One loves, when contemplating such precious memorials of antiquity, to look around on the objects in nature, still wearing the same aspect as when they were reared.  The hills and mountains, unlike the productions of man, change not; and nowhere can the fragments of a bygone age appear to such advantage as on the spots selected for their erection, where their vicinity to peculiar scenery had been taken into consideration.

We spent a considerable time in examining the Amphitheatre, and so well is it preserved, that one can hardly bring one’s self to believe that so many centuries have elapsed since it was built; and that generation after generation has passed away, who have looked on this edifice which now meets my view, so little changed by the ravages of that ruthless conqueror Time, or the still more ruthless Visigoths who converted it into a citadel, flanking the eastern door with two towers.  In 737 Charles Martel besieged the Saracens, and set fire to it, and after their expulsion it continued to be used as a citadel.

The form of this fine building is elliptical, and some notion of its vast extent may be formed, when it is stated to have been capable of containing above 17,000 spectators.

Its facade consists of two rows of porticoes, forming two galleries one over the other, composing sixty arcades, divided by the same number of Tuscan pilasters in the first range, and of Doric columns in the upper, and an attic, which crowns all.  Four principal doors, fronting the four cardinal points, open into the amphitheatre, divided at nearly equal distances one from the other.

The attic has no arcades, pilasters, or columns; but a narrow ledge runs along it, which was probably used for the purpose of approaching the projecting consoles, 120 in number, placed in couples at equal distances between two columns, and pierced with a large hole, which corresponds with a similar one in the cornice, evidently meant for securing the awnings used to prevent the spectators from being inconvenienced by the rain or sun.

These awnings did not extend to the arena, which was usually left open, but were universally adopted in all the Roman amphitheatres, after their introduction by Q. Catullus.  The vast extent and extraordinary commodiousness of the amphitheatres erected by the Romans, prove not only the love of the sports exhibited in them entertained by that people, but the attention paid to their health and comfort by the architects who planned these buildings.  The numerous vomitories were not amongst the least important of these comforts, securing a safe retreat from the theatre in all cases of emergency, and precluding those fearful accidents that in our times have not infrequently occurred, when an alarm of fire has been given.  The mode of arrangements, too, saved the spectators from all the deleterious results of impure air, while the velarium preserved them from the sun.  But not only were the spectators screened from too fervid heat, but