A building at Pompeii, which was originally a colonnade connected with the theatre,(1345) had been converted into barracks for a school of gladiators in the time of the early Empire.(1346) Behind the colonnade of more than seventy Doric columns had been built a long row of small cells, with no opening except on the central enclosure. There was a mess room, and the _exedra_ on the southern side served as a retiring room for the trainers and the men in the intervals of exercise. The open area was used for practice. These buildings have yielded many specimens of gladiators’ arms, helmets, and greaves richly embossed in relief, scores of mail-coats, shields, and horse-trappings. In one room there were found the stocks, and four skeletons with irons on their legs. In another, eighteen persons had taken refuge in the last catastrophe, and, among them, a woman wearing costly jewels. The walls and columns were covered with inscriptions and rude sketches of gladiatorial life. Indeed the graffiti relating to it are perhaps the most interesting in Pompeii. On some of the tombs outside the city we can still read the notices of coming games, painted on the walls by a professional advertiser, one Aemilius Celer, “by the light of the moon.”(1347) They announce that a duumvir or aedile or flamen will exhibit twenty or thirty pairs of combatants on the calends of May or the ides of April. There will also be a hunt, athletic games, a distribution of gifts, and awnings will be provided. Programmes were for sale in advance, with a list of the events. The contents of one can still be read scratched on a wall, with marginal notes of the results of the competition. In one conflict, Pugnax, in the Thracian arms, had beaten Murranus the Myrmillo, fighting in the arms of Gaul, with the fish upon his helmet; and the fate of Murranus is chronicled in one tragic letter p. (_periit_). Two others fought in chariots in old British fashion. And the Publius Ostorius who won was, as his name may suggest, a freedman, now fighting as a voluntary combatant, according to the inscription, in his fifty-first conflict.(1348) The tomb of Umbricius Scaurus, on the highway outside the Herculaneum gate, was adorned in stucco relief with animated scenes from the arena of hunting and battle. Hunters with sword and cloak, like a modern toréador, are engaging lions or tigers. Two gladiators are charging one another on horseback. Here, a vanquished combatant, with upturned hand, is imploring the pity of the spectators, while another is sinking in the agony of death upon the sand. The name, the school, and the fighting history of each combatant are painted beside the figure.(1349) The universal enthusiasm for the shows is expressed in many a rude sketch which has been traced by boyish hands upon the walls. The record of the heroes of the arena was evidently then as familiar as that of a champion footballer or cricketer is now to our own sporting youth. In the peristyle