Identifier: pompeibuildings00dyer (find matches)
Title: Pompeii, its history, buildings, and antiquities : an account of the destruction of the city with a full description of the remains, and of the recent excavations, and also an itinerary for visitors
Year: 1867 (1860s)
Authors: Dyer, Thomas Henry, 1804-1888
Subjects:
Publisher: London : Bell & Daldy
Contributing Library: Getty Research Institute
Digitizing Sponsor: Sloan Foundation

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theatre.* This occurred a.d. 404. It was not howeveruntil the year 500 that the practice was finally and com-pletely abolished by Theodoric. Some time before the day appointed for the spectacle, hewho gave it (editor) published bills containing the name andensigns of the gladiators, for each of them had his own distinc-tive badge, and stating also how many were to fight, and howlong the show would last. It appears, that like our itinerantshowmen, they sometimes exhibited paintings of what thesports were to contain. On the appointed day the gladiatorsmarched in procession with much ceremony into the amphi-theatre. They then separated into pairs, as they had beenpreviously matched. The annexed engraving, taken from apicture on the wall of the amphitheatre at Pompeii, seems torepresent the beginning of a combat. In the middle standsthe arbiter of the fight, marking out with a long stick thespace for the combatants. On his right stands a gladiator* Gibbon, chap. xxx. THE AMPHITHEATRE. 227
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228 pompeii. only half armed, to whom two others are bringing a swordand helmet. On the left another gladiator, also only partlyarmed, sounds the trumpet for the commencement of thefight; whilst behind him two companions, at the foot of oneof the Victories which enclose the scene, are preparing hishelmet and shield. At first, however, they contended oidywith staves, called rudes, or with blunted weapons ; but whenwarmed and inspirited by the pretence of battle, they changedtheir weapons, and advanced at the sound of trumpets to thereal strife. The conquered looked to the people or to theemperor for life; his antagonist had no power to grant or torefuse it; but if the spectators were dissatisfied and gave thesignal of death, he was obliged to become the executioner oftheir will. This signal was the turning down the thumbs;as is well known. If any showed signs of fear, their deathwas certain; if on the other hand they waited the fatal strokewith intrepidity, the people generally relente

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