AM'PHITHE'ATRE ( Gk. cilicpthiarpor, amphitheatron, a double theatre, from apoi, amphi, on both sides + etarpor, theatron, theatre). An architectural structure invented by the Romans for exhibiting gladiatorial combats, fights of wild beasts, and other spectacles. These contests were at first given in the Roman Forum, within hastily contrived wooden scaffoldings, or in the Circus. But in 59 B.C., Curio, wishing to surpass all his predecessors in the sumptuous ness of his shows, erected two wooden theatres, back to back, where dramatic performances were given simultanconsly; and when these were over the two theatres were made to revolve and close up. Their tiers of seats inclosed an arena suited for the contests which then followed. Perhaps the model was found in the cities of Campania; for Pompeii had an amphitheatre as early as 70 Caesar first erected, in 46 B.C., a permanent structure of this kind in wood, and it was called amphitheatre, from its shape, or theatram vena to•ium or "theatre of the chase," from the kind of contests held in it. Still, combats of gladia tors and wild beasts continued to be given in the Circus and the Forum. In 30 B.C., under Augustus, Statilius Taurus built the first am phitheatre that was partly of stone, in the Campus Martins: it remained the only one in Rome not entirely of wood until the erection of the Coliseum by Vespasian, whose son and suc cesso•, Titus, dedicated the edifice in SO A.D. Even the upper part of the Coliseum itself was originally of wood until the restoration, after a great fire, in 223. The example of Rome was followed by all the cities of any im portance throughout the Empire, where the love of bloody sports, so repugnant to the Greeks, spread rapidly. Amphitheatres were erected throughout Italy and Sicily (Verona, Puteoli, Capna. Pola, Syracuse, Pompeii, etc.), Spain (Tarragona, Italica), France (Arles, Nimes, Bor deaux. Saintes, etc.), England (Silchester, Ciren Germany, North Africa (El-Jemm),Asia Minor (Pergamum, Cyzicus) , Greece (Corinth, Sparta.) The ruins of almost a hundred have been found. Those that are well preserved are among the finest remains of Roman architec ture. Whenever possible, the natural lay of the ground was utilized to save expense, by cutting part of the seats in the natural rock and using the hillside as an incline. But in most cases the amphitheatres were entirely free-standing struc tures of elliptical shape, built of brick, stone, and marble. The Coliseum at Rome seated 87, 000 persons, according to a document of the fourth century; but Hillsen believes that there were that number of running feet of benches, and that only about 50,000 persons could be seated. Its greatest length is 616 feet, its greatest breadth 510 feet. Several others are of about the same size, as, for example, those at Pozzuoli, Capua, Italica, Verona, Tarragona, El-Jemm. The exterior wall of the Coliseum, IGO feet high, was divided into four stories; the three lower ones consisted of a series of arcades framed by architraves and pilasters, the lowest, Tuscan Doric; the second, Ionic; the third, Corinthian, according to a common Roman usage. The
upper story was broken merely by windows and pilasters, as well as by the high masts to support the awnings. The lower arcades served as entrances; four were main entrances; sev enty-six were numbered entrances leading to the staircases. The arcades of the second and third stories opened on the covered promenade galleries, passage-ways, and staircases. To the upper story were fastened the great awnings, which protected the spectators from the sun when necessary. Other amphitheatres vary, from two stories at Nimes, to three at Verona, three and a basement at Pohl, to four at El Jemm. The arrangements were as follows at the Coliseum: There were four tiers, or stories, of seats, forming the can:a, and corresponding to the four external stories. Under their founda tions were five concentric corridors communicat ing with the staircases; and the raking vaults that support the seats and staircases are one of the most superb and impressive parts of the structure. The interior of the eavea, or place for the spectators, had three sections: the lower one, or podium, with the seats and thrones of honor; the wenianu, or lines of steps for the seats; the po•tieux, or portico. The podium was a platform immediately above the arena, reserved for the Emperor and other persons of greatest distinction, and crowned w ith special boxes and balconies. The maniana were in three horizontal sections, where the spectators could be seated according to their rank; the equestrian order in the lower, the citizens in the middle, and the general populace in the upper section. Ordi narily, the women were obliged to be satisfied with the highest places under the portico. Each row of seats was numbered and the places chalked. A large personnel kept order. The central space, measuring 280 by 176 feet, in which the contests took place, was called the arena and was encircled by a low wall to protect the podium from the wild beasts. Under it was an elaborate system of substructures, not only for under-draining, but also for housing men and animals, with wells, windlasses, and inclined planes for hoisting the animals, and other means of communicating with the arena—such as the romitorna—and with the outside—such as pas sages to the imperial palaces. Especially inter esting is a row of beasts' dens following the oval outline of the arena above. The Coliseum has not preserved its seats; those at Verona and Nimes have. Neither is the entire circuit of outer wall as well preserved in the Coliseum as at these cities or at Pola. At Capua and Pozzuoli the sub structures of the arena are in perfect condition. Consult: Friedlilnder, Sittengeschichte Roms ( Leipzig, 1881-00) : De Ruggiero, Ditionario epi vralieo (Rome, 1887-93) ; :Middleton, Remains of _Irv-lent Rome (London, 1892) ; Daremberg and Saglio, Dirt ionnaire des antiquih's greeques et Romaines (Paris, 1881-92), and Baumeister, Denk»thIcr des klass4sehen Allerthums (Munich, 1885-8S).