. Pompeii : its life and art . ertine coping of the wall about the arena showstraces of iron in the joints between the blocks, apparentlyremains of a grating designed to protect the spectators fromattacks by the infuriated wild beasts. The traces are not visibleall the way around, but this may be accounted for on the sup-position that repairs were in progress at the time of the eruption. Two broad corridors (3, ) connect the ends of the arenawith the outside of the building. The one at the north end,toward Vesuvius, follows a straight line; the other bendssharply to the right in order to av
. Pompeii : its life and art . ertine coping of the wall about the arena showstraces of iron in the joints between the blocks, apparentlyremains of a grating designed to protect the spectators fromattacks by the infuriated wild beasts. The traces are not visibleall the way around, but this may be accounted for on the sup-position that repairs were in progress at the time of the eruption. Two broad corridors (3, ) connect the ends of the arenawith the outside of the building. The one at the north end,toward Vesuvius, follows a straight line; the other bendssharply to the right in order to avoid the city wall, which boundsthe structure on the south and east sides. By these corridorsthe gladiators entered the arena, first in festal array, passing THE AMPHITHEATRE 209 in stately procession across the sand from one entrance tothe other, then coming forth in pairs as they were summonedto mortal combat. At the middle of the west side there is a third passage,narrow and low (<?); this is the grewsome corridor through. e 110 5 10 15 20 m,I [ I I I Fig. 93. — Plan of the Amphitheatre at different levels showing, above, the arrangementof the seats; below, the arrangement of the vaulted passages under the seats. 1. Podium. 11, 11. Outer double stairways to terrace. 2. Gallery. 12,12. Single stairways to terrace. 3. 3A. Entrances to arena. 13. Tower of city wall. 4. 4. Vaulted corridor. 14. City wall. 5. Passage to death gate. a. First praecinctio. 6. I ma cavea. b. Second praecinctio. 7. Media cavea. c, d. Side entrances. 8. Summa cavea. e. Death Gate. 9. Stairs of balcony. />/>/• Terrace. which the bodies of the dead were dragged by means of hooks,its entrance being the Porta Libitinensis, Death Gate. Nearthe inner end of each of the three corridors is a small, darkchamber (/) the purpose of which is unknown. It has beenp 2io POMPEII * suggested that wild animals may have been confined here, butlarger and more easily accessible rooms would have been re
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