1208

GLOSSARY.
Puzzuoli, Capua, Verona, at the foot of Monte Casino, Pa?stum, S3Tacuse, Agrigentiim,
Catanea, Argos, Corinth, Pola in Istria (see^y. 1362.),
Hipella in Spain, Nismes, Arled,
Frejus, Saintee, and
Autun. This last has
lour stories, in that re-
spect like the Coliseum.
That which remains in
the most perfect condi-
tion is at Verona ; its
ago has not been accu-
rately determined, some
placing it in the age
of Augustus, and others
in that of Maximian; of
these, MafFei thinks the
first date too early, and
Fig. 1362. Amphitheatre at Pola.
the latter too late. The
silence of Pliny upon it, seems to place it after the time of his writing. In the reign of
Gallienus, it was not only built, but began to suffer from dilapidation, for many of the
stones belonging to it are found in the walls of Verona, which walls were erected in the
time of that emperor Many of these were keystones, and tlie numbers cut upon tiieni
still remain. From the silence of autliors that it was the work of any of tlio emperors,
it seems probable that, like that at Capua, it was erected at the expense of the citizens.
The length is about 514 feet, and the breadth about 410
;
the long diameter of the arena
242 feet, the short diameter 147 feet. The audience part or visorium eontiiined forty-
seven tiers of seats, and the building was capable of containing about 22,000 seated
spectators. In the profile of the walls of this amphitheatre the diminution in tliickness
upwards is made on the inside, which is also the case in that at Pola. In tlio Coliseum
the diminution is on the outside. Tlie amphitheatre at Nismes contained about 17,000
persons, and was about 400 feet in length and 320 feet in breadth.
The first amphitheatres, as we learn from Pliny, were constructed of wood, and nsuiilly
placed in the Campus Martins, or in some place out of the city. Accidents occurring
from their insecurity, they were abandoned for the more substantial species of fabric
of which we have been speaking. The first person who is said to have erected an amphi-
theatre in Rome was Caius Scribonius Curio, on the occasion of the games he gave to
the people at the funeral obsequies of his father. Determined to surpass all that had
hitherto been seen, he constructed two theatres of wooJ, back to back, which, after the
theatrical representations had been finished, were turned round with tlie spectators in
them, leaving the stages and scenery behind. By their opposite junction, they formed
a perfect amphitheatre, in which tlie people were gratified witli a show of gladiators.
The part in which the gladiators fouglit was called the arena, from being usually
covered with sand to absorb the blood spilt in the conflicts, for which it was used. It
was encompassed by a wall called the podium, fifteen or sixteen feet high, immediately
round which sat the senators and ambassadors. As in the theatres, the seats rose at the
back of each other; fourteen rows back from the podium all round being allotted to
the equites, and the remainder to the public generally, who sat on the bai'e stone,
cushions being provided for the senators and equites. Tliough at most times open to
the sky, there v/ere contrivances for covering the whole space with an awning. The
avenues by which the people entered and retired were many in number, and were called
vomitoria.
Anamorphosis. (Gr. Ava, backward, and |iiop<?>'?
form.) A term employed in perspective
to denote a drawing executed in such a manner that when viewed in the common way
it presents a confused and distorted image of the thing represented, or an image of some-
thing entirely different
;
but when viewed from a particular point, or as reflected by a
curved mirror, or through a polyhedron, it recovers its proportions and presents a
distinct representation of the object.
Anchor. In decoration, an ornament shaped similarly to an anchor or arrow head. It
is used with the egg ornament to decorate or enrich mouldings. By some it is called a
tongue, from its supposed resemblance to the forked tongue of a serpent. It is used in
all the orders, but only applied to the moulding called the echinus or quarter round.
Ancones. (Gr. Ay/caT, the joint of the elbow.) The trusses or consoles sometimes em-
ployed in the dressings or antepagmenta of apertures, serving as an apparent support to
the cornice of them at the flanks. In ancient doors the ancones were sometimes broader
at the top than at the bottom, and were not in contact with the flanks of the architrave,
but situated a small distance from them. The term is also used to signify the corners
or quoins of walls, cross beams, or rafters.
Anueon. (Gr. A 'T/p.) In ancient architecture, the apartment appropriated to the reception