Explanation: The immense expense associated with horses, chariots, and skilled personnel made chariot racing an endeavor primarily accessible to the affluent elite in ancient Greece. This exclusivity contributed to its role in aristocratic displays of wealth and status, particularly in funeral games.

Explanation: The term *tethrippon* in ancient Greek chariot racing denoted a race contested by chariots pulled by four horses. A race with two horses was known as a *synoris*.

Explanation: The *Taraxippus* was not a starting gate mechanism but rather a sacred site or monument within Greek hippodromes, such as Olympia, believed to terrify horses and cause accidents. The starting gate mechanism in Greek hippodromes was known as the *hysplex*.

Explanation: According to historical accounts, chariot racing was added to the Olympic Games in 680 BC. This addition necessitated an extension of the festival's schedule, typically from one day to two days.

Explanation: The *apobatai* was a unique event, notably part of the Panathenaic Games, which involved a complex maneuver where one member of the chariot team would dismount, run alongside the chariot, and then remount while the vehicle was in motion.

Explanation: The *hysplex* was the starting gate mechanism used in ancient Greek hippodromes. The central dividing barrier in Roman circuses was known as the *spina*. Roman starting gates were called *carceres*.

Explanation: The *synoris* race in ancient Greece featured chariots pulled by two horses. The *tethrippon* was the race involving four-horse chariots.

Explanation: Ancient Greece prominently incorporated chariot racing into aristocratic funeral games, using the spectacle to display wealth, status, and honor the deceased.

Explanation: The term *tethrippon* in ancient Greek chariot racing specifically denoted a race involving a chariot pulled by four horses, driven by a single charioteer.

Explanation: In ancient Greece, the individuals who actually drove the chariots in races were typically slaves or hired professionals, rather than the aristocratic owners of the teams.

Explanation: Legend attributes the founding of the Olympic Games to Pelops, who, according to the poet Pindar, defeated King Oenomaus in a chariot race to win the hand of his daughter, Hippodamia.

Explanation: The *Taraxippus* was an altar or shrine located near the track at the Olympic hippodrome, which was believed to possess the power to frighten horses, potentially causing accidents during races.

Explanation: The *apobatai* was a distinctive event, particularly in the Panathenaic Games, requiring one member of the chariot team to dismount and run alongside the moving chariot before remounting, showcasing athletic prowess.

Explanation: The *spina* constituted the longitudinal barrier dividing the track in Roman circuses. It was often elaborately decorated with statues, obelisks, and other monuments, and served as the central point around which chariots navigated multiple laps.

Explanation: The term *naufragia*, meaning 'shipwreck,' was used in Roman chariot racing to describe spectacular and often devastating crashes involving the destruction of chariots and the incapacitation of drivers and horses, not a ceremonial procession.

Explanation: The *pompa circensis* referred to the ceremonial procession that preceded Roman chariot races, involving participants, musicians, and religious elements. It did not denote crashes, which were termed *naufragia*.

Explanation: The *meta* in Roman circuses were the turning posts located at each end of the *spina*. The lap counters, which were indeed shaped like eggs and dolphins, were distinct elements placed along the *spina* itself.

Explanation: The concept of *panem et circenses* (bread and circuses) directly encompassed chariot racing, which served as a primary form of mass entertainment provided by Roman authorities to maintain public order and favor by distracting the population with spectacles and sustenance.

Explanation: The *editor*, often a magistrate or sponsor of the games, initiated the Roman chariot races by dropping a white cloth (*mappa*) from the imperial box, triggering the opening of the starting gates (*carceres*).

Explanation: Chariot racing in ancient Rome was primarily a form of mass public entertainment and political tool ('bread and circuses'), designed to appease the populace and demonstrate imperial power, rather than a direct military training exercise.

Explanation: Chariot racing in ancient Rome served as a crucial element of the 'bread and circuses' policy, functioning as a subsidized public entertainment designed to maintain popular contentment and political stability.

Explanation: Roman chariot races commenced following a ceremonial procession (*pompa circensis*), after which the *editor* would drop a white cloth (*mappa*) to signal the simultaneous opening of the starting gates (*carceres*).

Explanation: Roman circuses employed lap counters shaped like eggs, symbolizing the divine twins Castor and Pollux, and dolphins, representing Neptune, the god of the sea and horses. These were typically moved along the *spina* to track the race progress.

Explanation: In Roman chariot racing, *naufragia* (shipwreck) was the term used to describe severe crashes where chariots were destroyed and participants, including drivers and horses, were severely injured or killed.

Explanation: The *meta* were the conical turning posts situated at each end of the *spina* in Roman circuses. These represented critical and hazardous points in the racecourse where chariots frequently collided or overturned.

Explanation: *Panem et circenses* encapsulates the Roman strategy of offering basic sustenance ('bread') and spectacular entertainment ('circuses,' including chariot races) to maintain public order and loyalty towards the ruling powers.

Explanation: The *pompa circensis* was a grand ceremonial procession held before Roman chariot races, featuring participants, musicians, dancers, and religious imagery, setting the stage for the day's events.

Explanation: While Roman charioteers were generally considered *infames* (publicly disgraced) and held low social standing, the most successful among them could amass fortunes that rivaled or exceeded those of affluent professionals like lawyers and senators, as exemplified by figures like Gaius Appuleius Diocles.

Explanation: While Emperor Domitian did introduce the Purples and Golds as new factions, historical records indicate that these factions did not endure or achieve lasting influence, disappearing from prominence shortly after his reign.

Explanation: Gaius Appuleius Diocles, one of the most successful charioteers in Roman history, is documented to have earned approximately 35,863,120 sesterces over his career, a testament to the potential financial rewards of the sport.

Explanation: Roman charioteers wrapped the reins around their waists, not their necks, to allow for hand-free steering and use of the whip. This practice, however, posed a significant danger, as entanglement could lead to being dragged by the horses.

Explanation: Imperial involvement in managing the racing factions, especially the Blue and Green, was common in Roman and Byzantine societies. Emperors often appointed officials to oversee these teams, partly to prevent them from becoming independent power bases.

Explanation: Curse tablets (*defixiones*) were strictly illegal in Roman society. Their use was considered a form of illicit magic or sabotage, and individuals caught employing them faced severe penalties, including death.

Explanation: Roman charioteers, along with gladiators and actors, were classified as *infames*, a legal and social status denoting public disgrace and the denial of many citizenship privileges. They did not hold high social standing.

Explanation: Roman charioteers occupied a precarious social position, often considered *infames*, yet the most successful drivers could achieve immense wealth, with earnings potentially surpassing those of senators and wealthy lawyers.

Explanation: The four principal colors representing the Roman chariot racing factions were Blue, Green, Red, and White. These colors became symbols of intense fan loyalty and rivalry.

Explanation: Emperor Caligula was known for his extravagant sponsorship of chariot races, reportedly organizing between 10 and 12 races daily during his reign, a frequency that placed considerable strain on imperial resources.

Explanation: The term *infames* designated individuals in Roman society who, due to their profession (like charioteers, gladiators, or actors), were considered publicly disgraced and were consequently stripped of many legal rights and social privileges.

Explanation: Roman charioteers carried a specialized curved knife, known as a *falx*, which was kept accessible for use in cutting their reins should they become entangled during a dangerous crash.

Explanation: Emperor Domitian attempted to alter the established faction system by introducing two new colors, Purple and Gold. However, these new factions failed to gain traction and vanished from historical records relatively quickly.

Explanation: The use of curse tablets (*defixiones*) in Roman chariot racing was prohibited because it was regarded as illicit magic and sabotage, aimed at harming opponents through supernatural means, which carried severe legal consequences.

Explanation: Emperors such as Caligula and Nero significantly increased the frequency of chariot races, with Caligula holding 10-12 races daily and Nero sponsoring up to 24, demonstrating their commitment to public spectacle and potentially straining imperial finances.

Explanation: Chariot racing in the Byzantine Empire was deeply intertwined with political factions and religious symbolism, far exceeding mere entertainment. The popular factions, such as the Blues and Greens, played significant roles in public life and imperial politics, and events like the Nika riots demonstrate its profound sociopolitical impact.

Explanation: The Nika riots, a major uprising in Constantinople, were indeed significantly fueled by the intense rivalry and political discontent expressed by supporters of the Blue and Green chariot racing factions. While not solely about race outcomes, these disputes served as a catalyst for broader anti-imperial sentiment.

Explanation: The *diversium* was a specific type of race in the Byzantine era designed to highlight the driver's skill. It involved the victorious charioteer taking control of the horses and chariot of a defeated rival for a subsequent race.

Explanation: The Hippodrome of Constantinople was predominantly a venue for chariot racing and public spectacles. While gladiatorial combat occurred in the Roman Empire, it was not the primary function of the Constantinopolitan Hippodrome.

Explanation: Porphyrius was indeed a highly acclaimed charioteer in the Byzantine Empire, renowned for his exceptional talent and the significant imperial honors and monuments bestowed upon him.

Explanation: The Nika riots were deeply intertwined with the popular chariot racing factions, the Blues and Greens, who used the Hippodrome as a platform to voice widespread discontent against the emperor and imperial policies.

Explanation: The *diversium* was a unique Byzantine chariot race format where the victorious charioteer would compete once more, this time driving the chariot and horses of a defeated rival, emphasizing driver skill over team advantage.

Explanation: The Hippodrome of Constantinople served as a crucial public forum where the populace could directly express their views, grievances, and support to the emperor, often facilitated by the chariot racing factions.

Explanation: The earliest significant literary mention of chariot racing appears in Homer's *Iliad*, specifically in the description of the funeral games for Patroclus, indicating its presence and importance in the heroic age.

Explanation: While many influential Christian writers, such as Cassiodorus, did view chariot racing as a pagan and potentially sinful activity, their condemnation was not universal, nor did it always translate into successful campaigns for abolition. The sport remained popular for centuries despite Christian criticism.

Explanation: The last documented chariot race within the geographical boundaries of the Western Roman Empire took place in 549 AD, organized by the Ostrogothic king Totila in the Circus Maximus.

Explanation: Archaeological findings, specifically depictions on pottery dating to the thirteenth century BC, provide strong evidence for the existence of chariot racing in Mycenaean Greece, pushing its origins back significantly.

Explanation: Artistic representations on pottery dating back to the thirteenth century BC provide significant evidence for the presence of chariot racing during the Mycenaean period.

Explanation: A standard Roman chariot race typically consisted of seven laps around the circus. While variations existed, seven laps became the customary duration for most races.

Explanation: Greek chariot races, particularly the *tethrippon*, commonly consisted of twelve laps. In contrast, Roman races were generally shorter, typically comprising seven laps, although five laps were also common.