Gladiatorial combat, known as munera gladiatoria, was one of the most popular spectacles in the Roman world, and Pompeii was no exception. The city acquired a masonry amphitheater as early as around 80 BC, one of the oldest of its kind, even predating Rome's first masonry amphitheater.
Pompeii's amphitheater, called Spectacula by the city's inhabitants, was built with the financial contribution of magistrates C. Quinctius Valgus and Marcus Porcius. The original structure was made of opera incerta and opera quasi reticulatum, building techniques that used small stones arranged irregularly. After the earthquake in 62 AD, the vaults of the annular corridors were damaged and later restored with brick arches.
The amphitheater was elliptical in plan and included:
The arena: the central space designated for fighting.
The cavea: the tiers of steps that surrounded the arena, where spectators sat.
Access to the amphitheater was free for the citizens of Pompeii, who were given special admission cards. The best seats, in the lower part of the cavea, were reserved for the authorities and the city's most important figures. To protect spectators from the sun, the amphitheater was equipped with a velarium, a movable canvas cover supported by flagpoles and operated with ropes. The presence of the velarium was often publicized in announcements of performances.
Gladiators, who fought in the arena amid cheering crowds, came from different categories:
Prisoners of war.
Slaves.
Criminals sentenced to death.
They were organized in special schools called Ludi and lived in barracks-prisons where they trained hard. Gladiatorial schools were widespread throughout the Roman world, but those in Campania were particularly famous.
The fate of gladiators was often cruel. The public, with a thumbs-down gesture, decided whether the defeated gladiator should be killed or spared. Audience involvement was extremely high, and violent clashes between fans were not uncommon.
One such episode, which occurred in Pompeii in 59 CE, involved Pompeian fans and those from the nearby city of Nuceria, resulting in an actual massacre. The episode, recounted by the historian Tacitus, is also depicted in a painting in the Archaeological Museum in Naples.
In addition to gladiatorial fights, venationes, hunting spectacles in which men faced ferocious beasts such as lions, tigers, and bears, also took place in the amphitheater. Sometimes the animals were made to fight each other or trained to perform entertaining acts. To make the spectacles more realistic, complex sets were created to imitate exotic landscapes.
Gladiatorial games, despite their popularity, came under criticism for their cruelty. In 404 AD, thanks in part to the protests of figures such as the philosopher Seneca, gladiatorial combat was finally banned.
Drawings of gladiators made by children, discovered in a house in Pompeii, testify to how even the youngest children were exposed to the violence of gladiatorial spectacles.
The story of the gladiators and the amphitheater in Pompeii gives us a fascinating yet disturbing insight into Roman society. It shows us how violence and spectacle were intrinsically linked in the culture of the time, and how even children were not immune to this influence.
FAQ about the Gladiator Games in Pompeii
Where were the gladiator games held in Pompeii?
Gladiator games in Pompeii were held in the amphitheater, a masonry structure built around 80 BC. Pompeii's amphitheater is one of the oldest of its kind, predating Rome's first masonry amphitheater, built in 29 BC. It was located on the southeastern outskirts of the city, near the walls.
Were the gladiator games free?
Yes, access to the amphitheater was free for the citizens of Pompeii. Special entrance passes were distributed.
Who were the gladiators?
Gladiators were mostly prisoners of war, slaves or criminals sentenced to death. They were trained in special schools called Ludi and lived in barracks-prisons under strict discipline. Some free men, attracted by fame or challenge, chose to become gladiators.
What happened during gladiatorial games?
Gladiator games, or munera gladiatoria, were bloody fights between two or more gladiators armed with different weapons. The audience decided the fate of the defeated gladiator. If the gladiator had fought valiantly, the audience could ask for a pardon by raising handkerchiefs. If not, the audience indicated to the victor to kill the loser with the thumbs-down gesture.
Were there other types of performances in the amphitheater?
In addition to gladiator fights, venationes, hunting shows in which men faced wild animals such as lions, tigers, and bears, also took place in the amphitheater. Sometimes the animals were made to fight each other or trained to perform entertaining acts.
Could children attend gladiatorial games?
Sources do not explicitly prohibit children from participating in the games. Drawings of gladiators and ferocious beasts found on walls of a house in Pompeii suggest that children were exposed to the violence of these spectacles. According to the authors of an article in the Pompeii Excavations E-Journal, exposing children to extreme forms of violence, including executions, was a common practice in ancient Rome and likely affected their psychological development.
When were gladiatorial games abolished?
Gladiatorial games were abolished in 404 AD, thanks in part to criticism from figures such as the philosopher Seneca.
Is there evidence that gladiators trained in Pompeii?
Yes, there was a structure in Pompeii identified as a gladiator barracks. The building, located in Regio V, featured a large peristyle with 24 columns, and 120 gladiatorial-themed inscriptions were found inside. The structure was later converted into a private residence after the earthquake of 62 AD, probably due to the decision of the Senate of Rome to dissolve the gladiatorial associations following the brawl between Pompeians and Nocerines in the amphitheater.
Essential bibliography:
M.Della Corte, I nuovi scavi e l'Anfiteatro, Pompei 1930
M. Girosi, L'Anfiteatro di Pompei, in Memorie dell'Accademia di Archeologia, Lettere, Belle Arti di Napoli, V, 1936, pp. 29
P. Sabbatini - Tumolesi, Gladiatorum Paria, Roma 1980