The portico18 was added by Marcus Agrippa, the son-in-law of Augustus. It is supported by sixteen pillars of granite19, five feet in diameter, and of a single piece each. Upon the frieze20, in the front, is the following inscription21 in large capitals:
Some are of opinion, that the Pantheon is much more ancient than the Augustan age, and that the portico, which is the only part those antiquarians admit to be the work of Agrippa, though beautiful in itself, does not correspond with the simplicity23 of the temple.
As the Pantheon is the most entire, the Amphitheatre of Vespasian is the most stupendous, monument of antiquity24 in Rome. It was finished by his son Titus, and obtained the name of Colosseum, afterwards corrupted25 into Coliseum, from a colossal26 statue of Apollo which was placed before it. This vast structure was built of Tiburtine stone, which is remarkably27 durable28. If the public buildings of the ancient Romans had met with no more inveterate29 enemy than Time, we might, at this day, contemplate30 the greater number in all their original perfection; they were formed for the admiration31 of much remoter ages than the present. This Amphitheatre in particular might have[417] stood entire for two thousand years to come: For what are the slow corrosions32 of time, in comparison of the rapid destruction from the fury of Barbarians33, the zeal34 of Bigots, and the avarice35 of Popes and Cardinals36? The first depredation4 made on this stupendous building, was by the inhabitants of Rome themselves, at that time greater Goths than their conqueror37. We are told, they applied38 to Theodoric, whose court was then at Ravenna, for liberty to take the stones of this Amphitheatre for some public work they were carrying on. The marble cornices, the friezes39, and other ornaments40 of this building, have been carried away, at various times, to adorn41 palaces; and the stones have been taken to build churches, and sometimes to repair the walls of Rome, the most useless work of all. For of what importance are walls to a city, without a garrison42, and whose most powerful artillery43 affects not the bodies, but only the minds, of men? About one-half of the external circuit still remains, from which,[418] and the ruins of the other parts, a pretty exact idea may be formed of the original structure. By a computation made by Mr. Byres, it could contain eighty-five thousand spectators, making a convenient allowance for each. Fourteen chapels44 are now erected45 within side, representing the stages of our Saviour’s passion. This expedient47 of consecrating48 them into Christian49 chapels and churches, has saved some of the finest remains of Heathen magnificence from utter destruction.
Our admiration of the Romans is tempered with horror, when we reflect on the use formerly made of this immense building, and the dreadful scenes which were acted on the Arena50; where not only criminals condemned51 to death, but also prisoners taken in war, were obliged to butcher each other, for the entertainment of an inhuman52 populace. The combats of Gladiators were at first used in Rome at funerals only, where prisoners were obliged[419] to assume that profession, and fight before the tombs of deceased Generals or Magistrates53, in imitation of the barbarous custom of the Greeks, of Sacrificing captives at the tombs of their heroes.
This horrid54 piece of magnificence, which, at first, was exhibited only on the death of Consuls55, and men of the highest distinction, came gradually to be claimed by every citizen who was sufficiently56 rich to defray the expence; and as the people’s fondness for these combats increased every day, they were no longer confined to funeral solemnities, but became customary on days of public rejoicing, and were exhibited, at amazing expence, by some Generals after victories. In the progress of riches, luxury, and vice57, it became a profession in Rome to deal in gladiators. Men called Lanist? made it their business to purchase prisoners and slaves, to have them instructed in the use of the various weapons; and when any Roman chose to amuse the[420] people with their favourite show, or to entertain a select company of his own friends upon any particular occasion, he applied to the Lanist?; who, for a fixed58 price, furnished him with as many pairs of those unhappy combatants as he required. They had various names given to them, according to the different manner in which they were armed. Towards the end of the republic, some of the rich and powerful citizens had great numbers of gladiators of their own, who were daily exercised by the Lanist?, and always kept ready for fighting when ordered by their proprietor59. Those who were often victorious60, or had the good fortune to please their masters, had their liberty granted them, on which they generally quitted their profession; though it sometimes happened, that those who were remarkably skilful61, continued it, either from vanity or poverty, even after they had obtained their freedom; and the applause bestowed62 on those gladiators, had the effect of inducing men born free, to[421] choose this for a profession, which they exercised for money, till age impaired63 their strength and address. They then hung up their arms in the temple of Hercules, and appeared no more on the Arena.
————Veianius armis
Herculis ad postem fixis latet abdicus agro,
Ne populum extrema toties exoret Arena.
There were many Amphitheatres at Rome, in other towns of Italy, and in many provinces of the empire; but this of Vespasian was the largest that ever was built. That at Verona is the next in size in Italy, and the remains of the Amphitheatre at N?mes, in the south of France, prove, that it was the most magnificent structure of this kind in any of the Roman provinces. The Romans were so excessively fond of these exhibitions, that wherever colonies were established, it was found requisite64 to give public shews of this kind, to induce the emigrants65 to remain in their new country: and in the provinces where[422] it was thought necessary that a considerable body of troops should remain constantly, structures of this kind were erected, at vast labour and expence, and were found the best means of inducing the young officers to submit cheerfully to a long absence from the capital, and of preventing the common soldiers from desertion. The profusion66 of human blood, which was shed in the Arena, by the cruel prodigality67 of the Emperors, and the refinements68 which were invented to augment70 the barbarous pleasure of the spectators, are proofs of the dreadful degree of corruption71 and depravity to which human nature is capable of attaining72, even among a learned and enlightened people, when unrestrained by the mild precepts73 of a benevolent74 religion. We are told, that the gladiators bred for the use of particular patricians75, as well as those kept for hire by the Lanist?, were, for some weeks before they appeared in the Arena, fed upon such succulent diet, as would soonest fill their veins76, that they[423] might bleed freely at every wound. They were instructed by the Lanist?, not only in the art of fighting, but also in the most graceful77 manner of dying; and when those wretched men felt themselves mortally wounded, they assumed such attitudes as they knew pleased the beholders; and they seemed to receive pleasure themselves from the applause bestowed upon them in their last moments.
When a gladiator was thrown by his antagonist79 to the ground, and directly laid down his arms, it was a sign that he could resist no longer, and declared himself vanquished80; but still his life depended on the spectators. If they were pleased with his performance, or, in a merciful disposition81, they held up their hands, with the thumb folded down, and the life of the man was spared; but if they where in the humour to see him die, they held up the hand clenched82, with the thumb only erect46. As soon as the prostrate83 victim[424] beheld84 that fatal signal, he knew all hopes of life were vain, and immediately presented his breast to the sword of his adversary85, who, whatever his own inclinations86 might be, was obliged to put him to death instantly.
As these combats formed the supreme87 pleasure of the inhabitants of Rome, the most cruel of their Emperors were sometimes the most popular; merely because they gratified the people, without restraint, in their favourite amusement. When Marcus Aurelius thought it necessary, for the public service, to recruit his army from the gladiators of Rome; it raised more discontent among the populace, than many of the wildest pranks88 of Caligula. In the times of some of the Emperors, the lower class of Roman citizens were certainly as worthless a set of men as ever existed; stained with all the vices89 which arise from idleness and dependence90; living upon the largesses of the great; passing their whole time in the Circus and[425] Amphitheatres, where every sentiment of humanity was annihilated91 within their breasts, and where the agonies and torments92 of their fellow-creatures were their chief pastime. That no occasion might be lost of indulging this savage93 taste of the populace, criminals were condemned to fight with wild beasts in the Arena, or were exposed, unarmed, to be torn in pieces by them; at other times, they were blindfolded94, and in that condition obliged to cut and slaughter95 each other. So that, instead of victims solemnly sacrificed to public justice, they seemed to be brought in as buffoons96 to raise the mirth of the spectators.
The practice of domestic slavery had also a great influence in rendering97 the Romans of a cruel and haughty98 character. Masters could punish their slaves in what manner, and to what degree, they thought proper. It was as late as the Emperor Adrian’s time, before any law was made, ordaining99 that a master who should put his slave to[426] death without sufficient cause, should be tried for his life. The usual porter at the gate of a great man’s house in ancient Rome, was a chained slave. The noise of whips and lashes100 resounded101 from one house to another, at the time when it was customary for the masters of families to take an account of the conduct of their servants. This cruel disposition, as is the case wherever domestic slavery prevails, extended to the gentle sex, and hardened the mild tempers of the women. What a picture has Juvenal drawn102 of the toilet of a Roman lady!
Nam si constituit, solitoque decentius optat
Ornari —— ——
Componit crinem laceratis ipsa capillis,
Nuda humeros Psecas infelix, nudisque mamillis,
Altior hic quare cincinnus? Taurea punit.
Continuo flexi crimen facinusque capilli.
It was customary for avaricious103 masters, to send their infirm and sick slaves, to an island in the Tiber, where there was a Temple of ?sculapius; if the God pleased[427] to recover them, the master took them back to his family; if they died, no farther inquiry104 was made about them. The Emperor Claudius put a check to this piece of inhumanity, by ordaining, that every sick slave, thus abandoned by his master, should be declared free when he recovered his health.
From these observations, are we to infer, that the ancient Romans were naturally of a more cruel turn of mind, than the present inhabitants of Europe? Or is there not reason to believe that, in the same circumstances, modern nations would act in the same manner? Do we not perceive, that the practice of domestic slavery has, at this day, a strong tendency to render men haughty, capricious, and cruel. Such, I am afraid, is the nature of man, that if he has power without controul, he will use it without justice; absolute power has a strong tendency to make good men bad, and never fails to make bad men worse.
It was an observation of the late Mareschal Saxe, that in all the contests between the army waggoners and their horses, the waggoners were in the wrong; which he imputed105 to their having absolute authority over the horses. In the qualities of the head and heart, and in most other respects, he thought the men and horses on an equality. Caprice is a vice of the temper, which increases faster than any other by indulgence; it often spoils the best qualities of the heart, and, in particular situations, degenerates106 into the most unsufferable tyranny. The first appearance of it in young minds ought to be opposed with firmness, and prevented from farther progress, otherwise our future attempts to arrest it may be fruitless; for
Mobilitate viget, viresque acquirit eundo.
The combats in the Amphitheatres were, as I have already said, introduced by degrees at Rome. The custom of making prisoners fight around the funeral piles of[429] deceased heroes, was a refinement69 on a more barbarous practice; and the Romans, no doubt, valued themselves on their humanity, in not butchering their prisoners in cold blood, as was the custom in the earliest ages of Greece. The institution of obliging criminals to fight in the Arena, and thus giving them a chance for their lives, would also appear to them a very merciful improvement on the common manner of execution. The grossest sophistry107 will pass on men’s understandings, when it is used in support of measures to which they are already inclined. And when we consider the eagerness with which the populace of every country behold78 the accidental combats which occur in the streets, we need not be surprised to find, that when once the combats of gladiators were permitted among the Roman populace, on whatever pretext108, the taste for them would daily increase, till it erased109 every idea of compunction from their breasts, and became their ruling passion. The Patricians,[430] enriched by the pillage110 of kingdoms, and knowing that their power at Rome, and consequently all over the world, depended on the favour and suffrages111 of the people, naturally sought popularity by gratifying their favourite taste. Afterwards the Emperors might imagine, that such shows would keep the citizens from reflecting on their lost liberties, or the enormities of the new form of government; and, exclusive of every political reason, many of them, from the barbarous disposition of their own minds, would take as much pleasure in the scenes acted on the Arena, as the most savage of the vulgar.
While we express horror and indignation at the fondness which the Romans displayed for the bloody112 combats of the Amphitheatre, let us reflect, whether this proceeded from any peculiar113 cruelty of disposition inherent in that people, or belongs to mankind in general, let us reflect, whether it is probable, that the people of any other[431] nation would not be gradually led, by the same degrees, to an equal passion for such horrid entertainments. Let us consider, whether there is reason to suspect that those who arm cocks with steel, and take pleasure in beholding114 the spirited little animals cut one another to death, would not take the same, or superior delight, in obliging men to slaughter each other if they had the power.—And what restrains them? Is there no reason to believe, that the influence of a purer religion, and brighter example, than were known to the Heathen world, prevents mankind from those enormities now, which were permitted and countenanced115 formerly? As soon as the benevolent precepts of Christianity were received by the Romans as the laws of the Deity116, the prisoners and the slaves were treated with humanity, and the bloody exhibitions in the Amphitheatres were abolished.
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1
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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depredations
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| n.劫掠，毁坏( depredation的名词复数 ) | |
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depredation
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| n.掠夺，蹂躏 | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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rapacious
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| adj.贪婪的，强夺的 | |
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rotunda
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| n.圆形建筑物；圆厅 | |
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compartments
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| n.间隔( compartment的名词复数 )；（列车车厢的）隔间；（家具或设备等的）分隔间；隔层 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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fluted
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| a.有凹槽的 | |
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perpendicular
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| adj.垂直的，直立的；n.垂直线，垂直的位置 | |
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ascends
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| v.上升，攀登( ascend的第三人称单数 ) | |
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circumference
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| n.圆周，周长，圆周线 | |
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vault
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| n.拱形圆顶，地窖，地下室 | |
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formerly
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| adv.从前，以前 | |
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agate
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| n.玛瑙 | |
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mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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portico
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| n.柱廊，门廊 | |
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granite
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| adj.花岗岩，花岗石 | |
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frieze
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| n.(墙上的)横饰带，雕带 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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consul
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| n.领事；执政官 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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corrupted
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| （使）败坏( corrupt的过去式和过去分词 )； （使）腐化； 引起（计算机文件等的）错误； 破坏 | |
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colossal
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| adj.异常的，庞大的 | |
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remarkably
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| ad.不同寻常地，相当地 | |
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durable
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| adj.持久的，耐久的 | |
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inveterate
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| adj.积习已深的，根深蒂固的 | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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corrosions
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| n.腐蚀( corrosion的名词复数 )；受腐蚀的部位；腐蚀生成物如绣等；衰败 | |
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barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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zeal
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| n.热心，热情，热忱 | |
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avarice
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| n.贪婪；贪心 | |
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cardinals
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| 红衣主教( cardinal的名词复数 )； 红衣凤头鸟（见于北美，雄鸟为鲜红色）； 基数 | |
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conqueror
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| n.征服者，胜利者 | |
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applied
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| adj.应用的；v.应用，适用 | |
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friezes
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| n.（柱顶过梁和挑檐间的）雕带，（墙顶的）饰带( frieze的名词复数 ) | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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adorn
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| vt.使美化，装饰 | |
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garrison
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| n.卫戍部队；驻地，卫戍区；vt.派(兵)驻防 | |
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artillery
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| n.(军)火炮，大炮；炮兵(部队) | |
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chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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consecrating
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| v.把…奉为神圣，给…祝圣( consecrate的现在分词 )；奉献 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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51
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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52
inhuman
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| adj.残忍的，不人道的，无人性的 | |
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magistrates
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| 地方法官，治安官( magistrate的名词复数 ) | |
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horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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consuls
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| 领事( consul的名词复数 )； （古罗马共和国时期）执政官 （古罗马共和国及其军队的最高首长，同时共有两位，每年选举一次） | |
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sufficiently
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| adv.足够地，充分地 | |
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vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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proprietor
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| n.所有人；业主；经营者 | |
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victorious
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| adj.胜利的，得胜的 | |
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skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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impaired
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| adj.受损的；出毛病的；有（身体或智力）缺陷的v.损害，削弱( impair的过去式和过去分词 ) | |
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requisite
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| adj.需要的，必不可少的；n.必需品 | |
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emigrants
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| n.（从本国移往他国的）移民( emigrant的名词复数 ) | |
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profusion
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| n.挥霍；丰富 | |
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prodigality
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| n.浪费，挥霍 | |
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refinements
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| n.（生活）风雅；精炼( refinement的名词复数 )；改良品；细微的改良；优雅或高贵的动作 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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augment
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| vt.(使)增大，增加，增长，扩张 | |
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corruption
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| n.腐败，堕落，贪污 | |
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72
attaining
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| （通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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73
precepts
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| n.规诫，戒律，箴言( precept的名词复数 ) | |
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74
benevolent
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| adj.仁慈的，乐善好施的 | |
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75
patricians
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| n.（古罗马的）统治阶层成员( patrician的名词复数 )；贵族，显贵 | |
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76
veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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77
graceful
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| adj.优美的，优雅的；得体的 | |
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78
behold
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| v.看，注视，看到 | |
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79
antagonist
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| n.敌人，对抗者，对手 | |
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80
vanquished
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| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
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81
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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82
clenched
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| v.紧握，抓紧，咬紧( clench的过去式和过去分词 ) | |
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83
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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84
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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85
adversary
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| adj.敌手，对手 | |
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86
inclinations
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| 倾向( inclination的名词复数 )； 倾斜； 爱好； 斜坡 | |
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87
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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88
pranks
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| n.玩笑，恶作剧( prank的名词复数 ) | |
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89
vices
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| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
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90
dependence
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| n.依靠，依赖；信任，信赖；隶属 | |
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91
annihilated
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| v.（彻底）消灭( annihilate的过去式和过去分词 )；使无效；废止；彻底击溃 | |
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92
torments
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| （肉体或精神上的）折磨，痛苦( torment的名词复数 )； 造成痛苦的事物[人] | |
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93
savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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94
blindfolded
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| v.（尤指用布）挡住（某人）的视线( blindfold的过去式 )；蒙住（某人）的眼睛；使不理解；蒙骗 | |
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95
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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96
buffoons
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| n.愚蠢的人( buffoon的名词复数 )；傻瓜；逗乐小丑；滑稽的人 | |
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97
rendering
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| n.表现，描写 | |
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98
haughty
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| adj.傲慢的，高傲的 | |
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99
ordaining
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| v.任命（某人）为牧师( ordain的现在分词 )；授予（某人）圣职；（上帝、法律等）命令；判定 | |
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100
lashes
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| n.鞭挞( lash的名词复数 )；鞭子；突然猛烈的一击；急速挥动v.鞭打( lash的第三人称单数 )；煽动；紧系；怒斥 | |
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101
resounded
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| v.（指声音等）回荡于某处( resound的过去式和过去分词 )；产生回响；（指某处）回荡着声音 | |
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102
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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103
avaricious
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| adj.贪婪的，贪心的 | |
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104
inquiry
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| n.打听，询问，调查，查问 | |
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105
imputed
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| v.把（错误等）归咎于( impute的过去式和过去分词 ) | |
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106
degenerates
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| 衰退，堕落，退化( degenerate的第三人称单数 ) | |
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107
sophistry
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| n.诡辩 | |
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108
pretext
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| n.借口，托词 | |
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109
erased
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| v.擦掉( erase的过去式和过去分词 )；抹去；清除 | |
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110
pillage
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| v.抢劫；掠夺；n.抢劫，掠夺；掠夺物 | |
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111
suffrages
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| （政治性选举的）选举权，投票权( suffrage的名词复数 ) | |
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112
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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113
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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114
beholding
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| v.看，注视( behold的现在分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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115
countenanced
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| v.支持，赞同，批准( countenance的过去式 ) | |
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116
deity
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| n.神，神性；被奉若神明的人(或物) | |
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