Colosseo: interior view

The following commentary was sent to History Pills from Professor Pier Luigi Guiducci, Professor of Church History at the Pontifical Lateran University.

The article, written by Dr. Carlo Mafera, concerns a recently discovered that affected Colosseo and their study of a cross and two Roman letters.

In inviting you to read, I thank Professor Guiducci for authoritative contribution.






the Colosseum

In an intermediate gallery Colosseo, which leads to the third level (on the north side), the prof. Pier Luigi Guiducci (Lateran University), observing a plaster lacerto, He studied a cross and two large letters: a "T" and an "S".

After the second letter section of the line continues curving downward toward the left in the direction of "T".

Everything seems to express: relief, prominence, underscore.

What significance attributed to two large letters?

Since the Romans did not write the names (is. Tarcisius) indicating only the first and last letter, the two letters give the impression of wanting to express rather an exclamation.

To highlight something.

A possible confirmation of what you could get right on the line that connects the two letters to each other.

At this point the question is: which term may be contained between the initial letter "T" and the final "S"?

For Prof.. Guiducci indication could derive from the exclamations in use during the hunting.

Reviewing various examples, we realize that there is a key word that starts with "T" and ending with "S": taurus (toro).

If you are inclined to read the two letters that express time, concisely, exclamation very clear: “taurus! taurus! taurus!”.

It was the cry of the spectators who were waiting for the entry of a bull.

Any animal '' the Colosseum games were used by 80 d.C. al 523. But, since the fourth century d.C. He began the use of materials withdraw amphitheater.

In 523 the building is now presented devoid of the colonnade, with serious damage to the auditorium, to the inputs and at other points.

The hunting they were reduced.

Currently it is likely to think that the use of bulls in '' the Colosseum games did not survive the third century.

The reference to the bull then takes on additional significance when you consider the fact that Rome had spread Mithraism (mystery religion) and worship the goddess Cybele.

Near the large letter "P", and in any case between this letter and the "S", it identifies the design of a Latin cross.

It's about a crux simple type; has the same red the "P" and "S"; It is close to the "P" but is visibly separated from the latter; it is positioned along the line that connects the "P" and "S"; the size of the crux They are very small compared to the already cit. letters; the stretch is not weak; It expresses precise intentionality; the basis of crux it is ruined, It seems to see a 'hill'; next to the crux There are modern written.

It puts a new the question: what interpretation to give to a crux that it's not found in an area close to the arena?

Why draw a sign of faith precisely in a marginal environment, dimly lit, in a passage leading to the urinals?

With reference to sign of faith cit. you can write down the questions.

1] The crux It was painted to favor 'prayer of the faithful?

The hypothesis seems weak. L’oratio It will be especially favored since the Middle Ages.

2] The crux attests Cross devotion?

It does not seem.

This was aided by the devotion of the Way of the Cross (1750).

3] The crux it's a memory to celebrate cults?

This hypothesis is unconvincing: the design is identifiable but is not positioned according to the classical criteria of 'memory', not in an appropriate environment.

4] The design was an isolated initiative of someone, at a time of inactivity, wanted to 'add' on a wall also a signum religious?

It is a theory that does not convince.

No faithful drew a 'cross for the game'. For 'pastime'.

The crux It seems to be a 'response' addition to those who had previously designed the two letters "T" and "S".

Wanting to then bring the attention of those transiting in that environment on a religious symbol seems to recall softly to the realism of the cross (suffering) and its redemptive significance (Christ saves).

Finally, remember the crosses – dated III century – identified in two catacombs and hypogeum of Aurelii and the fact that with the beginning of the period constantinian (IV sec.) It is no longer necessary to take precautions to draw crosses.

In this context,, for prof. Spacious, It does not seem weak hypothesis.

In a period where many people died in the arena (Also anonymous Christians), few followers of Jesus of Nazareth wanted to emphasize piety and reliance on the Lord.

Exaltation of force, of force, blood, dominance (ref. al taurus), a Christian anonymous opposed the piety and faith.

Drawing a small cross (Article written by Dr. Charles Mafera and sent by Professor Pier Luigi Guiducci) (Photo gives: e