Vespasian's mission will lead to violence, mayhem, and theft—and in the end, to a betrayal so great it will echo through the ages Vespasian is serving as a military officer on the outskirts of the Roman Empire, suppressing local troubles and defending the Roman way. But political events in Rome—Tiberius's increasingly insane debauchery, the escalating grain crisis—draw him back to the city. When Caligula becomes Emperor, Vespasian believes that things will improve. Instead, he watches the young emperor deteriorate from Rome's shining star to a blood-crazed, incestuous, all-powerful madman. Lavish building projects, endless games, public displays of his relationship with his sister, Drusilla, and a terrified senate are as nothing to Caligula's most ambitious plan: to bridge the bay of Neapolis and ride over it wearing Alexander's breastplate. And it falls to Vespasian to travel to Alexandria and steal it from Alexander's mausoleum.
A hero is forged in battle and a legend is born in this second installment in the Vespasian series Thracia, AD30: Even after four years of military service at the edge of the Roman world, Vespasian can't escape the tumultuous politics of an Empire on the brink of disintegration. His patrons in Rome have charged him with the clandestine extraction of an old enemy from a fortress on the banks of the Danube before it falls to the Roman legion besieging it. Vespasian's mission is the key move in a deadly struggle for the right to rule the Roman Empire. The man he has been ordered to seize could be the witness that will destroy Sejanus, commander of the Praetorian Guard, and ruler of the Empire in all but name. Before he completes his mission, Vespasian will face ambush in snowbound mountains, pirates on the high seas, and Sejanus's spies all around him. But by far the greatest danger lies at the rotten heart of the Empire, at the nightmarish court of Tiberius, Emperor of Rome and debauched, paranoid madman.
One man, born in rural obscurity, destined to become one of Rome's greatest Emperors 26 AD: 16-year-old Vespasian leaves his family farm for Rome, his sights set on finding a patron and following his brother into the army, but he discovers a city in turmoil and an Empire on the brink. The aging emperor Tiberius is in seclusion on Capri, leaving Rome in the iron grip of Sejanus, commander of the Praetorian Guard. Sejanus is ruler of the Empire in all but name, but many fear that isn't enough for him. Sejanus' spies are everywhere—careless words at a dinner party can be as dangerous as a barbarian arrow. Vespasian is totally out of his depth, making dangerous enemies (and even more dangerous friends—like the young Caligula) and soon finds himself ensnared in a conspiracy against Tiberius. With the situation in Rome deteriorating, Vespasian flees the city to take up a position as tribune in an unfashionable legion on the Balkan frontier. Even here, rebellion is in the air and unblooded and inexperienced, Vespasian must lead his men in savage battle with hostile mountain tribes. Vespasian will soon realize that he can't escape Roman politics any more than he can escape his destiny.
The fourth instalment of Robert Fabbri's bestselling Vespasian series. Caligula is dead, Rome is in the hands of a drooling fool - and Vespasian must fight to save his brother's life and find the Eagle of the Seventeenth.
Tribune of Rome AD 26: Sixteen-year-old Vespasian leaves his family farm for Rome. However, he soon finds himself out of his depth, making dangerous enemies (and dangerous friends - like the young Caligula) and becomes ensnared in a conspiracy against Tiberius. Vespasian flees the city to take up his position as tribune in an unfashionable legion on the Balkan frontier. Unblooded and inexperienced, he must lead his men in savage battle with hostile mountain tribes... Rome's Executioner Thracia, AD 30: Even after four years military service at the edge of the Roman world, Vespasian can't escape the tumultuous politics of an Empire on the brink of disintegration. His patrons in Rome charge him with the clandestine extraction of an old enemy from a fortress on the banks of the Danube before it falls to the Roman legion besieging it. Vespasian's mission is the key move in a deadly struggle for the right to rule the Roman Empire... False God of Rome Rome, AD 34: Vespasian is serving as a military officer on the outskirts of the Empire. But political events in Rome draw him back to the city. The new emperor Caligula forms an extravagant project to bridge the bay of Neapolis and ride over it wearing Alexander's breastplate. And it falls to Vespasian to travel to Alexandria and steal it from Alexander's mausoleum. Vespasian's mission will lead to violence, mayhem and theft - and in the end, to a betrayal so great it will echo through the ages... BOOKS 1-3 IN THE VESPASIAN SERIES ______________________________________________ Don't miss Robert Fabbri's epic new series Alexander's Legacy
Inspiring reverence and blasphemy, combining paternal benignity with sexual violence, transcendent universality with tribal chauvinism, Jupiter represents both the best and the worst of ancient religion. Though often assimilated to Zeus, Jupiter differs from his Greek counterpart as much as Rome differs from Greece: "the god of Rome" conveys both Jupiter's sovereignty over Rome and his symbolic encapsulation of what Rome represents. Understanding this dizzyingly complex figure is crucial not only to the study of Roman religion, but also to the study of ancient Rome more generally. The God of Rome examines Jupiter in Latin poetry's most formative and fruitful period, the reign of the emperor Augustus. As Roman society was transformed from a republic or oligarchy to a de facto monarchy, Jupiter came to play a unique role as the celestial counterpart of the first earthly princeps. While studies of Augustan poetry may glance at Jupiter as an Augustus figure, or Augustus as a Jupiter figure, they rarely explore the poets' portrayal of the god as a character in his own right. This book fills that gap, exploring the god's manifestations in the five major Augustan poets (Virgil, Horace, Tibullus, Propertius, and Ovid). It provides a fascinating window on a transformative period of history, as well as a comprehensive view of the poets' individual personalities and shifting concerns.
Interest in goddess worship is growing in contemporary society, as women seek models for feminine spirituality and wholeness. New cults are developing around ancient goddesses from many cultures, although their modern adherents often envision and interpret the goddesses very differently than their original worshippers did. In this thematic study of the Roman goddess Ceres, Barbette Spaeth explores the rich complexity of meanings and functions that grew up around the goddess from the prehistoric period to the Late Roman Empire. In particular, she examines two major concepts, fertility and liminality, and two social categories, the plebs and women, which were inextricably linked with Ceres in the Roman mind. Spaeth then analyzes an image of the goddess in a relief of the Ara Pacis, an important state monument of the Augustan period, showing how it incorporates all these varied roles and associations of Ceres. This interpretation represents a new contribution to art history. With its use of literary, epigraphical, numismatic, artistic, and archaeological evidence, The Roman Goddess Ceres presents a more encompassing view of the goddess than was previously available. It will be important reading for all students of Classics, as well as for a general audience interested in New Age, feminist, or pagan spirituality.
"Silly," "stupid," "irrational," "simple." "Wicked," "hateful," "obstinate," "anti-social." "Extravagant," "perverse." The Roman world rendered harsh judgments upon early Christianity--including branding Christianity "new." Novelty was no Roman religious virtue. Nevertheless, as Larry W. Hurtado shows in Destroyer of the gods, Christianity thrived despite its new and distinctive features and opposition to them. Unlike nearly all other religious groups, Christianity utterly rejected the traditional gods of the Roman world. Christianity also offered a new and different kind of religious identity, one not based on ethnicity. Christianity was distinctively a "bookish" religion, with the production, copying, distribution, and reading of texts as central to its faith, even preferring a distinctive book-form, the codex. Christianity insisted that its adherents behave differently: unlike the simple ritual observances characteristic of the pagan religious environment, embracing Christian faith meant a behavioral transformation, with particular and novel ethical demands for men. Unquestionably, to the Roman world, Christianity was both new and different, and, to a good many, it threatened social and religious conventions of the day. In the rejection of the gods and in the centrality of texts, early Christianity obviously reflected commitments inherited from its Jewish origins. But these particular features were no longer identified with Jewish ethnicity and early Christianity quickly became aggressively trans-ethnic--a novel kind of religious movement. Its ethical teaching, too, bore some resemblance to the philosophers of the day, yet in contrast with these great teachers and their small circles of dedicated students, early Christianity laid its hard demands upon all adherents from the moment of conversion, producing a novel social project. Christianity's novelty was no badge of honor. Called atheists and suspected of political subversion, Christians earned Roman disdain and suspicion in equal amounts. Yet, as Destroyer of the gods demonstrates, in an irony of history the very features of early Christianity that rendered it distinctive and objectionable in Roman eyes have now become so commonplace in Western culture as to go unnoticed. Christianity helped destroy one world and create another.
