Our next stop takes us more than 200 kilometers south of Rome to Pompeii. Situated along the bay of Naples, the ancient city is well-known thanks to the legacy of the infamous Mount Vesuvius. The volcano erupted in 79 AD, covering the city in ash and preserving its architecture for posterity.
Among the remnants of the city are an amphitheater predating the Colosseum, which is considered to be the most ancient amphitheatre to survive today. Built in 70 BCE, it could seat 20,000 spectators.
The seating area, or cavea, was separated from the arena by a parapet decorated with frescoes of gladiatorial scenes. Along the cavea, inscriptions survive that name the magistrates who sponsored the construction of the steps.
The amphitheatre once hosted gladiatorial games, which likely set a precedent for later games in the city of Rome. However, the space was also used to stage other spectacles like animal hunts and public executions.
In 59 AD, Tactitus tells us that a fight broke out in this very amphitheatre between the people of Pompeii, and a nearby settlement, Nuceria. The fight is depicted in this fresco from the house of Actius Anicetus.
At a gladiatorial show, spectators were throwing stones and taunting their opponents. Swords were drawn, and the infamous fight ensued. The Senate investigated the incident and chose to suspend spectacles for ten years. After a destructive earthquake in 62 AD, Nero had reopened the amphitheatre, perhaps to console the people.
The fresco captures the velarium, or awning, extended over the stadium. The velarium could be opened to protect spectators from the elements. Curiously, the fresco incorrectly captures the amphitheater by depicting it with eleven arches under the front staircases. However, the structure only has six.
Moving westward, we find Pompeii's gladiator barracks situated behind the large theatre. 74 Doric tufa columns surround a spacious courtyard. The space was formerly used as a place for the theatre's spectators to roam during breaks in the performance.
After the eruption of 62 AD, the structure's function was changed to host gladiators. Chambers along the exterior of the courtyard likely functioned as bedrooms.
Excavations of the barracks have unearthed human remains, surviving gladiator equipment, and ceremonial weaponry used in pre-battle parades.
Surviving graffiti from Pompeii often features gladiatorial subjects. This graffito depicts a gladiator in action carrying his oblong shield, a distinctive helmet, and greaves.
Similar examples of gladiatorial equipment have survived. This bronze helmet and set of greaves feature mythological scenes and depictions of gods like Zeus and Posideon, who were perhaps invoked for their strength.
The helmet includes a dense grated cover to protect the gladiator's eyes during combat. The scale-like protrusion from the top of the helmet indicates a specific type of gladiator: the murmillo.
Pompeii has two theatres, termed the small and large theatres, respectively. The small theatre is depicted in the image above and the large theatre below.
According to an extant inscription, the small theatre, or odeon, was built in 79 BCE. The building was constructed with the intention of hosting miming performances, the most popular genre of theatre at the time. However, it could also be used for musical performances. Approximately 1000 spectators could be seated within.
The structure was built with colorful marble, and adorned with male tufa figurines, telamones, near the steps. Practically, it had a roof that once improved its acoustics.
The large theatre, constructed in the 2nd century BCE, could seat nearly 4000 spectators at any given time. This theatre was used to stage tragedies and comedies.
Much like the amphitheatre, it had a velarium to shield spectators. It was heavily restored during the reign of Augustus, according to extant inscriptions.
Diskourides of Samos captures theatre scenes in several mosaics found in the so-called Villa of Cicero. The expertly crafted mosaics date to the 1st century BCE.
The first scene captures three men and a young boy in comedic masks, representing the type of production that would have been staged in Pompeii's large theatre. The actors dance while playing street instruments.
Similarly, Diskourides' other scene from the same villa. Features two women consulting a sorceress. As they gather around the small table, a young girl aids the sorceress as she concocts a potion.
Both mosaics utilize brilliant tesserae to create vivid pictures. The fabrics and floors in the scene are filled with intricate detailing and tonalities that create a sense of depth and light.
Other mosaics from the House of the Faun recreate the exaggerated masks that were used to stage tragedies. The masks are accompanied by complex flora assemblages that include grapes. The theatrical context and presence of grapes suggest dionysiac references as Dionysus was the god of theatre and wine.
Theatrical references were scattered throughout the domestic spaces of Pompeii. Their heavy presence testifies to the cultural importance of theatre in Rome.
