In the interior of the building, as we are told in the anonymous chronicle published by Eccard, which is good authority[49], Vespasian dedicated the three lower steps, and Titus added two others to the three placed by his father. The wooden gallery, built upon the top of the great corridors or arcades (for the plebs), appears to have been an afterthought, not part of the original design, but an addition obviously called for. The large space at that height gave accommodation for an enormous number of people, which could not have been given before, to see what was going on upon the ARENA or STAGE during the performance. This had numerous trap-doors in it, under which were lifts for the wild beasts in their cages to be sent up on to the stage when wanted. The performance was in many respects like our pantomimes. There are evident traces of the lifts below, by the vertical grooves in the tufa walls for them to slide up and down[50]; and recesses remain in these walls for the counter-weights also to work in, with holes in the pavement for the sockets of pivots for the capstans necessary to wind up the cords, and loose them as required. These original walls, with the grooves for the old machines, are in many parts interfered with by more modern walls built up between them, probably in the fifth and sixth centuries, when great repairs were made after earthquakes, or perhaps rendered necessary by the weight of the water under the wooden floor in the central part. Two important inscriptions relating to the history of the building have been preserved[51]: one found in 1810 on the western side, recording the repairs after an earthquake by the præfect Basilius, A.D. 445; the other in 1813, recording similar repairs by Lampadius, A.D. 508. Three of the marble seats were also brought to light, one with the number XVIII., another with the word EQUITI, the third, with an inscription, the beginning of which is broken off:— tr IB IN . THEATR . LEGE . PL . VI vind ICET . P . X . II. This is important, because it shews the use of the word THEATRUM[52], and not AMPHITHEATRUM, for the colossal building; which agrees with the usage of Dio and other contemporary authors, who always call it THEATRUM _par eminence_, or the great theatre of Rome, there being no need to distinguish it further. The following extracts from Dio Cassius can only apply to the great amphitheatre:—