finally terminated with the Roman empire itself, when it was extinguished by the invasion of Theodric, king of the Goths, about the year 493 of J. C.* A singular and most curious modern discovery enables us to give the reader a more correct notion of the combats of the arena, both gladiatorial and animal, than could be furnished by any description however elaborate. Among the tombs, which are by far the most perfect of all the remains disinterred, of Pompeii was found one covered with bas-reliefs in stucco, presenting minute details of the amphitheatrical games and combats. At a small distance from this monument was found the marble tablet that had fallen from it, containing an inscription, which has been thus rendered: "To Aricius Scaurus, the son of Aulus, of the tribe Menenia, Justicial Duumvir, to whom the Decurions have granted the site of this monument, two thousand sestercest for his funeral, and an equestrian statue in the forum. Scaurus, the father, to his son." Beneath the inscription, on the steps of the cippus, are still to be seen some fragments of bas-reliefs in stucco, of which M. Mazois, from whose splendid work we have taken the annexed engraving and its explanations, has selected such as serve best to illustrate the huntings and animal combats, or Venationes of the Romans. The first (fig. 1) shows a man exposed without defence between a lion and a panther; in the second (fig. 2) a wild boar is rushing upon a naked man, already overthrown. It has been conjectured that these defenceless Bestiarii, trusting to their agility for their escape, were employed purposely to irritate the wild beasts, and, as soon as they were pursued, saved themselves in some place of retreat, as is still practised in the continental bull-fights. The figures in fact exhibit no sign of alarm, even the man opposed to the wild boar appearing to have taken an attitude that would enable him to start up instantly, when the danger became imminent. In the same bas-relief is a wolf pierced by a dart, * See the Dictionnaire Classique of M. Sabbathier, art. Gladiateur, from which parts of this chapter have been translated. ↑ About 167.; but it has been conjectured that there might have been another cipher on the missing piece, which would make the amount about 241., a sum still too moderate to pay for the funeral games, although it might suffice for the pyre, the vases, and the hire of the sual attendants. which he gnaws as he runs. Beyond him is a roebuck, attacked by other wolves or dogs, the traces of the rope by which it had been tied being still distinguishable. The third figure is extremely curious, as showing the way in which the young Bestiarius was familiarized to the sight and the roaring of the wild beasts, as well as the manner in which they were taught to encounter them. By means of a collar and rope the panther is fastened to the girth that cinctures an enormous bull, an ingenious contrivance, which, giving a partial liberty to the animal, renders the combat much more equal and interesting than if it were tied to any fixed point. Behind the bull is another Bestiarius, who seems to be goading it on, that the panther may have a greater length of tether for engaging its assailant. In the fourth figure a man attacks a bear with a sword in one hand and a veil in the other, from which latter circumstance (the veil being a recent introduction), we are enabled with some plausibility to fix the epoch of the games given at the funeral of Scaurus to the latter years of the reign of Claudius, or the beginning of that of Nero, when the passion for these exhibitions was at its height. Pre The bas-reliefs of the base, also executed in stucco, are divided into two zones, the figures being attached to the plaster as is still practised, by pins of bronze or iron; but the latter, which are unfortunately the most numerous, having become oxidated, have accelerated the decomposition of that which they were intended to preserve. viously to the disaster that destroyed Pompeii, in the year 79, this tomb seems to have already suffered, since under most of the actual figures we find others of an infinitely better and more graceful workmanship, and sometimes armed in a different manner. From the following inscription on one of the walls of Pompeii, we learn that the same troop of gladiators, belonging to Numerius Festus Ampliatus, which fought at the funeral of Scaurus, exhibited a second time in the amphitheatre, the 16th of the calendar of June. N. FESTI. AMPLIATI. FAMILIA. GLADIATORIA. PUGNA. ITERUM PUGNA. XVI. IVN. VENAT. VELA. "The troop of gladiators of Numerius Festus Ampliatus will fight, for the second time, 16th June. Combat, chases, awnings" (in the amphitheatre). The names of the combatants, the number of their victories, and even their condemnation, are written above the figures, as well as the name of the proprietor of the troop (see the upper part of the plate): In the first zone (fig. 5) we distinguish eight couples of combatants. The first pair, beginning at the left, presents two equestrian gladiators. The first is named Bebrix, a barbarous word, which seems to announce a foreign origin; he has already conquered in several other engagements; the numerals appear to represent XII., but they are partly obliterated. His adversary bears the name of Nobilior, and reckons eleven victories. Each is armed with a light lance, a round shield elegantly ornamented, and a bronze helmet with a visor, entirely covering the face, like those of our ancient knights. The leg and thigh are naked. Bebrix has shoes, such as are now worn: Nobilior has a species of half-boot tied round the leg. The former has made a thrust with his lance, which the latter has parried, and is charging his antagonist. The next group consists of two gladiators whose names are effaced. In the first light-armed figure we recognise one of the Velites, and in the other a Samnite. The former, sixteen times victor in former games, has at length encountered a more fortunate or more skilful combatant than himself. Wounded in the breast, he has lowered his buckler in confession of his defeat, and raised his finger towards the people, for it was thus that the gladiators implored mercy. Behind him the Samnite awaits the answer of the spectators, ready to spare or to despatch him according to their orders. In the third pair we behold the combat of a Thracian and a Myrmillo. The swords have mostly disappeared, or were never sculptured by the artist, otherwise the former would have been represented with a crooked scimitar. We do not find on the helmet of the Myrmillo the fish with which they were accustomed to adorn their crest; but he is characterized by his Gaulish arms, whence the whole class acquired their nickname, and we may perceive at his foot the Gaulish half-pike, which he has thrown away at the moment of his defeat. Although conqueror upon fifteen other occasions, |