With the senators, Carinus affected a lofty and regal demeanor, frequently declaring, that he designed to distribute their estates among the populace of Rome. From the dregs of that populace he selected his favorites, and even his ministers. The palace, and even the Imperial table, were filled with singers, dancers, prostitutes, and all the various retinue of vice and folly. One of his doorkeepers[1193] he intrusted with the government of the city. In the room of the Praetorian praefect, whom he put to death, Carinus substituted one of the ministers of his looser pleasures. Another, who possessed the same, or even a more infamous, title to favor, was invested with the consulship. A confidential secretary, who had acquired uncommon skill in the art of forgery, delivered the indolent emperor, with his own consent from the irksome duty of signing his name.
When the emperor Carus undertook the Persian war, he was induced, by motives of affection as well as policy, to secure the fortunes of his family, by leaving in the hands of his eldest son the armies and provinces of the West. The intelligence which he soon received of the conduct of Carinus filled him with shame and regret; nor had he concealed his resolution of satisfying the republic by a severe act of justice, and of adopting, in the place of an unworthy son, the brave and virtuous Constantius, who at that time was governor of Dalmatia. But the elevation of Constantius was for a while deferred; and as soon as the father's death had released Carinus from the control of fear or decency, he displayed to the Romans the extravagancies of Elagabalus, aggravated by the cruelty of Domitian.[1194]
The only merit of the administration of Carinus that history could record, or poetry celebrate, was the uncommon splendor with which, in his own and his brother's name, he exhibited the Roman games of the theatre, the circus, and the amphitheatre. More than twenty years afterwards, when the courtiers of Diocletian represented to their frugal sovereign the fame and popularity of his munificent predecessor, he acknowledged that the reign of Carinus had indeed been a reign of pleasure[1195] but this vain prodigality, which the prudence of Diocletian might justly despise, was enjoyed with surprise and transport by the Roman people. The oldest of the citizens, recollecting the spectacles of former days, the triumphal pomp of Probus or Aurelian, and the secular games of the emperor Philip, acknowledged that they were all surpassed by the superior magnificence of Carinus.[1196]
The spectacles of Carinus may therefore be best illustrated by the observation of some particulars, which history has condescended to relate concerning those of his predecessors. If we confine ourselves solely to the hunting of wild beasts, however we may censure the vanity of the design or the cruelty of the execution, we are obliged to confess that neither before nor since the time of the Romans so much art and expense have ever been lavished for the amusement of the people.[1197] By the order of Probus, a great quantity of large trees, torn up by the roots, were transplanted into the midst of the circus. The spacious and shady forest was immediately filled with a thousand ostriches, a thousand stags, a thousand fallow deer, and a thousand wild boars; and all this variety of game was abandoned to the riotous impetuosity of the multitude. The tragedy of the succeeding day consisted in the massacre of a hundred lions, an equal number of lionesses, two hundred leopards, and three hundred bears[1198] the collection prepared by the younger Gordian for his triumph, and which his successor exhibited in the secular games, was less remarkable by the number than by the singularity of the animals. Twenty zebras displayed their elegant forms and variegated beauty to the eyes of the Roman people[1199] ten elks, and as many camelopards, the loftiest and most harmless creatures that wander over the plains of Sarmatia and Aethiopia, were contrasted with thirty African hyaenas and ten Indian tigers, the most implacable savages of the torrid zone. The unoffending strength with which Nature has endowed the greater quadrupeds was admired in the rhinoceros, the hippopotamus of the Nile,[1200] and a majestic troop of thirty-two elephants.[1201] while the populace gazed with stupid wonder on the splendid show, the naturalist might indeed observe the figure and properties of so many different species, transported from every part of the ancient world into the amphitheatre of Rome. But this accidental benefit, which science might derive from folly, is surely insufficient to justify such a wanton abuse of the public riches. There occurs, however, a single instance in the first Punic war, in which the senate wisely connected this amusement of the multitude with the interest of the state. A considerable number of elephants, taken in the defeat of the Carthaginian army, were driven through the circus by a few slaves, armed only with blunt javelins[1202] the useful spectacle served to impress the Roman soldier with a just contempt for those unwieldy animals; and he no longer dreaded to encounter them in the ranks of war.
The hunting or exhibition of wild beasts was conducted with a magnificence suitable to a people who styled themselves the masters of the world; nor was the edifice appropriated to that entertainment less expressive of Roman greatness. Posterity admires, and will long admire, the awful remains of the amphitheatre of Titus, which so well deserved the epithet of Colossal.[1203] it was a building of an elliptic figure, five hundred and sixty-four feet in length, and four hundred and sixty-seven in breadth, founded on fourscore arches, and rising, with four successive orders of architecture, to the height of one hundred and forty feet.[1204] The outside of the edifice was encrusted with marble, and decorated with statues. The slopes of the vast concave, which formed the inside, were filled and surrounded with sixty or eighty rows of seats of marble likewise, covered with cushions, and capable of receiving with ease about fourscore thousand spectators.[1205] sixty-four vomitories (for by that name the doors were very aptly distinguished) poured forth the immense multitude; and the entrances, passages, and staircases were contrived with such exquisite skill, that each person, whether of the senatorial, the equestrian, or the plebeian order, arrived at his destined place without trouble or confusion.[1206] nothing was omitted, which, in any respect, could be subservient to the convenience and pleasure of the spectators.
They were protected from the sun and rain by an ample canopy, occasionally drawn over their heads. The air was continally refreshed by the playing of fountains, and profusely impregnated by the grateful scent of aromatics. In the centre of the edifice, the arena, or stage, was strewed with the finest sand, and successively assumed the most different forms. At one moment it seemed to rise out of the earth, like the garden of the Hesperides, and was afterwards broken into the rocks and caverns of Thrace. The subterraneous pipes conveyed an inexhaustible supply of water; and what had just before appeared a level plain, might be suddenly converted into a wide lake, covered with armed vessels, and replenished with the monsters of the deep.[1207] in the decoration of these scenes, the Roman emperors displayed their wealth and liberality; and we read on various occasions that the whole furniture of the amphitheatre consisted either of silver, or of gold, or of amber.[1208] The poet who describes the games of Carinus, in the character of a shepherd, attracted to the capital by the fame of their magnificence, affirms that the nets designed as a defence against the wild beasts, were of gold wire; that the porticos were gilded; and that the belt or circle which divided the several ranks of spectators from each other was studded with a precious mosaic of beautiful stones.[1209]
1193
Cancellarius. This word, so humble in its origin, has, by a singular fortune, risen into the title of the first great office of state in the monarchies of Europe. See Casaubon and Salmasius, ad Hist. August, p. 253.
1194
Vopiscus in Hist. August. p. 253, 254. Eutropius, x. 19. Vic to Junior. The reign of Diocletian indeed was so long and prosperous, that it must have been very unfavorable to the reputation of Carinus.
1195
Vopiscus in Hist. August. p. 254. He calls him Carus, but the sense is sufficiently obvious, and the words were often confounded.
1196
See Calphurnius, Eclog. vii. 43. We may observe, that the spectacles of Probus were still recent, and that the poet is seconded by the historian.
1197
The philosopher Montaigne (Essais, l. iii. 6) gives a very just and lively view of Roman magnificence in these spectacles.
1199
They are called Onagri; but the number is too inconsiderable for mere wild asses. Cuper (de Elephantis Exercitat. ii. 7) has proved from Oppian, Dion, and an anonymous Greek, that zebras had been seen at Rome. They were brought from some island of the ocean, perhaps Madagascar.
1200
Carinus gave a hippopotamus, (see Calphurn. Eclog. vi. 66.) In the latter spectacles, I do not recollect any crocodiles, of which Augustus once exhibited thirty-six. Dion Cassius, l. lv. p. 781.
1201
Capitolin. in Hist. August. p. 164, 165. We are not acquainted with the animals which he calls archeleontes; some read argoleontes others agrioleontes: both corrections are very nugatory
1204
Maffei, l. ii. c. 2. The height was very much exaggerated by the ancients. It reached almost to the heavens, according to Calphurnius, (Eclog. vii. 23,) and surpassed the ken of human sight, according to Ammianus Marcellinus (xvi. 10.) Yet how trifling to the great pyramid of Egypt, which rises 500 feet perpendicular
1205
According to different copies of Victor, we read 77,000, or 87,000 spectators; but Maffei (l. ii. c. 12) finds room on the open seats for no more than 34,000. The remainder were contained in the upper covered galleries.
1206
See Maffei, l. ii. c. 5-12. He treats the very difficult subject with all possible clearness, and like an architect, as well as an antiquarian.
1207
Calphurn. Eclog vii. 64, 73. These lines are curious, and the whole eclogue has been of infinite use to Maffei. Calphurnius, as well as Martial, (see his first book,) was a poet; but when they described the amphitheatre, they both wrote from their own senses, and to those of the Romans.