with magnesian light. 8vo. 2982 
 
 Tombs — Fresco Painting of the Genius of Death holding 
 a crown, in the Pyramid of Caius Cestius, b.c. 30(?), outside 
 the Porta S. Paolo. Taken with magnesian light. 8vo. 2983 
 
 Crypt of S. Peter in the Vatican (34) — A fine picture of 
 the fourteenth century, representing the Madonna and 
 Child with two Angels. Taken with magnesian light. 4to. 2984 
 
 Crypt of S. Peter (8) — A fine Door-post of Marble, used in 
 the Chapel of John VII., a.d. 706, with animals, birds, 
 and foliage. Taken with magnesian light. 8vo. 2985 
 
 Crypt of S. Peter (8) — A fine Door-post of Marble, used in 
 the Chapel of John VII., a.d. 706, with birds, foliage, 
 and figures. Taken with magnesian light. 8vo. 2986 
 
 Crypt of S. Peter (8) — A fine Door-post used in the Chapel 
 of John VII., a.d. 706, with birds, foliage, and figures. 
 
 Taken with magnesian light. 8vo. 2987 
 
 Crypt of S. Peter — Fresco Painting of the old Basilica of 
 JS. Peter, before it was destroyed in 1570 under Paul V. 
 
 Taken with magnesian light. 8vo. 2988 
 
 b 2 
 
4 Crypt of S. Peter's in the Vatican. 
 
 Crypt of S. Peter (67) — Ciborium of the Holy Lance (time 
 of Innocent VIII., a.d. 1490), two Angels adoring the 
 Holy Relic. Taken with magnesian light. 8vo. 2989 
 
 Crypt of S. Peter (22) — Sculpture from the Tomb of 
 
 Cardinal Berardus Herulus, of Narni, a.d. 1479. 
 
 Taken with magnesian light. 8vo. 2990 
 
 It represents the Almighty in the act of blessing, holding a book, and 
 surrounded by Angels with eight -wings. 
 
 Crypt of S.Peter (53) — Sculpture in white marble repre- 
 senting S. John the Evangelist. 
 
 Taken with magnesian light. 8vo. 2991 
 
 This sculpture was ordered by Innocent VIII., a.d. 1490, to decorate the 
 Ciborium of the Holy Lance, with the other three Evangelists. 
 
 Crypt of S. Peter (156) — Antique Sarcophagus of red granite 
 used for the body of Pope Hadrian IV., a.d. 1159, the 
 only English Pope (Breakspear). 
 
 Taken with magnesian light. 4to. 2992 
 
 Crypt of S. Peter (37) — A Bas-relief made at the end of the 
 sixteenth century, under Pope Sixtus V. 
 
 Taken with magnesian light. 4to. 2993 
 
 This splendid bas-relief was made to decorate the front of the Altar of 
 the Pope. It represents the Judgment of the Apostles by Nero. 
 
 Crypt of S. Peter (18) — Cross of white marble, formerly on 
 the gable of the front of the old Basilica. 
 
 Taken with magnesian light. 8vo. 2994 
 
 Crypt of S.Peter (16) — The celebrated Statue of S. Peter, 
 with decoration of Cosmati-work, formerly under the 
 portico of the old Basilica. 
 
 Taken with magnesian light. 4to. 2995 
 
 The Apostle is represented seated, holding the keys. The figure, which 
 recalls the statues of the Consuls, is antique ; the head is of the sixteenth 
 century, and the hands are modern. 
 
 Crypt of S.Peter (221) — Bas-relief from the Ciborium of 
 Pius II., a.d. 1460. Two angels holding the head of 
 S. Andrew. Taken ivith magnesian light. 4to. 2996 
 
 Crypt of S. Peter (231) — The celebrated Sarcophagus of 
 
 Junius Bassus, prefect of Rome, five times Consul, 
 
 deceased a.d. 359. Taken with magnesian light. 4to. 2997 
 
 The subjects represented in the In the lower part are : — 
 
 upper part are : — 1. Job on his mat, insulted by his 
 1. The Sacrifice of Abraham. Wife and his Friends. 
 
 1. The Capture of S. Peter. 2. Temptation of Adam and Eve. 
 
 3. Christ seated between Peter and 3. Entrance of Christ into Jeru- 
 
 Paul. salem. 
 
 4. The Capture of Christ. 4. Daniel in the lions' den. 
 
 5. Pilate washing his hands. 5. Capture of S. Paul. 
 
Construction — Excavations — Frescoes. 5 
 
 Construction — Brickwork of the Pantheon, b.c. 26. 8vo. 2998 
 
 Construction — Brickwork of the Palace of Caligula, a.d. 40. 
 
 8vo. 2999 
 
 Construction — Brickwork of the Arches of Nero on the 
 Coelian, near S. Stefano Rotondo, a.d. 60. The best period 
 of construction. 8vo. 3000 
 
 Construction of the upper part of the Praetorian Camp, 
 Tiberius, a.d. 20. 8vo. 3001 
 
 Construction — Brickwork at the Praetorian Camp, Tiberius, 
 a.d.20. 8vo. 3002 
 
 Obelisk in the Garden of the Villa Celimontana (Mattei) . 8vo. 3003 
 
 Excavations, 1873 — Agger of Servius Tullius — View of part 
 of the "Mons Justitise," destroyed near the Railway 
 Station in 1873, with remains of houses built upon it, 
 and into it. 4to. 3004 
 
 Excavations, 1873 — Agger of Servius Tullius, shewing a por- 
 tion of his wall between the Railway Station and S. Maria 
 Maggiore. 4to. 3005 
 
 Castle of S. Angelo — Fresco Painting on the left side of an 
 external Loggia — the Mausoleum of Hadrian, as it ap- 
 peared in the sixteenth century. 4to. 3006 
 
 Castle of S. Angelo — Fresco Painting on the right side of 
 an external Loggia — the Cupola or Dome of S. Peter's, 
 as originally designed. 4to. 3007 
 
 Series of Paintings by the Pupils of Raphael. 
 Castle of S. Angelo — Fresco Painting by Siciolante, (da 
 Sermoneta, a.d. 1504), representing Alexander the Great 
 visiting the Temple of Jerusalem. 8vo. 3008 
 
 Castle of S. Angelo — Fresco Painting by Siciolante, a.d. 1504, 
 representing the triumph of Alexander the Great. 8vo. 3009 
 
 Castle of S. Angelo — Fresco Painting by Siciolante, a.d. 1504, 
 representing King Pyrrhus on the Elephant. 8vo. 3010 
 
 Castle of S. Angelo — Fresco Painting by Siciolante, a.d. 1504, 
 representing a battle-scene. 8vo. 3011 
 
 Castle of S. Angelo — Fresco Painting by Siciolante, a.d. 1504, 
 representing Alexander the Great with the Jewish high- 
 priest. 8vo. 3012 
 
 Castle of S. Angelo— Fresco Painting by Pierino del Vago, 
 
 a.d. 1540 ; St. Michael, &c. 4to. 3013 
 
 Castle of S. Angelo— Fresco Painting by Pierino del Yago, 
 
 a.d. 1540 ; King Pyrrhus, &c. 4to. 3014 
 
6 Fresco Paintings, fyc. 
 
 Castle of S. Angelo— Fresco Paintings and Stuccoes by 
 Giulio Romano, a.d. 1540 ; Mythological subjects. 4to. 3015 
 
 Castle of S. Angelo — Fresco Paintings and Stuccoes by 
 Giulio Romano, a.d. 1540; Mythological subjects. 4to. 3016 
 
 Castle of S. Angelo — Fresco Paintings and Stuccoes by 
 Giulio Romano, a.d. 1540; Mythological subjects. 4to. 3017 
 
 Castle of S. Angelo — Fresco Paintings and Stuccoes by 
 Giulio Romano, a.d. 1540 ; Mythological subjects. 4to. 3018 
 
 Castle of S. Angelo — Fresco Painting and Stuccoes by 
 Giulio Romano, a.d. 1540 ; Mythological subjects. 4to. 3019 
 
 Castle of S. Angelo — Fresco Painting and Stuccoes by 
 Giulio Romano, a.d. 1540; Mythological subjects. 4to. 3020 
 
 Castle of S. Angelo — Fresco Painting and Stuccoes by 
 Giulio Romano, a.d. 1540; Mythological subjects. 4to. 3021 
 
 Castle of S. Angelo — Fresco Painting and Stuccoes by 
 Giulio Romano, a.d. 1540 ; Mythological subjects. 4to. 3022 
 
 Castle of S. Angelo — Fresco Paintings by Pierino del Vago, 
 
 a.d. 1540; Mythological subjects. 4to. 3023 
 
 Castle of S. Angelo — Fresco Paintings by Pierino del Vago, 
 a.d. 1540; Mythological subjects. 4to. 3024 
 
 Castle of S. Angelo — Fresco Paintings by Pierino del Vago, 
 a.d. 1540 ; Mythological subjects. 4to. 3025 
 
 Church of S. Paul f. m. — View of the Interior, and the 
 Mosaic over the Arch of Triumph. 4to. 3026 
 
 Out of Rome — Mausoleum of the time of Hadrian, called 
 the "Torrone," two miles from Frascati, with part of 
 a Castle of the Savelli of the fifteenth century. 4to. 3027 
 
 Grotta-Ferrata — Tower and part of the fortified Monastery 
 of the fifteenth century. 4to. 3028 
 
 Aqueducts — Source of the Aqua Tepula, the arch made 
 b.c. 126, on the hill of Marino, under Grotta Ferrata. 4to. 3029 
 
 Albano— Distant view of the Castle of the Savelli. 4to. 3030 
 
 Albano — Remains of the Roman Amphitheatre. 4to. 3031 
 
Albano — Tivoli — Vico- Varo. 7 
 
 Albano — Original Viaduct of the Via Appia, near Ariccia, 
 b.c. 312. 4to. 3032 
 
 Palazzuola (Alba Longa) — Scarped cliff, with a Tomb of 
 a Roman Consul cut upon it. 4to. 3033 
 
 Alba Longa — Scarped cliff at the lower end of Alba Longa, 
 
 (under the Monastery of Palazzuola, behind a wall). 4to. 3034 
 
 Alba Longa — Rocca di Papa. — Fortress shewing the scarped 
 
 cliffs at the upper end of Alba Longa. 4to. 3035 
 
 Alba Longa — Rocca di Papa. — View of one side of it. Part 
 of the town of Alba Longa. 4to. 3036 
 
 Civita Lavinia (Lanuvium) — Part of the wall of the Citadel 
 of the time of the Empire, with a distant view of the 
 scarped cliffs and earthworks of the older City. 4to. 3037 
 
 Civita Lavinia (Lanuvium) — View of a Castellum Aquse 
 of the time of Sylla. 4to. 3038 
 
 Tivoli (Tibur)— Temple of the Sybil and of Vesta. 4to. 3039 
 
 Tivoli (Tibur)— The Cascades from the opposite Hill. 4to. 3040 
 
 Tivoli (Tibur) — Portion of a large Castellum Aquae of the 
 time of Sylla,' on the road to the Cascatelle. 4to. 3041 
 
 Villa or Farm of Horace in the Sabine Hills — View of the 
 country, shewing the village of Licenza, with small por- 
 tion of Civitella. 4to. 3042 
 
 Villa or Farm of Horace — Villages of Licenza and Civitella. 
 
 4to. 3043 
 
 Villa or Farm of Horace, in the Sabine Hills, near Vico- 
 Varo— View of the Hill called " Rocca Giovane." 4to. 3044 
 
 Tivoli (Tibur) — Village of Castel Madama on the hill near 
 Tivoli, with a tomb in the foreground. 4to. 3045 
 
 Vico- Varo— View of the Church called the " Tempietto." 4to. 3046 
 
 Vico-Varo — A fine Sarcophagus of the first century, dis- 
 covered in 1872. 4to. 3047 
 
 Vico-Varo — Portraits of the defuncts on the Sarcophagus 
 of the first century, discovered in 1872. 4to. 3048 
 
8 Villa of Horace — Frescoes, tyc. 
 
 Vico-Varo — View from the River Anio. 4to. 3049 
 
 Villa or Farm of Horace — View of a small Medieval Castle 
 in a hill near Vico-Varo, called " Castellaccio." 4to. 3050 
 
 Aqueducts — Aqua Marcia Pia. — Stone Specus on arches, 
 between Vico-Varo and Tivoli. 4to. 3051 
 
 Aqueducts — Claudia and Anio Novus, a.d. 50. — Reservoir 
 of Nero over the Arch of Dolabella on the Coelian. 4to. 3052 
 
 Temple of Fortuna Virilis, b.c. 90, and a.d. 10, from the 
 north-west — The columns of the Portico walled up with 
 a Medieval wall, to make the Church of S. Maria iEgyp- 
 tiaca. 4to. 3053 
 
 Church of S. Thomas in formis on the Ccelian, as rebuilt in 
 the twelfth century. 4to. 3054 
 
 "Walls of Rome — Praetorian Camp, north-east corner, part of 
 the original brickwork of the time of Tiberius, a.d. 20. 4to. 3055 
 
 Excavations, 1872 — Villa Celimontana (Mattei) — Shewing 
 a Brick Arch of the second century in the cliff under the 
 house, apparently the entrance to a subterranean passage. 
 
 4to. 3056 
 
 Thermae of Trajan — Fresco Painting found in excavations 
 in 1872 near the Church of SS. Martin and Silvester. 
 A dancing figure. 8vo. 3057 
 
 Thermae of Trajan — Fresco Painting of a dancer found in 
 excavations in 1872 near the Church of SS. Martin and 
 Silvester. 8vo. 3058 
 
 Thermae of Trajan — Fresco Painting found in excavations 
 in 1872 near the Church of SS. Martin and Silvester. 
 
 8vo. 3059 
 
 It is of the time of Trajan, and represents the rape of Europa. 
 
 Church of S. Pudentiana — Doorway as restored in 1872. 4to. 3060 
 
 The columns and the shallow sculpture of the heads are ancient, 
 representing the family of Pudens. 
 
 Church of S. Pudentiana — Sculpture, in the Gaetani Chapel, 
 behind the altar. '- 4to. 3061 
 
 The offering of the Magi in fine alto-relievo, c. a.d. 1G00. 
 
Mosaics — Lucca — Pisan Style. 9 
 
 Church of S. Pudentiana — Mosaic Picture of the sixteenth 
 
 century, in the Gaetani Chapel. 8vo. 3062 
 
 The sisters Pudentiana and Prassede collecting the blood of the Martyrs 
 with sponges, c. a.d. 1600. 
 
 Church of S. Paul alle tre Fontane — View of the Exterior 
 of the Transept, a.d. 800, and East End, c. a.d. 1150. 4to. 3063 
 
 Mosaics in the Church of S. Maria Scala Cceli, at S. Paul 
 alle tre Fontane, sixteenth century, representing the 
 Ascension of the Virgin above, with four Saints below. 4to. 3064 
 
 Mosaic Pavement from Ostia, c. a.d. 250, representing the 
 four Seasons, now in the Church of S. Paul alle tre 
 Fontane. 8vo. 3065 
 
 Lucca — Portion of the Roman Amphitheatre. Cent. II. 4to. 3066 
 
 Lucca — Front of the Duomo, a.d. 1204, Pisan style, with 
 the small arcades and detached colonettes. 4to. 3067 
 
 Lucca — Bas-relief with Inscription, under the Portico of the 
 Duomo. Cent. XII. Representing the legend of S.Martin, 
 with allegorical figures of six of the months under arches 
 in panels. 4to. 3068 
 
 Lucca — Bas-relief with Inscription, over the principal Door 
 
 of the Duomo. Cent. XII. 4to. 3069 
 
 It represents S. Maria and the twelve Apostles, with their names under 
 each, in sculpture of the thirteenth century. In the tympanum above is 
 the ascension of Christ in an aureole, supported by two angels. 
 
 Lucca — Base of the Campanile, with part of the Apse of the 
 
 Church of S. Frediano, a.d. 1151. 4to. 3070 
 
 This portion shews three periods of construction, Centuries XL, XII., 
 
 and XIII. 
 
 Lucca — Church of S. Frediano. View of the Apse and Cam- 
 panile. Cent. XII., built of old materials. 4to. 3071 
 
 Lucca — Church of S. Frediano. View of the Facade with 
 Mosaics. Cent. XII.,— XIII. 4to. 3072 
 
 Lucca — Church of S. Christopher. Principal Door, with 
 fine mouldings and capitals. Cent. XII. 4to. 3073 
 
 Lucca — Church of S. Julia. Cent. XII. View of the Facade. 
 
 4to. 3074 
 
 Lucca — Church of S. John. Principal Door, with fine Sculp- 
 ture. Cent. XII. 4to. 3075 
 
10 Lucca — Pisa. 
 
 Lucca — Church of S. Michael. View of the left Side, with 
 
 double Arcade and Tower, a.d. 1188. 4to. 3076 
 
 Lucca — Church of S. Giusto. Cent. XII. Front view. 4to. 3077 
 
 Lueca — View of a part of the Palazzo Guinigi, with remains 
 of a large brick Tower, a.d. 1380 — 1413, in the Via di 
 S.Andrea. 4to. 3078 
 
 Lucca — Chapel of the Madonna della Eosa, a.d. 1280 — 
 1304(F). Side view. 4to. 3079 
 
 Lucca — Church called the "Oratory," curious Bas-relief 
 over the Door. 4to. 3080 
 
 This is a very curious and early piece of sculpture of about the middle 
 of the twelfth century, apparently representing the legend of S. John 
 Baptist. In the centre is the saint in the cauldron of boiling oil ; on either 
 side is a small temple, with a domical vault, raid shafts having twisted 
 fluting round them. It may probably be the work of the same sculptor 
 as the celebrated font in S. Frediano, who has there inscribed his name and 
 date, Robertus, 1151. 
 
 Pisa — General View of the Baptistery, a.d. 1153, and 1278 — 
 
 1350 (?), and Front of the Cathedral, thirteenth cent. 4to. 3081 
 
 Pisa — Construction of the left side of the Duomo, shewing 
 the junction of two periods, a.d. 1067 — 1118. 4to. 3082 
 
 Pisa — Inscriptions on the right angle of the Duomo. 4to. 3083 
 
 Pisa — Inscription on a Tomb now in front of the 
 Duomo. 4to. 3084 
 
 Pisa— Church of S.Paul. View of the Side and Transept. 4to. 3085 
 
 This view shews three periods of construction, and the cupola over the 
 central space. This church served for a model of the cathedral, and is a 
 few years earlier in each part. It has been raised higher, and lengthened 
 in all directions. 
 
 Pisa — Church of S.Paul (Duomo Vecchio). View shewing 
 the construction, and the junction of three periods, 
 a.d. 1156, 1230 (?), and 1300 (?). 4to. 3086 
 
 Pisa — Medieval Tower of the Fortifications near the Church 
 of S. Paul, part of the Wall of the City with fine bold 
 machicolations. 8vo. 3087 
 
 Pisa — Leaning Tower, a.d. 1174 — 1350, and Cathedral. The 
 
 Pisan style of the twelfth and thirteenth centuries. 4to. 3088 
 
 This view shews the southern transept, and cast end of nave, with the 
 junctions in the construction, when the building was carried to a much 
 greater height, and lengthened one-half at the west end in the thirteenth 
 century ; also the cupola of the fourteenth over the central space. The 
 leaning tower is on the right hand, and an apse at the end of the transept. 
 There are three distinct periods visible in the construction. 
 
 Florence — Church of S.Maria Novella. View from the south. 
 
 4to. 3089 
 
Illuminations, Ninth Century. 11 
 
 For the First Series, see' Photographs 1476, 2712, 2713, 
 2714, 2715, 2716, 2717, 2718, 2719, 2720. 
 
 Second Series of (25) Photographs from the Illuminations and 
 Initial Letters of the Bible given to the\Basilica of S.Paul, 
 by Charles the Bald, a.d. 850, {now in the monastery of 
 S. Calixtus), Rome. 
 
 Initial Letter F and the commencement of the Preface to the 
 entire Bible, by St. Jerome, " Frater Ambrosius." 3090 
 
 Title-page of the Book of Genesis, " InciPiT Liber Bresit, 
 id est Geneseos." 3091 
 
 Commencement of the Book of Exodus, "Haec sunt 
 Nomina." 3092 
 
 Illumination at the commencement of the Book of Leviticus. 
 Moses placing the Ark within the Tent or Tabernacle, 
 guarded by Cherubim, below which is the seven-branched 
 Candlestick, with Moses offering up a burnt sacrifice be- 
 fore the children of Israel. _ 3093 
 
 Commencement of the Book of Leviticus, " Vocavrr autem 
 
 MOYSEN ET LOCUTUS EST." 3094 
 
 Commencement of the Book of Numbers, "Locutus que 
 Dns ad Moysen in deserto Sinai in tabernaculo 
 foederis." 3095 
 
 Illumination at commencement of the Book of Deuter- 
 onomy. Moses receiving the Tables of the Law from the 
 hand of God on Mount Sinai, and describing the same to 
 the children of Israel. 3096 
 
 Commencement of the Book of Deuteronomy, " Haec Sunt 
 
 VERBA QUAE LOCUTUS EST MoYSES AD OMNE IsRAHEL TRANS 
 JORDANEN." 3097 
 
 Illuminated Page at the beginning of the Book'of Joshua. 
 Moses marshalling the Israelites to pass over Jordan, over 
 which the Ark has already been borne; the twelve stones 
 borne on men's shoulders, and the destruction of the walls 
 of Jericho. 3098 
 
 Commencement of the Book of Joshua, " Et factu est post 
 morte Moysi servi dni" — " Now after the death of Moses, 
 the servant of the Lord, it came to pass." 3099 
 
12 Illuminations, Ninth Century. 
 
 Illuminated Page at the commencement of the third (first) 
 Book of Kings. Solomon anointed by Zadok and Nathan. 
 The wisdom of Solomon, seated on his throne giving 
 judgment between the two women. 3100 
 
 Commencement of the third (first) Book of Kings, " Et rex 
 David senuerat" — " Now king David was old and 
 stricken in years." 3101 
 
 Illumination at the beginning of the second Book of Samuel 
 (or second Book of Kings). David tearing his clothes on 
 hearing of the death of Saul, and slaughter of the mes- 
 senger, who accused himself of Saul's death. 3102 
 
 Commencement of the fourth (second) Book of Kings, 
 " Praevaricatus est aut Moab in Israhel post qua mor- 
 
 TUUS EST ACAB CECIDITQ. OhOZIAS PER CAN CELLOS CAENACULI 
 
 quod habebat" — "Then Moab rebelled against Israel 
 after the death of Ahab, and Ahaziah fell down through 
 a lattice in his upper chamber." 3103 
 
 Illumination at the commencement of the Apocryphal Book 
 of Judith. The story of Judith and Holofernes, in three 
 compartments. Judith attended by her maid leaving 
 Bethulia ; brought before Holofernes ; and cutting off 
 his head. 3104 
 
 Commencement of the Psalter, "Beatus vir qui non abut 
 in Consilio impiorum" — " Blessed is the man that walketh 
 not in the counsel of the ungodly." 3105 
 
 Commencement of the Book of the Prophecies of Jeremiah, 
 
 "VerBA HIEREMIAE FILII HlLLCHIAE DE SACERDOTIBUs" 
 
 — " The words of Jeremiah, the son of Hilkiah, of the 
 priests." 3106 
 
 Commencement of the Book of Daniel, " Anno tertio regni 
 Ioachim regis Iudae" — " In the third year of the reign 
 of Jehoiakim king of Judah." 3107 
 
 Illumination at the beginning of the Gospel of S. Matthew. 
 The Evangelist writing, his symbolical angel in the upper 
 angle of the drawing. On a large rainbow-like scroll is 
 inscribed : " .J- Mattheus agens hominem generaliter 
 implet" — "Matthew, for the most part, fills up the story 
 of the Actions (of Christ) as a Man." 3108 
 
Illuminations, Ninth Century. 13 
 
 Illumination at the beginning of the Gospel of S. Mark. 
 The Evangelist seated writing, with his symbolical Lion 
 in the clouds ; on]a similar scroll, dividing the design into 
 two parts, is inscribed : " Marcus ut alta freMit vox 
 per deserta Leonis" — " Mark raises his voice aloud, like 
 a lion in the wilderness." (ch. i. ver. 3.) 3109 
 
 Illumination at the beginning of the Gospel of S. Luke, who, 
 with his symbolical Bull, is represented writing on a long 
 roll from a book on a stand before him. The scroll is 
 inscribed : " Jura sacerdotis Lucas tenet ora juvenci" 
 — "Luke holds the laws of the priests in the mouth of 
 a bullock," in allusion to the priestly office of Christ set 
 forth in his Gospel. 3110 
 
 Commencement of the Gospel of S. Luke, " Q,m quidem 
 multi conati sunt" — " Forasmuch as many have taken in 
 hand (or have endeavoured)." 3111 
 
 Illumination at the commencement of the Gospel of S. John. 
 The Evangelist seated, about to write in a book at the 
 dictation of his symbolical eagle, also holding an open 
 book in the clouds. The long rainbow-like scroll is in- 
 scribed : " More volans aquile verbo petit astra Io- 
 hannes" — " In the manner of a flying eagle, John seeks 
 the stars for the Word," in allusion to the doctrinal cha- 
 racter of his Gospel. 3112 
 
 Commencement of the Gospel of S. John, " In principio 
 erat verba" — "In the beginning was the Word." 3113 
 
 Illumination at the beginning of the Acts of the Apostles. 
 Above is the Ascension of Christ, Ascendit xps in altum 
 — " Christ ascendeth on high." Below is the Gift of 
 Tongues. The Twelve Apostles seated in a circle, within 
 a walled and battlemented enclosure, each with a flame 
 of fire on his head ; the Virgin in the centre, with only 
 a plain nimbus round her head. 3114 
 
 Porticus of the Thermae of the Antonines and of Caracalla, 
 began by that Emperor and finished by his successor, 
 Heliogabalus. — One of the bath-chambers excavated in 
 1873. 3115 
 
 Thermae of Caracalla — Wall of the private house of Hadrian, 
 on this site, before the Thermae was built, at the north- 
 east corner (now 20 feet below the surface), excavated 
 in 1873. 3116 
 
14 Thermae — Pantheon — Vatican Museum, 8fc. 
 
 Thermrc of Caracalla — Ilemains of a Temple (?) or of 
 a Tomb (?) on the side of the Via Appia, behind the 
 Church of SS. Nereus and Achilleus, and torso of a Greek 
 statue, found in the Vineyard of Sig. Pietro Brocard, 
 between the Porticus and the present road, in 1873. 3117 
 
 Thermae of Caracalla — Porticus in front of the Thermse, with 
 Bath-chambers under the lower arches, now in the vine- 
 yard of Sig. Brocard. 3118 
 
 Kircherian Museum — Vase of the fourth century, with the 
 offerings of the Magi in shallow sculpture, and good 
 foliage-like capitals. 3119 a and b 
 
 Kircherian Museum — Sarcophagus of the fourth century, 
 representing the Last Supper of our Lord. 3120 
 
 Primitive Fortifications — Scarped Cliff of the ancient fortress 
 of the Vatican Hill, on the northern side. 3121 
 
 Primitive Fortifications— Scarped Cliff of the Vatican fortress, 
 northern side of the hill or rock. ■ 3122 
 
 Palatine — Palace of Domitian, Fountain. 3123 
 
 The oval basin, and remains of the building in the centre; with the 
 veneering of marble and the channel in which the water flowed, are seen 
 in the foreground ; and in the background the lofty angle of the Basilica 
 Jovis. 
 
 Statue of Pasquino in the Piazza di Pasquino, at the back of 
 the Palazzo Braschi. 3124 
 
 Palace of the Caesars — View through the Arch of Titus. 3125 
 
 Via Appia— Third Mile General View, with the Tombs. 3126 
 
 Via Appia— Third Mile General View, with the Tombs. 3127 
 
 The Pantheon— View of the Portico, with the Obelisk and 
 the Inscriptions. 3128 
 
 Vatican Museum (86)— Statue of a Female of elegant style, 
 with the attributes of Higeia or the goddess of Health. 3129 
 
 Vatican Museum (120)— Statue of a Greek Woman, found 
 in the Villa of Hadrian. The left hand is restored. 3130 
 
 Vatican Museum (224)— Statue of Nemesis. 3131 
 
 Vatican Museum (53 3 )_Statue of Minerva, with the shield. 3132 
 
Vatican Museum — Colosseum — Mosaics — Forum. 1 5 
 
 Vatican Museum (681) — Statue of Diaua, restored, with the 
 symbols of Minerva. 3133 
 
 Vatican Museum (582) — Statue of Apollo, said to be an 
 
 imitation of the celebrated original of Scopes. 3134 
 
 Mausoleum of Hadrian, now Castle of S. Angelo — The south 
 side, with the Mediaeval Battlements and the figure of the 
 Angel. 3135 
 
 Colosseum — Inscription on a base at the north end. 3136 
 
 Colosseum — Inscription on a tablet at the south end. 3137 
 
 Colosseum — Arch at the north-west end, restored probably in 
 the time of the Gordians, a.d. 220—238. 3138 
 
 Arch of Constantine — Panels of Sculpture on the east side; 
 the two round panels are from the Arch of 'Trajan, a.d. 
 Ill ; the long fiat panel represents the Forum Romanum 
 in the time of Constantine, a.d. 326. 3139 
 
 Church of Ara Cceli — Ambo, with Cosmati-work. 3140 
 
 Church of Ara Cceli — Ambo, with Cosmati-work. 3141 
 
 Church of Ara Cceli — Panels of Ribbon Mosaics from the 
 Ambo. 3142 
 
 Church of Ara Cceli — Mosaic Pavement of Opus Alexan- 
 drinum. 3143 
 
 Church of Ara Coeli — Octagonal Panels of the Mosaic 
 
 Pavement. 3144 
 
 Forum Romanum — Temple of Concord, Marble Veneering 
 in the north-west corner, a.d. 11. 3115 
 
 Forum Romanum — Temple of Concord, south-west corner, 
 with the entrance to a subterranean passage under the 
 platform, b.c. 303 (?), 216 (?), or 144 (?). 3146 
 
 Forum Romanum — Pavement of the Clivns Capitolinus, B.C. 
 
 174, with remains of the Gate of Saturn. 3147 
 
 Forum Romanum — West side of the Podium of the Temple 
 of Saturn, a.d. 12, with the Doorway of the Steps of the 
 iErarium, b.c 494. 3148 
 
 Forum Romanum — Via Sacra. Podium of the Temple of 
 Vesta, b.c 794, excavated in 1874. 3149 
 
16 Forum of Augustus— Forum Romanum, fyc. 
 
 Temple of Fortuna Virilis— Architectural Details. The Cell 
 of Tufa, b.c. 90 ; the Portico of Marble, a.d. 16. 3150 
 
 Forum of Augustus — Cornice or Corbel-table of the east 
 wall, a.d. 19. 3151 
 
 Pyramidal Tomb of Cajus Cestius, a.d. 10, from the English 
 burial-ground. 3152 
 
 Forum of Augustus— Exterior of the Wall, b.c. 19. 3153 
 
 Forum of Augustus, b.c. 3— Interior of the wall at the south- 
 east corner in 1874, (Plin., Hist. Nat. xxxv. 10). 
 
 Taken with magnesian light. 3154 
 
 Here this part of the Forum has been left unfinished, and the interior 
 of the old round tower of the second wall of Rome, B.C. 741, is seen in the 
 background. This is*itow in a stone-mason's workshop ; the six-foot rule 
 is seen against the Wall of the Kings. 
 
 Palatine — Shallow Hypocaust, Palace of Tiberius (Domus 
 Tiberiana; Regionary Catalogue; Dio, i. 57; Taciti 
 Hist., i. 27.) 3155 
 
 This is on the upper level, and on the edge of the western cliff, over the 
 Circus Maximus. The small hollow space under the bricks or tiles of the 
 pavement, the bricks to support them, and the flue up which the hot air 
 ascended, are shewn. 
 
 Forum Romanum- Podium or basement of the Temple of 
 Concord in 1874. Built b.c. 303, rebuilt b.c. 216, and 
 again a.d. 11. Construction of three periods is visible. 3156 
 
 West side, taken from the Temple of Saturn, with the pavement of the 
 area of Vulcan, between them and the wall of the jErarium (or public 
 Treasury of the kings of Rome), with two of the windows in it, and the 
 base of an arch of the Tabularium or Public Record Office of the kings of 
 Rome — both in the Capitolium. 
 
 Forum Romanum— Podium of the Temple of Castor and 
 Pollux, or the Dioscuri, in 1874. 3157 
 
 This basement is of the time of the Kings (rebuilt b.c. 479 ; Livii Hist., 
 ii. 20); the celebrated three columns, of which the lower part is shewn, 
 are of the time of the Early Empire (a.d. 4 : Dio, xlvii. 18). 
 
 Forum Romanum — Remains of the Podium of the Temple 
 of Yesta and Fountain of Juturna in 1874. 3158 
 
 The basement of this temple is of the time of the Kings, built when the 
 two hills were united in one City (Dionys., ii. 50). The remains of the 
 fountain are of the time of Augustus. This is at the south end of the Forum 
 Romanum, and a step is seen between this and the temple, which is in the 
 VIS aacra, and not in the Forum. 
 
Forum Romanum — Palatine. 17 
 
 Forum Romanum — Rostrum of Julius Caesar in 1874. 3159 
 
 With the pavement in front of it, and his temple behind it. This is 
 at the south-east corner, and nearly under the Temple of Antoninus and 
 Faustina. 
 
 Forum Romanum — Marble Walls of the Comitium iu 1874. 3160 
 
 On the wall to the left are seen the three animals prepared for sacrifice 
 (the boar, the ram, and the bull,) called the suovetaurilia. On the right- 
 hand wall, part of the procession going up to the Emperor Hadrian, 
 with the tablets of their debts to be cancelled and burnt, some of them 
 thrown in a heap on the ground. The other part of the procession is 
 at the back of the other wall. The basement of these walls is of stone, 
 of the time of the Republic, with a modern base of marble introduced 
 upon it. This sculpture was found in fragments, and cleverly put to- 
 gether by Signor Rosa. 
 
 Palatine — Four Arches of the Porticus of Nero, ou the 
 Velia. 3161 
 
 These are the upper arches of his Porticus, which was an- arcade of two 
 storeys ; this was one use of the word Porticus in Rome, as in the Thermae 
 of Caracalla. The Porticus of Nero was a mile long, and can be traced by 
 remains of it from this point, which is against the cliff of the Velia (always 
 reckoned as part of the Palatine), to the Exquilise. In front of the picture 
 is seen the pavement of the Summa Via Sacra, and the north-west corner 
 of the platform on which the Porticus of Livia was placed. On the right 
 is a portion of the Monastery of S. Francesca Romana, and in the back- 
 ground the Colosseum. 
 
 Palatine — Four Arches of the Porticus of Nero. 3162 
 
 In this view they are taken close, to shew the beautiful brickwork of the 
 time of Nero, the finest brickwork in the world. Ten bricks to the foot 
 can here be counted. 
 
 Forum Romanum — Basilica Julia. 3163 
 
 In this part some of the walls built of travertine, of the time of Julius 
 Caesar, are seen, shewing also that the direction of this great hall was then 
 from east to west, and some of the brick arches of the fourth century, or 
 the modern imitation of them, in which the direction is from north to 
 south. 
 
 Forum Romanum — Cloaca Maxima, (b.c. 615 ; Livii Hist., 
 i. 38). 3164 
 
 This part is under the south end of the Basilica Julia, and on the site 
 of the Lake of Curtius, to drain which this great drain was made. The 
 brick arch in the foreground is of the time of the Early Empire, that 
 behind it is one arch of the original vault, built of the large blocks of tufa 
 of the time of the Kings, and it is evidently part of the original construc- 
 tion. The same early construction occurs in the subterranean passage 
 connected with the Prison of the Kings, (b.c. G32 ; Livii Hist., i. 33). 
 
 Palatine — Palace of Tiberius (Domus Tiberiana), Mosaic 
 pavement. 3165 
 
 This is on the lower level, on the platform on which that palace was 
 built ; although the upper part is above the level of the top of the hill. 
 A considerable part of this house was carried away in a land-slip about 
 1830. It was behind and above the upper gallery of the Circus Maximus, 
 with a road also in front of it. 
 
18 Forum llomanum — Veil. 
 
 Palatine — Palaces of the Caesars, Passage of Caligula. 31G6 
 
 This passage is corbelled out from an earlier wall, and may have led over 
 the bridge of Caligula, on the western side of his palace below. It is richly 
 ornamented with stucco patterns, and has a portion of the tramenna, or 
 pierced marble parapet, remaining in its place. A wall of the time of 
 Trajan is built up against the front of it, as shewn in the right hand 
 of the picture. 
 
 Forum llomanum — Basement of a Temple and gigantic 
 
 Column in 1874. 31G7 
 
 This is under the great bank of earth on which the modern road is made, 
 and close to the Arch of Septimius Severus ; the podium or basement is 
 built of stone of the time of the Kings, probably taken from the wall of 
 the old fortress of the hill of Saturn, and used for the foundations of 
 a temple. 
 
 Forum Pomanum — Sculptures from the Arch of Constantine. 
 
 3168 
 
 The two circular panels are taken from the Arch of Trajan, at the south 
 end of his Forum, destroyed in the time of Constantine ; the long flat panel 
 is of the time of Constantine, and represents the Forum Bomanum of that- 
 time; in the centre is the rostrum, with the idols or statues upon it, 
 and the transenna in front in the centre. Behind these are the tall 
 columns, with images of the gods on the top of them. The arcade or 
 porticus, at the back, appears to be the Tabularium. 
 
 Forum Romanum — Podium or Base of an equestrian statue. 3169 
 
 This is near the centre of the Forum ; the podium is of brick of the time 
 of Constantine, and the very thick marble casing of it is seen in the fore- 
 ground to the right — it was probably the basement of the horse of Con- 
 stantine. On each side is one of the square brick structures of the third 
 century. These are commonly called bases for the tall columns, but 
 they are hollow, with a door in each, and were more probably wine-shops. 
 
 Forum Romanum — General View, from the Palatine. 3170 
 
 On the right, in the foreground, is the Palace of Caligula, with part of 
 his bridge. Beyond that, in the centre of the picture, is the Arch of Sep- 
 timius Severus, to the left the Temple of Vespasian, with the seven 
 columns, and behind that the Capitolium. 
 
 Veii— The Isola Farnesi. 3171 
 
 The picturesque modern village, and the Farnesi Villa built upon the 
 old walls. 
 
 Veii -The Ponte Sodo. 3172 
 
 A natural bridge or tunnel through the rock, for the river to pass. 
 
 Veii— Ponte delP Isola. 3173 
 
 The bridge is built of late Roman brickwork, upon older foundations, on 
 stoue of the character called Etruscan. 
 
 Veii— Portion of the Wall of the City. 3174 
 
 This fragment of very early masonry is situated on an angle of the rock 
 over the Ponte Sodo. The character is earlier than that of the earliest 
 wall in Rome. 
 
Veii — Palatine — Agger of Servius Tullius. 19 
 
 Veii — As seen from the ravine, to shew the remains of the 
 ancient scarped cliffs, and the rocky bed of the river, 
 which is often nearly dry. This very picturesque spot 
 is called the washing-place. 317*5 
 
 Veii — The Isola Farnesi, as seen from the south, with the 
 church, and the road up to it. 3176 
 
 Veii — The Farnesi Villa on the rock, as seen from the east. 3177 
 
 Veii — The early and rude Columbaria, cut in the rock. 3178 
 
 Veii — The Roman Bridge, built of stone, and resting on 
 earlier foundations. 3179 
 
 Palatine — Fresco Painting of the first century, with frame- 
 work of stucco ornament, in the Palace of Caligula (?). 3180 
 
 Palatine — Fresco Painting of the first century, with stucco 
 ornament, in the Palace of Caligula (?). 3181 
 
 The painting is much faded, but the design is visible. 
 
 Palatine — Aqueduct at the north end. 3182 
 
 On the upper platform, behind the round Church of S. Theodore, shew- 
 ing the augle made by the Aqueduct, as was usual at each half-mile. The 
 specus that turns to the left goes in the direction of the bridge of Caligula. 
 
 Palatine — Great oval Piscina and reservoir of water for the 
 Palaces of the Caesars, at the north end, near the House 
 of Augustus; it was supplied with water from the Aque- 
 duct of Nero. 3183 
 
 Palatine — Basilica Jovis : the Apse with the Cancellus, and 
 columns of the south aisle. 3184 
 
 Excavations, 1874 — Part of the great Agger and Wall of 
 Servius Tullius, with ruins of houses of the first century 
 built up against it and into it. 3185 
 
 Excavations, 1874 — Part of the great Agger and Wall of 
 Servius Tullius, near the Exquilise, with a House of the 
 first century built up against it. 3186 
 
 Excavations, 1874 — Part of the great Agger and Wall of 
 Servius Tullius, near the railway station, which is seen in 
 the background, with some blocks of houses of the new 
 city. 3187 
 
 Excavations, 1874 — Part of the great Agger and Wall of 
 Servius Tullius, a tower on the inner side of it (apparently 
 for a catapult), and remains of houses of the first century, 
 near the Church of S. Antonio; the tower in the distance 
 belongs to the Porta di S. Lorenzo. 3188 
 
20 
 
 Tombs — Via Sacra — Basilica Jovis. 
 
 Tomb on the Via Appia, one mile from Rome, in the Vigna 
 Colonna, with the Columbaria of the liberti, or freedmen 
 
 of Livia Augusta. 
 
 3189 
 
 3190 
 
 Tomb of the liberti or freedmen of Livia Augusta, in the 
 Vigna Colonna, shewing the Construction of the period, 
 similar to that of the Pantheon. 
 
 This tomb was described by Dr. Gori in the eighteenth century, and the 
 inscriptions found on it are given in his work. 
 
 Excavations, 1874 — Palatine and Summa Via Sacra. *3191 a 
 
 The Platform on the summit, with substructure at the south end, of 
 rubble-work of the time of the Republic. 
 
 Elevation, looking north, with probable Restoration of the Porticus 
 Liviae and Colossus of Nero. 
 
 A. South-east corner of Palatine. 
 
 B. Lavacrurn of Heliogabalus. 
 
 C C. Steps to Platform at each end. 
 
 DDD. Substructure of the Plat- 
 form, to raise the south end to the 
 level of the north. 
 
 E. Narrow street on east side. 
 
 F. Porticus of Nero. 
 
 G. The.Velia, always reckoned as 
 part of the Palatine. 
 
 The back of the Colossus is seen 
 through the columns. 
 
 Excavations, 1874 — Palatine and Summa Via Sacra. *3191 b 
 
 The Platform, looking east, with steps up to it at the north end, and 
 a substructure at the south end. 
 
 Probable restoration of the Porticus Liviae, longitudinal section, and 
 side of the Colossus of Nero. 
 
 A. Basilica of Constantiue, south- 
 west corner. 
 
 B. Part of the "Velia, the earth sup- 
 ported by remains of the Porticus 
 of Nero. 
 
 C. Porticus of Nero. Four "arches 
 of the upper story seen through 
 the columns. 
 
 D. The Colossus of Nero, on its 
 podium or basement, as shewn on 
 the Marble Plan. 
 
 E. The Substructure, with the Aque- 
 duct to supply the four fountains 
 at the corners. 
 
 F. Pavement in front of the Colos- 
 seum. 
 
 G. The Velia. 
 
 Palatine — Basilica Jovis, and Section of Nave and Aisles, 
 
 looking towards the Apse. 
 
 A. Vault. 
 
 B. Clere-story. 
 
 C. Gallery. 
 DE. Aisle. 
 
 3192 a 
 
 F. Steps to gallery. 
 
 G. Arch through the buttresses. 
 H H. Buttresses with pilasters. 
 I. Substructure in the loss. 
 
 Palatine — Central part over the great southern Foss of Roma 
 Quadrata — Basilica Jovis, probable restoration. *3192 b 
 
 Perspective View of the Interior, looking towards the Apse. 
 
 The existing remains are distinguished by the darker tint. 
 
 * These reductions from Drawings and 
 Plans are made for special purposes, and 
 are not to be considered a part of the 
 Series of Photographs. They are in- 
 
 cluded in the Catalogue for convenience, 
 because some persons miy wish to have 
 them separately, and they can only be 
 found by the numbers on the negatives. 
 
Basilica Jovis — Foss of Roma Quadrata. 
 
 21 
 
 Palatine — Central part, on the Platform over the great Foss 
 of Roma Quadrata. Section and Plan of the Basilica 
 Jovis, with probable restorations. *31 93a 
 
 1. Section. 
 
 A. Vault. 
 
 B. Clere-story. 
 
 C. Gallery. 
 
 D. Aisle. 
 
 E. Column of aisle. 
 
 2. Plan. 
 
 A. Buttresses. 
 
 B. Chambers between buttresses on 
 north side. 
 
 C. North aisle. 
 
 D. End wall behind the Tribune 
 or Apse. 
 
 E. South aisle. 
 
 E F F. Altars between buttresses on 
 south side. 
 
 F. Steps to gallery. 
 
 G. Chamber between buttresses. 
 HH. Buttress with columns at- 
 tached. 
 
 I. Wall of substructure in the foss. 
 
 G. Seat of Emperor on the wall of 
 '. the apse, above the wooden seats 
 
 for his officers. 
 H. Altar for taking oaths. 
 I. Cancellus or transenna. 
 J. A low screen of pierced marble. 
 K. Old pavement. 
 L. Doorway. 
 MM. Portico. 
 
 Basilica Jovis — 1. 
 
 A. Roof and Vault. 
 
 B. Clere-story. 
 
 C. Gallery. 
 
 Section of Interior. 
 D. Aisle. 
 
 *3193b 
 
 E. 
 F. 
 
 Portico. 
 Substructure. 
 
 2. Elevation of north side. 
 
 A. Roof and Vault. 
 
 B. Clere-story. 
 
 C. Columns against buttresses. 
 
 D. Portico. 
 
 E. Substructure on walls across the 
 foss. 
 
 Palatine — Central part, over the Poss of Roma Quadrata ; 
 Triclinium or Dining-room of the Palace of Domitian, 
 with a small Temple of the same period. *3194 
 
 1. Section from north to south. 
 
 A. South-west corner of Roma Qua- 
 drata, built on the rock, at the 
 corner of the great foss. 
 
 B. Subterranean passages cut in the 
 rock under this old Citadel. 
 
 C. Part of the Villa Farnesi, of the 
 seventeenth century, built upon 
 a portion of the great palace of 
 Domitian, in the foss. 
 
 D. Substructure — a building of the 
 time of the later Kings or early 
 Republic, constructed in the great 
 foss, and built over in the time of 
 Domitian. 
 
 E. Southern bank of the great foss, 
 a vertical cliff. 
 
 Palatine — 2. Section from west to east of the north-west 
 corner of Roma Quadrata. 
 
 F. The rock, with platform cut upon 
 it, at the foot of the wall. 
 
 G. The passage, with the wall 
 over it. 
 
 H. The rock, with platform and 
 
 wall upon it. 
 I. Remains of wall and buttress. 
 K. Remains of the Tower. 
 
 Palatine — 3. A. Plan, and B. Section of the same, 
 Triclinium, &c, with transverse walls to carry the vaults 
 under the level platform above. 
 
22 Forum Romanum — Colosseum — Mithras. 
 
 1. Forum Romanum — South-west corner, Temple of Castor 
 and Pollux, and Palace of Caligula, with probable resto- 
 
 rations. *3195 
 
 C. Pier of Bridge of Caligula, with 
 the springing of arches at two 
 levels. 
 
 D. Part of the bridge under" a shed, 
 in the background Palaces. 
 
 A. Temple, with the celebrated three 
 columns of the time of Augustus, 
 a.d. 4, and the earlier podium or 
 basement, B.C. 721. 
 
 B. Palace of Calismla. 
 
 2. Forum Romanum — Palatine, north-east corner, with 
 modern Church of S. M. Liberatrice, Temple of Castor and 
 Pollux, and Bridge of Caligula, looking west. 
 
 A. Palaces of the Csesars, Hadrian 
 and Trajan, and Caligula (?). 
 
 B. Podium of the Temple of Vesta. 
 
 C. Church of S. M. Liberatrice, on 
 the site of the Regia, and the 
 house of the Vestal Virgins. 
 
 D. Fountain of Juturna in the 
 foreground. 
 
 E. Temple of Castor and Pollux. 
 P. Bridge of Caligula. 
 
 3. Forum Romanum and Palatine, north-east corner, Church 
 and Temple, looking south. 
 A. Palaces. B. Church. C. Temple — the three columns. 
 
 Excavations, 1874— The Colosseum. *3196 
 
 A. Section, and B. Plan of one Division, with the channels for water 
 recently found (distinguished by a darker tint). 
 
 Excavations, 1874 — A Slab of rude shallow Sculpture, chiefly 
 incised lines only, representing the Mithraic worship, 
 with the usual accompaniments. 3197 
 
 Radiated sun and moou, two busts. 
 
 Mithras (pileata) slaying the bull ; dog, serpent, scorpion, torch-bearers, 
 palm-tree, and rock. — (Inscription.) 
 
 c. P. 
 PRIMUS PATER FECIT 
 
 Pater was one of the seven degrees. 
 
 The pileated Mithras blessing, or lifting up, a nude man. 
 
 The pileated Mithras and a clothed figure grasp hands over an altar. 
 
 Excavations, 1874— A Slab of shallow Sculpture of the 
 Mithraic worship. 3198 
 
 Similar to, but not the same as the last ; the style and sculpture is not 
 quite the same, and the accessories are different. 
 
 It is Mithraic, with the usual accompaniments. 
 
 Mithras (pileata) slaying the bull, serpent, clog, scorpion ; the two torch- 
 bearers, palm-tree, sun arising out of the rock, moon on the other side. 
 
 (Inscription) — Deo sancto Mitra (mka), grat. (gratuiti), et de sua pecu- 
 nia (h. d. s. p.), placidus Marcellinus Leo, antistites. . . . 
 
 The omission of the "et" between the two proper names, shews a good 
 period, early in the Empire. 
 
 For gratuiti, see 1307, Zoll. ; for Leo (one of the seven Mithraic 
 degrees), see S. Jerome, epist. ciii. ad Lactam : Dr. Henzen's paper in the 
 Bullettino dell' Instituto for 1S68, pp. 97, 98. 
 
 See Orelli, 1955, 2552, 6042b, "pater Leonum." 
 
 For antistes, as appropriated to Mithraicism, see De Rossi Bulleltino de 
 Archeologia Christian, pp. 15G, 157, &c, " pater et antistes." 
 
Colosseum. 23 
 
 Basis Capitolina — One side of this celebrated Base of a Statue 
 of Hadrian, with the Regiouary Catalogue of Regiones 
 XII. and XIII. 3199 
 
 The Prometheus Sarcophagus, from the Capitoline Museum. 
 (No. 88.) 3200 
 
 The man made by Prometheus endowed with life and faculties by the 
 gods. It represents the complete story of the Soul, according to Neo- 
 Platonic theories — the creation of the mortal tenement by Prometheus ; 
 the infusion of life in the form of a butterfly, by Minerva ; death at the 
 inevitable hour decreed by the Parcse ; the emancipated spirit first as a 
 butterfly, then embodied in the figure of Psyche, and on its journey to the 
 invisible world under the guidance of Mercury. 
 
 The effigy placed upon this Sarcophagus in the Museum is believed to 
 have no connection with it. 
 
 Excavations, 1874 — The Colosseum, Subterranean passage 
 at the south end. 3201 
 
 About twenty feet below the present level of the area, with square- 
 headed doorways or arches across it. This was one of the original en- 
 trances from the old foss-way, now filled up to the level of the ground. 
 Perhaps this passage was for the wild beasts. 
 
 Excavations, 1874 — Colosseum, several small chambers, and 
 
 passage below the level of the area. * 3202 
 
 There is construction of different periods ; that near the surface is of 
 the_ fifth century, when the level was raised considerably, as recorded on 
 an inscription found here. 
 
 Excavations, 1874 — Colosseum under the area, shewing some 
 
 passages and walls of different periods. 3203 
 
 Part of these are evidently rebuilt of old materials when the level was 
 raised. Some of the walls are of tufa, with vertical grooves, originally 
 used for the lifts, the greater part are of brick. Some of the older por 
 tion belonged to the Vetera Naumachia, on the same site, before the 
 great arcades of the Colosseum were built round it. Naval fights (that 
 is, river fights) in the old Naumachia, at the time of the dedication, are 
 mentioned by Dion Cassius. 
 
 Excavations, 1874 — In the Colosseum, with a fragment of 
 
 an Inscription. 3204 
 
 IN . THEATR . LECEPLU . . . 
 . ICET P . XII 
 
 This inscription is important as shewing that the Flavian amphitheatre 
 was also called a Theatre indifferently. The classical authors frequently 
 use the word Theatre for it. 
 
 Excavations, 1874 — Colosseum under the area, shewing some 
 
 walls of different periods. 3205 
 
 One wall has vertical grooves in it for lifts for the cages of the wild 
 beasts. 
 
 Sculpture — Villa Ludovisi (41)— The fine Colossal Head 
 
 known ss the Ludovisi Juno. 3206 
 
 Sculpture — Villa Ludovisi (28)— The group of Paetus stabbing 
 
 himself, after his wife Arria hud given him the example. 3207 
 
 This group is consulted by Winckelmanu to represent Canace receiving 
 the sword sent by her father, /Kola.-. 
 
24 Sculpture, fyc. 
 
 Sculpture — Villa Ludovisi (7)— The celebrated group consi- 
 dered by Winckelmann to represent Orestes discovered 
 by Electra ; bearing the name of a Greek sculptor, Mene- 
 laus, pupil of Stephanus. 3208 
 
 Sculpture — Villa Ludovisi (43) — Bernini's celebrated group 
 of Pluto carrying off Proserpine; one of his finest works. 3209 
 
 Sculpture — Villa Ludovisi (1) — The fine group of the sitting 
 
 Mars, reposing with a Cupid at his feet. 3210 
 
 It was found within the precincts of the Portico of Octavia, and restored 
 by Bernini ; it is supposed to have formed part of a group of Mars and 
 Venus. 
 
 Sculpture— Excavations, 1874— General View of the objects 
 of Sculpture, &c, found in building the new quarters for 
 the City of Rome, preserved in the Warehouse of the 
 Municipality. 3211 
 
 Sculpture — Excavations, 1874 — Another View of remains of 
 Sculpture, &c, found, and preserved in the Warehouse 
 of the Municipality. 3212 
 
 Sculpture — Excavations, 1874— Bust of Plotius, or Plautius, 
 found on the Escfuiline. 3213 
 
 Sculpture— Excavations, 1874— Fragments of a Statue found 
 on the Esquiline. 3214 
 
 Sculpture— Excavations, 1874— Bust of the time of the 
 Flavian Emperors, of an unknown person, found on the 
 Esquiline. 3215 
 
 Sculpture — Excavations, 1874 — Bust of an unknown person, 
 of the fourth century, found on the Esquiline. 3216 
 
 Sculpture— Excavations, 1874— Bust of Manlia Scantilla, 
 found on the Esquiline. 3217 
 
 Sculpture— Excavations, 1874— Bust of Didia Clara, found 
 in the Villa Palombara, on the Esquiline. 3218 
 
 Inscriptions— One side of the Basis Capitolina, giving the 
 
 Catalogue of Regiones of Rome I., X., XIV. 3219 
 
 Now on the staircase of the Palazzo de Conservatory on the Capitol, 
 (for the other side, with Regiones XII. and XIII., see No. 3199). 
 
 Excavations, 1874 — View of the remains of the Basilica and 
 Catacomb of S. Petronilla — The Entrance and part of the 
 Nave. 3220 
 
 Excavations, 1874— View of the remains of the Basilica and 
 Catacomb of S. Petronilla— The Apse. 3221 
 
 Inscription of Pope Damasus on the left of the principal 
 door of the Church of S. Sebastian. Twelve verses in- 
 scribed by that Pope to the martyr Eutychius. 3222 
 
Fresco Paintings, fyc. 25 
 
 Inscription in the Church of S. Sebastian, stating that the 
 bodies of S. Calixtus and 174,000 holy Martyrs are interred 
 in that cemetery. 3223 
 
 Fresco Painting of the eleventh century, in a Chapel on the 
 side of the staircase of the Crypt of S. Sebastian's Church. 3224 
 
 With an inscription over an altar stating that the bodies of S. Peter and 
 S. Paul had been deposited there. 
 
 Fresco Painting of the eleventh century, in a Chapel on the 
 staircase of the Crypt of S. Sebastian's Church. 3225 
 
 The conventional heads of S. Peter and S. Paul. 
 
 Sculpture in the Church of S. Francesca Romana — Bas- 
 relief in the right-hand transept, representing the return 
 of Pope Gregory XI. and his Court from Avignon in 1377, 
 from the designs of Pietro Olivieri. 3226 
 
 Apse of a Basilica on the Summa Sacra Via, now in the 
 
 garden of S. Francesca Romana, miscalled the Temple of 
 
 Venus and Rome (?). 3227 
 
 Taken from the interior to shew the exact similarity to that of the Basi- 
 lica or Market-hall of Constantine adjoining to it. 
 
 Excavations, 1874 — Substructure of the Platform of the 
 Porticus Livise (miscalled the Temple of Venus and Rome) . 3228 
 
 Excavations, 1874 — Forum Romanum — View of the Basilica 
 Julia, with the modern bases, &c. from the Palatine. 3229 
 
 Temple of Vesta (?) and Fountain in the Piazza della " Bocca 
 della Verita." 3230 
 
 Theatre of Marcellus — View, shewing the curve. 3231 
 
 Theatre of Marcellus — Details, shewing the actual state of 
 the building. 3232 
 
 Excavations, 1874 — View of objects — of Glass and Metal- 
 work — found in building the new City, (now in the Ware- 
 house of the Municipality). 3233 
 
 Excavations, 1874 — View of objects found in building the 
 new City — Busts, &c, (now in the Warehouse of the 
 Municipality). 3234 
 
 Excavations, 1874 — View of objects found in building the 
 new City — Busts and Statues. 3235 
 
 Excavations, 1874 — View of objects found in building the 
 new City — Busts and Statues. 3236 
 
 Veii — View of the Arco del Pino, an Arch over a road cut 
 in the Tufa rock. 3237 
 
 Veii — View shewing a Gate in the gorge cut in the Tufa 
 rock. 3238 
 
26 Agger of Servius Tullius, §c. 
 
 Tomb of the celebrated young English poet Keats, in the ' 
 English burial-ground as it was before the restoration in 
 1875. The wall of Aurelian is seen in the background. 3239 
 
 House of Domitii in the Villa Esmeade — Plan and section of 
 the subterranean Chambers. 3240a u* 
 
 Villa Esmeade — General Plan of one of the Camps of the 
 Goths. 3241* 
 
 Aqueducts — Specus or reservoir of the Anio Vetus, in the 
 Vigna Sbarretti near the Porta Furba, two miles from 
 Home. 3242* 
 
 Aqueducts — Two cippi found at the foot of the Mons Jus- 
 titise near the Railway Station, with inscriptions on them, 
 stating that the three Aqueducts passed between them 
 (the Marcia, Tepula, Julia). 3243 
 
 Primitive Fortifications — Agger of Servius Tullius in 1871, 
 near the Railway Station, with houses of the first cen- 
 tury built into the side of the bank, now all destroyed. 3244 
 
 Primitive Fortifications — Agger of Servius Tullius in 1871. 
 The Mons Justitiae with the figure of Roma on the top, 
 and houses built into the bank at the foot, now all de- 
 stroyed. 3245 
 
 Inscriptions on the Jambs of the Porta Salaria, destroyed 
 in 1872. 3246ab 
 
 Tombs — Tomb of Lady Emma Dorothea de Grey, April 6th, 
 1873, in the English burial-ground, near the Pyramid 
 of Caius Cestius, with a Cross in imitation of the old 
 Cosmati Work. 3247 
 
 Church of S. Maria Antiqua on the Palatine — Interior of 
 the Apse and Altar, a.d. 847 — 855. 3248 
 
 This Church was made in the ruins of the Lavacrum of Heliogabalus, 
 by Leo IV., a.d. 847, and enlarged by Benedict III., a.d. 855 (Anastas. 
 529 and 5G8). 
 
 Church of S. Maria Antiqua, exterior of Apse of the ninth 
 century. 3249 
 
 The Plan of the original Church is of the Greek Cross, with a Portico, 
 and a Sacred Well under it : to this a long nave was added. The con- 
 struction of the wall of the ninth century 'is clearly seen in this photo- 
 graph. Part of a brick wall of a.d. 224 is also seen on the left. The 
 architect used the old walls when they suited his plan. 
 
Catacombs, fyc. 27 
 
 Architectural Details — Corinthian capital from the Temple 
 of Romulus, the son of Maxentius, of a.d. 310. 3250 
 
 Architectural Details — Cornice and Entablature of the 
 Temple of Romulus, the son of Maxentius, a.d. 310. 3251 
 
 With the end of the doorway under it, now the door of the Church of 
 SS. Cosmas and Damian, brought up from the original level, twenty feet 
 underground, the original floor of the Temple having been made into the 
 crypt of the Church in the sixteenth century. 
 
 Arch of Titus — View through it. 3252 
 
 Shewing the caissons of the Vault and the sculpture of the Seven- 
 branch Candlestick on the right, the Triumph on the left, and the 
 Colosseum and Arch of Constantine in the distance. 
 
 Tarpeian Rock — Remains of it in 1875 behind the houses. 3253 
 
 Basilica of S. Petronilla — Remains of the Nave, and of the 
 Apse and Columns in 1875. 3254 
 
 Basilica of S. Petronilla — The Arch of the Apse has been 
 rebuilt in 1875. The bases of the Columns and the 
 Sarcophagi of the fourth and fifth centuries, let into the 
 floor, are still seen. 3255 
 
 Church of S. Sebastian f. m.— The Front, a.d. 1612. 3256 
 
 Church of S.Paul f. m. — The Front, with the Portico and 
 the modern Belfry Tower. 3257 
 
 Monastery of S.Paul f. m. — Exterior, a.d. 1250 and 1575, 
 
 with modern alterations. 3258 
 
 Catacomb of Prsetextatus — Circular Chapel at the entrance, 
 c. a.d. 350, called a Basilica — Exterior. 3259 
 
 This is a circular building of the fourth century, with a series of Apses 
 round it. 
 
 Catacomb of Prsetextatus — Square Chapel at the entrance, 
 
 called a Basilica. 3260 
 
 This Chapel is built on the plan of a Greek Cross, and belongs to the 
 fourth century. 
 
 Catacomb of Praetextatus — Basilica at entrance, interior of 
 the circular Chapel with Apses. 3261 
 
 The exterior of this is No. 3259. 
 
 Catacomb of Praetextatus — Basilica at entrance, interior of 
 the Cruciform Chapel. 3262 
 
 The exterior of this is No. 3 2 GO. 
 
28 The Colosseum. 
 
 Colosseum — Ancient wooden frame -work on the Floor 
 in 1875. 3263 
 
 This is at the lowest level, twenty-one feet below the boarded floor 
 covered with sand, called the Arena, which rested on the top of the 
 cross-walls of the substructures. 
 
 Colosseum— Substructure of the Corridors of the Flavian 
 Emperors. 3264 
 
 In this are seen the Piers of Travertine at short intervals, to carry the 
 Superstructure and the filling up with large blocks of Tufa, evidently 
 used again, and probably taken from the second wall of Rome, under the 
 south end of the Palatine, close at hand, not then wanted. 
 
 Colosseum — View of the Central Passage, from above, in 
 1875. 3265 
 
 It is taken from the Gallery on the south-east end, looking northwards. 
 The Pavement is seen, and the small Chambers for lifts on each side of 
 the passage for men to go up to the Arena. 
 
 Colosseum — View in the Gallery on the first-floor, with 
 remains of a Reservoir for Water supplied by the Aque- 
 ducts. 3266 
 
 The peculiar cement, called Opus signinum, or Coccio-pisto, is seen 
 against the wall, and an open channel for water on the right hand. Also 
 a Travertine Pier cut through the brick wall, and the stone wall of the 
 Corridors of the Flavian Emperors, which have been built up against it. 
 
 Colosseum — View from the Upper Gallery. 3267 
 
 This looks down upon the remains of the lower Gallery for seats, and 
 the Corridors where the vaults are broken across. The back of the upper 
 wall of the third century, as rebuilt after the fire of a.d. 217, under 
 Macriuus, completed a.d. 240, under Gordianus III. 
 
 Colosseum — View in one of the Passages of the Substructure. 3268 
 
 In this view are seen brick arches to carry one of the canals of water 
 for the Naumachia, called lacus by Dio (1. LXII. c. 15). A lacus is a 
 technical term used in his treatise on the Aqueducts by Frontinus, for 
 a loch. On the right of this picture is seen the sloping wall forming 
 a sort of a gable, apparently to support some great machine. 
 
 Colosseum — Another View in the Passage. 3269 
 
 Under the canal for water, shewing the walls supported by buttresses 
 on both sides to receive the weight of the water. 
 
 Colosseum — View of one of the Vomitoria for ready exit, in 
 an upper Corridor of the Flavian Emperors. 3270 
 
 Colosseum — Details. Arch of the time of Nero, of his 
 usual long thin bricks, supporting an older Arch of Tufa, 
 damaged by an earthquake (?). 3271 
 
The Colosseum. 29 
 
 Colosseum — Details. Side View from the Upper Gallery. 3272 
 
 Shewing the state of the Excavations in April, 1875, taken from the 
 north side looking towards the Ccelian. The numerous fragments of 
 Columns and Capitals lying about, have rolled down from the upper 
 Gallery in an earthquake. 
 
 Colosseum — Graffito of a Hunt of Wild Beasts on the 
 Arena. 3273 
 
 Colosseum — Graffito of one of the Athletes on the Arena. 3274 
 
 Colosseum — Graffito of two of the Athletes in the Arena. 3275 
 
 Colosseum — Details. Capital of the Composite Order from 
 the Upper Gallery, a.d. 240. 3276 
 
 These great rude Capitals (unfinished) were intended to have been 
 seen from below, and from a great distance. 
 
 Colosseum — Details. Wall built like a gable-end for great 
 strength, to support some Machine for lifting up the 
 Vessels from below (?). 3277 
 
 Colosseum — Details. Capital of the Eoman Composite 
 Order, highly finished. 3278 
 
 This probably belongs to a short Column on the Podium, time of 
 Alexander Severus (a.d. 230), at one of the entrances. 
 
 Colosseum — Details. Pier of Travertine inserted in Brick 
 Wall. 3279 
 
 To support the upper Gallery, a.d. 230, the bricks form an arch of 
 construction, and are evidently cut through. 
 
 Colosseum — Details. Bases in the Upper Gallery, a.d. 230 3280 
 
 With view of inside of upper wall, shewing the hasty construction in 
 the time of Gordianus III., a.d. 240. 
 
 Colosseum — Details. Part of the Area in 1875. 3281 
 
 On the level of the Arena at the foot of the Podium, with Columns 
 and Capitals lying about, having fallen down in an earthquake. 
 
 Colosseum — Details — Part of the ancient Tufa wall with a 
 square -headed opening partially filled with brick -work 
 of the fifth century. 3282 
 
 Colosseum — Details — View in the Passage. 3283 
 
 Between the two ancient Tufa walls, with grooves for lifts, and shew- 
 ng also two of the sockets for pivots to work in. 
 
 Colosseum— Details — Arch in the third Tufa wall supported 
 by a brick arch of the Flavian Emperors. 3284 
 
30 Colosseum and Garden of Sallust. 
 
 Colosseum — Details — Small square chamber. 3285 
 
 With arches of construction in brick walls of the time of Nero, enclosed 
 in stone walls of the Flavian Emperors, with a socket in the floor and 
 fragments of sculpture. 
 
 Colosseum — Details — Doorway in the chamber of Nero, 
 shewing the wall, half brick and half stone. 3286 
 
 Colosseum — Details — Chamber of the work of the Flavian 
 Emperors, under the lower gallery, with six sockets in the 
 floor. 3287 
 
 Forum of Trajan — Second row of shops at the east end. 3288 
 
 On a ledge of the rock, now in the garden of a Nobleman. The lowest 
 row of shops is on the level of the Forum. 
 
 Forum of Trajan — Third row of shops at the east end, on 
 the top of the Arch, now at the foot of the Torre delle 
 Milizie. 3289 
 
 House of Maecenas on the Esquiline — The Auditorium (?) or 
 Green-house (?) 3290 
 
 The apparent windows have always been sham windows, painted to re- 
 present a garden. 
 
 Garden of Sallust — Exterior of Nymphaeum, and part of 
 a house of the first century. 3291 
 
 Garden of Sallust — Interior of the Nymphaeum, called by 
 some the Temple of the Vestal Virgins. 3292 
 
 Garden of Sallust— Part of the Porticus Mi/liarius, of the 
 Emperor Aurelian, built against the ancient horn-work. 3293 
 
 Garden of Sallust — Construction of ancient Horn- work, 
 time of the Kings, in a peculiar kind of dark- coloured 
 Tufa. 3294 
 
 Garden of Sallust— Sculpture— Marble Mask found in that 
 Garden in 1874. 3295 
 
 Mosaic — Picture in the Apse or Tribune of the Church of 
 S. Paul, f. m., a.d. 1216—1227. 3296 
 
 It represents Christ seated on a throne with the cruciform nimbus, and 
 with the book open in His left hand ; at His feet is the Donor, Pope 
 Honorius III., extremely small, not larger than the foot of Christ. On 
 either side are two of the Apostles, each holding a scroll, with an in- 
 scription upon it. Under the feet is another row of small figures of 
 Angels and Saints, also carrying scrolls with inscriptions. This Mosaic 
 was considerably damaged in the great fire in 1823, but has been care- 
 iully restored. 
 
 Church of SS.Vincenzo ed Anastasio, built in 626 by 
 Honorius I., and restored in 796 by Leo III., rebuilt in 
 1600 (?) 3297 
 
Illuminations of the Ninth Century. 31 
 
 Illuminations from a MS., in the Library of S.Paul, 
 c. a.d. 800. 3298 
 
 Balaam and his ass stopped in the way by an angel. The story of the 
 conspiracy and destruction of Korah, Dathan and Abiram. The plague 
 stayed. 
 
 Illuminations from a MS. in the Library of S. Paul, 
 c. a.d. 800. 3299 
 
 Moses blessing the assembled people of Israel, and the death of Moses 
 in Mount Abarim. 
 
 Illuminations from a MS. in the Library of S. Paul, 
 c. a.d. 800. 3300 
 
 The entry of Antiochus and the Maccabees into Jerusalem, the expolia- 
 tion of the Temple, the order for the Jews to worship Idols, and the 
 uprising of Mattathias and the Jews. 
 
 These complete the Set ; for the others, see Nos. 2712 — 2720. 
 
 CORRECTION. 
 
 Inscription from the Church of S. Stephen, near the Painted 
 Tombs on the Via Latina, two miles from Rome. 2104 
 
 This inscription is broken into two parts ; the upper part had not been 
 found when the photograph was taken. The Bishop of Limerick ob- 
 tained an impression of it, and when the two parts are "put together, 
 it reads thus : — 
 
 [in honokem] Stephani Primi S. Martiri Ego Lupo grigarius [eccle- 
 siae] campanam (?) [campanarium ?] expensis meis feci tempore 
 Domini Sergii ter bea[ti]ssimi et coangelico[rum] juiiioris Pape. 
 Amen. 
 
 The words between brackets are probable conjectures only. 
 
 Sergius I. was Pope a.d. 6S7 — 701. 
 
 " I Lupo Gregorius a (or gregarius = a soldier (?) in church militant) con- 
 structed the bell (?), or belfry (?), in honour of S. Stephen the proto-martyr, 
 in the time of our lord Sennus thrice blessed, and junior of his co-angels \ 
 Pope A.M." 
 
 a Gregarius Miles. b Youngest of his fellow angels (i.e. lately dead). 
 
Orders for these Photographs, at One Shilling each, will be 
 received and executed by Mr. Stanford, Charing Cross; or 
 F. W. Maynard, Esq., Secretary to the Arundel Society, 24, Old 
 Bond-street; or in Oxford, by Mr. Evans, Assistant at the 
 Ashmolean Museum. 
 
 Specimens can be seen in London, at Mr. Stanford's, at the rooms 
 of the Arundel Society, in the British Museum, and the South 
 Kensington Museum. In Oxford there is a complete set in the 
 Bodleian Library, arranged in volumes in numerical order, for 
 reference; in the Ashmolean Museum another set, arranged in 
 Portfolios according to subjects. 
 
CATALOGUE OF PHOTOGKAPHS.— PAST V. 
 
 Tombs — View of the Tomb of the Family of Statilius 
 Taurus, b.c. 30. 3301 
 
 As excavated in 1875, at the expense of the Company of the Italian 
 Fund. The Tomb, full of Columbaria, is here seen from above. It is 
 situated near the Porta Maggiore, in the same large vineyard in which 
 stands the fine building of the third century, called Minerva Medica. 
 
 Tomb of Statilius Taurus — Part of the Interior, with Colum- 
 baria and ollce or cinerary urns, in their original places. 3302 
 
 Tomb of Statilius Taurus — One compartment of the early 
 Frescoes, b.c 30, between the Columbaria, much damaged 
 by the surface being hatched for fresh plastering to paint 
 upon, probably in the second century, when the upper 
 part and the vault was painted. 3303 
 
 The subject is, the Messengers of the tyrant Amulius announcing to 
 Rhea Silvia, while she is seated amidst other young maidens in a rural 
 scene, that she has been named a Vestal Virgin. 
 
 N.B. It is quite possible that these paintings were intended to illustrate 
 the JEneid of Virgil, and may have received the approbation of Virgil 
 himself: they are of his time. 
 
 Tomb of Statilius Taurus — Fresco Painting on the walls of 
 the Columbaria. 3304 
 
 Representing the foundation ot the city of Lavinium, named after 
 Lavinia, daughter of King Latinus, and second wife of ^Eneas. She is 
 represented as seated on part of the new wall of the City, with a crown 
 and veil on her head. — Virgil, iEneid i. 558, xii. 194; Dionys. Halicarn. i. 
 59 ; Dio. Cass. Eragmenta, iii. 5 ; Livii Hist. xliv. 57. 
 
 Tomb of Statilius Taurus — Fresco Painting on the walls 
 of the Columbaria. 3305 
 
 It represents the Latins imploring and obtaining peace of iEneas ; the 
 inscription written on it was : latini JMPLorANT PAcesi. Also a per- 
 sonification of the Numicus or Rio Torto, the river that runs near Lavinium, 
 in which iEneas was drowned. — Virgil, ^Eneid vii. 45 and 150 ; xi. 213. 
 
 Tomb of Statilius Taurus — Fresco Painting on the walls 
 of the Columbaria. 3306 
 
 The subject is the battle between the Trojans and the Rutuli ; the 
 Trojans represented as well-armed, and the Rutuli as savages, almost 
 naked. — Virgil, iEneid xi. 630. 
 
 Tomb of Statilius Taurus — Battle between the Trojans and 
 the Rutuli. 3307 
 
 Virgil, iEneid xii. 625. 
 
2 Tombs. 
 
 Tomb of Statilius Taurus — Fresco Painting. iEneas, after 
 the combat with one of the Rutuli at his feet, is crowned 
 by Victory. 3308 
 
 Tomb of Statilius Taurus — Fresco Painting. The fight 
 between the Trojans and the iEneids. iEneas kills 
 King Turnus. 3309 
 
 Liv. i. 2; Virgil, JEneid xii. 950; Dionys. Hal. i. 64. 
 
 Tomb of Statilius Taurus — Fresco. The twins Eomulus 
 and Remus exposed in a wooden cradle, and left in the 
 flood of a stream that falls into the Tiber. The river is 
 personified as seated with open arms to receive them. 3310 
 
 Dionys. Hal. i. 79; Liv. i. 5. 
 
 Tomb of Statilius Taurus — Fresco Painting in the Colum- 
 barium. 3311 
 
 Eomulus (?) as a shepherd, or Faustuhis (?), with sheep at his feet (of 
 the figure of Remus, a slight remnant left). Faustuhis and Aeca Lau- 
 rentia, who saved the infant twins from the flood, and educated them. 
 The drawing of the figure, whether Romulus or Faustulus, is of the 
 best style of art, reminding us of Raphael. — Liv. i. 5 ; Dionys. Hal. i. 79 ; 
 Dio. Cass, xxxiv. 5. 
 
 Tomb of Statilius Taurus— Fresco Painting of the time of 
 Hadrian or of the Antonines (?), on the upper wall of the 
 sepulchre, representing a funeral feast. 3312 
 
 Tomb of Statilius Taurus — Fresco of the time of Hadrian, 
 or of the Antonines (?). The figure of Pallas. 3313 
 
 Tomb of Statilius Taurus — Fresco of the time of Hadrian, 
 or of the Antonines. The figure of Mercury addressed 
 by a female. 3314 
 
 Tomb of Statilius Taurus — Fresco of the time of Hadrian, 
 or of the Antonines. Hercules and a female figure. 3315 
 
 Tomb of Statilius Taurus— Fresco Painting on the vault. 
 In the centre is Ceres with her attributes ; on the sides, 
 Apollo, a Muse, Hercules, and Mercury. In the corners, 
 two Pegasi and a dove. 3316 
 
 Tomb of Statilius Taurus — Some of the very fine lamps with 
 emblems and figures found in the Columbaria. 3317 
 
 The figure of Faustulus or Romulus as a shepherd, on a 
 larger scale. (See No. 3311.) 3318 
 
 Mediaeval Fountain in the courtyard of the Palazzo Anta- 
 
 moro, with the family shield. 3319 
 
 Construction — Brick Arch of Tiberius, in the Mamertine 
 Prison. 3320 
 
 Part of the great Agger and Wall of Servius Tullius, near 
 the railway station, in 1876, about to be destroyed. 3321 
 
General Views — Church and Altar Decorations. 3 
 
 Another part of the great Agger and Wall of Servius Tullius, 
 near the railway station, in 1876. 3322 
 
 Shewing that there was a stone wall on each side of the great bank of 
 earth in this part. 
 
 Another part of the great Agger of Servius Tullius, opposite 
 
 to the railway station, in 1876. 3323 
 
 itemains of houses of the second century are seen built upon it, and into 
 the bank. The specus of an aqueduct, -with a triangular head, is also seen 
 in the foreground. These are on the inner side of the bank. 
 
 Another part of the great Agger of Servius Tullius, near the 
 
 railway station. 3324 
 
 Here there was a house of the time of King Theodoric built into it, on 
 the outer side of the bank, where it has been cut through obliquely by the 
 railway. 
 
 Another part of the great Agger of Servius Tullius, near the 
 railway station. 3325 
 
 This was in the ancient earthwork called the Mons Justitiae, which was 
 by the side of the central gate called Porta Viminalis. 
 
 Another part of the great Agger of Servius Tullius, in the 
 act of being destroyed in the spring of 1876. 3326 
 
 "Wooden Panels of Sculpture of the sixth century, in the 
 door of the church of S. Sabina, on the Aventine. 3327 
 
 Scriptural subjects ; the Miracles of Christ. 
 
 Other wooden Panels of Sculpture of the sixth century, from 
 the door of the church of S. Sabina. 3328 
 
 Other wooden Panels of Sculpture, of the sixth century, from 
 the door of the church of S. Sabina. 3329 
 
 Other wooden Panels of Sculpture, of the sixth century, from 
 
 the door of S. Sabina. 3330 
 
 Construction — Basilica of Constantine, junction of the Apse 
 of Constantine, with the wall of the great building of 
 Maxentius, the Temple of Peace (?). 3331 
 
 General View from the roof of the Basilica of Constantine 
 — The Forum Romanum. 3332 
 
 General View from the roof of the Basilica of Constantine 
 —Villa Farnese, on the Palatine Hill. 3333 
 
 General View of Home from the top of the Basilica of Con- 
 stantine, looking north, to the Capitol, &c. 3334 
 
 Construction- — Wall of the Kings on the Coelian Hill, oppo- 
 site to the Palatine (behind S. Gregory), within the line 
 of Servius Tullius. 3335 
 
 General View of the Palaces of the Caesars, from the Coelian 
 Hill (on the steps of the church of S. Gregory). 3336 
 
 General Views — Palaces of the Caesars, from the Coelian 
 
 Hill, near the steps of the church of S. Gregory. 3337 
 
4 Out of Rome — Ferentino, Alatri. 
 
 Medieval — Grotto of the sixteenth century, on the Velia, 
 behind the Basilica of Constantine. 3338 
 
 Church and Altar Decorations — Mosaic and Fresco Pictures 
 in the church of SS. Nereus and Achilleus. 3339 
 
 Church and Altar Decorations — Candelabrum of the six- 
 teenth century, from the church of SS. Nereus and 
 Achilleus. 3340 
 
 *Church and Altar Decorations — Figure of an Angel, with 
 the Crown of Martyrdom, from the Candelabrum in the 
 church of SS. Nereus and Achilleus. 3341 
 
 *Church and Altar Decorations — Figure of another Angel, 
 from the Candelabrum in the church of SS. Nereus and 
 Achilleus. 3342 
 
 Temple of Mars Ultor, and Arch miscalled of Pantano. 3343 
 
 Quirinal Hill — Remains of Thermae of the second century, 
 near those of Constantine, with cascade fountain. 3344 
 
 *Out of Rome — Ferentino — Wall of the time of the Kings, 
 with quadrangular masonry around a Doorway. 3345 
 
 *Out of Rome — Ferentino — Arches in the ancient Wall of 
 the time of the Kings, making a Barbican to the Gate. 3346 
 
 *Out of Rome — Ferentino — Medieval Church of the four- 
 teenth century. 3347 
 
 *Out of Rome — Alatri — Doorway of the Arx or Citadel, 
 of very massive construction, called Pelasgic, or more 
 correctly early Greek. 3348 
 
 *Out of Rome — Alatri — Niche in the earliest wall, of the 
 same period and character as the doorway. 3349 
 
 *Out of Rome — Alatri — Doorway in the earliest wall, with 
 two kinds of Construction — Greek below, Roman above. 3350 
 
 *Out of Rome — Alatri — Very massive Construction of the 
 earliest wall, in the style called Pelasgic, Cyclopean, &c. 3351 
 
 *Out of Rome — Alatri — Roman Arches on earlier walls. 3352 
 
 *Out of Rome — Alatri — Medieval Church of the eleventh or 
 twelfth century. 3353 
 
 The tower has mid-wall shafts. A rose-window, of the fourteenth 
 century, is inserted over the west door. 
 
 Temple of Antoninus and Faustina, as excavated in 1876. 3354 
 
 Shewing the pavement of the Via Sacra, and the lower part of the steps 
 of the temple, with the monolithic columns, now shewn of their whole 
 height, forty-six feet, including the bases. On the right-hand side is seen 
 the depth of earth excavated, about twenty feet. 
 
 The Photographs marked * are of the octavo size, instead of the usual 
 
 quarto or normal size. 
 
HISTORICAL PHOTOGRAPHS.— PART VI. 
 
 The following have been added to Mr. Parker's Series during the 
 
 Season 1876-77. 
 
 Sarcophagi — Cinerary Urns and Cippi found in Columbaria 
 in the Exquilise, by the Italian Fund Company, and pre- 
 served in their Museum near the Minerva Medica. 3355 
 
 Sepulchral Inscriptions found in the Columbaria of the Ex- 
 quilise in 1875, chiefly in the Tomb of Statilius Taurus, 
 B.C. 30, of the family of the Gens Statilia, 3356 
 
 Other miscellaneous Inscriptions from the Columbaria in 
 the Exquilise, found in 1875. 3357 
 
 Other Inscriptions of the Gens Statilia, from the Columbaria 
 
 in the Exquilise, found in 1875. 3358 
 
 Inscriptions of the Gens Statilia, and others, found in the 
 Exquilise in 1875. 3359 
 
 Cippus and Inscriptions, chiefly of the Gens Statilia, found 
 in the Exquilise in 1875. 3360 
 
 Since these Photographs were taken, this small local Museum has been 
 
 abandoned, and the contents transferred to the great new Museum on the 
 
 Capitoline Hill, belonging to the Municipality, in the hands of the 
 
 Conservator. 
 
 The Great Agger of Servius Tullius — View in the foss, 
 as excavated in 1876, with a house built in the foss against 
 the foot of the lofty wall. 3361 
 
 Part of the Great Agger and "Wall of Servius Tullius, as 
 excavated in 1876, near the railway station, in the central 
 mound called Mons Justitise. 3362 
 
 Remains of the Porta Viminalis, in the centre of the Great 
 Agger of Servius Tullius, excavated in February, 1877, 
 opposite to the railway station. 3363 
 
 The Porta Viminalis, in the centre of the Great Agger, front 
 view, with the Specus of the Aqua Felice, a. p. 1575, in- 
 troduced on the middle wall, between the two roads that 
 met at this Gate. 3364 
 
 One corner of the new Custom-house, with the scaffolding, is seen to 
 the left of the picture, and the new building for the Finance Department 
 in the distance. There is great probability that all these remains of the 
 Great Agger will be destroyed by the railway company. 
 
2 Great Agger — Pantheon — Cornet o. 
 
 Part of the Great Agger and "Wall of Servius Tullius, ex- 
 cavated in 1876, with the new building for the Finance 
 Department. 3365 
 
 Another part of the Great Agger (or bank of earth), and 
 stone Wall of Servius Tullius, with a brick wall of a house 
 of the Early Empire built up against it. 3366 
 
 Pantheon of Agrippa — Details of Construction, shewing part 
 
 of the original circular building. 3367 
 
 With the brick front behind the marble portico added on soon after- 
 wards, but having a vertical joint clearly distinguishing this addition. 
 
 Pantheon of Agrippa — Details of Construction, at the back 
 of the circular building. 3368 
 
 With two walls added on to connect it with other parts of the Thermae. 
 
 The fine hexagonal Nymphaeum of the third century, mis- 
 called the Temple of Minerva Medica; part at the 
 back, with bath-chambers, excavated in 1876. 3369 
 
 Thermae of Diocletian — One of the Exhedrae "made into the 
 Church of S. Bernard. 3370 
 
 Corneto — General View of part of the Mediaeval City, with 
 one of the Towers and the Church. 3371 
 
 Corneto — General View of one of the Streets, with a pic- 
 turesque Mediaeval House, and one of the Towers in the 
 distance. 3372 
 
 Corneto — West end of the Church of S. Maria in Castello, 
 with the Bell-gable for three bells, one of the Towers, and 
 one of the Gates of the city. 3373 
 
 Corneto — The Palazzaccio, or House of Cardinal Vitelleschi, 
 c. a.d. 1420, Exterior, front with Gothic Windows, and 
 Porticus or Loggia. 3374 
 
 Corneto — Interior of the House of Cardinal Vitelleschi, 
 
 Courtyard, view in the Gallery, and of the Porticus on the 
 
 inner side. 3375 
 
 The style of architecture is that of French Gothic of the thirteenth cen- 
 tury, although it was built in the fifteenth. 
 
 Corneto — The Cardinal's House, another view in the very 
 picturesque Gallery looking across the Courtyard. 3376 
 
 Corneto — The Cardinal's House, view in the Courtyard, with 
 the Arcade below, the Gallery and Loggia above. 3377 
 
 Corneto — The Cardinal's House, another view in the Court- 
 yard, looking the opposite way. 3378 
 
Sculpture in the Forum — Stone-quarries — Church. $ 
 
 Architectural Details — Roman Composite Capital, now in 
 the Piazza di Spagna. 3379 
 
 Architectural Details — Late mediaeval Doorway of the Palace 
 of the Antamora family. 3380 
 
 Sculpture in the Forum Romanum, on the Marble Wall. 3381 
 
 A group of figures — the Emperor Marcus Aurelius ? or an orator ? stand- 
 ing on the rostrum and addressing the people, the two foremost figures of 
 whom are holding up their hands, one shewing five fingers, the other three. 
 
 This is supposed to represent the scene described by l)io Cassius, (lib. 
 lxxii. c. 52), when the people all cried out "octo," demanding eight gold 
 pieces each, which were given to them. 
 
 Sculpture in the Forum Romanum, on the Marble Wall — 
 Another group of figures. 3382 
 
 This is supposed to be the Emperor seated, and addressing a lady stand- 
 ing, with a baby on her arm, supposed to be Roma, in commemoration of 
 the foundation of an orphanage by him ; the building in the background 
 is probably the Tabularium, at the north end of the Eorum. 
 
 Stone-quarries, travertine, at Tivoli — General View, to shew 
 the character of the stone. 3383 
 
 Stone-quarries, travertine, at Tivoli — A Detailed View, with 
 the large blocks of hard limestone almost submerged by 
 water. 3384 
 
 Stone-quarry of travertine, near Tivoli or Tibur, from which 
 the stone was brought for the buildings of Rome in the 
 time of the Early Empire. 3385 
 
 The different character of this stone from that of tufa is clearly seen. 
 In this view the curious ancient machine for turning off the water is shewn. 
 This is still in use, as it probably was in the days of the Early Empire. 
 
 Stone-quarry of Selci or Silex, or hard lava, near the Tomb 
 of Cecilia Metella, Rome. 3386 
 
 This stone is used for the pavements in Rome, being peculiarly hard and 
 durable. It was used also in the time of the Empire. The different 
 character of the stone from either the travertine at Tivoli, Nos. 3383, 
 3384, 3385, or the tufa of the banks of the river Anio, used for the great 
 Walls of the Kings, Nos. 866, 867, is very evidently seen. 
 
 Church of the Apostles, a.d. 1490. 3387 
 
 It is always called by this name, but is really dedicated to two of the 
 Apostles only, SS. Philip and James. It is a good example of the style 
 of the fifteenth century in Rome, as far as the height of the porticus or 
 arcade, built by P. Pintelli, who died in 1494. But the upper part is 
 a modern addition, a.d. 1724. 
 
4 Chapel of the Seven Sleepers — Tomb of Cecilia Metella. 
 
 Chapel of the Seven Sleepers — General View of the Interior. 3388 
 
 Chapel of the Seven Sleepers — Details, with Fresco-paintings. 3389 
 
 This chapel is within the walls of Rome, and near the tomb of the Scipios. 
 It had been long forgotten, until it was re-discovered in 1875 by the pro- 
 prietor, being then a house for firewood. The frescoes are believed to be 
 of the eighth century, but they are in a very bad state, 
 
 Tomb of Cecilia Metella, on the Via Appia. 3390 
 
 With the fortified battlement of the Guelphs on the top, and the castle 
 of the Gaetani added to it, as seen from the Circus of Maxentius and 
 Romulus. Cecilia Metella was the wife of the rich Crassus, one of the 
 Triumvirs with Julius Caesar and Pompey, B.C. 56. A Roman married 
 lady retained her maiden name ; she was the daughter of Caecilius Metellus, 
 who was Consul b.c, 60, 
 
 Tomb of Cecilia Metella, on the Via Appia, 3391 
 
 From the road, with the chapel of c. a.d. 1300, which is considered to 
 have somewhat of the character of the English Gothic of fifty years earlier. 
 This view is taken from exactly the opposite direction from the previous 
 one. The two views give a tolerably complete idea of this remarkable and 
 well-known structure, which is popularly called Capo di Bove. 
 
BOOKS 
 
 PUBLISHED 
 
 BY JAMES PAEKEE AND CO. 
 
 OXFORD, and 377, STRAND, LONDON. 
 
 geological, $zt. 
 
 REV CANON HOLE 
 
 HINTS TO PREACHERS, with SERMONS and ADDRESSES. 
 
 By S. Reynolds Hole, Canon of Lincoln. Post 8vo., cloth. [Just ready. 
 
 REV. E. B. PUSEY, D.D. 
 WHAT IS OF FAITH AS TO EVERLASTING PUNISHMENT? 
 
 In Reply to Dr. Farrar's Challenge in his " Eternal Hope," 1879. By the Rev. 
 E. B. Pusey, D. D., Regius Professor of Hebrew, Canon of Christ Church. 
 Svo., cloth, 286 pp., 3s. 6d. 
 
 REV. E. F. WILLIS, M.A. 
 THE WORSHIP OF THE OLD COVENANT CONSIDERED 
 
 more ESPECIALLY in RELATION to that of the NEW. By the 
 Rev. E. F. Willis, M.A., Vice- Principal of Cuddesdon Theological College. 
 Post 8vo., cloth, 5s. 
 
 ARCHDEACON DENISON. 
 
 NOTES OF MY LIFE, 1805 — 1878. By Geoege Anthony 
 
 Denison, Vicar of East Brent, 1845; Archdeacon of Taunton, 1851. Third 
 Edition, 8vo., cloth, price 12s. 
 
 HERBERT DE LOSINGA. 
 
 THE FOUNDER OF NORWICH CATHEDRAL. The LIFE, 
 
 LETTERS, and SERMONS of BISHOP HERBERT DE LOSINGA 
 
 (b. circ. a.d. 1050, d. 1119). Edited by E. M. Goulburn, D.D., Dean of 
 
 Norwich, and H. Symonds, M.A., Rector of Tivetshall. 2 vols. 8vo., cloth, 30s. 
 
 C. C. ROLFE. 
 THE ANCIENT USE OF LITURGICAL COLOURS. By C. C. 
 
 Rolfe. An attempt to shew that the ancient use of the Church of England is 
 in harmony with the Levitical use, and entirely distinct from that which is now 
 sanctioned by the Church of Rome. Medium 8vo., cloth, 10s. 6d. 
 " An elaborate and learned work." — Bishop of Lincoln. 
 
 THE LATE CANON JENKINS, D.D. 
 PASSAGES IN CHURCH HISTORY. Selected from the MSS. of 
 the late Rev. John David Jenkins, D.D., Vicar of Aberdare; Canon of the 
 Cathedral of Natal. With a Brief Memoir of the Author, by T. J. Dyke. Edited 
 by F. M. F. S. 2 vols., Crown 8vo., cloth, pp. xxiv— 1,108, 15s. 
 
 REV. J. WORDSWORTH, M.A. 
 UNIVERSITY SERMONS ON GOSPEL SUBJECTS. By the 
 Rev. John Wordsworth, M.A. Fcap., cloth, 4s. 
 
 HENRY HARRIS. 
 THE POWERS OF THE WORLD TO COME. Short Sermons 
 by Henry Harris, B.D. Crown 8vo., cloth, 5s. 
 
 BISHOP OF BARBADOS. 
 SERMONS PREACHED ON SPECIAL OCCASIONS. By John 
 
 Mitchinson, Bishop of Barbados. Crown 8vo., cloth, 5s. 
 THE LATE BISHOP WILBERFORCE. 
 SERMONS PREACHED ON VARIOUS OCCASIONS. With a 
 
 Preface by the Lord Bishop of Ely. 8vo., cloth, 7s. 6d. 
 
 [880.3.50.I 
 
2 THEOLOGICAL WORKS, Sfc. (continued). 
 
 THE BOOK OF COMMON PRAYER. 
 
 AN INTRODUCTION TO THE HISTORY OP THE SUCCES- 
 SIVE REVISIONS OF THE BOOK OF COMMON PRAYER. By 
 James Parker, Hon. M.A. Oxon. Crown 8vo., cloth, 12s. 
 
 THE EIRST PRATER-BOOK OE EDWARD YL, compared with 
 the Successive Revisions of the Book of Common Prayer; with a Concordance and 
 Index to the Rubrics in the several editions. By the same Author. Cr. 8vo.,cl.,12s. 
 
 REV. E. B. PUSEY, D.D. 
 
 DANIEL THE PROPHET. Nine Lectures delivered in the Divinity 
 School of the University of Oxford. With a new Preface. By E. B. Pusey, D.D., 
 &c. Seventh Thousand. 8vo., cloth, 10s. 6d. 
 
 THE MINOR PROPHETS; with a Commentary Explanatory and 
 
 Practical, and Introductions to the Several Books. 4to., cloth, 31s. 6d. 
 
 THE DOCTRINE OF THE REAL PRESENCE, as contained in 
 
 the Fathers from the death of St. John the Evangelist to the 4th General 
 Council. By the Rev. E. B. Pusey, D.D. 8vo., cloth, 7s. 6d. 
 
 THE REAL PRESENCE, the Doctrine of the English Church, with 
 a vindication of the reception by the wicked and of the Adoration of our Lord 
 Jesus Christ truly present. By the Rev. E. B. Pusey, D.D. 8vo., 6s. 
 
 THE LATE REV. J. KEBLE, M.A. 
 
 STUDIA SACRA. COMMENTARIES on the Introductory Yerses 
 of St. John's Gospel, and on a Portion of St. Paul's Epistle to the Romans ; with 
 other Theological Papers by the late Rev. John Keble, M.A. 8vo., cl., 10s. 6d. 
 
 OCCASIONAL PAPERS AND REYIEWS, on Sir Walter Scott, 
 
 Poetry, and Sacred Poetry, Bishop Warburton, Rev. John Miller, Exeter Synod, 
 
 Judicial Committee of Privy Council, Parochial Work, the Lord's Supper, 
 
 Solomon, the Jewish Nation. By the late Rev. John Keble, Author of " The 
 
 Christian Year." Demy 8vo., cloth extra, 12s. 
 
 "They are prefaced by two letters of deep interest from Dr. Newman and Dr. Pusey. 
 There is something extremely touching in the reunion, as it were, of the three old friends 
 and fellow-labourers."— Guardian. 
 
 LETTERS OF SPIRITUAL COUNSEL AND GUIDANCE. By 
 the late Rev. J. Keble, M.A., Vicar of Hursley. Edited, with a New Preface, 
 by R. F. Wilson, M.A., Vicar of Rownhams, &c. Third Edition, much en- 
 larged, Post 8vo., cloth, 6s. 
 
 THE LATE BISHOP OF BRECHIN. 
 
 AN EXPLANATION OF THE THIRTY-NINE ARTICLES. 
 
 With an Epistle Dedicatory to the Rev. E. B. Pusey, D.D. By A. P. 
 Forbes, D.C.L., Bishop of Brechin. Second Edition, Crown 8vo., cloth, 12s. 
 
 A SHORT EXPLANATION OF THE NICENE CREED, for the 
 
 Use of Persons beginning the Study of Theology. By Alexander Penrose 
 Forbes, D.C.L., Bishop of Brechin. Second Edition. Crown 8vo., cloth, 6s. 
 
 THE LORD BISHOP OF SALISBURY. 
 THE ADMINISTRATION OF THE HOLY SPIRIT IN THE 
 
 BODY OF CHRIST. TheBampton Lectures for 1868. By George Moberly, 
 D.C.L., Lord Bishop of Salisbury. 2nd Edit. Crown 8 vo., cloth, 7s. 6d. 
 
 SERMONS ON THE BEATITUDES, with others mostly preached 
 before the University of Oxford. By the same. Third Edition. Crown 8vo., 
 cloth, 7s. 6d. 
 
 REV. WILLIAM BRIGHT, D.D. 
 
 A HISTORY OF THE CHURCH, from the Edict of Milan, a.d. 
 
 313, to the Council of Chalcedon, a.d. 451 Second Edition. Post 8vo., 10s. 6d. 
 
THEOLOGICAL WORKS, Sfc. {continued). 
 
 APOLLOS ; or, THE WAY OF GOD. A Plea for the Religion of 
 Scripture. By A. Cleveland Coxe, Bishop of New York. Crown 8vo., cL, 5s. 
 
 THE HISTORY OF CONFIRMATION. By William Jackson, M.A., 
 Queen's College, Oxford; Vicar of Heathfield, Sussex. Crown 8vo., cloth, 4s. 
 
 A COMMENTARY ON THE EPISTLES AND GOSPELS IN 
 
 THE BOOK OF COMMON PRAYER. Extracted from Writings of the 
 Fathers of the Holy Catholic Church, anterior to the Division of the East and 
 West. With an Introductory Notice by the Dean of St. Paul's. In Two 
 Vols., Crown 8vo., cloth, 15s. 
 
 THE EXPLANATION of the APOCALYPSE by VENERABLE 
 BEDA, Translated by the Rev. EDW. MARSHALL, M.A., F.S.A., formerly 
 Fellow of Corpus Christi College, Oxford. 180 pp. Fcap. 8vo., cloth, 3s. 6d. 
 
 GODET'S BIBLICAL STUDIES ON THE OLD TESTAMENT. 
 
 Edited by the Hon. and Rev. W. H. Lyttelton. Fcap. 8vo., cloth, 6s. 
 
 THE CATHOLIC DOCTRINE OF THE SACRIFICE AND 
 
 PARTICIPATION OF THE HOLY EUCHARIST. By George Trevor, 
 D.D., M.A., Canon of York; Rector of Beeford. Second Edition, revised and 
 enlarged. Crown 8vo., cloth, 10s. 6d. 
 
 THE LAST TWELVE YERSES OF THE GOSPEL ACCORDING 
 
 TO S. MARK Vindicated against Recent Critical Objectors and Established, 
 by John W. Btjegon, B.D., Dean of Chichester. With Facsimiles of Codex ^ 
 and Codex L. 8vo., cloth, 12s. 
 
 DISCOURSES ON PROPHECY. In which are considered its Struc- 
 ture, Use, and Inspiration. By John Davison, B.D. A New Edition. 
 8vo., cloth, 9s. 
 
 THE PRINCIPLES OF DIVINE SERVICE; or, An Inquiry con- 
 
 cerning the True Manner of Understanding and Using the Order for Morning and 
 Evening Prayer, and for the Administration of the Holy Communion in the 
 English Church. By the late Ven. Philip Freeman, Archdeacon of Exeter. 
 A New Edition. 2 vols., 8vo., cloth, 16s. 
 
 CATENA AUREA. A Commentary on the Four Gospels, collected 
 out of the Works of the Fathers by S. Thomas Aquinas. Uniform with the 
 Library of the Fathers. Re-issue. Complete in 6 vols. 8vo., cloth, £2 2s. 
 
 CHRISTIANITY AS TAUGHT BY S.PAUL. The Bampton 
 Lectures for 1870. To which is added an Appendix of the Continuous Sense 
 of S. Paul's Epistles ; with Notes and Metalegomena. By the Rev. W. J. 
 Ibons, D.D., &c. Second Edition, with New Preface, 8vo., with Map, cloth, 9s. 
 
 CHARACTERISTICS OF CHRISTIAN MORALITY. The Bamp- 
 ton Lectures for 1873. By the Rev. I. Gregory Smith, M.A. Second Edition, 
 Crown 8vo., cloth, 3s. 6d. 
 
 BEDE'S ECCLESIASTICAL HISTORY OF THE ENGLISH 
 NATION. A New Translation by the Rev. L. Gidlet, M.A., Chaplain of 
 St. Nicholas', Salisbury. Crown 8vo., cloth, 6s. 
 
ANCIENT DOCTRINAL TREATISES, $c. 
 
 THE CONSTITUTIONS AND CANONS ECCLESIASTICAL OF 
 
 THR CHURCH OF ENGLAND, Referred to their Original Sources, and 
 Illustrated with Explanatory Notes. By Mackenzie E. C. Walcott, B.D., 
 F.S.A., Precentor and Prebendary of Cliii-liester. Fcap. 8vo., clotli, 4s. 
 
 A CRITICAL HISTORY OF THE ATHANASIAN CREED, by 
 the Rev. Daniel Waterland, D.D. Edited by the Rev. J. R. King, M.A. 
 
 THE PASTORAL RTJLE OF ST. GREGORY. Sancti Gregorii 
 
 Papne Repulse Pastoralis Liber, ad Johannem Episcopum Civitatis Ravennae. 
 AVitb an English Translation. By the Rev. H. R. Bramley, M.A., Fellow of 
 Magdalen College, Oxford. Fcap. 8vo., cloth, 6s. 
 
 THE DEFINITIONS OF THE CATHOLIC FAITH and Canons of 
 
 Discipline of the first four General Councils of the Universal Church. In Greek 
 and English. Fcap. 8vo., cloth, 2s. 6d. 
 
 DE FIDE ET SYMBOLO : Documenta qncedam nee non Aliquorum 
 
 SS. Patrum Tractatus. Edidit Carolus A. Heurteey, S.T.P., Dom. Mar- 
 
 garetne Prcelector, et /Edis Christi Canonicus. Fcap. 8vo., cloth, 4s. 6d. 
 
 S.AURELIUS AUGrUSTTNUS, Episcopus Hipponensis, de Catechi- 
 zandis Rudibus, de Fide Rerum quae non videntur, de Utilitate Credendi. In 
 Usura Juniorum. Edidit C. Marriott, S.T.B., Olim Coll. Oriel. Socius. Neio 
 Edition. Fcap. 8vo., cloth, 3s. fid. 
 
 ANALECTA CHRISTIANA, In nsum Tironura. Excerpta, Epi- 
 
 stolae, &c, ex Eusebii, &c. ; S. Ignatii Epistolae ad Smyrnaeos et ad Poly- 
 carpum ; E. S. Clementis Alexandri Paedagogo excerpta; S. Athanasii 
 Sermo contra Gentes. Edidit et Annotationibus illustravit C. Marriott, 
 S.T.B. 8vo.. 10s. 6d. 
 
 S. PATRIS NOSTRI S. ATHANASII AECHIEPISCOPI ALEX- 
 ANDRIA DE INCARNATIONE VERBI, ejusque Corporali ad nos Ad- 
 ventu. With an English Translation by the Rev. J. Ridgway, B.D., Hon. 
 Canon of Christ Church. [/« the Press. 
 
 0XF0ED SEEIES OF DEVOTIONAL WOEKS. 
 
 Fcap. 8vo., printed in Red 
 The Imitation of Christ. 
 FOUR BOOKS. By Thomas a Kem- 
 pts. Cloth, 4s. 
 
 Andrewes' Devotions. 
 DEVOTIONS. By the Right Rev. 
 Father in God, Launcelot Andrewes. 
 Translated from the Greek and Latin, and 
 arranged anew. Antique cloth, 5s. 
 
 Taylor's Holy Living-. 
 THE RULE AND EXERCISES 
 OF HOLY LIVING. By Bishop Jeremy 
 Taylor. Antique cloth, 4s. 
 
 Taylor's Holy Dying. 
 THE RULE AND EXERCISES 
 OF HOLY DYING. By Bishop Jeremy 
 Taylor. Antique cloth, 4s. 
 
 Taylor's Golden Grove. 
 THE GOLDEN GROVE; a Choice 
 Manual, containing what is to be Believed, 
 Practised, and Desired, or Prayed for. By 
 Bishop Jeremy Taylor. Printed uniform 
 ■with " Holy Living and Holy Dying." An- 
 tique cloth, 3s. 6d. 
 
 Sutton's Meditations. 
 GODLY MEDITATIONS UPON 
 THE MOST HOLY SACRAMENT OF THE 
 LORD'S SUPPER. By Christopher Sut- 
 ton, D.D., late Prebend of Westminster. 
 A new Edition. Antique cloth, 5s. 
 
 and Black, on toned paper. 
 
 Laud's Devotions. 
 THE PRIVATE DEVOTIONS of 
 
 Dr. William Laud, Archbishop of Canter- 
 bury, and Martyr. Antique cloth, 5s. 
 
 Spinckes' Devotions. 
 
 TRUE CHURCH OF ENGLAND 
 
 MAN'S COMPANION IN THE CLOSET ; 
 or, a complete Manual of Private Devotions, 
 collected from the Writings of eminent Di- 
 vines of the Church of England. Antique 
 cloth, 4s. 
 
 Ancient Collects. 
 ANCIENT COLLECTS and OTHER 
 PRAYERS. Selected for Devotional use 
 from various Rituals. By Wm. Bright, 
 D.D. Antique cloth, 5s. 
 
 Devout Communicant. 
 THE DEVOUT COMMUNICANT, 
 
 exemplified in his Behaviour before, at, and 
 after the Sacrament of the Lord's Supper : 
 Practically suited to all the Parts of that 
 Solemn Ordinance. 7th Edition, revised. 
 Fcap. 8vo., cloth, 4s. 
 
 EIKflN BA2IAIKH. 
 THE PORTRAITURE OF HIS 
 SACRED MAJESTY KING CHARLES I. 
 
 in his Solitudes and Sufferings. New Edition, 
 with Preface by CM. Phillimore [On the 
 evidence that the book was written by 
 Charles I., and not by Gauden]. Antique 
 cloth, 5s. 
 
DEVOTIONAL. 5 
 
 THE LIFE OF JESUS CHRIST IN GLORY : Daily Meditations, 
 
 from Easter Day to the Wednesday after Trinity Sunday. By Notjet. Trans- 
 lated from the French, and adapted to the Use of the English Church. Third 
 Thousand. 12mo., cloth, 6s. 
 
 A GUIDE FOR PASSING ADVENT HOLILY. By Avrillon. 
 
 Translated from the French, and adapted to the use of the English Church. 
 New Edition. Fcap. 8vo., cloth, 5s. 
 
 A GUIDE FOR PASSING LENT HOLILY. By Avrillon. 
 Translated from the French, and adapted to the use of the English Church. 
 Fourth Edition. Fcap. 8vo., cloth, 5s. 
 
 THE PASTOR IN HIS CLOSET ; or, A Help to the Devotions 
 
 of the Clergy. By John Armstrong, D.D., late Lord Bishop of Grahamstown. 
 Third Edition. Fcap. 8vo., cloth, 2s. 
 
 DAILY STEPS TOWARDS HEAYEN; or. Practical Thoughts on 
 the Gospel History, for every day in the year. With Titles and Characters of 
 Christ. 32mo., roan, 2s. 6d. Large type edition, Crown 8vo., cloth, 5s. 
 
 Uniform with above. 
 THE HOURS; being Prayers for the Third, Sixth, and Ninth 
 Hours ; with a Preface, and Heads of Devotion for the Day. Seventh Edition. 
 32mo., in parchment wrapper, Is. 
 
 ANNUS DOMINI. A Prayer for each Day of the Year, founded on 
 a Text of Holy Scripture. By Christina G. Rossetti. 32tno., cloth, 3s. 6d. 
 
 DEVOTIONS BEFORE AND AFTER HOLY COMMUNION. 
 
 With Prefatory Note by Keble. Sixth Edition, in red and black, on toned 
 paper, 32mo., cloth, 2s. — With the Service, 32mo., cloth, 2s. 6d. 
 
 MEDITATIONS FOR THE FORTY DAYS OF LENT. With 
 a Prefatory Notice by the Archbishop op Dublin. 18mo., cloth, 2s. 6d. 
 
 THE EVERY-DAY COMPANION. By the Rev. W. H. Ridley, 
 
 M.A., Rector of Hambleden, Bucks. Fcap. 8vo., cloth, 3s. 
 
 EVENING WORDS. Brief Meditations on the Introductory Portion 
 
 of our Lord's Last Discourse with His Disciples. 16mo., cloth, 2s. 
 
 THOUGHTS DURING SICKNESS. By Robert Brett, Author of 
 
 " The Doctrine of the Cross," &c. Fcap. 8vo., limp cloth, Is. 6d. 
 
 BREVIATES FROM HOLY SCRIPTURE, arranged for use by the 
 
 Bed of Sickness. By the Rev. G. Arden, M.A., Rector of Winterborne-Came ; 
 Domestic Chaplain to the Right Hon. the Earl of Devon. 2nd Ed. Fcap.Svo., 2s. 
 
 DEVOTIONS FOR A TIME OF RETIREMENT AND PRATER 
 FOR THE CLERGY. New Edition, revised. Fcap. 8vo., cloth, Is. 
 
 PRAYERS IN USE AT CUDDESDON COLLEGE. Third Edition, 
 
 revised and enlarged. Fcap. 8vo., 2s. 
 
 EARL NELSON'S FAMILY PRAYERS. With Responsions and 
 
 Variations for the different Seasons, for General Use. New and improved 
 Edition, large type, cloth, 2s. 
 
 INSTRUCTIONS ON THE HOLY EUCHARIST, AND DEVO- 
 TIONS FOR HOLY COMMUNION, being Part V. of the Clewer Manuals, 
 by Rev. T. T. Carter, M.A., Rector of Clewer. ISmo., cloth, 2s. 
 
 THE SERVICE-BOOK OF THE CHURCH OF ENGLAND, 
 arranged according to the New Table of Lessons. Crown 8vo., roan, 12s. ; 
 calf anticpie or calf limp, 16s. ; limp morocco or best morocco, 18s. 
 
SUMMONS, Sfc. 
 
 SERMONS, &c. 
 
 PAROCHIAL SERMONS. By E. B. Pusey, D.D. Vol. I. From 
 
 Advent to Whitsuntide. Seventh Edition. 8vo., cloth, 6s. Vol. II., 8vo., cl., 6s. 
 
 Vol. III. Reprinted from "Plain Sermons by 
 
 Contributors to Tracts for the Times." Revised Edition. 8vo., cloth, 6s. 
 
 PAROCHIAL SERMONS preached and printed on Yarious Occa- 
 sions, 1832— 1850. By E. B. PUSEY, D.D. 8vo., cloth, 6s. 
 
 SERMONS preached before the UNIVERSITY OF OXFORD 
 between a.d. 1859 and 1872. By E. B. Pusey, D.D. 8vo., cloth, 6s. 
 
 1843 to 1855, &c. 8vo., cloth, 6s. 
 
 1864 to 1876, &c. 8vo., cloth, 6s. 
 
 LENTEN SERMONS preached chiefly to Young Men at the Uni- 
 versities, between a.d. 1868 and 1874. By E. B. Pusey, D.D. 8vo., cloth, 6s. 
 
 ILLUSTRATIONS OF FAITH. Eight Plain Sermons, by the 
 late Rev. Edward Monro. Fcap. 8vo., cloth, 2s. 6d. 
 
 Uniform, and hy the same Author, 
 
 Historical and Practical Sermons 
 on the Sufferings and Resur- 
 rection of our Lord. 2 vols., Fcap. 
 8vo., cloth, 10s. 
 
 Plain Sermons on the Book of Com 
 
 mon Prater. Fcap. 8vo., cloth, 5s. 
 Sermons on New Testament Charac 
 
 tees. Fcap. 8vo., 4s. 
 
 CHRISTIAN SEASONS.— Short and Plain Sermons for every Sunday 
 and Holyday throughout the Year. 4 vols., Fcap. 8vo., cloth, 10s. Second 
 Series, 4 vols., Fcap. 8vo., cloth, 10s. 
 
 SHORT SERMONS FOR FAMILY READING, following the 
 
 Order of the Christian Seasons. By the Rev. J. W. Burgon, B.D. 2 vols., 
 Fcap. 8vo., cloth, 8s. Second Series, 2 vols., Fcap. 8vo., cloth, 8s. 
 
 PAROCHIAL SERMONS. By the late Bp. Armstrong. Fcap. 
 8vo., cloth, 5s. 
 
 SERMONS FOR FASTS AND FESTIVALS. By the late Bp. Arm- 
 
 strong. A New Edition. Fcap. 8vo., 5s. 
 
 SERMONS FOR THE CHRISTIAN YEAR. By J. Keble, M.A. 
 
 Advent to Christmas. 8vo., cl., 6s. 
 Christmas and Epiphany. 8vo., 
 
 cloth, 6s. 
 Septuagesima to Lent. 8vo., cl., Qt. 
 Ash - Wednesday to Holy Week. 
 
 8vo., cloth, 6s. 
 Holy Week. 8vo., cloth, 6s. 
 
 Easter to Ascension Day. 8vo., 
 
 cloth, 6s. 
 Ascension Day to Trinity Sunday 
 
 inclusive. 8vo., cloth, 6s. 
 Trinity, Part I. 8vo, cloth, 6*. 
 Trinity, Part II. 8vo., cloth, 6s. 
 Saints' Days. 8vo., cloth, 6s. 
 
 VILLAGE SERMONS ON THE BAPTISMAL SERVICE. By 
 
 the Rev. John Keble, M.A. 8vo., cloth, 5s. 
 
 THE AWAKING SOUL, as Sketched in the 130th Psalm. Ad- 
 dresses delivered in Lent, 1877. By E. R. Wilberforce, M.A. Crown 8vo., 
 limp cloth, 2s. 6d. 
 
 " SINGLE HEART." Four Advent Sermons, hy Edward M. Ben- 
 son, Lord Bishop of Truro. Crown 8vo., cloth, 2s. 6d. 
 
 OXFORD LENT SERMONS, 1857, 8, 9, 65, 6, 7, 8, 9, 70. 8vo., 
 cloth, 5s. each. 
 
 XX. SHORT ALLEGORICAL SERMONS. By B. K. W. Pearse, 
 
 M.A., and W. A. Gray, M.A. Sixth Edition, Fcap. 8vo., sewed, Is. 
 
 SERMONS AND ESSAYS ON THE APOSTOLICAL AGE. By 
 the Very Rev. Arthur Penrhyn Stanley, D.D. Third Edition, revised. 
 Crown 8vo., cloth, 7s. 6d. 
 
ENGLISH DIVINES. 7 
 
 forlte of tfti standard ffinjlfeh gimtt£8, 
 
 PUBLISHED IN THELIBRARY OF ANGLO-CATHOLIC THEOLOGY, 
 
 AT THE FOLLOWING PRICES IN CLOTH. 
 
 ANDRE WES' (BP.) COMPLETE WORKS. 11 vols., 8vo., £3 7s. 
 The Sermons. (Separate.) 5 vols., £1 15s. 
 
 BEVERIDGE'S (BP.) COMPLETE WORKS. 12 vols., 8vo., £4 4s. 
 
 The English Theological Works. 10 vols., £3 10s. 
 BRAMHALL'S (ABP.) WORKS, WITH LIFE AND LETTERS, &c. 
 
 5 vols., 8vo., £1 15s. (Vol. 2 cannot be sold separately.) 
 
 BULL'S (BP.) HARMONY ON JUSTIFICATION. 2 vols., 8vo., 10s. 
 
 DEFENCE OF THE NICENE CREED. 2 vols., 10s. 
 
 JUDGMENT OF THE CATHOLIC CHURCH. 5s. 
 
 COSIN'S (BP.) WORKS COMPLETE. 5 vols., 8vo., £1 10s. 
 CRAKANTHORP'S DEFENSIO ECCLESL^ ANGLICANS. 
 
 8vo., 7s. 
 FRANK'S SERMONS. 2 vols., 8vo., 10s. 
 
 FORBES' CONSIDERATIONS MODESTO. 2 vols., 8vo., 12s. 
 GUNNING'S PASCHAL, OR LENT FAST. 8vo., 6s. 
 
 HAMMOND'S PRACTICAL CATECHISM. 8vo., 5s. 
 
 MISCELLANEOUS THEOLOGICAL WORKS. 5s. 
 
 THIRTY-ONE SERMONS. 2 Parts. 10s. 
 
 HICKES'S TWO TREATISES ON THE CHRISTIAN PRIEST- 
 HOOD. 3 vols., 8vo., 15s. 
 
 JOHNSON'S (JOHN) THEOLOGICAL WORKS. 2 vols., 8vo., 10s. 
 
 ENGLISH CANONS. 2 vols., 12s. 
 
 LAUD'S (ABP.) COMPLETE WORKS. 7 vols., (9 Parts,) 8vo., 
 £2 17s. 
 
 L'ESTRANGE'S ALLIANCE OF DIVINE OFFICES. 8vo., 6s. 
 
 MARSHALL'S PENITENTIAL DISCIPLINE. (This volume 
 
 cannot be sold separate from the complete set.) 
 
 NICHOLSON'S (BP.) EXPOSITION OF THE CATECHISM. (This 
 
 volume cannot be sold separate from the complete set.) 
 
 OVERALL'S (BP.) CONVOCATION-BOOK OF 1606. 8vo., 5s. 
 PEARSON'S (BP.) VINDICL& EPISTOLARUM S. IGNATII. 
 
 2 vols. 8vo., 10s. 
 
 THORNDIKE'S (HERBERT) THEOLOGICAL WORKS COM- 
 PLETE. 6 vols., (10 Parts,) 8vo., £2 10s. 
 
 WILSON'S (BP.) WORKS COMPLETE. With LIFE, by Rev. 
 
 J. Keble. 7 vols., (8 Parts,) 8vo., £3 3s. 
 
 A complete set, 80 Vols, in 88 Parts, £21. 
 
8 
 
 POETRY, $c. 
 
 THE AUTHORIZED EDITIONS OF 
 THE CHRISTIAN YEAR, 
 
 With the Author's latest Corrections and Additions. 
 
 NOTICE.— Messrs. Parker are the sole Publishers of the Editions of the 
 "Christian Year" issued with the sanction and under the direction of the 
 Author's representatives. All Editions without their imprint are unauthorized. 
 
 Small 4to. Edition. 
 
 Handsomely printed on toned 
 paper, with red border lines 
 and initial letters. Cloth 
 extra . . . . 10 6 
 
 Demy 8vo. Edition. 
 Cloth 6 
 
 Foolscap 8vo. Edition. 
 
 Cloth 3 6 
 
 24mo. Edition. 
 Cloth, red lines . . .26 
 
 32mo. Edition. 
 
 
 
 Cloth boards, gilt edges 
 
 . 1 
 
 6 
 
 Cloth, limp . 
 
 . 1 
 
 
 
 48mo. Edition. 
 
 
 
 Cloth, limp . 
 
 . 
 
 6 
 
 Roan .... 
 
 . 1 
 
 6 
 
 Facsimile of the 1st Edi- 
 tion, with a list of the 
 variations from the Origi- 
 nal Text which the Author 
 made in later Editions. 
 2 vols., 12mo., boards 
 
 7 6 
 
 The above Editions {except the Facsimile of the First Edition) are kept in 
 a variety of bindings, which may be ordered through the Trade, or direct from 
 the Publishers. The chief bindings are Morocco plain, Morocco Antique, Calf 
 Antique, and Vellum, the prices varying according to the style. 
 
 By the same Author. 
 
 LYRA. INNOCENTIUM. Thoughts in Verse on Christian Chil- 
 dren. Thirteenth Edition. Fcap. 8vo., cloth, 5s. 
 
 24mo., cloth, red lines, 3s. 6d. 
 
 48mo. edition, limp cloth, 6d.; cloth boards, Is. 
 
 MISCELLANEOUS POEMS BY THE REV. JOHN KEBLE, M.A., 
 Vicar of Hursley. [With Preface by G. M.] Third Edition. Fcap., cloth, 6s. 
 
 THE PSALTER, OR PSALMS OF DAVID: In English Verse. 
 
 Fourth Edition. Fcap., cloth, 6s. 
 18mo., cloth, Is. 
 
 The above may also be had in various bindings. 
 
 A CONCORDANCE TO THE " CHRISTIAN YEAR." Fcap. 
 
 8vo., toned paper, cloth, 4s. 
 
 MUSINGS ON THE " CHRISTIAN YEAR ;" with GLEANINGS 
 
 from Thirty Years' Intercourse with the late Rev. J. Keble, by CHAR- 
 LOTTE M. YONGE; to which are added Recollections of Hursley, by 
 FRANCES M. WILBRAHAM. Second Edition. Fcap. 8vo., cloth, 7s. 6d. 
 
 MEMOIR OF THE REV. J. KEBLE, M.A. By Sir J. T. Cole- 
 
 ridge. Fourth and Cheaper Edition. Post 8vo., cloth, 6s. 
 
 THE CHILD'S CHRISTIAN YEAR. Hymns for every Sunday 
 and Holyday throughout the Year. Cheap Edition, 18mo., cloth, Is. 
 
CHURCH POETRY, AND PAROCHIAL. » 
 
 Cfjurcfj Poetrg, 
 
 EE-ISSUE OF THE POETICAL WORKS OF THE LATE 
 
 REV. ISAAC WILLIAMS. 
 THE CATHEDRAL; or, The Catholic and Apostolic Church in 
 
 England. Fcap. 8vo.. cloth, /is.; 32mo., cloth, 2s. 6d. 
 
 THE BAPTISTERY; or, The Way of Eternal Life. With Plates by 
 
 Boetius a Bolswert. Fcap. Svo., cloth, 7s. 6d. ; 32mo., cloth, 2s. b'd. 
 
 HYMNS from the PARISIAN BREVIARY. 32mo., cloth, 2s. 6d. 
 THE CHRISTIAN SCHOLAR. Fcap. 8vo.,cl., 5s.; 32mo.,cl.,2s. 6d, 
 THOUGHTS IN PAST YEARS. 32mo., cloth, 2s. 6d. 
 THE SEVEN DAYS OF THE OLD AND NEW CREATION. 
 Fcap. 8vo., cloth, 3s. fid. 
 
 BISHOP CLEVELAND COXE. 
 
 CHRISTIAN BALLADS AND POEMS. By Arthur Cleveland 
 
 Coxe, D.D., Bishop of Western New York. A New Edition. Fcap. 8vo., 
 cloth, 3s. Also selected Poems in a packet, 32mo., Is. 
 
 THE BELLS OF BOTTEVILLE TOWER; A Christmas Story in 
 
 Verse: and other Poems. By Frederick G. Lee, Author of " The Martyrs of 
 Vienne and Lyons," " Petronilla," &c. Fcap. 8vo., with Illustrations, cloth, 4s. 6d. 
 
 HYMNS ON THE LITANY, by Ada Cambridge. Fcap. 8vo., cl., 3s. 
 
 Parochial 
 
 THE CONFIRMATION CLASS-BOOK: Notes for Lessons, with 
 
 Appendix, containing Questions and Summaries for the Use of the Candidates. 
 By E. M. Holmes, LL.B., Rector of Marsh Gibbon, Bucks. Fcap. 8vo., limp 
 cloth, 2s. 6d. 
 Also, in wrapper, The Questions and Summaries separate, 4 sets of 128 pp. 
 
 in packet, Is. each. 
 
 THE CATECHIST'S MANUAL ; with an Introduction by the late 
 Samuel Wilberforce, D.D., Lord Bishop of Winchester. By the same. 
 Sixth Thousand, revised. Crown 8vo., limp cloth, 5s. 
 
 A MANUAL OF PASTORAL VISITATION, intended for the Use 
 
 of the Clergy in their Visitation of the Sick and Afflicted. By a Parish Priest. 
 Dedicated, by permission, to His Grace the Archbishop of Dublin. Second 
 Edition, Crown 8vo., limp cloth, 3s. 6d. ; roan, 4s. 
 
 THE INNER LIFE. Hymns on the "Imitation of Christ," by 
 
 Thomas A'Kempis; designed especially for Use at Holy Communion. By the 
 Author of "Thoughts from a Girl's Life," &c. Fcap. 8vo., cloth, 3s. 
 
 SHORT READINGS FOR SUNDAY. By the Author of "Foot- 
 prints in the Wilderness." With Twelve Illustrations on Wood. Third Thou- 
 sand, Square Crown 8vo., cloth, 3s. fid. 
 
 A SERIES OF WALL PICTURES illustrating the New Testament. 
 
 The Set of 16 Pictures, size 22 inches by 19 inches, 12s. 
 
 COTTAGE PICTURES FROM THE OLD TESTAMENT. 
 
 A Series of Twenty-eight large folio Engravings, brilliantly coloured by hand. 
 The Set, 7s. 6d. 
 
 COTTAGE PICTURES FROM THE NEW TESTAMENT. 
 
 A Series of Twenty-eight large folio Engravings, brilliantly coloured. The 
 Set, 7s. 6d. 
 
 Upwards of 8,000 Sets of these Cottage Pictures have been sold. 
 
 TWELVE SACRED PRINTS FOR PAROCHIAL USE. Printed 
 
 in Sepia, with Ornamental Borders. The Set, One Shilling; or each, One Penny. 
 Upwards of 100,000 of these Prints have already been sold. 
 
 FABER'S STORIES FROM THE OLD TESTAMENT. With Four 
 
 Illustrations. Square Crown 8vo., cloth, 4s. 
 
 MUSINGS ON THE PSALM (CXIX.) OF DIVINE ASPIRA- 
 TIONS. 32mo., cloth, 2s. 
 
10 MISCELLANEOUS. 
 
 THE ELEMENTS OF PSYCHOLOGY. 
 THE ELEMENTS OF PSYCHOLOGY, ON THE PRINCIPLES 
 
 OF BENEKE, Stated and Illustrated in a Simple and Popular Manner by 
 Dr. G. Raue, Professor in the Medical College, Philadelphia ; Fourth Edition, 
 considerably Altered, Improved, and Enlarged, by Johann Gottlieb Dress- 
 ier, late Director of the Normal School at Bautzen. Translated from the 
 German. Post 8vo., cloth, 6s. 
 
 REV. CANON GREGORY. 
 
 APE WE LETTER THAN OUR FATHERS ? or, A Comparative 
 View of the Social Position of England at the Revolution of 1688, and at the 
 Present Time. FOUR LECTURES delivered in St. Paul's Cathedral. By 
 Robert Gregory, M.A., Canon of St. Paul's. Crown 8vo., 2s. 6d. 
 
 PROFESSOR GOLDWIN SMITH. 
 THE REORGANIZATION OF THE UNIVERSITY OF OXFORD. 
 
 By Goldwin Smith. Post 8vo., limp cloth, 2s. 
 LECTURES ON THE STUDY OF HISTORY. Delivered in 
 
 Oxford, 1859 — 61. Second Edition. Crown 8vo., limp cloth, 3s. 6d. 
 
 IRISH HISTORY AND IRISH CHARACTER. Cheap Edition, 
 
 Fcap. 8vo., sewed, Is. 6d. 
 
 THE EMPIRE. A Series of Letters published in "The Daily 
 News," 1862, 1863. Post 8vo., cloth, price 6s. 
 
 MRS. ALGERNON KINGSFORD. 
 
 ROSAMUNDA THE PRINCESS : An Historical Romance of the 
 Sixth Century; the Crocus, Water-reed, Rose and Marigold, Painter of 
 Venice, Noble Love, Romance of a Ring, and other Tales. By Mrs. Alger- 
 non Kingsford. 8vo., cloth, with Twenty-four Illustrations, 6s. 
 
 THE EXILE FROM PARADISE. 
 
 THE EXILE FROM PARADISE, translated by the Author of the 
 " Life of S. Teresa." Fcap., cloth, Is. 6d. 
 
 H. A. MUNRO-BUTLER-JOHNSTONE, M.P. 
 
 THE FAIR OF NIJNI-NOVGOROD. With a Map and Twelve 
 
 Illustrations. By H. A. Munro-Butler-Johnstone, M.P. Second Edition, 
 Fcap. 8vo., cloth, 5s. 
 
 THE TURKS : their Character, Manners, and Institutions, as bearing 
 on the Eastern Question. By H. A. Munro-Butler-Johnstone, M.P. 8vo., 
 sewed, Is. 
 
 VILHELM THOMSEN. 
 
 THE RELATIONS BETWEEN ANCIENT RUSSIA AND SCAN- 
 DINAVIA, and the Origin of the Russian State. THREE LECTURES de- 
 livered at the Taylor Institution, Oxford, in May, 1876, by Dr. Vilhelm 
 Thomsen, Professor at the University of Copenhagen. Small 8vo., cloth, 3s. 6d. 
 
 BERNARD BOSANQUET, M.A. 
 ATHENIAN CONSTITUTIONAL HISTORY, as Represented in 
 
 Grote's " History of Greece," critically examined by G. F. Schomann: Trans- 
 lated, with the Author's permission, by Bernard Bosanquet, M.A., Fellow 
 and Tutor of University College, Oxford. 8vo., cloth, 3s. 6d. 
 
ARCHITECTURE AND ARCHAEOLOGY. 11 
 
 THE PRAYER-BOOK CALENDAR. 
 THE CALENDAR OF THE PRAYER-BOOK ILLUSTRATED. 
 
 (Comprising the first portion of the " Calendar of the Anglican Church," with 
 additional Illustrations, an Appendix on Emblems, &c.) With Two Hundred 
 Engravings from Medieval Works of Art. Sixth Thousand. Fcap. 8vo., cl., 6s. 
 
 SIR G G SCOTT F S A 
 
 GLEANINGS FROM WESTMINSTER ABBEY. By Sir George 
 Gilbert Scott, R.A., F.S.A. With Appendices supplying Further Particu- 
 lars, and completing the History of the Abbey Buildings, by Several Writers. 
 Second Edition, enlarged, containing many new Illustrations by O. Jewitt and 
 others. Medium 8vo., 10s. 6d. 
 
 THE LATE CHARLES WINSTON. 
 AN INQUIRY INTO THE DIFFERENCE OF STYLE OBSERV- 
 ABLE IN ANCIENT GLASS PAINTINGS, especially in England, with 
 Hints on Glass Painting, by the late Charles Winston. With Corrections and 
 Additions by the Author. 2 vols., Medium 8vo., cloth, £1 lis. 6d. 
 
 REV. SAMUEL LYSONS, F.S.A. 
 OUR BRITISH ANCESTORS : WHO AND WHAT WERE 
 
 THEY? An Inquiry serving to elucidate the Traditional History of the Early 
 Britons by means of recent Excavations, Etymology, Remnants of Religious 
 Worship, Inscriptions, Craniology, and Fragmentary Collateral History. By the 
 Rev. Samuel Lysons, M.A., F.S.A., Rector of Rodmarton, and Perpetual Curate 
 of St. Luke's, Gloucester. Post 8vo., cloth, 5s. 
 
 M. VIOLLET-LE-DTJC. 
 THE MILITARY ARCHITECTURE OF THE MIDDLE AGES. 
 
 Translated from the French of M. Viollet-le-Duc, by M. Macdermott, Esq., 
 Architect. With 151 original French Engravings. Second Edition, with a Pre- 
 face by J. H- Parker, C.B. Medium 8vo., cloth, 10s. 6d. 
 
 JOHN HEWITT. 
 ANCIENT ARMOUR AND WEAPONS IN EUROPE. By John 
 
 Hewitt, Member of the Archaeological Institute of Great Britain. Vols. II. and 
 III., comprising the Period from the Fourteenth to the Seventeenth Century, 
 completing the work, £1 12s. Also Vol. I., from the Iron Period of the Northern 
 Nations to the end of the Thirteenth Century, 18s. The work complete, 3 vols., 
 8vo., £1 lis. 6d. 
 
 REV. PROFESSOR STUBBS. 
 THE TRACT "DE INVENTIONE SANCT.E CRUCIS NOSTRA 
 IN MONTE ACUTO ET DE DUCTIONE EJUSDEM APUD WALT- 
 HAM," now first printed from the Manuscript in the British Museum, with In- 
 troduction and Notes by William Stubbs, M.A. Royal 8vo., 5s.; Demy 8vo., 
 3s. 6d. 
 
 NORTHERN ANTIQUITIES. 
 
 THE PRIMEVAL ANTIQUITIES of ENGLAND and DENMARK 
 
 COMPARED. By J. J. A. Worsaae. Translated and applied to the illus- 
 tration of similar remains in England, by W. J. Thoms, F.S.A., &c. With 
 numerous Illustrations. 8vo., cloth, 5s. 
 
 OUR ENGLISH HOME: 
 Its Early History and Progress. With Notes on the Introduction of 
 
 Domestic Inventions. New Edition, Crown 8vo., cloth, 3s. 6d. 
 
 PARISH CHURCH GOODS IN BERKSHIRE, A.D. 1552. 
 Inventories of Furniture and Ornaments remaining in certain of the 
 Parish Churches of Berks in the last year of the reign of King Edward the 
 Sixth : Transcribed from the Original Records, with Introduction and Explana- 
 tory Notes by Walter Money, F.S.A., Member of Council for Berks, Brit. Arch. 
 Assoc, and Hon. Sec. of the Newbury District Field Club. Crown 8vo., limp 
 cloth, 3s. 6d. 
 
12 ARCHITECTURE AND ARCRMOLOQY. 
 
 JOHN HENRY PARKER, C.B., F.S.A., HON. M.A. OXON. 
 AN INTRODUCTION TO THE STUDY OF GOTHIC ARCHI- 
 TECTURE. Fifth Edition, Revised and Enlarged, with 1S9 Illustrations, 
 with a Topographical and Glossarial Index. Fcap. 8vo., cloth, 5s. 
 
 A CONCISE GLOSSARY OF TERMS USED IN GRECIAN, 
 ROMAN, ITALIAN, AND GOTHIC ARCHITECTURE. A New 
 Edition, revised. Fcap. 8vo., with 470 Illustrations, in ornamental cloth, 7s. 6d. 
 
 AN ATTEMPT TO DISCRIMINATE THE STYLES OF AR- 
 CHITECTURE IN ENGLAND, from the Conquest to the Reformation; 
 with a Sketch of the Grecian and Roman Orders. By the late Tijomas Rick- 
 man, F.S.A. Seventh Edition, with considerable Additions, chiefly Historical, by 
 John Henry Parker, C.B., F.S.A. , &c. 8vo. [Nearly ready. 
 
 DOMESTIC ARCHITECTURE OF THE MIDDLE AGES, with 
 
 numerous Engravings from Existing Remains, and Historical Illustrations from 
 Contemporary Manuscripts. By the late T. Hudson Turner, Esq. From the 
 Norman Conquest to the Thirteenth Century ; interspersed with Remarks on 
 Domestic Manners during the same Period. 8vo., cloth, £1 Is. A Reprint. 
 
 • FROM EDWARD I. to RICHARD II. (the Edwardian 
 
 Period, or the Decorated Style). By the Editor of "The Glossary of Archi- 
 tecture." 8vo., cloth, £1 Is. 
 
 Also, 
 FROM RICHARD II. to HENRY VIII. (or the Perpen- 
 
 dicular Style). With numerous Illustrations of Existing Remains, from Ori 
 ginal Drawings. In Two Vols., 8vo., £1 10s. 
 
 THE ARCHAEOLOGY OF ROME. By John Henry Parker, C.B. 
 Part 1. THE PRIMITIVE FORTIFICATIONS. Fifty-nine Plates. 
 
 21s. 
 
 Part 4. THE TWELVE EGYPTIAN OBELISKS. Eight Plates. 5s. 
 Part 5. FORUM ROMANUM ET MAGNUM. Second Edition, 
 
 Revised and Enlarged. Forty-one Plates. 10s. 6d. 
 
 Part 7. THE COLOSSEUM AT ROME. Thirty-six Plates. 10s. 6d. 
 
 Part 8. THE AQUEDUCTS OF ROME. Thirty-six Plates. 15s. 
 
 Parts 9 and 10. THE TOMBS IN AND NEAR ROME. Twenty- 
 four Plates. MYTHOLOGY IN FUNEREAL SCULPTURE, AND 
 EARLY CHRISTIAN SCULPTURE. Sixteen Plates. These Two Parts in 
 one Volume. 15s. 
 
 Part 11. CHURCH AND ALTAR DECORATIONS IN ROME, 
 
 Twenty Plates. 10s. 6d. 
 
 Part 12. THE CATACOMBS. Twenty -four Plates. 15s. 
 
 SEPULCHRAL CROSSES. 
 A MANUAL for the STUDY of SEPULCHRAL SLABS and 
 CROSSES of the MIDDLE AGES. By the Rev. Edward L. Cutts, B.A. 
 Illustrated by upwards of 300 Engravings. 8vo., cloth, 6s. 
 
 MEDJJEVAL BRASSES. 
 A MANUAL OF MONUMENTAL BRASSES. Comprising an 
 
 Introduction to the Study of these Memorials, and a List of those remaining in 
 the British Isles. With Two Hundred Illustrations. By the late Rev. Herbert 
 Haines, M.A., of Exeter College, Oxford. 2 vols., 8vo„ cloth, 12s. 
 
 ENGLISH COUNTRY HOUSES. 
 SIXTY-ONE VIEWS AND PLANS of recently erected Mansions, 
 Private Residences, Parsonage-Hous< s, Farm-Houses, Lodges, and Cottages 
 with Sketches of Furniture and Fittings : and A Practical Treatise on Plouse- 
 Building. By William Wilkinson, Architect, Oxford. Second Edition, 
 Royal 8vo., ornamental cloth, £1 5s. 
 
NEW AND STANDARD EDUCATIONAL WORKS. 13 
 
 THE ANNALS OF ENGLAND. An Epitome of English History. 
 From Cotemoorarv Writers, the Rolls of Parliament, and other Public Records. 
 A LIBRARY EDITION, revised and enlarged, with additional Woodcuts: 
 ■with a Recommendatory Note by the Regius Professor of Modern History, 
 Oxford. 8vo., half-bound, 12s. 
 
 THE SCHOOL EDITION OF THE ANNALS OF ENGLAND. 
 
 In Five Half-crown Parts. 1. Britons, Romans, Saxons, Normans. 2. The 
 Plantagenets. 3. The Tudors. 4. The Stuarts. 5. The Restoration, to the 
 Death of Queen Anne. Fcap. 8vo., cloth. 
 
 THE NEW SCHOOL - HISTOEY OF ENGLAND, from Early 
 
 Writers and the National Records. By the Author of " The Annals of England." 
 Sixth Thousand. Crown 8vo., with Four Maps, limp cloth, 5s.; Coloured Maps, 
 half roan, 6s. 
 
 A HISTORY OF THE ENGLISH CHURCH from its Foundation 
 to the Reign of Queen Mary. By M. C. Stapley. Fourth Edition, revised. 
 Crown 8vo., cloth boards, 5s. 
 
 POETARUM SCENICORUM GR^CORUM, JEschyli, Sophoclis, 
 
 Euripidis, et Aristophanis, Fabulae, Superstites, et Perditarum Fragmenta. Ex 
 recognitione GUIL. DINDORFII. Editio Quinta. Royal 8vo., cloth, £1 Is. 
 THUCYDIDES, with Notes, chiefly Historical and Geographical. 
 By the late T. Arnold, D.D. With Indices by the Rev. R. P. G. Tiddeman. 
 Eighth Edition. 3 vols., 8vo., cloth lettered, £1 16s. 
 
 JELF'S GREEK GRAMMAR.— A Grammar of the Greek Language, 
 chiefly from the text of Raphael Kiihner. By Wm. Edw. Jelf, B.D., late 
 Student and Censor of Ch. Ch. Fourth Edition, with Additions and Corrections. 
 2 vols. 8vo., £1 10s. 
 
 LAWS OF THE GREEK ACCENTS. By Jotjn Griffiths, D.D., 
 
 Warden of Wadham College, Oxford. Sixteenth Edition. 16mo., price 6d. 
 
 RUDIMENTARY RULES, with Examples, for the Use of Beginners 
 in Greek Prose Composition. By John Mitchinson, D.C.L., late Head Master 
 of the King's School, Canterbury, (now BishoD of Barbados). 16mo., sewed, Is. 
 
 TWELVE RUDIMENTARY RULES FOR LATIN PROSE COM- 
 POSITION : with Examples and Exercises, for the use of Beginners. By the 
 Rev.E.MooitE,D.D.,Principalof St. Edmund Hall, Oxford. SecondEdit.l6mo.,6d. 
 
 MADVIG'S LATIN GRAMMAR. A Latin Grammar for the Use 
 of Schools. By Professor Madvig, with additions by the Author. Translated 
 by the Rev. G. Woods, M.A. New Edition, with an Index of Authors. 8vo., 
 cloth, 12s. 
 
 ERASMI COLLOQUIA SELECTA: Arranged for Translation and 
 
 Re-translation ; adapted for the Use of Boys who have begun the Latin Syntax. 
 By Edward C. Lowe, D.D., Head Master of S.John's Middle School, Hurst- 
 pierpoint. Fcap. 8vo., strong binding, 3s. 
 
 PORTA LATINA : A Selection from Latin Authors, for Translation 
 
 and Re-Translation ; arranged in a Progressive Course, as an Introduction to 
 the Latin Tongue. By Edward C. Lowe, D.D., Head Master of Hurstpierpomt 
 School; Editor of Erasmus' "Colloquies," &c. Fcap. 8vo., strongly bound, 3s. 
 
 A GRAMMATICAL ANALYSIS OF THE HEBREW PSALTER ; 
 
 being: an Explanatory Interpretation of Every Word contained in the Book of 
 Psalms, intended chiefly for the Use of Beginners in the Study of Hebrew. By 
 Joana Julia Greswell. Post 8vo., cloth, 6s. 
 SUNDAY-SCHOOL EXERCISES, Collected and Revised from 
 
 Manuscripts of Burghclere School-children, under the teaching of the Rev. W. 
 B. Barter, late Rector of Highclere and Burghclere; Edited by his Son-in-law, 
 the Bishop of St. Andrew's. Second Edition. Crown 8vo., cloth, 5s. 
 
 A FIRST LOGIC BOOK, by D. P. Chase, M.A., Principal of 
 
 St. Mary Hall, Oxford. Small 4to., sewed, 3s. 
 
 NEW AND OLD METHODS OF ETHICS, by F. Y. Edgewoeth. 
 
 8vo., sewed, 3s. 
 
14 
 
 OXFORD POCKET CLASSICS. 
 
 A SERIES OF GREEK AND LATIN CLASSICS 
 
 FOR THE USE OF SCHOOLS. 
 
 GREEK POETS. 
 
 Cloth. 
 
 iEschylus 
 
 Aristophanes. 2 vols. . 
 Euripides. 3 vols. 
 
 Tragoediae Sex 
 
 s. d. 
 
 3 
 
 6 
 
 6 6 
 
 3 6 
 
 Sophocles 
 Homeri Ilias 
 
 Odyssea 
 
 GREEK 
 
 Aristotelis Ethica 
 Demosthenes de Corona, et ) 
 jEschines in Ctesiphontem J 
 Herodotus. 2 vols. 
 
 PROSE WRITERS. 
 
 2 
 2 
 6 
 
 Thucydides. 2 vols. 
 Xenophontis Memorabilia 
 Anabasis 
 
 LATIN POETS. 
 
 Horatius 
 
 Juvenalis et Persius 
 Lucanus 
 
 2 
 
 1 6 
 
 2 6 
 
 Lucretius 
 
 Phaedrus 
 
 Virgilius 
 
 LATIN PROSE WRITERS. 
 
 Csesaris Commentarii, cum Sup- 
 plementisAuliHirtiietaliorum 2 
 
 — — — Commentarii de Bello 
 Gallico ... .1 
 
 Cicero De Officiis, de Senectute, 
 et de Amicitia . . .2 
 
 
 
 Ciceronis Tusc. Disp. Lib. V. 
 
 Ciceronis Orationes Selectae . 
 
 Cornelius Nepos 
 
 Livius. 4 vols. » 
 
 Sallustius . 
 
 Tacitus. 2 vols. . . 
 
 Cloth. 
 s. d. 
 3 
 3 6 
 3 
 
 5 
 
 1 4 
 
 2 
 
 2 
 
 1 4 
 
 2 6 
 
 2 
 
 
 
 3 
 
 6 
 
 1 
 
 4 
 
 6 
 
 
 
 2 
 
 
 
 5 
 
 
 
 TEXTS WITH SHORT NOTES. 
 
 UNIFORM WITH THE SERIES OF "OXFORD POCKET CLASSICS." 
 
 GREEK WRITERS. TEXTS AND NOTES. 
 
 
 
 
 SOPHOCLES. 
 
 
 
 
 5. d. 
 
 S. 
 
 d. 
 
 A J ax ( Text and Notes) . 
 
 . 1 
 
 Antigone (Text and Notes) 
 
 . 1 
 
 
 
 Electra „ 
 
 . 1 
 
 Philoctetes ,, 
 
 . 1 
 
 
 
 GSdipus Rex ,, 
 
 . 1 
 
 TRACHINI.E „ 
 
 . 1 
 
 
 
 03dipus Coloneus „ 
 
 . 1 
 
 
 
 
 The Notes only, in one vol., cloth, 3s. 
 
 
 
 
 .ESCHYLUS. 
 
 
 
 Pers« (Text and Notes) . 
 
 . 1 
 
 Choephor.e (Text and Notes) 
 
 . 1 
 
 
 
 Prometheus Vinctus „ 
 
 . 1 
 
 EUMENIDES „ 
 
 . 1 
 
 
 
 Septem Contra Thebas „ 
 
 . 1 
 
 SUFPLICES „ 
 
 . 1 
 
 
 
 Agamemnon „ 
 
 . 1 
 
 
 
 
 The Notes only, in one vol., cloth, 3s. 6d. 
 
 ARISTOPHANES. 
 The Knights (Text and Notes) 1 | Acharnians (Text and Notes) 
 
 The Birds (Text and Notes) 
 
 1 
 
NEW SERIES OE ENGLISH NOTES. 
 
 15 
 
 EURIPIDES 
 
 s. d. 
 
 Hecuba {Text and Notes) 
 
 Medea 
 
 Orestes 
 
 Hippolytus 
 
 >> 
 
 s. d. 
 
 PhcenissjE {Text and Notes) . 1 
 Alcestis ,, .10 
 
 The above, Notes only, in one vol., cloth, 3s. 
 
 De Corona (Text and Notes) . 
 
 HOMERUS. 
 Ilias, Lib. i. — vi. (Text and 
 Notes) . . . . . 
 
 jESCHINES. 
 In Ctesiphontem (Text and 
 Notes) . . . . 
 
 Bacch.s: „ 
 
 DEMOSTHENES. 
 
 . 2 | Olynthiac Orations 
 
 XENOPHON. 
 Memorabilia (Text and Notes) 
 
 ARISTOTLE. 
 De Arte Poetica (Text and 
 
 Notes) . cloth, 2s. ; sewed 1 
 De Re Publica ,, 3s. „ 2 
 
 1 
 
 2 
 
 2 
 
 1 
 
 2 6 
 
 C 
 6 
 
 LATIN WRITERS. TEXTS AND NOTES. 
 VIRGILIUS. 
 1 I jEneidos, Lib. i. — in. (Text 
 
 Bucolica (Text and Notes) 
 Georgica ,, 
 
 Carmina, &c. (Text and Notes) 
 Satire „ 
 
 2 | and Notes) 
 
 HORATIUS. 
 
 Epistol^; et Ars Poetica (Text 
 
 1 
 
 2 
 
 1 
 
 and Notes) 
 
 The Notes only, in one vol., cloth, 2s. 
 
 SALLUSTIUS. 
 Jugurtha (Text and Notes) . 1 6 | Catilina (Text and Notes) 
 
 M.T.CICERO. 
 
 1 
 
 1 
 
 In Q. C^cilium — Divinatio 
 
 (Text and Notes) . . .10 
 In Verrem Actio Prima . 1 
 
 Pro Lege Manilia, et Pro 
 
 Archia . . . .10 
 
 In Catilinam 
 
 Pro Plancio (Text and Notes) 
 
 Pro Milone . 
 
 Pro Roscio 
 
 Orationes Philippicje, I., II. 
 
 The above, Notes only, in one vol., cloth, 3s. 6d. 
 
 De Senectute et De Amicitia 
 
 CjESAR. 
 De Bello Gallico, Lib. i. — in. 
 
 (Text and Notes) . . .10 
 
 LIVIUS. 
 
 Lib. xxi. — xxiv. (Text and Notes) 
 
 sewed 4 
 
 Ditto in cloth . . . .46 
 
 | EpistoLjE Selects. Pars I. 
 
 CORNELIUS NEPOS. 
 Lives (Text and Notes) . 
 
 PH,EDRUS. 
 Fabul-E (Text and Notes) 
 
 TACITUS. 
 
 The Annals. Notes only, 2 vols., 
 l6mo., cloth .... 
 
 1 
 
 
 
 1 
 
 6 
 
 ] 
 
 
 
 1 
 
 
 
 1 
 
 6 
 
 1 
 
 6 
 
 1 
 
 6 
 
 1 
 
 7 
 
 Portions of several other Authors are in preparation. 
 
 Uniform with the Oxford PocJcet Classics. 
 
 THE LIYES OF THE MOST EMINENT ENGLISH POETS; 
 WITH CRITICAL OBSERVATIONS ON THEIR WORKS. By Sa- 
 muel Johnson. 3 vols., 24mo., cloth, 2s. 6d. each. 
 
 THE LIYES OE MILTON AND POPE, with Critical Observations 
 on their Works. By Samuel Johnson. 24mo., cloth, Is. 6d. 
 
 CHOICE EXTRACTS FROM MODERN FRENCH AUTHORS, 
 
 for the use of Schools. 18mo. ; cloth, 3s. 
 
16 BOOKS, Sfc, RELATING TO OXFORD. 
 
 SELECTIONS from the RECORDS of the CITY OF OXFORD, 
 
 with Extracts from other Documents illustrating the Municipal History : 
 Henry VIII. to Elizabeth [1509—1583]. Edited, by authority of the Cor- 
 poration of the City of Oxford, by William H. Turner, of the Bodleian 
 Library; under the direction of Robert S. Hawkins, Town Clerk. Royal 
 8vo., cloth, £1 Is. 
 
 A HANDBOOK FOR VISITORS TO OXFORD. Illustrated with 
 
 numerous Woodcuts by Jewitt, and Steel Plates by Le Keux. A New Edition. 
 8vo., cloth, 12s. 
 
 THE OXFORD UNIVERSITY CALENDAR for 1879. Corrected 
 to the end of December, 1878. 12mo., cloth, 4s. 6d. 
 
 THE OXFORD TEN- YEAR BOOK : A Complete Register of Uni- 
 versity Honours and Distinctions, made up to the end of the Year 1870. 
 Crown 8vo., roan, 7s. 6d. 
 
 "WYKEHAMICA : a History of "Winchester College and Commoners, 
 
 from the Foundation to the Present Day. By the Rev. H. C. ADAMS, M.A., 
 late Fellow of Magdalen College, Oxford. Post 8vo., cloth, 508 pp., with 
 Nineteen Illustrations, 10s. 6d. 
 
 HISTORICAL TALES 
 
 Illustrating the Chief Events in Ecclesiastical History, British and Foreign. 
 
 29 Numbers at One Shilling each, limp cloth ; or arranged in 
 Six Volumes, cloth lettered, 3s. 6d. each. 
 
 ADDITIONAL VOLUMES TO THE SERIES, 
 ENGLAND : Mediaeval Period. Containing The Orphan of Evesham, or The 
 Jews and the Mendicant Orders. — Mark's Wedding, or Lollardy. — The White 
 Rose of Lynden, or The Monks and the Bible.— The Prior's Ward, or The 
 Broken Unity of the Church. By the Rev. H. C. Adams, Vicar of Dry Sand- 
 ford; Author of" Wilton of Cuthbert's," " Schoolboy Honour," &c. With Four 
 Illustrations on Wood. Fcap. 8vo., cloth, 3s. 6d. 
 THE ANDREDS-WEALD, or THE HOUSE OF MICHELHAM : A Tale of 
 the Norman Conquest. By the Rev. A. D. Crake, B.A., Fellow of the Royal 
 Historical Society ; Author of " jEmilius," " Alfgar the Dane," &c. With Four 
 Illustrations by Louisa Taylor. Fcap. 8vo., cloth, 3s. 6d. 
 
 CHEAPER ISSUE 0E TALES FOR YOUNG MEN 
 
 AND "WOMEN. 
 
 In Six Half-crown Vols., cloth. 
 Vol. I. contains F. E. Facet's Mother and Son, W'anted a W r ife, and Hobson's 
 Choice. 
 
 Vol. II. F. E. Paget's Windycote Hall, Squitch, Tenants at Tinkers' End. 
 Vol. III. W. E. Heygate's Two Cottages, The Sisters, and Old Jarvis's Will. 
 Vol. IV. W. E. Heygate's James Bright the Shopman, The Politician, Ir- 
 revocable. 
 
 Vol. V. R. King's The Strike, and Jonas Clint; N. Brown's Two to One, and 
 False Honour. 
 
 Vol. VI. J. M. Neale's Railway Accident ; E. Monro's The Recruit, Susan, 
 Servants' Influence, Mary Thomas, or Dissent at Evenly ; H. Hayman's Caroline 
 Elton, or Vanity and Jealousy. 
 
 Each Volume is bound as a distinct and complete icorTc, and sold 
 separately for Peesents. 
 
 <nn T> I (JL < 
 
GETTY CENTER LIBRARY 
 
 3 3125 00892 9438