Colosseum: Arena

History of the Colosseum Arena

The Colosseum’s arena, located at the center of the Flavian Amphitheater, is among the most iconic spaces of ancient Rome. It bears witness to the complex functional and symbolic evolution that the monument underwent over the centuries. Below is an overview of the principal historical phases, from its construction in the 1st century AD to modern interpretations and interventions, each marked by specific periods and events.

Antiquity: Construction and Original Functions

Construction of the Flavian Amphitheater began in AD 72 under Emperor Vespasian (AD 69–79) and was completed by his successors Titus (79–81) and Domitian (81–96). The entire complex was conceived to showcase the power and grandeur of the Flavian dynasty, and the arena was specifically designed to serve as the stage for public spectacles.

The Arena and Public Entertainments

Originally, the arena was intended to host gladiatorial combats, venationes (exotic animal hunts), and, in certain instances, naumachiae—simulated naval battles. The floor, made of wooden panels supported by a complex system of beams and pillars, was covered with a layer of sand (lapis tesselatus). This sand concealed a network of tunnels and underground passages, enabling rapid scenery changes and facilitating the movement of animals and combatants, all while creating the desired dramatic effect for the audience.

Late Antiquity: Crisis and Functional Transformations

Decline of Pagan Spectacles

During the 3rd century AD, there was a gradual decrease in traditional entertainments, alongside the growing spread of Christianity. Christian apologists, including Tertullian, denounced the brutality of the games, referring to the arena as a “temple of all demons.” This shift away from pagan values led to a progressive reduction of violent shows, reflecting the transition from a society driven by “bread and circuses” to one guided by new devotional ethics.

Reuse and Functional Abandonment

In the 4th and 5th centuries AD, with the Empire in decline and public spectacles waning, the arena gradually lost its original purpose. Historical records and accounts show that this space was partially reused as a storage facility, a burial site, and, in some instances, integrated into temporary residential settlements. The structure’s deterioration turned it into a ruin, although it still retained the symbolic resonance tied to the memory of past violence.

Middle Ages: The Arena as a Place of Martyrdom and Relic

The Tradition of Martyrs’ Torments

From the advent of Christianity until the 12th century, religious narratives reshaped the arena’s image. Hagiographical sources and collections of “passiones martyrum” reinforced the notion that early Christians had been tortured here. Veneration of the martyrs, a central feature of popular devotion, bestowed a new significance upon the arena: it was now interpreted as sacred ground, where the soil—soaked with the martyrs’ blood—was seen as a living relic.

Devotional Practices and Gathering of Soil

A common medieval practice involved collecting small amounts of earth from the arena, which were then kept as sacred items and talismans. These customs reflected the desire to keep the memory of Christian sacrifices alive, transforming what was once the scene of brutal spectacles into a space of devotion.

Renaissance: Resacralization and Rediscovery of Antiquity

Revival of Classical Interests

In the Renaissance period (15th–16th centuries), there was a renewed and thorough exploration of Roman construction techniques and engineering. Scholars and architects analyzed the arena’s structure, highlighting its ingenuity and original functionality. Such studies fueled the notion of potentially restoring and resacralizing these spaces, at a time when ancient heritage was being reinterpreted in light of new humanist values.

Resacralization Initiatives in the Baroque Period

During the Baroque era (late 16th–17th centuries), various proposals emerged to reintroduce a devotional aspect to the amphitheater.

Gian Lorenzo Bernini’s Plan

Among the most famous proposals was one by Gian Lorenzo Bernini, who envisioned an intervention at the ground level of the arena. According to his plan, that area would be closed off to vehicular traffic, and imposing gates with commemorative inscriptions would be installed. This had two objectives: on one hand, to protect and highlight the ground so deeply intertwined with the memory of martyrdom; on the other, to transform the space into a “sacred stage” uniting devotional practice with historical remembrance.

Though Bernini’s proposal influenced and inspired many subsequent restoration projects, it was never fully implemented. Parts of the idea remained unrealized and were later reinterpreted in subsequent interventions.

Modern and Contemporary Periods: Excavations, Restorations, and New Interpretations

Archaeological and Restoration Initiatives

Beginning in the 18th century—and more extensively during the 19th and 20th centuries—the Colosseum underwent systematic archaeological excavations and restorations that also affected the arena area. These efforts, carried out by institutions and researchers (including significant investigations of the subterranean sections), recovered original structural elements such as the system of beams and the panel flooring. This helped establish a more accurate understanding of the amphitheater’s original functions.

Critical Reassessment and New Interpretations

Modern studies have shed light on the arena’s specific role not only as the setting for spectacles, but also as a critical component of the structure’s engineering and the management of underground spaces. Analysis of materials and construction techniques has led to a clearer picture of how the arena evolved over time, transitioning from a venue for violent spectacles to a key element in preserving the entire archaeological complex.

Contemporary Project: New Colosseum Arena

Project Context and Goals

In 2014, archaeologist Daniele Manacorda reignited the idea of fully restoring the Colosseum’s arena, attracting the interest of the Ministry for Cultural Heritage and Activities. The plan was included in 2015 among the “Major Projects for Cultural Heritage,” with a budget of 18.5 million euros. Its aim is to restore the monument’s original appearance as a “theatrical stage” and to enable a comprehensive reading of the structure, including its subterranean areas.

Project Phases and Methodology

A tender for the design and construction of the arena’s new floor was published on December 22, 2020, with a deadline of February 1, 2021. Following the bidding process, the commission appointed by Invitalia selected the proposal submitted by Milan Ingegneria SpA, in partnership with Labics Srl, architect Fabio Fumagalli, the firms Croma and Consilium – Studio di Ingegneria, and with technical support from Professor Heinz Best for archaeological considerations.

At a press conference on May 2, 2021, Minister Dario Franceschini stated that this project represents “a further step forward in the reconstruction of the arena,” with a focus not only on restoring the original vision of the Colosseum but also on safeguarding and preserving the underlying archaeological structures.

Timeline and Purpose

Based on the Guidelines drafted by a multidisciplinary team at the Parco archeologico del Colosseo, the project was scheduled to begin in late 2021 (or early 2022 at the latest) and to be completed by 2023. Its stated goal is to offer the public the same central arena view once enjoyed by ancient spectators, enabling a complete experience of the monument and hosting high-profile cultural events, all while respecting and conserving the archaeological heritage.

Description and Structure

From its inception, the Colosseum’s arena was designed to host large-scale spectacles such as gladiatorial combats, venationes, and naumachiae. Architecturally, it can be divided into two main phases: the original period of construction and use, and the current state, evidenced by remnants and archaeological findings.

The original arena was an elliptical space measuring approximately 86 by 54 meters. Its floor comprised two distinct levels: along the perimeter was a masonry frame, while the central portion consisted of wooden planks covered with sand that was replaced for each event.
This system—allowing quick removal of the planks (as indicated by a preliminary design around AD 80, from the amphitheater’s opening years)—enabled the arena floor to be reconfigured for each new performance. It provided consistent coverage and facilitated both drainage and humidity control.

Organization of the Underground Spaces

Below the arena level, Roman ingenuity is evident in a complex subterranean system (hypogeum), developed in different phases.

• Initial Phase (Vespasian–Titus): Under the reigns of Vespasian and Titus, the arena could be flooded to stage naumachiae (mock naval battles), as noted by the poet Martial in his De spectaculis. At this stage, the subterranean spaces were less structured, primarily dedicated to stage-set transitions and logistical support.
• Reorganization under Domitian: Later, under Domitian (AD 81–96), an extensive masonry system was constructed beneath the arena. A central passageway aligned with the arena’s major axis was supplemented by 12 lateral corridors, allowing gladiators, exotic animals, and stage sets to move around.
  These service areas, designed to ensure quick scene changes, featured mechanisms (hoists, movable platforms, inclined ramps, and counterweight devices) that made it possible to rapidly bring scenic elements, used sand, or even animals into the arena without disrupting the flow of the performances.

Stage Functionality and Relation to the Cavea

The arena was situated below the cavea, the seating area of the amphitheater, which rose about 4 meters above it. This podium was adorned with statuettes, bas-reliefs, and marble elements, enclosed by a bronze balustrade. The arena’s position, integrated with the cavea, ensured that spectators had a prime view of the “stage,” while the intricate logistical operations took place behind the scenes in the underground areas.

Present-Day Structure

Remaining Evidence of the Original Layout

Archaeological studies carried out in the arena have allowed a detailed reconstruction of its original layout. These investigations revealed:

• Floor Layout: Although the original wooden components have been lost, the masonry framework that defined the arena perimeter is still clearly visible. Surviving layers confirm the presence of a central core once covered in sand.
• Underground Systems: The grooves and cavities in the subsoil correspond to corridors and service chambers originally used to move gladiators, animals, and stage machinery. These findings underscore the high level of Roman engineering expertise in organizing functional spaces.

Integration with the Amphitheater

The arena’s current layout is integrated within the overall framework of the Flavian Amphitheater. Although centuries of wear and later modifications have affected the area, the original elliptical design and subterranean arrangement remain recognizable. Ongoing research continues to uncover valuable data on the true extent of the Romans’ engineering solutions, showing that the arena was far more than a performance space: it was the focal point of a sophisticated scenic and functional system.

Future Project for Reconstructing the Arena

Technical Features of the New Floor

The new arena floor, covering a total area of about 3,000 square meters, will be built using movable carbon-fiber panels covered with Accoya wood. Accoya, treated through an acetylation process, offers enhanced strength and durability, and is considered sustainable, since the wood is sourced from certified plantations.
The plan includes:

• Movable panels
  Some portions of the floor will consist of rotating, sliding panels that allow changes in scenic configuration and let natural light into the hypogea.
• Ventilation and environmental control
  Twenty-four mechanical ventilation units will be installed, capable of fully exchanging the air in the underground spaces in about thirty minutes. These will be integrated with a continuous monitoring system for temperature and humidity.
• Protecting the underlying spaces
  The new floor will be designed to isolate existing hypogeal structures both physically and chemically, without deep anchorings, thus ensuring maximal reversibility of the intervention.
• Water management
  A system for rainwater collection and reuse will be set up to reduce water load and supply the monument’s restroom facilities.

Use of the Arena in Antiquity

From the time of the Roman Empire, the Colosseum arena served as the heart of public spectacles and as a symbol of Rome’s magnificence and engineering prowess. It hosted a wide range of events—from gladiatorial combats to venationes and elaborate naumachiae—turning the monument into a multi-purpose stage that astounded audiences with its organizational and scenic complexity.

Naumachiae

During the Flavian period, under Vespasian, Titus, and Domitian, the arena was designed so it could be transformed into a genuine “aquatic theater.” From the very start, it was intended that the arena floor could be temporarily flooded to hold naumachiae, or simulated naval battles, presented as part of public celebrations or military triumphs.

The original layout featured a wooden covering placed on top of a masonry base, which could be dismantled rapidly to facilitate flooding of the area. A sophisticated channeling system made it possible to bring in enough water to turn the arena into an artificial basin, where naval battles with complex stage sets were reenacted. These displays were intended to underscore the might of the Empire and to demonstrate the Romans’ ability to manipulate natural elements through engineering prowess.

Venationes

Venationes (animal hunts) were another key form of entertainment in the arena. During these events, the Colosseum became the stage for hunting exotic beasts brought from the Empire’s most distant provinces. The Romans, proud of their vast dominion, imported animals such as lions, elephants, hippos, and other rare species to perform in these shows.

The arena’s organizational system was closely tied to a complex network of underground spaces that managed the transport of animals and orchestrated their dramatic entrances. These service areas, structured with corridors and chambers, enabled animals to appear suddenly on the arena floor, creating powerful dramatic and symbolic effects. Displaying these creatures also served a propagandistic function, highlighting the Empire’s ability to dominate nature and subjugate far-flung peoples and territories.

Ludi Gladiatorii

Gladiatorial combats represented the central element of arena spectacles. These contests involved gladiators—often enslaved individuals or prisoners of war—battling according to meticulous, ritualized formats that accentuated their symbolic meaning. Gladiators themselves were idealized as icons of courage and discipline, and their clashes embodied the struggle between order and chaos, Roman virtue and barbarism.

The Colosseum’s subterranean structure played a crucial role in these events as well. Through mechanical devices like elevators, ramps, and movable platforms, gladiators could make sudden, striking appearances, heightening tension and drama. The service areas, with specially designed passageways, ensured coordinated entrances for the performers and allowed for efficient management of their movements, keeping up a continuous flow of combats with a high level of visual impact.

Tourist Experience of the Colosseum Arena

The arena, the very heart of the Flavian Amphitheater, is now an integral part of the Colosseum’s visitor experience, allowing modern audiences to immerse themselves not only in the grandeur of its outer walls but also in the complex stage system that once hosted gladiators, exotic animals, and spectacular naumachiae.

Accessibility and Visiting Options

Access to the arena is included in guided tours organized by the Special Superintendence for the Colosseum and the entity responsible for managing the Archaeological Park. Such visits are regulated and take place exclusively with official guides, with mandatory reservations to ensure proper monument protection and safety. These tours provide a detailed look at the arena’s original configuration and the workings of its scenic machinery.

What You Can See During the Visit

During the tour, guides explain the arena’s original layout, emphasizing that in antiquity, the floor consisted of a wooden plank system covered with sand, constantly replenished by sophisticated transport and hoisting mechanisms. Visitors can observe the traces of the passages once used to quickly move gladiators, animals, and stage sets.
Commentary also covers the functioning of mechanical equipment, such as ancient elevators and the corridors connecting the arena to the underground levels—today the subject of archaeological research and a key part of the interpretive route. These insights offer a comprehensive view of Roman engineering, which achieved an extremely efficient orchestration of scenic and logistical operations for public entertainments.

Experience and Cultural Value

Visiting the Colosseum arena means revisiting the stage where, across the centuries, events took place that symbolized the power and grandeur of ancient Rome. Through historical and technical detail, guided tours illustrate how the area was designed to transform into a dynamic stage hosting alternating gladiatorial duels, animal hunts, and even nautical displays.
Thanks to archaeological research and recent enhancement projects, visitors can now appreciate both the traces of the ancient stage system and the innovative solutions employed to preserve the monument. Thus, the tourist offer goes beyond a simple panoramic visit, becoming a hands-on experience that broadens one’s understanding of Roman history through direct and contextual evidence.