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Updated: June 20, 2025
The sound of the tuba rang through the air, and the first twelve chariots were led into the starting-sheds. A few minutes later a machine was set in motion by which a bronze eagle was made to rise with outspread wings high into the air, from an altar in front of the carceres; this was the signal for the chariots to come forth from their boxes.
This, originally laid out by Tarquinius Priscus, was reconstructed on a larger scale by Julius Cæsar. It was circular at one end and rectangular at the other, at which was the entrance. On both sides of the entrance were a number of small arched chambers, called carceres, from which the chariots started.
Until this moment only the privileged possessors of the seats over the carceres had been able, by craning backwards, to see the horses and drivers; now the competitors were visible to the multitude which, at their first appearance, broke out into vociferous applause.
Name him! I will have him thrown into the carceres. We'll see whether the charms he sells so cheap are any good! Or is he a Christian?" he asked, sneering. "The Christians, you know, don't approve of charms," Marcia answered. "By Jupiter, there's not much that they do approve of!" he retorted. "I begin to weary of your Christians. I begin to think Nero was right, and my father, too!
We can picture to ourselves the Circus Maximus filled with a dense crowd of some 150,000 people, the senators in reserved places, and the consul or other magistrate presiding; the chariots, usually four in number, painted at this time either red or white, with their drivers in the same colours, issuing from the carceres at the end of the circus next to the Forum Boarium and the river, and at the signal racing round a course of about 1600 yards, divided into two halves by a spina; at the farther end of this the chariots had to turn sharply and always with a certain amount of danger, which gave the race its chief interest.
The sound of the tuba rang through the air, and the first twelve chariots were led into the starting-sheds. A few minutes later a machine was set in motion by which a bronze eagle was made to rise with outspread wings high into the air, from an altar in front of the carceres; this was the signal for the chariots to come forth from their boxes.
There was a basement first, broken in the middle by a broad arched passage, called the Porta Pompae, over which, on an elevated tribunal magnificently decorated with insignia and legionary standards, the consul sat in the place of honor. On both sides of the passage the basement was divided into stalls termed carceres, each protected in front by massive gates swung to statuesque pilasters.
At the end where we stand, and where are the carceres, the starting-point for the competing chariots, was the Ara maxima of Hercules, which prompted Evander to tell the tale of Cacus to his guest; at the other end was the subterranean altar of Consus the harvest-god, with which was connected another tale, that of the rape of the Sabines.
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