The Roman amphitheatre was a site both of bloody combat and marvellous spectacle, symbolic of the might of Empire; to understand the importance of the amphitheatre is to understand a key element in the social and political life of the Roman ruling classes. Generously illustrated with 141 plans and photographs, The Story of the Roman Amphitheatre offers a comprehensive picture of the origins, development, and eventual decline of the most typical and evocative of Roman monuments. With a detailed examination of the Colosseum, as well as case studies of significant sites from Italy, Gaul, Spain and Roman North Africa, the book is a fascinating gazetteer for the general reader as well as a valuable tool for students and academics.
This is the first book to analyze the evolution of the Roman amphitheatre as an architectural form. Katherine Welch addresses the critical period in the history of this building type: its origins and dissemination under the Republic, from the third to first centuries BC; its monumentalization as an architectural form under Augustus; and its canonization as a building type with the Colosseum (AD 80). The study then shifts focus to the reception of the amphitheatre in the Greek East, a part of the Empire deeply fractured about the new realities of Roman rule.
The Roman amphitheatre was a site both of bloody combat and marvellous spectacle, symbolic of the might of Empire; to understand the importance of the amphitheatre is to understand a key element in the social and political life of the Roman ruling classes. Generously illustrated with 141 plans and photographs, The Story of the Roman Amphitheatre offers a comprehensive picture of the origins, development, and eventual decline of the most typical and evocative of Roman monuments. With a detailed examination of the Colosseum, as well as case studies of significant sites from Italy, Gaul, Spain and Roman North Africa, the book is a fascinating gazetteer for the general reader as well as a valuable tool for students and academics.
Byron and Hitler were equally entranced by Rome’s most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chock full of romantic but erroneous myths. There is no evidence that any gladiator ever said “Hail Caesar, those about to die...” and we know of not one single Christian martyr who met his finish here. Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument—as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?
*Includes pictures. *Includes ancient accounts of gladiatorial games and other spectacles. *Explains how the Colosseum was designed and built, as well as how seating was arranged. *Describes the different classes of Roman gladiators and the armor and weaponry they used. *Includes footnotes and a bibliography for further reading. “He vows to endure to be burned, to be bound, to be beaten, and to be killed by the sword." - The gladiator's oath, according to Petronius in the Satyricon. When the Colosseum was built in the late 1st century A.D., the Romans, a people known for their architectural acumen, managed to amaze themselves. Martial, a Roman poet writing during the inauguration of the Colosseum, clearly believed the Colosseum was so grand a monument that it was even greater than the other Wonders of the Ancient World, which had been written about and visited endlessly by the Romans and Greeks in antiquity. Indeed, although the Wonders were wondrous to behold, the Colosseum was a spectacular achievement in architecture, something new and innovative, and therefore an amazing “Wonder” in its own way. The Colosseum was designed to be both a symbol and show of strength by the famous Flavian emperors, most notably Vespasian and his sons Titus and Domitian. Vespasian had started the construction of the Colosseum shortly after becoming emperor in 69 A.D., but he died before he could present any spectacles in his giant amphitheatre. That honor went to his son Titus, who celebrated the inaugural opening in 80 A.D. with 100 days of games, despite the fact that the Colosseum was not completely finished. When his brother Domitian came to power in 81 A.D., he finished the amphitheatre, but not without making some changes to the overall design. By the time it was truly finished, the Colosseum stood about 150 feet tall, with the oval in the center stretching nearly two football fields long and over 500 feet across. The Colosseum is a large stadium even by today's standards, and its great size conveys the power of the empire as it dominates the landscape and towers over nearby buildings. Of course, the main events in the Colosseum were gladiator fights. Gladiators are somewhat synonymous with ancient Rome, and even thousands of years after they performed on the sands, when people are asked about Roman culture, many think about and refer to the bloody spectacles of men fighting to the death in the arena. Gladiatorial combat is often regarded as barbaric, and most find it very difficult to comprehend how people could have enjoyed watching something so violent, but nevertheless, the spectacle still intrigues and fascinates people today, whether in movies like Gladiator or television shows about Spartacus. Each match usually pitted one type of gladiator against a different type of gladiator, with each having their own kind of armor, weaponry and fighting style. For example, the retiarius was a gladiator that used a net, dagger and trident as his offensive weapons, while only wearing a protective guard over his left arm for protection. The retiarius would typically fight against the secutor, a gladiator armed with a sword, large shield, helmet and protective covering on his right arm and left leg. Therefore, a retiarius sacrificed armor for quickness in battle, while the secutor did the opposite. Although people often think of gladiators fighting to the death, the outcome of gladiatorial combats was not always fatal for one of the participants. If a gladiator fought well, the sponsor of the show could spare him, particularly if the crowd desired it. The fact that the outcome of matches was never the same and the crowd could help determine the result of the match certainly added to the Roman public's pleasure, making it a lot less surprising that such an abhorrent spectacle still fascinated the modern world.
Suspecting their friend Jonathan is alive, Flavia, Nubia, and Lupus go to Rome for the Colosseum Games, facing wild beasts, criminals, conspirators, and gladiators, and where Nubia is called upon to make a terrible choice.
*Includes pictures *Includes ancient accounts *Includes online resources and a bibliography for further reading The ambitious and fearless emperors that built the legendary Roman Empire from scratch, the broad-shouldered and bronzed gladiators with their iconic plume helmets and glinting swords, and elaborate parties attended by toga-wearing Romans fueled by alcohol, violence, orgies, and other godless acts all paint a picture of Roman life. At the Circus Maximus, the guttural cheers of the spectators reverberated across the enormous open space, but their cries could hardly be heard over the rumble of the ground. On the ellipse-shaped track, 5 charioteers would skew their bodies and steer their magnificent vehicles around the curves. Gusts of sand and dirt flew up from the whizzing wheels and encircled the pounding hooves of the stunning stallions. Distracted personnel and guards dragging their feet were considered fair game. As one chariot careened to the side, preparing to collide with another chariot, a row of guards might have to try to duck out of the way in the nick of time. Some would be trampled by hooves. Chariot races were dangerous for participants too. A charioteer could become disoriented and fail to position himself as his horses moved instinctively, sending his body catapulting forward out of the chariot. Needless to say, chariot racing in Rome was a nail-biting spectacle. When the Colosseum was built in the late 1st century A.D., the Romans, a people known for their architectural acumen, managed to amaze themselves. Martial, a Roman poet writing during the inauguration of the Colosseum, clearly believed the Colosseum was so grand a monument that it was even greater than the other Wonders of the Ancient World, which had been written about and visited endlessly by the Romans and Greeks in antiquity. Indeed, although the Wonders were wondrous to behold, the Colosseum was a spectacular achievement in architecture, something new and innovative, and therefore an amazing "Wonder" in its own way. The Colosseum was designed to be both a symbol and show of strength by the famous Flavian emperors, most notably Vespasian and his sons Titus and Domitian. Vespasian had started the construction of the Colosseum shortly after becoming emperor in 69 A.D., but he died before he could present any spectacles in his giant amphitheatre. That honor went to his son Titus, who celebrated the inaugural opening in 80 A.D. with 100 days of games, despite the fact that the Colosseum was not completely finished. When his brother Domitian came to power in 81 A.D., he finished the amphitheatre, but not without making some changes to the overall design. By the time it was truly finished, the Colosseum stood about 150 feet tall, with the oval in the center stretching nearly two football fields long and over 500 feet across. The Colosseum is a large stadium even by today's standards, and its great size conveys the power of the empire as it dominates the landscape and towers over nearby buildings. Nearly 2,000 years later, the Colosseum still amazes millions of people who come to visit it, and when asked to visualize a monument that represents the Roman Empire, many conjure up an image of the large amphitheater. As Keith Hopkins and Mary Beard put it, the Colosseum is "the most famous, and instantly recognizable, monument to have survived from the classical world." At the same time, the Colosseum also represents the Roman games and spectacles, particularly the gladiatorial combats that so many people today find both abhorrent yet fascinating. Given its massive size and the architectural ingenuity involved, the Colosseum played host to all sorts of games, including massive hunts of exotic animals and even sea battles.
This sourcebook presents a wealth of material relating to everyaspect of Roman spectacles, especially gladiatorial combat andchariot racing. Draws on the words of eye-witnesses and participants, as wellas depictions of the games in mosaics and other works of art. Offers snapshots of “a day at the games” and“the life of a gladiator”. Includes numerous illustrations. Covers chariot-races, water pageants, naval battles and wildanimal fights, as well as gladiatorial combat. Combines political, social, religious and archaeologicalperspectives. Facilitates an in-depth understanding of this important featureof ancient life.
Denied citizenship by the Roman Empire, a soldier named Alaric changed history by unleashing a surprise attack on the capital city of an unjust empire. Stigmatized and relegated to the margins of Roman society, the Goths were violent “barbarians” who destroyed “civilization,” at least in the conventional story of Rome’s collapse. But a slight shift of perspective brings their history, and ours, shockingly alive. Alaric grew up near the river border that separated Gothic territory from Roman. He survived a border policy that separated migrant children from their parents, and he was denied benefits he likely expected from military service. Romans were deeply conflicted over who should enjoy the privileges of citizenship. They wanted to buttress their global power, but were insecure about Roman identity; they depended on foreign goods, but scoffed at and denied foreigners their own voices and humanity. In stark contrast to the rising bigotry, intolerance, and zealotry among Romans during Alaric’s lifetime, the Goths, as practicing Christians, valued religious pluralism and tolerance. The marginalized Goths, marked by history as frightening harbingers of destruction and of the Dark Ages, preserved virtues of the ancient world that we take for granted. The three nights of riots Alaric and the Goths brought to the capital struck fear into the hearts of the powerful, but the riots were not without cause. Combining vivid storytelling and historical analysis, Douglas Boin reveals the Goths’ complex and fascinating legacy in shaping our world.
