DOI Page / Citation link:
https://doi.org/10.11588/diglit.61387#0122
70
THE RUINS OF POMPEII.
visible with their outer corridors opened with arcades. The entrances in the
wall are upon a level with the second cavea, from which staircases ascended
to that above. The large square mass of building before the theatre is
thought to have been a reservoir. The modern house at a little distance be-
o
hind the theatre on the left and the trees near it stand on a part of the
town which has not yet been excavated. Beyond is the country through
which the Sarno flows, and the background is filled by Mount St. Angelo.
Of the interior of the theatres we can give no views. They are, however,
in a very tolerable state of preservation, and convey a good idea of the
arrangement of such buildings in ancient times. The smaller one which
adjoins the greater theatre, and with which there is a communication, is
thought to have been intended for musical performances—a sort of opera-
house—and with that view to have been roofed over. It would contain about
fifteen hundred persons. The theatres were built on the side of a hill, so
that in the great one the audience could enter on a level with the upper
gallery and thus descend to their seats. It was a custom of the Greeks to
select a hill side for their theatres; and this leads us to imagine that those of
Pompeii were originally of Greek construction, though afterwards slightly
altered to suit the customs of the Roman drama. Such a method of con-
struction offered two advantages; it saved expense in the building, and
it enabled the audience to enjoy an extensive prospect. In this last respect
perhaps the Greek theatre at Taormina, between Messina and Catania in
Sicily, is unrivalled. Standing nearly a thousand feet above the sea, with
TEtna at its back, the view on all sides is magnificent. The ruins, too, and
especially the scene, are in a very perfect state. These, however, appear to
be Roman though erected on an originally Greek foundation. From the
theatre at Pompeii may also be enjoyed an extensive prospect, bounded in
the distance by Mount St. Angelo.
A large quadrangular enclosure behind the theatres is by some supposed
to have been a barrack; by others, with more probability, a ludus gladiatorius^
or quarters for gladiators. The frequent exhibition of gladiatorial combats at
Pompeii, as appears from inscriptions, must have required a great number of
gladiators to have been kept there, and the place in question would have been
by no means too large for the purpose. Its destination, however, is better
shown by the gladiatorial arms that have been found here, while none of the
ordinary military weapons have been discovered. Among the articles found was
a bronze helmet enriched with bas-reliefs, the subjects of which related to some
THE RUINS OF POMPEII.
visible with their outer corridors opened with arcades. The entrances in the
wall are upon a level with the second cavea, from which staircases ascended
to that above. The large square mass of building before the theatre is
thought to have been a reservoir. The modern house at a little distance be-
o
hind the theatre on the left and the trees near it stand on a part of the
town which has not yet been excavated. Beyond is the country through
which the Sarno flows, and the background is filled by Mount St. Angelo.
Of the interior of the theatres we can give no views. They are, however,
in a very tolerable state of preservation, and convey a good idea of the
arrangement of such buildings in ancient times. The smaller one which
adjoins the greater theatre, and with which there is a communication, is
thought to have been intended for musical performances—a sort of opera-
house—and with that view to have been roofed over. It would contain about
fifteen hundred persons. The theatres were built on the side of a hill, so
that in the great one the audience could enter on a level with the upper
gallery and thus descend to their seats. It was a custom of the Greeks to
select a hill side for their theatres; and this leads us to imagine that those of
Pompeii were originally of Greek construction, though afterwards slightly
altered to suit the customs of the Roman drama. Such a method of con-
struction offered two advantages; it saved expense in the building, and
it enabled the audience to enjoy an extensive prospect. In this last respect
perhaps the Greek theatre at Taormina, between Messina and Catania in
Sicily, is unrivalled. Standing nearly a thousand feet above the sea, with
TEtna at its back, the view on all sides is magnificent. The ruins, too, and
especially the scene, are in a very perfect state. These, however, appear to
be Roman though erected on an originally Greek foundation. From the
theatre at Pompeii may also be enjoyed an extensive prospect, bounded in
the distance by Mount St. Angelo.
A large quadrangular enclosure behind the theatres is by some supposed
to have been a barrack; by others, with more probability, a ludus gladiatorius^
or quarters for gladiators. The frequent exhibition of gladiatorial combats at
Pompeii, as appears from inscriptions, must have required a great number of
gladiators to have been kept there, and the place in question would have been
by no means too large for the purpose. Its destination, however, is better
shown by the gladiatorial arms that have been found here, while none of the
ordinary military weapons have been discovered. Among the articles found was
a bronze helmet enriched with bas-reliefs, the subjects of which related to some