The preparation for staging a munus followed an established pattern by the time of the Principate. Once the editor (one who held the event) had struck a fiscal contract with the lanista (the private entrepreneur, often also a gladiator trainer, who supplied fighters), he would advertize the event by having edicta muneris (postings) displayed on easily accessible walls. Surviving examples, like those preserved in Pompeii, were painted on the walls in attractive script by professional scribes specializing in such posters.

The water organist and assorted musicians play and watch while a summa rudis restrains a gladiator. Zilten mosaic circa 150CE.

They contained the reason for the munus (generally in honor of the emperor); the editor's name; the gladiatorum paria (number of pairs of gladiators appearing) familia gladiatoria (the name of their stable or school). This would be the equivalent of a good house racing school today. Certain racing stables now have reputations for turning out excellent thoroughbreds; certain gladiator schools were noted for turning out first rate fighters in Italy.

Any other events on the program, the venatio, athleta and noxii as well as acts taken for the comfort of the spectators such the supplying of vela, (sun awnings), sprasiones, (misting of perfumed water); if food was to be supplied, (often the citizens brought their own) this would be mentioned as well. Finally the poster would give where the show would take place; and the day or days of the exhibition.

One or two days before the opening of the munus the fighters were introduced to their audience in some public place as the town forum. The evening before the show banquet (cena libera) was held for all performers; was also open to the public, who had another opportunity to take a look at the swordsmen. Often professional gamblers would attend, to observe and decide how to place bets.

At this gathering the libellus munerarius, a detailed program listing the pairs in order of their appearance was available to provide further information. After the names of the performers, who had mostly adopted stage names such as Pugnax (pugnacious one) or Ligris (tiger), it listed the number of their fights and victories to date. Before this libellus could appear, the compositio, the pairing of the fighters, had to be decided, a task undertaken by the editor, no doubt with the advice of the lanista and the doctors (traierst).

The show itself opened with a solemn procession (pampa). The upper section of a Pompeian tomb relief (see fig. 1) shows scenes from this festive procession, led by the two lictors, officers of the holder of the games, who bear visible witness to his political and social rank They wear the toga, the official ceremonial garment of a Roman citizen. In their left hands they hold the fasces, a bundle of sticks enclosing an axe, carried over the shoulder and symbolizing the power of their office, and in their right hands they carry staves, here missing because of damage to the relief.

The lictors are followed by three tubicenes, trumpeters. Four men now follow carrying a ferculurn on their shoulders. This was a platform on which statues were carried in procession, usually depicting such deities of victory or warfare as Victory, Hercules, Mars and Nemesis, but here the figures of two smiths are crouching on the ferculum. These men look like the armorers who provided the gladiators with their equipment.

The next two figures carry a writing tablet (tabella) and a palm branch. The tablets were for the information of the audience, and the palm branch was intended for the victors. Finally comes a Roman in festive garments, no doubt the editor in person. He is turning to his six assistants, who are carrying the gladiators' shields and helmets. A seventh is holding an object that cannot now be identified, and then comes another player of a wind instrument, this time a litutis, a short, curved trumpet. The rear of the pampa is brought up by two more assistants leading the horses ridden by the mounted gladiators (equites).

The relief is frequently taken to show the probatio annorum, the checking of weapons before the fights began, as described by the authors of classical antiquity. It applied to offensive weapons, and was intended to ensure that they really were sharp and pointed, and the gladiators would not fake injury during the competition. But the relief shows exclusively defensive weapons, i.e. shields and helmets, which did not need to be checked at all. This raises possibilities.

One, for this particular pampa this has some significance which is unknown, perhaps the editor could order the testing of defense armor to assure the audience it was adequate, or it is possible the audience had some say in the matter demanding such a test. Or such a test was always done, the ancient writers just do not mention it.

A third possibility? This scene should be interpreted as part of the procession itself with the gladiators' showy helmets and shields home before them in the fashion of a medieval contest before the joust. If this was the case the practice also had the advantage of providing a view of the faces and bodies that would later be covered by visors and large shields.

The gladiators themselves are not shown participating in the pompa on the relief, but the main area below the relief is dedicated to their fights, their losses and victories.

Music was a specialty not only of the procession but of the fighting itself, which was accompanied by the sound of various musical instruments usually of brass. Since the immus was a military re-enactment, military brass instruments, such as the large coiled circular horn (cormi), long straight trumpet (tuba) and a short, curving up in front trumpet called littrus), were all major instruments in the arena. The addition of the water organ (hydraulis) apparently came in the first century AD. A good example can be seen on the Zliten mosaic from Africa (See fig. 2).

As the people filed in the arena, tokens often were used to determine entrance and seating. These early "tickets" often could be used in giving out "door prizes" for a lucky few spectators. The benches could be of concrete or wood, wood rotted, so concrete was preferred.

As mentioned before people often brought their food and drink to the event. However we read of vendors supplying everything from drink to marital aids. In many respects an event held at the local amphitheater sounds almost like one that would be held today.

More History of the Munus Part 2 Gladiatorial Contests

Executing the Munus
The Preparation
Conduct of the Gladiatorial Contests
The Fight and Post Combat
Gladiators and Their Future

More History of the Munus Part 1 Gladiatorial Contests

Origins
The First Contests in Rome
The Games as a Political Tool
The Demise of the Munus
Ave Imperator: Gladiator Game Rules
Ave Imperator: Record Sheet
Re-enactor: Maximus the Lanista