A barb’rous Work up to a Wonder raise;
Let
…
All Works to Caesar’s Theatre give place,
This Wonder Fame above the rest does grace.
This imposing and conspicuous monument epitomized glory, power, and prosperity for the empire of
Nero Who? Long Live Vespasian!
Discussion on the origins of the Flavian amphitheater, later known as the Colosseum, mandates the accounting of the Flavian dynasty’s ascension after the death of the emperor Nero followed by eighteen months of civil unrest. With victory finally bestowed on Titus Flavius Vespasianus, or Vespasian, he ushered in an era of peace. Despite
Duality of Function of the Majestic “Eighth Wonder”
An emblem of a new political and social beginning, the Colosseum seamlessly harmonized its dual role, fulfilling its utilitarian purpose as an entertainment facility while also serving as a political theater cementing the imperial power-base. The Flavian amphitheater housed riveted audiences with dazzling spectacles calculated to impress and glorify its patron, whose presence lent additional excitement and awe to the occasion. An inescapable excitement of all senses encouraged the crowd to bask in intoxicating collective reactions to events unfolding on center stage. The inspiring structure and embellishments surrounded a rapt audience, brimming with delight and anticipation. The technical refinement and exorbitant expense spent on these ceremonies continually flattered and impressed the spectators. Enchanting melodies serenaded one’s ears; striking imagery mesmerized one’s eyes; and the immense system of awnings, the velarium, drifted the spectators to a deep aura of fantasy. How can the Romans stray from or even contemplate opposing the mighty yet generous emperor when he pampers them so? Such a sentiment rightly echoes the mindset of the Roman emperor in commissioning the spectacles in the Colosseum. He alone stood sober and in control amongst a people succumbed to a drunken stupor, heralding the great virtues of their ruler. The more successful and popular the entertainment, the more committed the allegiance of the Roman populace. The utilitarian quality of this amphitheater thus heightened its symbolic political function to manifest strong national fervor and loyalty to a new dynasty. The emperor, aristocrats, and commoners all seated and entertained in the same space inspired solidarity between the strata of social status, which helped to mold a national identity. Consequently, to begin understanding such a cleverly disguised form of propaganda of social and political appeasement, one has to examine the architectural intricacies of the Colosseum.
An Architect’s Exploration of Theater Technicalities
The magnificence of the enormous elliptical Colosseum abounds even in its modern ruined state. The entire building was built on a massive network of stable travertine piers to carry its tremendous weight. Seven vaulted concentric rings support the cavea, audience seating, and each contains eighty radial piers forming the framework of the edifice. The grand façade rose splendidly in three superimposed tiers of gradation arcades cumulating in a wall-like attic with small square windows.
The entire structure was crowned by a series of wood masts functioning to secure the velarium, a protection from the blazing sun or torrential rain. The tiers of arcades were adorned by applied Classical orders of engaged columns that followed a logical sequence: Tuscan on the lowest level, Ionic on the second level, Corinthian on the third level, and Corinthian plasters on the lofty attic. A rhythmically procession of distinct columns at each level and the divided seating in the cavea reflect the Roman’s preoccupation with imposing order, especially social order The rigid hierarchies of Roman society were accordingly reinforced within and without the confines of the amphitheater. Not solely a massive structure, the Colosseum was a political statement that declared the Flavian emperors’ commitment to the Roman social order.
The innovative design of the cavea reveals the rigid segregation, through seating arrangements, of social class within the Roman society. A firm and effective buttressing system, created through tiers of interlocking radial walls and concentric rings, supported the cavea and provided access to the arena stage and seating. The cavea was divided into five horizontal blocks: podium, ima cavea, media cavea, summa cavea, and the summum maenianum in ligneis. The social strata are thus physically separated. The different social divisions included the emperor and senators, the order of knights, the Roman citizens, the general male population (urban poor, foreigners, freed slaves, and slaves), and lastly women presumed “respectable” wives and daughters of Roman citizens (delegated to the shielded wooden seating beneath the colonnade of the attic gallery).
The fantastical labyrinthine web of radial passageways circling around the amphitheater facilitated movement and lent support to the architecture. The honeycomb structure of successively diminishing levels of radial passages and arches supported the cavea and also served as a means of circulation. The passageway beneath the seats permitted large groups of people to enter and leave the theater simultaneously.
Finally, one can progress to the centerpiece below ground, consisting of an area larger than the arena. The original wooden arena floor and metal barrier that once protected audiences are now gone, exposing a nightmarish maze of subterranean tunnels, passageways, and chambers meant for gladiators, beasts, staff, and machinery. The ends of the major axes had storerooms and an underground corridor leading to gladiatorial training camps. It does not take a skilled archeologist to reveal the conditions of packed sweating laborers toiling underneath the pounding of contests and hunts above. Although essential to maintain the game’s livelihood, it was a putrid, deafening, arduous, and demeaning line of work.
Let the Games Begin!
The official inaugural games of the Colosseum under the new emperor Titus in AD 80 opened with battles, beast hunts, and bloodshed that were rumored to have lasted a hundred days. The mortality rates at this bloodbath extravaganza are difficult to estimate. No reliable concrete figures for gladiator deaths exist, but animal slaughters is said to range from 5000 each day to 9000 in total. However, immense displays lasting countless days, such as the opening ceremony, were rare—albeit extensively glorified in history. Such spectacles often celebrated special anniversaries: the emperor’s birthday, a victorious military conquest, or the commemoration of a great predecessor. Reportedly, Trajan offered the biggest bloodbath ever recorded in the Colosseum, lasting 123 days with 11,000 animals slaughtered and 10,000 gladiators forced into combat. However, many performances at the Colosseum were not such bloody and deadly affairs as those sponsored by the emperors. Roman aristocrats, attempting to enhance their image, poured money into hosting public shows in the Colosseum. To prevent potential adversaries from diverting public favor and support with extravagant performances, emperors devised a limited repertoire of gladiators and beasts employable by the aristocrats. The shows were naturally subpar, even amateurish, compared to an imperial spectacle.
The gladiatorial combats were brutal and merciless. They usually fought in pairs, one to one, with umpires and trainers for supervision, stretcher bearers to carry off the wounded or dead, and a blacksmith and forge for on-site repairs. The victors were generously rewarded with fame and splendid gifts from the game’s sponsor, which eventually led to an honorable discharge. However, a defeated or wounded gladiator was at the mercy of a crazed crowd. They roared for him to be killed or spared, indicating their favor or derision with their thumbs, but the sponsor ultimately decided the man’s fate.
Gladiators were symbols of moral degradation in Roman society and considered the lowest of all classes in Roman literature. These marginal outsiders of society consisted of war captives, the poor and wretched, slaves, and men condemned for heinous crimes. A short life of danger, fear, and pain awaited most gladiators—although a lucky few gained fame and eventual freedom. Regardless of whether active military combat was engaged or not, the insatiable lust for war was replayed in the arena where military prowess found expression from imagination to reality through all the carnage.
The infatuation of witnessing spectacles involving animal hunts and slaughter resulted in a higher number of captive animal deaths than those of gladiator deaths. Slaying the exotic beasts vividly showcased Roman dominance over the worlds of both nature and man. The animals brought to the Colosseum ranged from bulls and bears to elephants, giraffes, hippopotamuses, and panthers. The animals were not only killed for sport, but also used to kill criminals and prisoners that are part of the arena’s shows. The popular image of sadistic excess was thus a product of a belligerent culture and a love for bloody spectacles.
Subliminal Intentions of the Principate
The political and social nature of the Colosseum was touched upon earlier as the perfect setting for the emperor to connect to his people. The structure was cleverly constructed and enclosed a world of its own, uniting elites and commoners to enjoy the shows. It was a magnificent site for the emperor to demonstrate his power and rally his people behind his banner of supremacy and generosity. Of course, the Roman people had their share of fond fantasies of exercising their collective influence in front of the emperor through rhythmical chants of “let live” or “let die” with regards to a defeated gladiator. To be heard was a form of accessibility for the Roman people to their state’s decisions. However, such beliefs in the power of chants within the Colosseum were mostly delusions of the public having some power over royal decisions.
The Colosseum was so much more than just a public entertainment facility. It was a political theater where the emperor gauged his popularity and support through the cheers of an enthusiastic mob seduced by violence, sporadic gifts from the emperor, and a thrilling ambiance. A grateful and obedient crowd sometimes chanted for more or for the end of a battle, rendering a unified and powerful Roman people. It was a crucial part of political life for the Romans to see and been seen in the Colosseum, and the emperor understood this well.
The Colosseum became one of the main devices used to judge the emperor’s quality and worth in ruling the vast
Despite all his generosity, the emperor still risked being upstaged by the inferior gladiators, sometimes stars of the shows. Amid the scrutiny of Roman citizens, the emperor vied for popular attention against the performers. The Colosseum hence portrayed the emperor as the benefactor of lavish public entertainment, yet such an image was not easily won.
The Colosseum was not so much a demonstration of Roman solidarity as much as it was a subtle display of social and political fissures and conflicts. The perpetual antagonism between the senate and emperor is entrenched deep within Roman history. Yet, there they sat together on the same block, facing off as in a duel across from the Colosseum. The two conflicts—on stage of warrior versus beast, and off stage of emperor versus senate—were continually intertwined. Consequently, the Colosseum spotlighted the dramatic political disputes of the emperor and his opponents for the public to witness.
The Curtains Finally Fall
The Colosseum truly deserves its status as an ancient wonder. This expansive monumental enterprise commissioned under a new dynasty by Vespasian was a perfectly calculated political and social endeavor designed to manifest solidarity and forge a distinctly Roman identity. The games stimulated the senses of spectators, creating a state of fanaticism. Entranced by the arena’s deadly battles and flattered by the emperor’s generosity, the Roman people become docile puppets and the emperor their brilliant puppeteer. The more lavish the emperor’s spectacles, the more he garners public support and devotion. He bribes his people to secure his authority.
By grasping the history of the Colosseum, one begins to embark on a journey to fully understand the compelling legacy of an ancient civilization that continues to influence modern society. The massive architecture more than achieved its utilitarian purpose of entertainment. The innovative designs and sheer size of the structure showcased to the entire Mediterranean world the power, creativity, and unity of
The assembly of the emperor’s subjects in a common space encouraged communal spirit and local identity within the vastness of
Modern Interpretations
The Colosseum continues to stand imposing and majestic, luring artists, visitors, students, and collectors from across the world. The notoriously mythical and sophisticatedly primitive ambience of this amphitheater nestled in the backdrop of ancient Roman architecture elicits feelings of intrigue, respect, and amazement. This building receives both ancient and modern audiences but for different purposes. Ancient crowds packed the cavea to witness morbid scenes of violence for entertainment, but modern tourists explore the structure for its historical significance.
A contradiction of feelings arises for modern visitors of the Colosseum. Most would naturally admire the grandeur and technical achievements of constructing such a monument. However, some may deplore the violence, cruelty, and bloodshed of the amphitheater’s spectacles. Are people epitomizing the greatness of the Colosseum as an ancient “eighth wonder” and simultaneously decrying its bloody purpose? How different was the Roman society from today’s? Are we entitled to make such judgments when modern day boxing matches demonstrate comparable degrees of violence? Modern cinemas host a vast selection of popular actions films with extreme scenes of violence that draw millions of audiences worldwide. Violence is everywhere: in movies, news, video games, and streets. By questioning the morality of the Roman’s reactions to the violence, people subconsciously question the nature of their humanity. Would I react similarly when confronted with such a form of entertainment? Nevertheless, the technical, social, and political accomplishments of the Colosseum never cease to amaze ancient and modern audiences, forever glorifying the ingenuity and might of the emperor and his empire.
Reflections
The Colosseum was the great arena that held gladiatorial combats and beast hunts. That basically describes the extent of my knowledge of this renowned structure prior to my research. Through my in-depth exploration into the history, architecture, social and political institutions behind the events in the amphitheater, I can now truly appreciate this masterpiece. The Colosseum used as a tool for social and political propaganda was especially intriguing. Never before did it occur to me that emperors erected and held events at such a monument to cement their power. The fact that no other amphitheater of comparable size was ever constructed before the Colosseum and that none gathered and contained such massive amounts of people amazed me. I begin to question its purpose. Through my curiosity, I enjoyed learning about how the emperors achieved their fame and popularity by sponsoring spectacular games. Not only are the political aspects interesting, the process of the games and the people involved are equally fascinating. To understand and appreciate the beauty of a monument one has to understand its achievements and purposes. This statement could not be more true in my admiration for the Colosseum.
Bibliography
Beacham, Richard C. Spectacle Entertainments of Early Imperial
Beard, Mary, and Keith Hopkins. The Colosseum.
Bomgardner, David L. The Story of the Roman Amphitheatre.
http://depts.washington.edu/arch350/Assets/Slides/Lecture25.gallery/index.htm
Welch, Katherine E. The Roman Amphitheatre: From Its Origins to the Colosseum.
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