Category Archives: Ancient Rome

This Blog is Shutting Down & Merging into another

You may have noticed that it has been a while since I have posted in this blog. This is not because I’ve stopped loving Ancient Rome or have stopped writing about it.

I started this blog in 2012 exclusively to write about Ancient Rome. I already had a main blog which was fairly diverse but wanted to have something specific. However after a couple of years I increasingly felt that I had over-fragmented my online writing. I am one person and I feel that my blog needs to be more reflective of who I am rather than just showcase one aspect of my personality.

Here is a slightly more detailed explanation on my decision to merge all my blogs.

As I still showcase my interest in Ancient Rome in my blog, I would love it if you could visit here and follow it. For example you could visit my post on the House of Faun. All my earlier Ancient Rome blog posts are also archived there.

Hope to see you around! Thank you for your support.

Mosaic from the House of the Faun

Mosaic from the House of the Faun

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Vercingetorix

One doesn’t have to be too steeped in knowledge of Roman history to have heard the name of the Gaulish chieftain Vercingetorix. Most of us first met him through Asterix and Obelix comics (remember Asterix and the Chieftain’s Shield?).

Shield Before the Feet or Shield on the Feet?

Shield Before the Feet or Shield on the Feet?

Imagine my delight then when I got to know that there was a prominent statue of Vercingetorix in Jaude Square at Clermont Ferrand where I was visiting for work. The site of Gergovia where Vercingetorix gave Caesar’s forces a good thumping in 52 BC is located right on the outstkirts of the city. (Vercingetorix was shortly defeated in Alesia and then made a prisoner by Caesar- reference to the comic strip above).

The statue was designed by Frederic Bartholdi- the same person who designed the statue of Liberty. Vercingetorix’s face expresses all the fury and the fervour of battle.

Statue of Vercingetorix at Place Jaude, Clermont Ferrand

Statue of Vercingetorix at Place Jaude, Clermont Ferrand

The city of Clermont Ferrand considers Vercingetorix as one of it’s principal citizens and you even come across street medallions with his profile on them (along with that of Pope Urban II and Blaise Pascale).

Vercingetorix on the Paved Streets

Vercingetorix on the Paved Streets

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The Amphitheatre In Pompeii

After a brief detour to Oplontis, we are back in Pompeii.

The large amphitheatre of Pompeii is located at one end of the town. It is one of the oldest surviving amphitheatres from the Roman age (predating the massive Colosseum in Rome by more than a century). The amphitheatre could hold up to 20,000 people at a time and inscriptions tell us that the structure was built by two men Valgus and Porcius (out of their personal expenses!)

Inscriptions attesting to the Founders

Inscriptions attesting to the Founders

It is a massive structure and is still considered to be a very intelligent structure and has proved to be an inspiration for many modern stadium structures.

View of the Amphitheatre

View of the Amphitheatre

Arches beneath the double staircase

Arches beneath the double staircase

Passageway Leading Up to the Amphitheatre Arena

Passageway Leading Up to the Amphitheatre Arena

Arched Passageway

Arched Passageway

The Seating Area & Stands

The Seating Area & Stands

One element of controversy that surrounded this amphitheatre in its hey days was when the citizens of Nuceria and Pompeii got into a fight- there was much bloodshed. The news went all the way up to the emperor in Rome (this was in 59AD) and big events were banned in the amphitheatre for 10 years. In 20 years Vesuvius would erupt and bury the amphitheatre for the next 2000 years.

Mural with the details of the fight

Mural with the details of the fight

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Ulixes Stolatus

(“Ulysses in a Stola/ Petticoat” Caligula describing Livia)

Empress of Rome: The Life of Livia by Mathew Dennison

I am not sure this should be considered a proper book review. What I write below is just a collection of my thoughts on the subject (and by collection I don’t mean a nice organised, cogent collection- this is a random and assorted selection).
The political life of ancient Rome was unquestionably dominated by men. Although women in Roman society enjoyed far better treatment than their counterparts in other contemporary civilisations, the domain of administration, politics and statecraft were exclusively earmarked for men. Romans believed that women had no business in governance and hence there were no official positions for them in the governance mechanism. This is not to say that women were completely absent from any kind of prominence in society. Women were exemplified for their virtues- women like Cornelia- the mother of the Gracchi brothers, were revered in Rome for their behaviour conforming to well-accepted norms. Similarly women of wealth were seen making contributions to society- the Eumachia building in the central forum of Pompeii is evidence to the commercial contribution made by a woman. Even in politics women could easily make their influence felt through the men around them- their husbands, lovers, siblings and so on.
The interest in Roman women particularly in spheres outside what was considered their traditional role- the home and religion is a modern phenomenon. This is evidenced by a veritable lack of sources and information on women in Rome. Even on women such as Livia- wife of Augustus Caesar and the Empress of Rome.

Livia- Empress of Rome

Livia- Empress of Rome

For a number of reasons, Livia is mostly associated with the ignoble role as a poisoner- murderer of a number of direct heirs of Augustus in order to champion the cause of her own son (Tiberius) to the highest prize in Rome. This association has been reinforced in modern times by the books on the emperor Claudius by Robert Graves where Livia is portrayed as a determined, single tracked poisoner of everybody including Augustus himself. But Robert Graves himself derives his conclusions from sources such as Tacitus, Suetonius and Cassius Dio (none of them her exact contemporaries) who hint at Livia’s involvement in the murders.
Livia’s life is a fascinating reflection of the history of Rome. Livia was born into the Claudian family that was considered as one of the six most important family trees of Rome. She had a much better pedigree than even her later husband Octavian who had to trace his prominence as the nephew and adopted son of Julius Caesar (who traced his ancestry to Venus and Aeneas). If Livia had been born a man, she could have looked forward to an eminent political career peaking at being consul- the highest position in the Roman system of government. However being born a woman, she was expected to add power & prestige to her husband and her children.
Her marriage to Claudius Nero, even though a wonderful match at the time of arrangement, saw her getting caught as a fugitive on the wrong side of the wars post the assassination of Julius Caesar. In the quirkiest turn of fate, Livia and Augustus (the very man who was responsible for the flight of Livia and her husband) fell in love with each other and shortly got married under “scandalous” circumstances. However scandalous the start may have been, Livia put on a determined effort to be a paragon of Roman womanly virtues on the outside for the remainder of her long life which would end when she was 86. Her long marriage to Augustus was marked by love and respect between the couple, with the only disappointment being that they never had any children. This was probably a moot point in Livia’s later demonization- if there had been any direct children, then undoubtedly that child/ children would have been direct heirs after Augustus. However with the absence of children, the choice of succession fell on Augustus’ heirs through his sister’s children and through the children of his daughter (through his previous marriage). That the son of Livia- through her previous marriage to Claudius Nero- and therefore with no direct blood relation to Augustus landed up being the next emperor is proof to the fact that truth has always been stranger than fiction even in ancient Rome.

Prima Porta Statue of Augustus

Prima Porta Statue of Augustus

Matthew Dennison does a wonderful job of sketching Livia’s life from the early stages through to the end- drawing on accounts from Roman writers and also through intelligent deduction from other sources and evidence. His theory is that Livia was not the murderess she was made out to be. The fact that her son landed up being emperor, the utter dysfunctionalism of the later Julio-Claudian emperors (Caligula and his horse anyone?), and the presence of women like Agrippina the Younger (who was involved in poisoning her husband in order to promote her son) led to Roman authors (whom we now use as sources) retrospectively ascribing the role of an active poisoner to her (of course the rumours were present in her own time as well).
There are strong points to support the theory- most important being that Augustus would not have tolerated Livia poisoning his cherished heirs one after the other. Livia understood at all points that her position in society depended completely on her husband and being the incredibly intelligent woman (with an understanding of Roman politics brought about by belonging to the Claudian family) that she was, there was no way she would have openly jeopardised her position- compounded by the fact that it would have been very acceptable for Augustus to divorce her citing her inability to bear him children. That Augustus loved her deeply and did not divorce her even though he wanted a direct heir to succeed him is proof to their bond- something that could not have held had Augustus suspected her of poisoning his heirs.
She was innocent.
And what do I think? Honestly I am sure that Livia did not murder Marcellus, Gaius & Lucius Caesar, Augustus and the entire lot.
When Livia married Augustus, they both had no way of knowing what the future held for them. The concept of the Republic- though kicked and roughed up thoroughly by people like Gaius Marius and Julius Caesar – still survived as the dominant force. Octavian himself was careful to call himself Princeps- a sort of Primus Inter Pares- rather than an Imperator. The senate still functioned. Nobody could have even wildly anticipated the kind of dynastic monarchy that came to replace the Republic.

Even Julius Caesar could not have foreseen

Even Julius Caesar could not have foreseen

As Livia and Augustus aged and the dynastic succession became accepted, the prize became mind-boggling. Livia as a mother to two sons (the younger one dying at an early age) would not have been human if she had not dreamt of the succession passing to her child. In the early stages when so many heirs stood between the Princeps and Tiberius, she could not have possibly hoped to put them all out of the way. But as Tiberius’ succession became more or less inevitable (because of the lack of suitable heirs), it is not impossible to foresee a situation where Livia may have had a hand (if not actively, at least passively in not preventing a certain situation- as in the case of the death of Agrippa Posthumus-  a delinquent, and the last surviving grandson of Augustus through Julia).
In all cases, we have no proof- one way or the other. The mystery of whether Livia poisoned all those people or not will never be solved. However what one cannot take away from her is the fact that she was a remarkable woman, who carved herself a solid place in Rome through her intelligence and acumen. Livia was deified eventually although she missed out on being the first Roman woman to be made a God (thank you Caligula- your craziness!)
All in all, an interesting read and comes highly recommended from me.

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Oplontis Part II

(continued from Part I)
Inside Villa A Oplontis

Inside Villa A Oplontis

A long corridor stretches to the other end of the villa- the rooms here are decorated in a different style of painting where the solid columns melt into thin lines that eerily resemble the Indian Kutthuvilakku lamps. Mythological and real beasts float in the centre of these wall canvasses- here a leopard, there a goat and birds everywhere.  There is now a pit by the side of the house where once a massive swimming pool lay. Guests to the house of Poppea could relax by the pool or in one of the open rooms that overlook the pool. These were decorated in paintings of trees, fountains, garden bushes and birds. Every photograph that I take seems to do a grave injustice to the art that is on display.  A few more tourists had arrived now and this was creating a friendly bustle- maybe ringing back to the times of old when Poppea would host pool parties for her elite friends?
Garden Motif Decorations in One of the Rooms adjoining the swimming pool

Garden Motif Decorations in One of the Rooms adjoining the swimming pool

Back to the entrance of the house I sit on the porch overlooking the garden. In my mind’s eye I try and transport myself to a much older time. It is also helped by the fact that they are now growing plants and flowers in the garden which would have existed two thousand years ago- thereby recreating the look of the garden as realistically as possible. It is a great environment to spend a few hours and read a book- I vaguely try and remember if my ticket would be valid for that long but all that is idle thought. After a few minutes of rest, I clamber up to the stairs bringing me back to the real world- with its gritty streets and unimaginative apartment blocks. I bid adieu to Villa A hoping to return another day- hopefully when the remains of Villa B nearby at Oplontis is also open to the public.
Decorations on the wall

Decorations on the wall

Getting there: To get to Villa A from Naples, take the Circumvesuviana train from Naples Central (Sorrento line) and get off at the Torre Anunziata stop. Walk down from the station and take a right at the end of the road and continue until you get to the excavations on the left.

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A brief Detour from Pompeii to Oplontis

Visiting Poppea’s Villa

Emperor Nero is probably one of the most recognised names from Roman history- famed to have been fiddling around during the great fire of Rome in 64 AD.  Nero considered himself an artist and was known to live lavishly building a vast sprawling palace in Rome called the Domus Aurea or ‘The Golden House’.  Nero’s second wife Poppea also had her own sprawling mansion- in the countryside at a place once called Oplontis and far smaller to Nero’s palace in Rome but in a much better state of preservation.
Tucked away in a corner of the modern town of Torre Anunziata in the Campania region of Italy, Poppea’s house survives under the Clinical name of Villa A. It is a place very few people visit and on a Sunday afternoon even the roads leading to the Villa from the station wear a deserted and slightly seedy look. The streets are a jumble- narrow and filled with cars parked along the sides- the signposts announcing the UNESCO Heritage status declaration of the site seem incongruous and out of place.  I finally see the huge depression in the landscape indicating a site excavation and I’m filled with the joy of arriving at an oasis of historical significance. The Villa of Poppea at Oplontis suffered the same fate as much of the rest of the region when Vesuvius erupted and was buried deep under the surface until excavated at more modern times.
View of Poppea's Villa- Oplontis

View of Poppea’s Villa- Oplontis

At the time of my entry there was only one other person in the entire mansion and even he was buried deep in his guidebook- I guess places like these are the haunts of history geeks.  The entry to the Villa promptly takes you into a grand room with wall paintings covering the surface of the walls which stretch at least 10 feet in every direction. There is no wait- no navigating through smaller uninteresting rooms before you set your eyes on the pièce de resistance- the second style Roman wall painting in its bold shades of red and gold contrasted with white take my breath away- especially because they are much better preserved than anywhere else I have seen so far in Italy. The theme is also awe-inspiring.  A series of columns with peacocks and masks provide a vista into a grander colonnaded outdoor space with gardens. By now an elderly French couple have joined me and we are soon swapping notes on the motifs and the different styles of Ancient Roman wall painting.
Wall Painting with Peacock and Mask- Oplontis

Wall Painting with Peacock and Mask- Oplontis

We leave the room with reluctance imagining that there could be nothing more splendorous but after navigating through a series of pokey rooms which include the kitchen we reach a space of more salons decorated in the same architecturally realistic wall paintings. I love the way that the painters in those ancient times have brought out the veins of the yellow Numidian marble in the columns. This was after all the house of the Emperor’s consort- no expense had been spared. I try to imagine how much more grand the room would have been in its days of glory with bright mosaics on the floors, lavish furniture and other ornaments littering the rooms. Would we have found it overly gaudy?
(To Be Continued)

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Pompeii Part V- The Large Theatre

From the Stabian baths I then moved to what could only be described as the entertainment district of ancient Pompeii. I visit the large semicircular amphitheatre which could accommodate 5000 spectators at a time.

The Cavea or the Seating area of the amphitheatre

The Cavea or the Seating area of the amphitheatre

View of the Large Theatre, the seats and the stage

View of the Large Theatre, the seats and the stage

Details of the Cavea

Details of the Cavea

Details of the Mosaic Flooring of the Large Theatre

Details of the Mosaic Flooring of the Large Theatre

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Pompeii Part IV- The Stabian Baths

Continuing my journey I go into the Stabian Baths- which can be compared to a modern day spa.

Entering the baths from the Via dell’Abondanza I first enter the Palaestra which is comparable to a modern day exercise ground. This is surrounded by a colonnaded walkway from where the different sections of the bath branch off.

Any Roman Bath worth its name had a few standard components in it- these were the apodyterium or the changing room, the frigidarium or the cold room, the tepidarium or the warm room and the caldarium or the hot room.  Most of the times there were separate sections for men and women and the ones for men generally tend to be more decorated than those for women.

The apodyterium in the Stabian baths has niches where owners could store clothes and slaves could watch over them. The ceiling is vaulted and covered with stuccoes.

The apodyterium in the Stabian baths has niches where owners could store clothes and slaves could watch over them. The ceiling is vaulted and covered with stuccoes.

The Ceiling of the Frigidarium (Cold room)

The Ceiling of the Frigidarium (Cold room)

Semi circular Corniche in the Frigidarium

Semi circular Corniche in the Frigidarium

Niches in the Apodyterium

Niches in the Apodyterium

Caldarium (hot room) in the women's section with a basin, red walls

Caldarium (hot room) in the women’s section with a basin, red walls

Colonnaded area around the Palaestra with a statue supposedly that of Hermes (Mercury)

Colonnaded area around the Palaestra with a statue supposedly that of Hermes (Mercury)

The Palaestra

The Palaestra

 

 

 

 

 

 

 

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Pompeii – Part III

I then walk along the Via dell’Abondanza- which was one of the thoroughfares of the ancient city. The first thing one notices in the street are the presence of stepping stones which helped pedestrians cross the road without getting down to road level- which could either be quite low or just filled with dirt or rainwater in case of rains. The wheels of carts were standardised and could fit around the gaps between the stepping stones. I can still see the rut marks left by years and years of chariots making their way on these roads.

Stepping Stone Ruts formed by wheels of passing carts

Stepping Stone Ruts formed by wheels of passing carts

Narrow Street with rows of stepping stones

Narrow Street with rows of stepping stones

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Pompeii – Part II

Pompeii is a definite crowd puller. On a Saturday morning in early June there are hordes of tourists swarming around the entry gates to the archaeological site even as early as 9am. Excavations at the site have been going on for nearly two centuries and the finds in the area have continued to amaze people. Where even major cities such as Rome have been much built over and have therefore lost monuments and artefacts from ancient times, Pompeii and the surrounding region had them preserved for nearly two millennia. So we find things in Pompeii that are not available elsewhere- wall paintings, household articles, houses and gardens in their entirety and so on.

Vesuvius forming the Backdrop of Temple to Jupiter

Vesuvius forming the Backdrop of Temple to Jupiter

The city is fairly large and I am therefore under pressure as I have just a day to take in the sights. I first visit the Forum- the heart of any Roman town. With temples, law courts, municipal buildings & a fish market this was the commercial & administrative centre of the town.  The majestic temple of Jupiter stands with the dormant Vesuvius as its backdrop at one end. The temple of Apollo nearby is one of the oldest monuments on the site. While people cluster around the display of amphorae and plaster casts at one corner of the forum- I admire the remains of what was once the largest building in the area built by the priestess Eumachia- thereby proving that women were not invisible or powerless in Roman society.

Temple to Apollo

Temple to Apollo

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