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stant orders to the gladiators to slay him; and Telemachus gained the crown of martyrdom, and the title of saint which surely has never either before or since been awarded for a more noble exploit. Honorius immediately abolished the shows, which were never afterwards revived. The story is told by Theodoret " and Cassiodorus, 2 and seems worthy of credit notwithstanding its place in the Roman martyrology. 3 Besides the torrents of blood which flowed at the funerals, in the amphitheatres, the circus, the forums, and other public places, gladiators were introduced at feasts, and tore each other to pieces amidst the supper tables, to the great delight and applause of the guests. Yet Lipsius permits himself to suppose the loss of courage, and the evident degeneracy of mankind, to be nearly connected with the abolition of these bloody spectacles.

4

Note 61, page 164, lines 5 and 6.
Here, where the Roman million's blame or praise

Was death or life, the playthings of a crowd. When one gladiator wounded another, he shouted

1 His Eccles. cap. xxvi. lib. v.
2 Cassiod. Tripartita. l. x. c. xi. Saturn, ib. ib.

3 Baronins. ad. ann. et in notis ad Martyrol. Rom. 1. Jan. See - Marangoni delle memorie sacre e profane dell' Anfi'eatro Flavio, p. 25. edit. 1746.

4 “Quod ? non tu Lipsi momentum aliquod habuisse censes ad virtutem ? Magnum. Tempora nostra, nosque ipsos videamus. Oppidum ecce unum alterum ve captum, direptum est; tumultus circa nos, non in nobis : et tamen concidimus et turbamur. Ubi rohur, ubi tot per annos meditata sapientiae studia? ubi ille animus qui possit dicere, si fractus illabatur orbis?” etc. ibid. lib. ii. cap. xxv. The prototype of Mr. Windham's panegric on bull-baiting.

«he has it," "hoc habet,” or “habet." The wounded combatant dropped his weapon, and avancing to the edge of the arena, supplicated the spectators. If he had fought well, the people saved him; if otherwise, or as they happened to be inclined, they turned down their thumbs, and he was slain. They were occasionally so savage that they were impatient if a combat lasted longer than ordinary without wounds or death. The emperors presence generally saved the vanquished: and it is recorded as an instance of Caracalla's ferocity, that he sent those who supplicated him for life, in a spectacle at Nicomedia, to ask the people; in other words, handed them over to be slain. A similar ceremony is observed at the Spanish bull – fights. The magistrate presides ; and after the horsemen and piccatores have fought the bull, the matadore steps forward and bows to him for permission to kill the animal. If the bull has done his duty by killing two

or three horses, or a man, which last is rare, the people interfere with shouts, the ladies wave their handkerchiefs, and the animal is saved. The wounds and death of the horses are accompanied with the loudest acclamations, and many gestures of delight, especially from the female portion of the audience, including those of the gentlest blood. Every thing depends on habit. The author of Childe Harold, the writer of this note, and one or two other Englishmen, who have certainly in other days borne the sight of a pitched battle, were, during the summer of 1309, in the governor's box at the great amphitheatre of Santa Maria, opposite to Cadiz. The death of one or two horses completely satisfied their curiosity. A gentleman present, observing them shudder and look pale, noticed

that unusual reception of so delightful a sport to some young ladies, who stared and smiled, and continued their applauses as another horse fell bleeding to the ground. One bull killed three horses off his own horns. He was saved by acclamations which were redoubled when it was known he belonged to a priest.

An Englishman who can be much pleased with sceing two men beat themselves to pieces, cannot bear to look at a horse galloping round an arena with his bowels trailing on the ground, and turns from the spectacle and the spectators with horror and disgust.

Note 62, page 165, line 6.

wear

Like laurels on the bald first Caesar's brow. Suetonius informs us that Julius Caesar was particularly gratified by that decree of the senate, which enabled him to a wreath of laurel on all occasions. He was anxious, not to show that he was the conqueror of the world, but to hide that he was bald. А stranger at Rome would hardly have guessed at the motive, nor should we without the help of the historian.

Note 63, page 265, line 10. While stands the Coliseum, Rome shall stand. This is quoted in the Decline and Fall of the Roman Empire; and a notice on the Coliseum may be seen in the Historical Illustrations to the IVth Canto of Childe Harold.

Note 64, page 166, line 3.

spared and blest by time,

“Though plundered of all its brass, except the ring which was necessary to preserve the aperture above; though exposed to repeated fires, though sometimes flooded · by the river, and always open to the rain, no monument of equal antiquity is so well preserved as this rotundo. It passed with little alteration from the Pagan into the present worship; and so convenient were its niches for the Christian altar, that Michael Angelo, ever' studious of ancient beauty, introduced their design as a model in the Catholic church.”

Forsyth's Remarks, etc, on Italy, p. 137. sec. edit.

Note 65, page 166, lines 17 and 18.
And they who feel for genius may repose
Their eyes on honoure’d forms, whose busts around

them close.

The Pantheon has been made a receptacle for the busts of modern great, or, at least, distinguished, men. The flood of light which once fell through the large orb above on the whole circle of divinities, now shines on a numerous assemblage of mortals , some one or two of whom have been almost deified by the veneration of their countrymen.

VOL. VII.

T

Note 66, page 167, line 1.

There is a dungeon, in whose dim drear light, This and the three next stanzas allude to the story of the Roman daughter, which is recalled to the traveller, by the site or pretended site of that adventure now shown at the church of St. Nicholas in carcere. The difficulties attending the full belief of the tale are stated in Historical Illustrations, etc.

Note 67, page 169, line 1. Turn to the Mole which Hadrian reard on high. The castle of St. Angelo. See Historical Illu-stretions.

Note 68, page 169.

This and the six next stanzas have reference to the church of St. Peter's. For a measurement of the comparative length of this basilica, and the other great churches of Europe, see the pavement of St. Peter's and the Classical Tour through Italy, vol. ii. pag. 125. et seq. chap. iv.

Note 69, page 178, lines 15 and 16.

the strange fate Which tumbles mightiest sovereigns. Mary died on the scaffold; Elisabeth of a broken heart;

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