in Ancient Architecture, a building of an elliptic form, of two or more stories of open arcades, with a number of interior galleries and arched passages, which served both as a communication and support to several rows of seats which rose above each other, and were arranged round a large space called the arena. The derivation of the word amphitheatre indicates that it is a place where the spectators, circuitously arranged, saw the performance equally well on all sides.

The history of amphitheatres is of considerable importance, in consequence of its connection with ancient manners. These structures owed their origin to the barbarity of the ancients, and their ruin to the humanity of the moderns. They are the production of Roman invention in the last ages of the republic. The Romans were immoderately fond of every amusement of a bloody and horrible nature. Their rulers encouraged this general feature in the Roman character, to rouse and foster that martial spirit which rendered them masters of the world. After the Samnite wars had extended the Roman sceptre over the whole peninsula of Italy, the first gladiatorial conflicts were exhibited in Rome in the year B.C. 260. Lucius Metellus brought into the circus the elephants which were part of the spoil of the Carthaginians, in the year 252, and this proved the introduction of wild beasts into the spectacles of Rome. This addition was equally agreeable to the Roman taste; and those who courted the popular favour vied with each other in entertaining the people in this barbarous manner. This soon gave birth to a profession of men denomi- nated gladiators, who were trained to the combat, and for reward slaughtered one another in the arena, whilst every savage animal which the wilds of Asia or Africa produced added to the horrors of the scene.

In the days of Pompey and Caesar these barbarous amusements were given with an astonishing profusion. In the games given by Pompey, the elephants attempted to break down the barrier between them and the people; this circumstance, and the form of the circus not enabling all the spectators to have a full view, induced Caesar to alter the original form, and construct edifices where the people might be entertained without danger or interruption. Amphitheatres were suited to this purpose; they were therefore adopted, and became the common place for the exhibitions both of gladiators and wild beasts.

It is supposed that the first amphitheatre was composed of those singular machines, formed by Cains Curio, for the games which he presented among the funeral honours of his father. Cains constructed, in a semicircular form, two contiguous wooden theatres, moveable on wheels, first placed back to back; and the people having been amused in these the one-half of the day, they were then wheeled round, forming one spacious theatre, where the gladiators contended during the remainder of the day. Pliny is the only writer who makes mention of this amphitheatre; and from his account it is difficult to ascertain whether this was the first idea of an amphitheatre, or whether the previous sight of one had suggested this huge and wonderful structure. It is said that Julius Caesar, a few years after, formed a hunting theatre of wood; and, in consequence of the circular position of the seats, it obtained the name of an amphitheatre. This appears to have been of a very superior kind, and in great estimation.

In the reign of Augustus, Statilius Taurus erected one of stone, but it seems to have been seldom used; and, from its being consumed by fire in the time of Nero, it is evident that it was not wholly of stone. These wooden buildings appear to have been generally temporary, but a few of them permanent, from the endowment bestowed upon them. The politic spirit of Augustus induced him to erect several of these; and Caligula began one, which he left unfinished. Nero formed a large and spacious one, the building of which is said to have occupied a year. Herod of Judaea erected amphitheatres both in Jerusalem and in Caesarea. During the reign of Tiberius, one was built at Fidene, which Tacitus informs us fell while the games were performing, killing or injuring about 50,000 persons. There was another at Placentia, reported to have been the most spacious in Italy; but it was destroyed by fire in the contest between Vitellius and Otho.

The unfortunate accidents which happened to these wooden buildings led to the construction of others of a more strong and durable nature, where the crowd might be entertained without danger. This honour was reserved to Vespasian and Titus. In his eighth consulate the former began the amphitheatre, which the latter finished during his reign. It is said that the expense of this building would have erected a metropolis, and it is deservedly esteemed one of the most celebrated edifices of ancient times. Dio says that 9000 wild beasts were destroyed at the dedication of this huge building, but Eutropius restricts their number to 5000. After the hunting of these ferocious animals was ended, the arena was instantly filled with water, and sea animals were made to contend, and a sea-fight exhibited. This immense building obtained the appellation of the Coliseum or Colosseum.

This amphitheatre became the model of other amphitheatres throughout the empire. Compared with the original model, these were natural valleys, with seats formed in the surrounding heights similar to the amphitheatre at Corinth. On the declivity of two hills seats of stones were sometimes placed, and the extremes formed by regular works of stone. Of this kind was that of Gortyna in Candia. One in the vicinity of Sandwich in Kent had its benches formed of turf; and similar must have been those amphitheatres which were formed along with the camps and military stations of the Roman soldiers.

When Christianity became the religion of the empire, it ameliorated the dispositions of the Romans, and induced them to lay aside this barbarous custom. Constantine the Great terminated the gladiatorial combats in the East during his reign; but they were not finally abolished at Rome until the beginning of the fifth century, in the reign of Honorius. The combats of wild beasts continued, however, some time longer; but during the progress of the fifth century these gradually declined, until they were finally abolished, and the amphitheatres were abandoned to the ravages of time and accident. During the middle ages they were sometimes employed for judicial conflicts, tilts, and tournaments; but these practices having been discontinued, the amphitheatres experienced universal neglect and ruin.

It is scarcely possible to give a clear idea of the manner in which such immense crowds of people were seated and arranged, and how they had a convenient entrance and exit. It has already been mentioned, that these buildings were circuitous, and that the exterior circuit was composed of two or more stories of arcades; and it may now be added, that the number of these stories varied according to the nature of the building. A corresponding number of arched passages and staircases opened upon the ground floor towards these stories, in the direction of radii towards the arena. These communications were again intersected by arched passages, which encircled the whole structure, and afforded an uninterrupted entrance to every part of the amphitheatre. Sometimes an intermediate gallery surrounded the whole in the centre of the fabric, and served as a common place of resort to all the stairs which led to the higher galleries. This was the form of one at Nismes. Sometimes each staircase had its distinct communication by itself. Such was the case with one at Verona.

The four radiating entries on the diameter were usually more capacious; and by the two principal of these the emperor, the senate, and other persons of distinction, were conducted to their seats on a place which was called the podium. The other two led to the arena, and by these the gladiators and beasts made their entrance. The various ranks of the people passed by the staircases, which led to their respective seats. The doors which opened from the staircases were called vomitories, and varied in magnitude, according to the extent of the amphitheatre and the number of exterior arches. The number of seats between the several vomitories was unequal, and seems to have been subject to no positive regulation. These benches were about one foot and eight inches in height, and about two feet four inches in breadth. A platform four feet eight inches broad was formed of one of these benches, which served as a circular communication to the whole building. These obtained the name of precinctions, and the boundaries on the side were called belts. The latter were surrounded by balustrades, to protect the persons from falling who occupied the benches in the vicinity. The podium was more spacious than the precinctions, and was a platform encircling the arena. From one precintion to the belt of another, a flight of stairs two feet six inches in breadth descended opposite to every vomitory. Small canals were cut in the tops of the benches, by which the rain and urine were conducted from bench to bench, until they reached the instruments prepared to convey them to the drains below. These stairs radiated from the highest bench to the podium; so that, with the precincts, they separated the whole cavity into wedge-like divisions (cunei), which the people occupied according to their rank.

The amphitheatre called the Coliseum was of an elliptical form, whose longest diameter was about 581 Italian feet, and the shortest 481. The length of the diameter of the arena was about 285 feet, and the breadth 182, reserving a space for the seats and galleries of about 157 feet in breadth. The external circumference inclosed a superficiality of above five acres and a half, and could scarcely be included in a parallelogram of seven acres. Three stories of arcades, adorned with columns of the Doric, Ionic, and Corinthian orders, and inclosed with a pilasterade of the Corinthian order, composed the external elevation. The first story rose about four feet from the ground, and the pavement supported the bases of the columns. The columns which supported the upper stories were placed upon pedestals. A stylobate supported the pilasterade, in which were the windows of an intermediate gallery, and in every second interpillar was a window to illuminate the highest gallery. A cantilever cornice, perforated with square holes, through which the erect pieces of wood passed that supported the awning to a range of corbels, about the centre of the pilasterade, crowned the building. These various columns, pilasters, and stories, appear to have been continued without interruption around the whole edifice. The height of the first story was about 30 feet, the second 38, and the third 38; the pilasterade about 44; and the whole, including the blocking course and the steps, was 157 feet in height. The external circumference of the whole building is 1641 Italian feet.—See Marchese Guiseppe Melchiorri.

An ellipse of 80 open arches formed the exterior circuit of the ground plan; the piers, with three-quarter columns in front, of about 2 feet 10 inches diameter. The four which correspond to the four above-mentioned semi-diameters, were about 14 feet 2 inches, and 76 of the arches were about 13 feet 8 inches. These arches led to a large double corridor, that encircled the whole; this corridor is a magnificent and distinguishing feature in the Coliseum theatre. Square openings in the precintion above illuminated the interior corridor; and the corridor which was united with the wall of the podium appears to have been illuminated in a similar manner. A double corridor was seen on the floor of the second story, directly above the corridor of the lower floor, and an interior corridor which sent forth stairs leading to a range of vomitories on the one hand, and on the other hand an intermediate corridor which formed a mezzanine floor above the double corridor of the interior circuit. Here the stairs began to ascend to the next story, and square holes in the upper floor illuminated this gallery. A double corridor formed the third story, and it appears that here the stairs commenced that led to the galleries above. There were also some windows in the interior wall, and vomitories which opened to the uppermost cunei of benches. In a similar manner were other three stories constructed and filled above; the whole composing a most magnificent and spacious structure.

Justus Lipsius supposes that this amphitheatre was capable of containing 87,000 spectators on the benches; and Fontana adds 22,000 for the galleries and other passages. Upon a fair calculation it appears, that if fully crowded, it might contain about 80,000. This magnificent structure astonishes by its vast size, and the adaptation of its various parts to the intended use. When this amphitheatre was in its glory, and crowded with Romans, the sight must have been magnificent and striking. If the report be accurate that it was completed in two years and nine months, it affords an astonishing instance of Roman vigour and persevering industry. Besides former depredations, Michael Angelo removed nearly one-half of the external wall to build the Palazzo Farnese. To prevent these depredations, Pope Benedict XIV. consecrated these ruins, and erected several altars, which were much frequented on the Sundays and Fridays, before the revolution in France. To guard these relics, a hermit was stationed in a small dwelling near the centre.

The different kinds of amusement have already been cursorily alluded to. Gladiators contended together, or entered the lists with wild beasts. These wild animals were hunted or encountered, or left to devour each other, according to the humour of the times, or the taste of him who gave the entertainment. It appears also, that criminals were sometimes forced to fight with these ferocious creatures, for the entertainment of the people of Rome; and, in the dawn of Christianity, many of the Christians suffered death in this brutal manner. It is also reported, that artificial mountains were sometimes constructed with caves below, from whence these devouring animals rushed forth to attack their prey.

Information concerning the laws that regulated the amphitheatre is rather scanty; but the following are among the number. In the centre of one side of the podium was the emperor's seat, called the sugestum, and highly adorned. The remainder of the podium was occupied by senators; and when this space was not sufficient, several of the adjacent wedges were appropriated to the other senators and to persons of distinction. The equites, and the civil and military tribunes, had their places next assigned them. From this order both the liberti and the legati were excluded. The married men sat by themselves. The young men were also arranged by themselves, and their tutors sat near them to observe their conduct. The attendants and servants occupied the highest gallery. The vestals had special seats, and frequently the princesses and ladies of distinguished rank sat along with them. The front of the gallery was assigned to the women, who were placed on chairs; and the lowest order of the people stood behind them. It appears, also, that for the better accommodation of the people, the different tribes had particular cunei allotted to them. It is also proper to remark, that the arrangement in the different provinces was different from that of Rome, as circumstances varied. The general direction of the amphitheatre was under the care of an officer, named villicus amphitheatri; and different officers, who were called locarii, had the direction of the cunei. By carefully preventing any person from occupying a place to which he was not entitled, all confusion was prevented, and strict order maintained.

The means used by Pope Benedict to preserve the Coliseum at Rome have already been mentioned. Of one which was erected at Verona, only four arches of the external circuit remain. These consist of three stories of about 90 English feet. The building otherwise is almost entire. The whole building was erected without cement, and joined and secured by iron cramps, overlaid with lead. The superficiality is about four acres and nearly one-third. One erected at Nismes has suffered much dilapidation; but the remains are yet worthy of the attention of the traveller. At Pola in Istria, there are the remains of an amphitheatre built on the declivity of a hill. It was erected of stone, with cramps of iron. The amphitheatre of Italica, 4 miles from Seville in Spain, is much ruined. The walls are immensely thick, and contain within them an arched passage 16 feet wide, into which the comitioria opened. The diameter measures 300 feet by 195 feet.