Gladiators: Blood and Glory in the Aren

An exciting journey into the world of gladiators and the games that made the Colosseum famous. Discover surprising curiosities about the different classes of fighters, their combat techniques, and the weapons used during the shows.

The majestic façade of the Colosseum

Welcome to the majestic Flavian Amphitheatre, more commonly known as the Colosseum, emblematic of the power and grandeur of the Roman Empire. Take a moment to admire this imposing outer façade that stands before you. What you see is not just an extraordinary architectural feat but a true manifesto of the rigid Roman social hierarchy. The external structure, almost 50 meters high, features four superimposed orders. The first three orders are characterized by 80 arches per level, framed by columns of different styles that follow a precise progression: Doric on the ground floor, Ionic on the second level, and Corinthian on the third. This succession was not random but reflected the Roman social order, from the simplest to the most elaborate. The fourth level, devoid of arches, was adorned with Corinthian pilasters and housed the supports for the velarium, the enormous awning that protected spectators from the sun. Access to the amphitheater was also regulated according to social rank: patricians entered through the numbered arches closest to the main entrances, while the plebeians had to traverse long corridors to reach the highest seats farthest from the arena. The emperors and the vestals had dedicated entrances and seats of honor. Observe how the architecture, beyond its practical function, visually communicated to each citizen their place in society. This building, inaugurated in AD 80 under Emperor Titus, could hold up to 50,000 spectators, all arranged according to their social status.

The Arena: Nerve Center of Roman Spectacle

Here we are at the heart of the Colosseum: the arena. This elliptical space, approximately 76 by 44 meters, covered with sand, was the stage where the most gruesome dramas of ancient Rome unfolded. The yellow-reddish sand had a very specific purpose: to absorb the blood spilled during the combats, allowing the subsequent shows to proceed seamlessly. Beneath our feet lay an intricate system of corridors and mechanisms, known as the Hypogeum, which facilitated the spectacular entry of gladiators and ferocious beasts through elevators and trapdoors. Gladiators would enter the arena in a solemn procession called the pompa, greeting the emperor with the famous phrase: 'Ave, Caesar, morituri te salutant' (Hail, Caesar, those who are about to die salute you). The crowd, which could reach up to 50,000 spectators, thronged the stands to watch the battles, cheering for their favorites. The imperial podium was the most sacred and feared place in the entire amphitheater. This elevated platform, strategically placed on the north side of the arena, represented the center of absolute power during the games. It was here that the emperor sat, surrounded by his court and the Vestal Virgins, the priestesses of Rome. From this privileged position, the Caesar enjoyed the best view of the bloody spectacles unfolding in the arena. But the true power of this podium went far beyond mere visual pleasure. When a gladiator was defeated but not killed, his fate literally depended on an imperial gesture. The audience could express its preference, but the final decision always rested with the emperor. A thumbs-up (compressed thumb) signified mercy, while a thumbs-down (turned thumb) condemned the gladiator to death. Contrary to popular belief, historical sources suggest that the gesture for mercy was the thumb tucked inside the hand, while the gesture for condemnation was the thumb displayed and directed toward the gladiator's chest. From this podium, emperors like Commodus—who loved to fight personally in the arena—or Nero watched the spectacles, using these events to bolster their public image and popular consent. The imperial platform was also adorned with fine marble and canopies that shielded the emperor from the sun, further symbolizing the distance between the emperor's divine power and the common citizens' masses. The arena not only hosted gladiatorial duels but also naumachiae (naval battles), venationes (hunts with exotic animals), and executions of criminals. This place represented a microcosm of Roman society, where military valor was celebrated, imperial power was affirmed, and an increasingly demanding populace was entertained.

Under the Arena: The Labyrinth of the Hypogea

Welcome to the hypogeum, the hidden heart of the Colosseum. What today appears as a complex network of walls and corridors was once a sophisticated underground system, covered by a wooden floor and invisible to spectators. This underground labyrinth was added during the reign of Emperor Domitian, perfecting the already extraordinary structure commissioned by Vespasian. Hundreds of slaves and technicians worked in the hypogeum, using a system of lifts, winches, and pulleys to coordinate the entrance of gladiators and exotic animals into the arena, creating surprising scenic effects for the audience. Imagine the oppressive atmosphere of these cramped spaces: the suffocating heat, the acrid smell of fierce animals from distant lands, the metallic sounds of the mechanisms, and the shouts of the crowd filtering from above. Here, the gladiators awaited their turn, mentally preparing for the spectacle, aware that it could be their last. From the cages, the roars of lions, tigers, and bears could be heard, brought to Rome from Africa and Asia. The hypogeum was organized with military precision: corridors for passage, rooms for the preparation of gladiators, warehouses for sets and weapons, and cages for the animals. There were also underground connections to nearby structures, such as the Ludus Magnus, the main gladiator barracks. This engineering system allowed for rapid changes in scenery, continuously surprising spectators with new and spectacular entertainment, in a theater of life, death, and imperial propaganda.

Anatomy of Glory: Faces of Roman Gladiators

Welcome to the Hall of Arms, known in Latin as the Armamentarium, the place where the destiny of gladiators began to take shape. Here, just before entering the arena, the combatants carefully chose and prepared their gear: helmets, shields, armor, and sharp weapons. But the art of the gladiator was not improvised. Most of these men were trained in specialized schools called ludi gladiatorii, the most famous of which in Rome was the Ludus Magnus, located right next to the Colosseum and connected to the arena by an underground passage. Gladiators trained daily under the guidance of expert instructors called lanistae, following a routine that included intense physical exercises, combat techniques, and duel simulations. To improve endurance and control, they trained with wooden weapons and often with equipment heavier than that used in actual combats. This practice made them more agile and faster once they wore the real battle gear. The sessions also included running, jumping, weightlifting, and hand-to-hand combat exercises. Gladiators were not a homogeneous group but a mosaic of specializations, each with distinctive weapons, armor, and techniques that made the matches true spectacles of strategy and skill. The Retiarius, perhaps the most recognizable, fought with a net and a trident (fuscina), wearing only a subligaculum (loincloth) and a galerus (shoulder guard). His strategy was to trap his opponent in the net and then strike with the trident. His typical opponent was the Secutor, heavily armored with a smooth, rounded helmet to avoid getting entangled in the net, and armed with a gladius and a shield. The Thraex, inspired by Thracian warriors, carried a small square shield (parmula), a curved sword (sica), and high greaves. He often fought against the Murmillo, recognizable by a helmet decorated with a fish. Other types of gladiators included the Hoplomachus, armed like a Greek hoplite, the Eessedarius who fought on a chariot, and the Dimachaerus, who wielded two swords simultaneously. These men—often slaves, prisoners of war, or condemned criminals—could achieve fame, wealth, and sometimes freedom through their valor. Some became celebrated, their names engraved on walls or commemorated in the mosaics of patrician villas. Yet behind the bloody spectacle were real people, living according to a strict code of discipline, sealed by a solemn oath: uri, vinciri, verberari, ferroque necari— to be burned, bound, beaten, and killed by the sword.

The Cells of the Jail

The Carcer was one of the most somber places located within the Colosseum. These narrow subterranean cells represented the antechamber of death for thousands of condemned individuals during the centuries of the Roman Empire. Here, in darkness and dampness, criminals, prisoners of war, deserters, and sometimes even Christians awaited the moment when they would be led into the arena for public executions, known as damnatio ad bestias. Unlike professional gladiators, these unfortunate souls had no chance of survival: their fate was sealed, and they were destined to die as entertainment for the crowd. The cells of the Carcer were deliberately designed to be cramped and oppressive, thus intensifying the psychological suffering of the condemned. During the wait, which could last hours or even days, prisoners could hear the roar of hungry beasts and the cries of the crowd, a terrifying anticipation of their fate. When the time for execution arrived, the condemned were led into the arena through narrow corridors, often bound or chained, completely defenseless against the fierce beasts. These public executions usually took place in the morning, before the gladiator combats, serving as a sort of opening act for the spectacle. Historical sources tell us that some particularly cruel emperors, such as Nero or Caligula, would watch these executions with pleasure, considering them an effective deterrent against crimes and a way to assert imperial power.

The Triumphal Gate and the Libitinarian Gate

In front of the Colosseum arena, there were two very important gates used during events: the Porta Triumphalis and the Porta Libitinaria. These gates were located at the two ends of the longest axis of the arena. The Porta Triumphalis, situated to the west, was used by gladiators to enter the arena. It was named so because if victorious, the fighters would exit through it as well, almost like a small triumphal parade. On the other side, to the east, was the Porta Libitinaria, from which the bodies of gladiators who did not survive the combats were taken out. The name of this gate derives from the Roman goddess Libitina, associated with death and funerals. It was therefore the exit reserved for the deceased. Both gates were connected to the Colosseum's underground, located directly beneath the arena. From there, via steep stairs, gladiators, animals, and scenic materials could be easily brought above or below the arena level. The underground area was divided into various corridors and rooms, used to store weapons, animal cages, and equipment. Some curved and straight corridors allowed for quick passage from one area to another, and there were also multi-level cells to keep everything organized. To bring large animals or stage sets onto the arena floor, counterweight machines were used, like elevators operated with ropes and pulleys. The holes used to secure these devices are still visible in the floor of the underground corridors. A long corridor beneath the east entrance even connected the Colosseum with the Ludus Magnus, the school where gladiators trained. These gates help us understand how complex and well-organized the spectacle was in ancient Rome, not only for the audience but also for those behind the scenes, including architects, workers, and arena security personnel.