Ancient Rome

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The World of An Altar of Indignities – Part III – Roman Monuments of Athens

Welcome back to The World of An Altar of Indignities, the blog series in which we share the research for our latest novel, An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens.

If you missed the second post on travel and transportation in the Roman Empire, you can read that by CLICKING HERE.

In part three of this blog series, we’re going to be looking at some of the Roman monuments and additions to the great city of Athens that appear in the novel.

Let’s get started!

Pericles’ funeral oration for the dead of the Peloponnesian War in the Kerameikos of Athens by Philipp Foltz (1852)

When we think of Athens today, we inevitably think of that ‘Golden Age’ city which Pericles, after the destruction wrought by the war with Persia, helped to build into a beacon of light and learning for the world.

There is the ancient Agora with its restored stoa of Attalus, one of a few such structures, myriad statue bases and altars. There is, of course, the beautiful temple of Hephaestus overlooking the Agora where other temples of Ares, Apollo, and Aphrodite were located. This vast area was the beating heart of ‘Golden Age’ Athens.

There is the Kerameikos district about the great Dipylon Gate of Athens’ ancient walls where the road to Eleusis leads through the cemetery where Pericles gave his famous funeral oration honouring the dead of the Peloponnesian war.

On the south side of the Acropolis, there is the Pnyx where the citizens of Athens met to participate in the new experiment known as ‘Democracy’, as well as the magnificent theatre of Dionysus where the first dramas in history were performed, and the Odeon of Pericles beside the theatre where musical and poetry performances entranced Athenian audiences.

Painting of ‘Golden Age’ Athens by Leo von Klenze (1846)

Above all of these monuments and more was the temple of Athena Parthenos, the Parthenon, the crowning achievement of ancient Athens that hovered like Olympus above the city.

The remains of the ‘Golden Age’ of ancient Athens are everywhere, and history lovers flock to it as much today as they did in ages past.

However… Our story takes place in Roman Athens in the early third century C.E. What did Athens look like long after the setting of the city’s ‘Golden Age’? What did the Romans ever do for Athens?

The answer is, quite a lot.

Sadly, unlike many of Rome’s relationships, it started off with the usual violence that preceded the productive calm and beauty of the Pax Romana.

The Roman occupation of Greece really began in 146 B.C.E with the defeat and total destruction of the city of Corinth by Quintus Caecilius Metellus Macedonicus who arrived from the north, and then Consul Lucius Mummius.

Then, in 88 B.C.E when Athens and other cities revolted against Roman occupation, Lucius Cornelius Sulla devastated Greece. Athens suffered greatly at the hands of Sulla and much of that ‘Golden Age’ city was destroyed or damaged during his siege of the Acropolis.

Subsequently, Athens and the rest of Greece were to remain a part of the Roman Empire after the battle of Actium in 31 B.C.E when Octavian (later Emperor Augustus) crushed the forces of Mark Antony and Queen Cleopatra thus heralding the end of the Hellenistic Age and beginning the long period of Roman hegemony over the Mediterranean.

Emperor Augustus

After all the destruction, however, under Roman rule Athens began to experience a revival with several rulers really enriching the city for all that it had contributed. You see, many Romans, especially educated ones, really admired Athens and its legacy, a legacy from which Rome had adopted a great deal.

Under Roman rule, Athens saw the construction of several Roman monuments that still stand to this day, at least partially. We are going to take a brief look at a few of them.

Not only were improvements and repairs made to existing monuments, but completely new ones were added to his ancient city, including several public bath houses that were erected in various places.

Vintage engraving of the Theatre of Dionysus with the Roman scaena frons

Among the existing monuments that were repaired and updated was the ancient theatre of Dionysus where the great theatre festivals, such as the Dionysia, took place. At various stages over the Roman period, the theatre was renovated and expanded with more seating and a large scaena frons, or stagehouse.

Fifteen years or so after the Battle of Actium, a new odeon was built around 15 B.C.E in the middle of the Ancient Agora by the general, Marcus Vipsanius Agrippa. This covered, two-storey structure could seat about one thousand people and is still visible today by the carved tritons on its north side.

Recreation of the exterior and interior of the Odeon of Agrippa in the ancient Agora of Athens

One of the most important additions made by Rome to the city of Athens was the Roman Agora or ‘Roman Forum’ built between 19-11 B.C.E by Augustus in fulfillment of a promise to the city by Julius Caesar.

This ‘new’ agora features largely in An Altar of Indignities, and is the site of a particularly riotous scene!

While the original ancient Agora of Athens remained an important focus of the city, it had become crowded with stoas, temples, and monuments to heroes and to the gods. There were fountains, a library, a mint, offices, altars, sanctuaries and more. But the first agora came to lack the great open space that allowed people to gather and trade with ease. The new, Roman Agora allowed for this.

Aerial photo of the Roman Agora of Athens with the gate of Athena Archegetis in the foreground

The Roman Agora of Athens consisted of a large paved, open-air courtyard that was surrounded by colonnades of white and grey marble from the surrounding mountains of Penteli and Hymettos. The colonnades were covered and had spaces for shops and merchants selling various goods, storerooms, the offices of the market, and a fountain. There was also an adjacent public latrine.

There were two propylaea, including the Gate of Athena Archegetis at the west end, and another propylon at the east end. Both entrances aligned with the ancient roads at either side.

The Tower of the Winds – the oldest meteorological station in the world

Just outside the eastern wall of the Roman Agora is a fascinating and unique Roman-era structure known as the Tower of the Winds.

The Tower of the Winds, built by Andronicus in the first century B.C.E, is said to be the oldest meteorological station in the world with sundials on the exterior, a hydraulic clock inside, and its bronze weather vane on top indicating the eight winds which is thought to have allowed merchants in the agora to know the winds and estimate the arrival of shipments coming from the port of Piraeus.

CLICK HERE to read our article on the Roman Agora of Athens and watch our full video tour of the archaeological site.

Emperor Hadrian (gold aureus)

There is one Roman ruler who looms very large in the history of Athens and that is Emperor Hadrian. Everywhere you go in the historic centre of the city, you are reminded of Hadrian. He loved Athens, and he loved to make things on an especially grand scale. Much of what he built in Athens is still visible today.

Beyond the walls of the Roman Agora are the remains of the great library built by Hadrian. Hadrian’s Library, as it is known, was built in 132 C.E. It was a large complex that served not only as a library, but also a cultural centre and public space that included lecture halls, a reading room, a vast courtyard and garden with a pool and, of course, the enormous bibliostasion where myriad precious scrolls were kept.

Today, you can visit the library by away of the monumental entrance near Monastiraki square, roam the gardens where mosaics are still open to the sky, and see the remaining walls of this magnificent piece off Athens’ cultural past.

The ‘Bibliostasion’ of the Library of Hadrian in Plaka, Athens

Southeast of the Acropolis are two more monuments to Hadrian’s generosity and love of grandeur. The one is the Arch of Hadrian which was built around 132 C.E. to honour the emperor. This gate, which one can walk up to today, marked the boundary between the ancient city of Athens and the new district built by Hadrian sometimes known as ‘Novae Athenae’ or ‘New Athens’.

Hadrian’s Gate

Just beyond the Arch of Hadrian, is perhaps one of the most impressive achievements of that emperor: the Temple of Olympian Zeus.

The Temple of Olympian Zeus, or the ‘Olympieion’ as it is known, was one of the largest temples ever built in the ancient world. Construction on it was begun as far back as the sixth century B.C.E under Peisistratos, but it was so ambitious that it was never finished.

Until Emperor Hadrian.

In 131 C.E., after over six hundred years, Emperor Hadrian finally completed the great Olympieion of Athens. The temple had a forest of 104 massive Corinthian columns and contained one of the largest cult statues of the ancient world.

The Temple of Olympian Zeus in Athens, as seen from the Acropolis

Today, only 15 of those magnificent columns remain standing. Nevertheless, this is a wonderful site to visit and the remains still give one a sense of the scale of this marvel of ancient architecture and great love that Emperor Hadrian had for Athens.

There is another Roman who features almost as largely as Hadrian in Athens’ past, and that is the wealthy Roman senator, Herodes Atticus. We will look at the man himself in a separate post in this series, but for now we will go over a few of the monuments he contributed to this ancient city.

The Panathenaic Stadium

The Panathenaic Stadium, or Kallimarmaro ( meaning ‘nice marble’), is one of the most recognizable monuments from ancient Athens, and it is still used to this day. It was originally built by Lycurgus in the fourth century B.C.E for the Panathenaea and is located in the small valley between the hills of Agras and Ardittos at the foot of the neighbourhood of Pangrati. 

However, it was in about 144 C.E. that Herodes Atticus rebuilt the stadium in marble, after which it had a capacity of 50,000. This same stadium was excavated and restored in 1896 to host the first modern Olympic Games and is still used today for various Olympic ceremonies.

The Roman-era Odeon of Herodes Atticus, Athens

The monument for which Herodes Atticus is most famous in Athens is the one that bears his name: the Odeon of Herodes Atticus, or ‘The Herodeion’. 

We will also take a close look at this amazing monument in a separate post in this blog series as it is central to the story of An Altar of Indignities. For now, the Odeon of Herodes Atticus was built around 161 C.E on the south slope of the Acropolis. It was a roofed odeon and served as a venue for concerts, theatrical performances and other public events. It remains in use to this day as a part of the annual Athens Epidaurus Festival, along with the great theatre of Epidaurus in the Peloponnese.

Philopappos Monument on the Hill of the Muses (Wikimedia Commons)

On the nearby Hill of the Muses, across the modern street from the Acropolis is another monument from the Roman period. It is known as the ‘Monument of Philopappos’. It was erected in around 114-116 C.E in honour of a Roman consul of Greek descent, Gaius Julius Antiochus Epiphanes Philopappos.

This grand monument that seems to jut out of the trees on the Hill of the Muses served as a mausoleum to this Roman-Greek consul, and is an indication of his importance to Athenian society at the time. Philopappos was said to have also been a poet and personal friend of Emperor Hadrian and Empress Vibia Sabina, making this yet another magnificent addition to the Hadrianic-period legacy of the city.

The Acropolis of Athens

When it comes to Athens, however, there is no monument greater, or more recognizable, than the Acropolis. This ‘high city’, crowned by the Temple of Athena Parthenos (the Parthenon) and other buildings and temples such as the Propylaea, the Erectheion, the Temple of Athena Nike, and the sanctuary of Artemis Brauronia, are all glorious reminders of Athens’ Archaic and Golden ages. 

When it comes to the Roman period, much restoration of existing monuments was undertaken as structures had been damaged by time and war, not least Sulla’s siege of the Acropolis.

There were some monuments with statues that had been erected by foreign kings such as Attalos II of Pergamon (at the northwest corner of the Parthenon) and by Eumenes II in front of the Propylaea, the monumental entrance to the Acropolis plateau. These Hellenistic structures were later rededicated by Emperor Augustus and General Agrippa.

Recreation and present state of theT emple of Rome and Augustus on the Acropolis (Wikimedia Commons)

The only new, Roman addition to the Acropolis was that of the circular Temple of Rome and Augustus which was located about twenty-three meters from the Parthenon on the east side. This was constructed around 19 B.C.E to honour Rome and Emperor Augustus and was the last great construction to take place on the summit. This temple did not have a cella, as most temples did, but was more of an open air tholos (round temple) with a statue of Augustus beneath a roof supported by nine Ionic columns. Later, a metallic inscription was added to the temple to honour Emperor Nero, but this was later removed.

For a series of wonderful 3D recreations of Roman Athens, we highly recommend you visit the website for AncientAthens3D HERE.

Modern aerial view of the three harbours of the port of Piraeus, the port of Athens. The smaller harbours in the foreground are the ancient military harbours of Zea and Munichia. The commercial harbour of Kantharos is in the background.

Lastly, we cannot have a discussion of Roman monuments of Athens without mentioning the great port of Athens: Piraeus.

The port of Piraeus was made up of three harbours: the great commercial harbour of Kantharos (featured in An Altar of Indignities), and the smaller military harbours of Zea and Munichia.

Piraeus has been an important naval and commercial hub for centuries and, in the Classical Greek and Roman periods, it was vital. When Greece came under Roman rule, much was done to improve the port of Piraeus as the Romans relied heavily upon it.

Infrastructure, such as docking facilities, warehouses and the road to Athens, were repaired, improved and expanded. This was for efficiency, but also to accommodate the larger Roman ships. The Romans are also believed to have improved the fortifications of Piraeus.

Recreation of a Roman Quadrireme (From the Naval Encyclopedia)

The Romans certainly knew the strategic value of Piraeus as it became a major naval base for the Roman fleet in the eastern Mediterranean which was often engaged in combatting the rampant piracy that took place in the region. Of course, as trade was central to the workings of the empire, there were customs offices operated by Rome to carry out the taxation of goods.

There were also some religious additions made by Rome to Piraeus, such as shrines to Jupiter and Neptune, which blended in with the existing shrines and temples to traditional Greek deities whom the Romans also respected.

These changes and more are an indication of the continued importance of Piraeus to Rome as a strategic maritime hub.

While the remains of Athens’ Golden Age continue to be the most glorious to behold, it is undeniable that Rome – despite the destruction it initially wrought on the city – more than made up for it with the monuments its emperors and well-to-do citizens constructed.

Today, Athens is among the most beautiful cities in the world, dotted with ancient monuments that are still marvels to see.

That said, Roman Athens in the early third century C.E., when our story takes place, must have been a wonder, something to rival the halls of Olympus itself.

If the Gods had a home on earth, Roman Athens must have been it.

Thank you for reading.

Artist impression of Roman Athens at its peak with the Ilissos River in the foreground and the Temple of Olympian Zeus centre-left.

There are more posts coming in The World of An Altar or Indignities, so make sure that you are subscribed to the Eagles and Dragons Publishing Newsletter so that you don’t miss any of them. When you subscribe you get the first prequel book in our #1 best-selling Eagles and Dragons series for FREE!

If you haven’t yet read any books in The Etrurian Players series, we highly recommend you begin with the multi award-winning first book Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

In celebration of drama in the ancient world, be sure to check out our ‘Ancient Theatre’ Collection in the Eagles and Dragons Publishing AGORA on Etsy which features a range of ancient theatre-themed clothing, glassware and more! CLICK HERE to browse.

An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens is now available in ebook, paperback and deluxe hardcover editions from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy or get ISBN# information for the edition of your choice.

Brace yourselves! The Etrurian Players are back!

 

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New ‘Special Edition’ Hardcover Release for the Holidays!

Salvete Readers and Romanophiles!

Eagles and Dragons Publishing is thrilled to announce the release of a new, ‘Special Edition’ hardcover of our Roman holiday, fan-favourite, Saturnalia: A Tale of Wickedness and Redemption in Ancient Rome!

This new edition is the perfect gift for the history-lover and fan of Ancient Rome on your list!

It features a beautiful dust jacket with a Gorgon head and acanthus borders on an ancient, Roman plaster background. Underneath the jacket, the hardcover case features a stunning, red fresco from the ruins of Pompeii, giving the book an added feel of antiquity for the holidays.

If you’re looking for a wonderful book for the history lover your life, this is it!

The Saturnalia, Special Edition Hardcover (as well as the ebook, audiobook, and paperback editions) is available from all major bookstore chains, independent shops, and all major on-line stores. Get the ISBN# for the edition of your choice by CLICKING HERE.

Order yours now so that you get it in time for the holidays!

Step into the world of Saturnalia for a Roman Holiday you will never forget!

*PLEASE NOTE: if you are shopping on Amazon, the cover images for the new Special Edition Hardcover are not showing. However, if you order the hardcover, the images above show you what it is like. It’s absolutely beautiful!

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The World of An Altar of Indignities – Part II – Travel and Transportation in the Roman Empire

Greetings Readers and History-Lovers!

Welcome back to The World of An Altar of Indignities, the blog series in which we share the research for our latest novel, An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens.

If you missed the first post on drama and theatres in ancient Athens, you can read that by CLICKING HERE.

In Part II, we’re going to be taking a brief look at travel and transportation in the Roman Empire. As we shall see, this is something the Romans did really well!

We hope you enjoy!

Map of the Roman Empire at its greatest extent (Oxford Research Encyclopedias)

The Etrurian Players – the tumultuous theatre troupe of our story – regularly travel the Mediterranean Sea to get to the location of their next performance, be it in the cities of Iberia, the great polis of Alexandria or, as is the case in this story, the city of Athens where theatre was born.

But how easy is it for The Etrurian Players to get from one place to another while on tour? How did ancient Romans, and Etrurians for that matter, get about?

Travel is something that we take for granted today. We decide we need to get somewhere, and we just go, be it nearby, or over a great distance across oceans and continents. We often take it for granted in fiction too. Characters often need to get from point A to point B, and it happens.

But in the ancient world, travel wasn’t so easy. It required planning, and it took time.

There were also many factors involved such as destination, budget (not unlike today), mode of transportation, and time of year. Unless one was a soldier, or merchant, or someone wealthy, chances are that you might never have left your community or indeed your Etrurian latifundium!

So, when people did travel in the Roman Empire, how and why did they do so?

Ptolemy’s world map, reconstituted from Ptolemy’s Geography, circa AD 150, in the 15th century, indicating Sinae, China, at the extreme right. (Wikimedia Commons)

First off, we should probably discuss maps. We use maps today, and the Romans had maps. Geography was important, especially if you were planning a large scale invasion or military campaign, or even surveying for a new settlement. Not many maps from the Roman period survive, but copies of maps were made from originals. Sometimes they were even rendered in paintings or mosaics.

Maps, geography and cartography are mentioned by some ancient authors such as Strabo, Polybius, Pliny the Elder, and Ptolemy. We also know that large wall maps of the world were commissioned by Julius Caesar, and then by Agrippa, during the reign of Augustus.

Much of our knowledge of place names and geography from the Roman world comes from what are called ittinerarium pictum which were travel itineraries accompanied by paintings. Perhaps the most well-known of these is Ptolemy’s Geography which included six books of place names with coordinates from around the empire, including faraway places such as Ireland and Africa.

Another source is the Ravenna Cosmography. This was a compilation of documents by a cleric at Ravenna around 700 C.E. This particular source gives lists of stations, river names and some topographical details as far away as India.

Details of a map based on the 11th century Ravenna Cosmography (Wikimedia Commons)

The Notitia Dignitatum is a late Roman collection of administrative information which included lists of civilian and military office holders, military units and forts. The maps that accompanied this were medieval, but it is believed that they were derived from Roman originals of the fourth and fifth centuries C.E.

Perhaps the most important surviving example of an itinerary, however, is the Itinerarium Antoninianum, the ‘Antonine Itinerary’, which was a collection of journeys compiled over seventy-five years or more and assembled in the late 3rd century. It describes 225 routes and gives the distances between places that are mentioned. Some believe it was probably used for travel by emperors or troops. This particular source also included a maritime section with sea routes entitled Imperatoris Antonini Augusti itinerarium maritimum. The longest route in this itinerary appears to represent Emperor Caracalla’s trip from Rome to Egypt in about 214-215 C.E, about ten years after An Altar of Indignities takes place.

Map of Roman Britain based on the Antonine Itinerary, plotted by William Stukeley in the 1700s using the Itinerary as its source. (University of Kent)

Next, one cannot discuss travel in the Roman Empire without talking about roads.

There is a reason the expression ‘All roads lead to Rome’ exists. It was true, at least for a time. This is believed to have originally referred to the milliarium aureum, the ‘golden milestone’ near the temple of Saturn in the Forum Romanum, from which all distances were measured. It is believed that distances to specific cities or settlements were written upon it.

Part of the Via Egnatia near Kavala, Greece

When it comes to roads, Rome was the best. In fact, Roman roads forever altered the empire and travel itself. Not only did Roman roads make troop movements much easier – with the troops building the roads themselves! – but they also opened up parts of the empire to trade and further settlement. They spread out from Rome like a titanic spider web connecting the eternal city to the farthest outposts.

There were also various types of road too, not just the broad, paved roads upon which vehicles and legions could travel. There were also small tracks, causeways, narrow streets, embanked roads or strata, lanes and more. Whether you were crossing the world, or crossing a settlement, roads of all types were useful.

The Roman empire in the time of Hadrian, showing the network of main Roman roads. (Wikimedia Commons)

Of course, with Roman roads, came Roman bridges over rivers that might have added days to a journey in order to reach a suitable crossing point. Travel was shortened in many ways by using Roman roads.

Now that we know how important roads were to the Roman Empire, how did people travel upon them?

When it came to the legions, marching was the order of the day for most troopers, and the average Roman soldier, fully laden, could travel up to 25 Roman miles in one day. For the average person living within the bounds of the empire, walking was also the norm. This mode of travel was slower, to be sure, though roads made it much easier.

Apart from walking, there were of course other, faster modes of transportation such as by horse, pack animal, two-wheeled cart, and four-wheeled wagon. Obviously, these required one to have the funds to own or rent such animals and vehicles, but they did greatly cut back on the travel time.

A Roman relief showing a four-wheeled, covered wagon (photo – Penn Museum)

The time of year and the weather were obvious factors when it came to travel upon roads, but also when it came to water routes open to travellers such as by river, open sea, and coastal sea travel.

When it comes to seafaring, the Romans had no such tradition until after the wars with Carthage which forced them to come to terms with the need for a navy. With the creation of that navy, Roman troops could be moved more quickly from Rome to Africa, for instance.

The other reason for travelling by sea or waterway was, perhaps more importantly, trade. The Roman Empire at its peak was vast and varied, and there was an enormous trade network that ensured raw materials such as lead and marble made it to construction sites as far away as Britannia, or from there to Rome itself. Perhaps the officers on Hadrian’s wall missed their favourite garum produced in Hispania, or wine from their family’s Etrurian estate? 

A Roman cargo ship, or ‘corbita’ (image: naval-encyclopedia.com)

To transport large amounts of goods where they needed to be at the farthest reaches of the empire, or to the heart of Rome, sea transport was the way to go, and massive ports such as those at Ostia, Carthage, Alexandria, and Piraeus were constantly alive with trade.

There were various types of ships, both commercial and military, but despite the efficiency of this mode of transport, it was even more restricted by the seasons and weather than travel over land. Sea travel could be absolutely treacherous, and the number of ancient shipwrecks that dot the coasts of the former Roman Empire are a testament to this.

The wreck of a 110-foot (35-meter) Roman ship, along with its cargo of 6,000 amphorae, discovered at a depth of around 60m (197 feet) off the coast of Kefalonia. (Photo: CNN)

If you want to read more about the various types of ships used in the Roman Empire, be sure to check out the Naval Encyclopedia page HERE.

As mentioned before, we often take travel for granted in the modern world, but it cannot be overstated how important travel was in the Roman Empire, nor how much Roman road and ship building opened up the world and the economy of Europe at the time. Yet another thing the Romans did for us!

Modern aerial view of the three harbours of the port of Piraeus, the port of Athens

We hope you’ve enjoyed this brief post about travel and transportation in the Roman Empire.

If you’re interested in taking a look, one particular tool that was especially useful when researching and writing An Altar of Indignities was Orbis: The Stanford Geospatial Network Model of the Roman World. This special GIS tool uses ancient and modern source information to accurately create itineraries for travel between destinations in the Roman Empire, taking into account mode of transport, time of year, and whether travelling by land or sea. You can check that out HERE.

Stay tuned for Part III in The World of An Altar of Indignities in which we will be taking a look at the Roman monuments of ancient Athens.

Thank you for reading.

There are more posts coming in The World of An Altar or Indignities, so make sure that you are subscribed to the Eagles and Dragons Publishing Newsletter so that you don’t miss any of them. When you subscribe you get the first prequel book in our #1 best-selling Eagles and Dragons series for FREE!

If you haven’t yet read any books in The Etrurian Players series, we highly recommend you begin with the multi award-winning first book Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

In celebration of drama in the ancient world, be sure to check out our ‘Ancient Theatre’ Collection in the Eagles and Dragons Publishing AGORA on Etsy which features a range of ancient theatre-themed clothing, glassware and more! CLICK HERE to browse.

An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens is now available in ebook, paperback and deluxe hardcover editions from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy or get ISBN# information for the edition of your choice.

Brace yourselves! The Etrurian Players are back!

 

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New Release! – The Etrurian Players are Back!

Greetings Readers and History-Lovers!

Eagles and Dragons Publishing is thrilled to announce the release of Book II in The Etrurian Players series!

The title is An Altar of Indignities: A Dramatic and Romantic Comedy of Ancient Rome and Athens and it is an embarrassing and touching story of family and friendship, creativity, and the discomfort that humans experience as life inevitably changes.

The story takes place in the Roman Empire in the year 205 CE…

Brace yourselves! The Etrurian Players are back!

The Gods are well aware that mortals have a habit of taking themselves far too seriously. This is especially true of The Etrurian Players, the greatest theatrical troupe in the Roman Empire.

Basking in the glories of their resounding success in Rome, Felix Modestus and his players find themselves on the sacred island of Delos when Apollo decides it is time to check Felix’s growing hubris with a new and potentially deadly mission: he must show the people of Athens that Romans are just as capable of theatrical greatness as the Greeks!

Faced with this titanic task, Felix once again enlists the help of his oldest friends, Rufio and Clara, who travel from their farm in Etruria to Athens for the great Panathenaic festival when the precarious production is destined to take place.

As the company attempts to prepare for the performance, their efforts are constantly hampered by haughty critics, a rival theatre troupe, wailing children, wild animals, and the pleasures of Athena’s polis.

Will The Etrurian Players overcome distraction to win over the people of Athens? Will they survive the trials and judgement of Apollo? Or will they succumb to the humiliation and self-doubt that lurks around every creative corner?

Only by believing in themselves and helping each other can they survive and prove once again that The Etrurian Players are worthy of praise and the Gods’ favour.

If you like dramatic and comic stories about wild artists, persistent shades, and unbelievable episodes with goats, monkeys, and dogs, then you will howl and cry at An Altar of Indignities!

Read this book today for a theatrical misadventure in Roman Athens that will leave you asking the Gods ‘What were they thinking?’.

If you haven’t yet experienced The Etrurian Players series, be sure to check out Book I first, the multi award-winning title, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.

If you are feeling down about the world at the moment, The Etrurian Players series is just the ticket you need to feel good and know that there is indeed hope for us all!

An Altar of Indignities is now available in ebook, paperback and deluxe hardcover editions from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy or get ISBN# information for the edition of your choice.

You can also purchase the ebook directly from Eagles and Dragons Publishing by clicking HERE.

We’re so excited to share this dramatic and romantic comedy with the world, and we’re thrilled that you’re joining us on the adventure!

Thank you for reading!

 

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New Deluxe Hardcover Release! – The Carpathian Interlude

This October, Eagles and Dragons Publishing is thrilled to announce the release of our complete historical horror trilogy, The Carpathian Interlude, in a new, deluxe hardcover edition!

We’re really proud of the hardcover books we design here at Eagles and Dragons Publishing, and with this latest one we’ve exceeded our expectations!

In addition to the sturdy hardcover case and jacket that will see this book pass safely through many readers’ hands – especially in a public library setting – there are also fun design details like the carved image of the ‘Taurauctony’ of the god, Mithras, as well as the haunting image of the Kalkriese mask from the Teutoberg Forest massacre.

If you don’t know why those are relevant to the story, then you’ll need to read the book!

Here’s a peek at the full hardcover jacket, case, and the story synopsis…

Hardcover Dust Jacket

The Hardcover Case beneath the jacket

The Carpathian Interlude

Only when fear is at its most intense can true heroism come into the light.

For ages, an ancient evil has been hiding in the heart of the Carpathian Mountains, an enemy of the god Mithras, Lord of Light.

In A.D. 9, when three of the Emperor Augustus’ legions are slaughtered in the forests of Germania, it becomes evident to a small group of experienced veterans that something more sinister than the rebellious German tribes is responsible for the massacre.

It falls to Gaius Justus Vitalis and a few warriors favoured by Mithras to hunt down and destroy the forces of undead spurred on by this ancient evil. Summoning all of their courage, they must wade through horror and rivers of blood to bring Mithras’ light into the darkness, or else see the destruction of Rome, the Empire, and all they hold dear.

The adventure begins with the appearance of a young refugee beneath the walls of a distant legionary base…

The Carpathian Interlude is the perfect read for fans of Roman historical fiction and horror. Read it for Halloween, during the dark days of Winter, or any time you’re craving adventure.

Step into the world of The Carpathian Interlude today for an epic and visceral adventure in the Roman Empire that you will never forget!

The Carpathian Interlude: The Complete Trilogy is available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal chains, and your local public library.

CLICK HERE to buy a copy or get ISBN# information for the edition of your choice.

Are you brave enough?

Thank you for reading.

 

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Sincerity is a Goddess is a Chaucer Award Finalist!

The Gods are Smiling!

We’re thrilled to announce that Adam and Sincerity is a Goddess have made it to the Finals of the Chanticleer International Book Awards’ Chaucer Award for Early Historical Fiction!

This is very exciting news and we can’t wait to see if Fortuna favours them with a First Place or Grand Prize win this coming April.

Thank you to all of our wonderful readers around the world for the amazing support for Adam and Sincerity is a Goddess!

Visit the link below to see the full press release:

https://www.chantireviews.com/2024/02/23/the-chaucer-2023-book-awards-finalists-for-early-historical-fiction/

Congratulations to all of the finalists!

Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome is available in e-book, paperback, and hardcover from large and independent books stores, you favourite on-line stores, and your local public library. CLICK HERE to learn more.

 

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The Roman Agora of Athens

When one thinks of the great cities of the ancient world the first that most often comes to mind is Athens. It is a beacon of light, learning, and invention in the far-distant past that continues to inspire and influence us to this day.

It is also my second home, for I have been fortunate enough to return to Athens many times over the years to visit family, and to acquaint myself with the countless historical monuments that still stand, from the Parthenon and Kerameikos, to the often overlooked shrines along the Ilissos River which runs beneath the city.

When I find my way around the city of Athens, I do so by way of its ancient monuments. They have always been my guides, my markers for navigating the warren of streets and alleyways of the city of the Goddess Athena.

Athens, Greece – Monastiraki Square and ancient Acropolis with rainbow

But Athens is not just a place for those fascinated by mythological and Classical Greece. There is also a great deal for the most ardent of Romanophiles to see, for ancient Athens was loved and admired by a few Roman emperors, foremost among them being Hadrian (A.D. 117-138).

This past summer, while on vacation in Greece, I returned to the historic centre of this ancient city to do some research for the forthcoming second novel in The Etrurian Players series. One of the monuments I was most interested in re-visiting was the Roman Agora of Athens.

Before we get into my visit to the site, we should talk a bit about its history and what there is to see…

Plan of the Roman Agora

The agora of an ancient Greek city was the central public gathering place. It was the political, social, business, athletic, and religious heart of the city. The agora was where anything of import happened or was decided.

And the city of Athens was fortunate enough to have two of them.

The first agora of Athens was, of course, the ancient one located at the northwest corner of the Acropolis and covering the area between it, the Areopagus, and the massive Dipylon Gate of the city. And the great route of the Panathenaic Way ran through it, all the way to the entrance to the Acropolis.

The ancient agora was filled stoas and temples and monuments to heroes and to the Gods. There were fountains, a library, a mint, offices, altars, sanctuaries and more. And in around 14 B.C., the Roman general, Marcus Vipsanius Agrippa built an odeon in the middle of the ancient agora which had an auditorium for about one thousand spectators.

The Roman Agora from the eastern propylon

Just prior to the time that General Agrippa built his odeon, another building project began to take place in the city of Athens, this time sponsored by Emperor Augustus in fulfillment of a promise previously made by Gaius Julius Caesar. This new project was the Roman Agora, also known as the ‘Roman Forum’ of Athens. It was begun in 19 B.C. and finally finished in 11 B.C.

It is said that the reason for this new building project was because the ancient agora had become so full of monuments and buildings that there was no longer a wide open, public gathering place. As we shall see, the new Roman Agora would serve other purposes.

Gate of Athena Archegetis

The new agora, built by Caesar (posthumously) and Augustus, became the commercial centre of Roman Athens and the main oil market of the city. It was the beating heart of Roman Athens.

The monumental western entrance to the agora at the Gate of Athena Archegetis confirms who sponsored the building of the gate and agora with the following inscription:

The People of Athens from the donations offered by Gaius Julius Caesar the God and the Reverend Emperor son of God To Athena Archegetis, on behalf of the soldiers of Eukles from Marathon, who curated it on behalf of his father Herod and who was also an ambassador under the archon Nicias, son of Sarapion, from the demos of Athmonon

Of course, it was dedicated to Athena as the patron goddess of the city, and because it was Athena who had given Athens the olive tree, and hence the all-important olive oil which was sold in the agora.

The importance of the Roman agora as Athens’ main oil market during the Roman period is also reinforced by the inscription bearing Hadrian’s olive oil law on the doorway of the agora which outlined taxes and fines for false declarations of the production, export, or sale of olive oil there.

Atop the Gate of Athena Archegetis was an equestrian statue of Lucius Caesar, the grandson of Emperor Augustus.

The Roman Agora of Athens consisted of a large paved, open-air courtyard that was surrounded by colonnades of white and grey marble from Penteli and Hymettos. The colonnades were covered and had spaces for shops and merchants selling various goods, storerooms, the offices of the market, and a fountain.

There were two propylaea, including the Gate of Athena Archegetis at the west end, and another propylon at the east end. Both entrances aligned with the ancient roads at either side.

The ‘South Colonnade’ with the remains of the fountains and agora offices on the left

Today, about a third of the north side of the Roman Agora lies beneath the modern streets and buildings, but the south colonnade remains largely intact. Remains, including inscriptions on columns, show that parts of the colonnade were set aside for specific merchants such as oil merchants or butchers. In some of the surviving stylobates, there are also round cavities of varying sizes in the marble that are supposed to have been used to measure out goods.

In the middle of the south colonnade, there was also a fountain with two cisterns at different levels. This was fed from springs on the north slope of the Acropolis just to the south. Also in this location were the market offices where citizens and merchants could pay taxes and take care of other business.

When there was heavy rain, the large court of the agora had an open air drain which allowed for runoff to be carried underground and diverted to the Eridanos River.

Tower of the Winds behind the eastern propylon of the agora

The Roman Agora today is, perhaps, most famous for what is known as the ‘Tower of the Winds’.

This octagonal structure, located just outside the eastern wall of the Roman Agora, contained the horologion built by the astronomer, Andronikos Kyrestes, in the mid 1st century B.C.

The Roman architect, Vitruvius, wrote about the tower in his work De Architectura…

…those who have inquired more diligently lay down that there are eight (winds): especially indeed Andronikos of Kyrrhos, who also, as an example, built at Athens an octagonal marble tower, and, on the several sides of the octagon, had representations of the winds carved to face their currents. And above that tower he caused to be made a marble upright, and above it he placed a bronze Triton holding a rod in his right hand. He so contrived that it was driven round by the wind, and always faced the current of air, and held the rod as indicator above the representation of the wind blowing. 

(Vitruvius, De Architectura, c. 20s B.C.)

The Tower of the Winds is said to be the oldest meteorological station in the world with sundials on the exterior, a hydraulic clock inside, and its bronze weather vane on top indicating the eight winds which is thought to have allowed merchants in the agora to know the winds and estimate the arrival of shipments coming from the port of Piraeus.

Lastly, a few steps from the Tower of the Winds, also just outside the main precinct of the Roman Agora was a large public latrine, or vespasianae, with openings on four sides with a small court for ventilation.

The Roman Agora and the large precinct of the great Library of Hadrian beside it made this area the main administrative centre of the city of Athens, supplanting the classical agora in this role, especially after the Herulian invasion of Athens in A.D. 267.

Adam exploring the Roman Agora

As stated, this was not my first time visiting the Roman Agora of Athens. The site has also appeared in the #1 bestselling Eagles and Dragons series prequel novel, A Dragon Among the Eagles. However, each time I go, it is with a different purpose and perspective. This time, it was to research it as a setting in the next Etrurian Players book.

We left our home in Pangrati early so as to try and beat the heat, and because archaeological sites were closing from 11 a.m. – 4 p.m. during the heatwave. Nevertheless, when we arrived it was a scorching 45 degrees Celsius with no intact colonnades to hide beneath as they would have had when the agora was whole.

After making our way through the crammed alleyways of Plaka and Monastiraki, we purchased our tickets at the office across the street and made our way in beside the Gate of Athena Archegetis.

Remains on-site

Once you enter, you are struck by the expanse of the open courtyard of the agora, even though a large portion of it is covered by the streets and buildings to your left. From there, you make your way along the remains of the south colonnade. Here, there are numerous column capitals, a sarcophagus, and other artifacts lying in the parched grass beneath palms where the resident cats and lizards doze and scurry.

As I walked, I could almost hear the crowds of the market around me, the sounds of the merchants selling their wares. I could imagine the tang of the olive oil in my nostrils. The marble courtyard must have been blinding in the midday sun, but one has to imagine that most of the shops would have closed by the sixth hour of daylight for the afternoon rest, as the Greeks and Romans were wont to do.

Site of fountain in the Roman Agora

We walked past the fountain and the remains of offices in the middle of the south colonnade and, at the end, found the carved hollows in the stylobate where merchants measured (fairly, one hopes!) out products such as grain or beans.

From there, the small forest of columns and a staircase indicate that you have reached the eastern propylon, the monumental entrance on the other side of the agora. As you walk up the stairs, you are keenly aware of the presence of what is the focal point of the archaeological site: The Tower of the Winds.

The Tower of the Winds – the oldest meteorological station in the world

The Tower of the Winds is a mesmerizing monument, as simple as it is. But one cannot take one’s eyes off of the images of the winds portrayed about the top. The smooth, white marble surface is beautiful, the lines of the sundials faintly visible.

One can imagine the citizens of ancient Athens walking up to it to check the time, the same as some do today with modern clock towers on some city halls. But this was the heart of Roman Athens, and so this meteorological monument was a fitting addition to this ancient gathering place.

Interior floor of the Tower of the Winds which held the mechanism of the water clock of the horologion

After exploring the area around the Tower of the Winds, including the vespasianae, the public latrine, we walked back across the open space of the great courtyard, taking time to pause.

I imagined this vast, ancient market place bustling with life, filled with people, with myriad things for sale, and the scenes of my novel that I was searching for began to take shape. I could see a beautiful comedic chaos unfolding!

For a writer of historical fiction, the city of Athens is a dream come true, for the bones of the ancient world are still there to see, to feel, and to inspire.

As the heat reached a literal fever pitch, I was finished with my research for the day and sought the nearest taverna for a cold drink in the shade, something which the Greeks and Romans would gladly have done at that time of day.

Thank you for reading.

Be sure to check out the video of our tour of The Roman Agora of Athens in order to experience this site for yourself. You can view it below, or visit the Eagles and Dragons Publishing YouTube channel by CLICKING HERE.

For some excellent digital recreations of the Roman Agora of Athens, check out the very skilled work of the folks at Ancient Athens 3D HERE.

 

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The Democratic Dilemma: Ancient Democracies and the Decision to Wage War

We make war that we may live in peace.

Aristotle

Is this statement of Aristotle’s correct? Perhaps it was in ancient Greece when the Persians were invading the lands of the Hellenes, murdering and enslaving them. It might even have been true in the smaller world of the Greek homeland when one neighbouring city-state overstepped and boundaries for the relationship needed to be re-established.

This is a very simplistic way of looking at it. War was part of life in the ancient world and a good city-state, and its citizens, were prepared for war if the need should arise.

Perhaps the better question to ask ourselves in regard to Aristotle’s words above is this:

Is this still true today?

Do we still make war that we may live in peace? Or do we make war for other reasons? And who is the ‘We’ in all of this?

As November 11th approaches and we rightly honour the sacrifices of our men and women in uniform, past and present, on Remembrance Day and Veterans Day, questions of war are front of mind for many of us.

I’ve been thinking about writing a post like this for some time now. Let’s face it, it’s not an easy topic, and many are divided. This is more of a thought process post in which we will take a brief look at what ancient democracies and republics did when it came to the decision to go to war, and whether we can learn anything from them today.

Sadly, I can’t recall a time when there wasn’t some terrible conflict choking the screens of our televisions, or drowning the feeds of our social media platforms. Tragically,  it seems that our world is at a terrible tipping point.

It seems like ‘we’ are addicted to war.

Again, I ask, who is the ‘We’ in that statement? Here is another statement from Aristotle for us to consider as we wade through the weedy terrain of this topic:

We are what we repeatedly do.

Aristotle

Ancient Greek Hoplites in Battle

The history of ancient democracies is marked by a fascinating interplay between citizen participation and the conduct of foreign affairs, particularly in matters of war. These early democratic societies grappled with the ethical and practical complexities of deciding whether to go to war against their enemies. The concept of “war by the people, for the people” was not only a foundational principle but also a challenging moral and strategic puzzle.

Let’s explore briefly the decision-making processes and the moral considerations that ancient democratic civilizations such as Athens and the Roman Republic confronted when deciding whether to wage war.

View of the Acropolis of Athens from the Pnyx, site of the Athenian Assembly

The Athenian Democracy

The Athenian democracy, which emerged in the 5th century BCE, is often hailed as a pioneering model of citizen participation in governance. At the heart of Athenian democracy was the Ekklesia, an assembly of free male citizens who could propose and vote on laws, including decisions related to war and peace. Thucydides, the ancient historian, captures the essence of Athenian democracy in his account of the Peloponnesian War:

Pericles… declared that a man who took no interest in public affairs was not a quiet, unoffending citizen, but a useless one. In one word, he conceived that they were born to serve the state, not only in matters great and high, but in the least and lowest also.

(Thucydides – History of the Peloponnesian War)

It is interesting to note that in ancient Greece, the word idiota referred to someone who refrained from participation in public life, who chose not to take part in the decisions that affected the democracy itself.

In ancient Athens, male citizens were expected serve the state, not only by serving the required  minimum of two years in the military, but also by voting and putting forth an opinion on matters great and small, including the decision to go to war.

Are citizens’ voices and opinions held in such high regard today?

Let’s leave that particular question hanging for the moment.

Artist impression of a meeting of the Athenian Assembly on the Pnyx

In the Ekklesia of ancient Athens, the moral dilemma of whether to undertake a certain action or policy, including whether or not to go to war, was expected to be strongly considered by the citizens of the assembly, the citizens of Athens.

However, this empowerment of citizens in the decision-making process came with its own dilemma. Athens faced a delicate balance between the pursuit of its interests and the ethical considerations of war. As Thucydides continues:

…a reason for attacking a neighbour; they thought it equitable to keep what they held and weak to give up anything, and it was more disgraceful to lose anything once possessed than not to have gained at all.

(Thucydides – History of the Peloponnesian War)

This statement will, of course, sting when it comes to the conflicts currently happening in parts of the world, as it should. However, when it comes to imperialistic tendencies, the moral dilemma behind this statement stings all the more.

If a country has what it has always had, if it has not been attacked, should it still go to war?

There is was definite tension between self-interest and moral principles in Athenian democracy. The Ekklesia had the power to decide on war, but it was not always clear whether the decision was driven by strategic necessity or imperial ambition.

Most citizens of the Greek city-states agreed that the war against Persia had to be waged. It was about survival, about ‘freedom or death’, a phrase that is ingrained in the Greek psyche to this day. Could the same be said of the Peloponnesian conflict?

Pericles’ funeral oration for Athenian dead of Peloponnesian War.

Wars have dire consequences on both sides of the conflict, so why do ‘we’ seem to be so willing to engage in them?

In ancient Athens, the people had a voice, or at least they were supposed to. Here are some specific examples of confrontations in ancient Athens in which the decision to go to war was hotly debated by the citizenry:

The Peloponnesian War (431-404 BCE) – Athens vs. Sparta

The outbreak of the Peloponnesian War between Athens and Sparta was met with significant debate in the Athenian Ekklesia. The statesman Pericles argued in favour of a defensive strategy, urging the Athenians to retreat behind the city’s walls and rely on their navy which was the strongest in the world at the time. However, there was public opposition to this strategy, with some advocating for a more aggressive stance.

Ultimately, the Athenian assembly decided to follow Pericles’ strategy, leading to the construction of the Long Walls that connected Athens to its port, Piraeus. Still, at various points during the Peloponnesian War, there were instances of public opposition to the conflict, particularly in Athens. The war’s prolonged nature and the suffering of the Athenian population led to widespread dissatisfaction. 

The war, marked by several debates and shifts in strategies, eventually ended with the defeat of Athens in 404 BCE.

The Sicilian Expedition (415-413 BCE) – Athens vs. Syracuse

The Sicilian Expedition was a controversial military campaign proposed by the Athenian general Alcibiades not only against Sparta, but this time also against Corinth and Syracuse. Many Athenians were initially opposed to it due to its immense cost and risks.

Again, there was much debate in the Ekklesia of Athens with the young, arrogant Alcibiades pushing for war. In opposition to him, the commander, Nicias, debated that Athens should not go to war in Sicily, that they would be leaving powerful enemies at their backs as the war still raged in Greece. Nicias also tried to warn the assembly that Alcibiades and his proponents wanted to lead Athens into war for their own ends. 

Despite public opposition and concerns, the Athenian assembly eventually approved the expedition. Unfortunately for Nicias, and for Athens, two hundred ships and thousands of soldiers were sent to Sicily, and they were all lost. Athens had spread itself too thinly and its, (and Alcibiades’) ‘imperial hubris’ were the death stroke for Athens.

The Sicilian Expedition ended in a catastrophic failure, with the Athenian fleet and forces suffering heavy losses, which significantly weakened Athens in the Peloponnesian War.

The Peloponnesian War and the Sicilian Expedition both had severe, negative impacts on both Athens and Sparta. Athens experienced a devastating plague that decimated its population, and the conflict drained its treasury. In Sparta, the prolonged war created economic hardships, and the agricultural land was ravaged. Ultimately, the war resulted in the eventual defeat and decline of Athens, but left both city-states significantly weakened.

In these prolonged conflicts one could say that both sides ‘lost’, for the winner and the loser both paid heavy prices.

Was the Athenian citizenry swayed by false promises and flowery rhetoric? Probably.

Painting depicting Cicero speaking out in the Senate

The Roman Republic

In the Roman Republic, a different form of democratic governance emerged. Power was divided between the Senate, an aristocratic body of elders, and various popular assemblies in which Roman citizens could vote on key matters. The Roman Republic’s decision to go to war was often a complex interplay between the Senate and the Popular Assemblies.

This form of government is more akin to our modern democracies than that of ancient Athens where citizens had the opportunity to speak for themselves in the assembly and to vote directly on decisions.

When it came to debates in the Roman Senate about decisions to go to war, few could argue so eloquently as the Roman statesman and philosopher, Cicero. He grappled with the ethical dimensions of war in his writings. In his work De Officiis (On Duties), he discusses the moral principles that should guide leaders in deciding whether to wage war:

[W]e must consider not only the honesty and justice of going to war, but also the ways and means of conducting it… Above all, nothing is more disgraceful than to be eager to make war, but without taking proper precautions.

(Marcus Tullius Cicero, On Duties)

Cicero’s emphasis on the necessity of just cause and proportionality in warfare reflects the moral concerns that were at the heart of Roman deliberations. He wasn’t against war, but strongly emphasized careful consideration of what it meant, the cost to the Republic and its citizens, as well as proper preparation if the decision to go to war was taken.

In the history of Rome, there were numerous wars and conflicts that were hotly debated and pushed for by various factions in the Senate and Popular Assemblies. Here are a couple of examples…

The Roman Invasion of Carthage (149-146 BCE) – Roman Republic vs. Carthage

When it came to the third Punic War which followed the defeat of Hannibal in the second, the Roman Senate was divided over whether to fight Carthage once more. Prominent senators like Cato the Elder argued passionately for the destruction of Carthage, citing it as a long-term threat to Rome. He was so eager for the destruction of Carthage that it is said that he ended nearly every speech in the Senate with Carthago delenda est – “Carthage must be destroyed”.

However, others were more cautious, as Carthage posed no immediate danger, having been thoroughly trounced at the Battle of Zama.

Despite opposition to the war – for the Roman people had suffered greatly in the previous one with Hannibal arriving at the gates of Rome itself – the Roman Senate ultimately declared war on Carthage and the Third Punic War began. The conflict ended with the complete destruction of Carthage in 146 BCE, symbolized by the razing of the city, the apparent salting of the surrounding earth, and the enslavement of its population. Rome may have won that particular war, but at what cost to the Roman people?

The Roman Civil Wars (1st Century BCE) – Various Factions

The final years of the Roman Republic were marked by intense political and military conflicts among various factions, including the Populares and the Optimates. Key figures like Julius Caesar, Pompey, and Cicero were involved in debates over the course of action. Cicero, for instance, consistently advocated for the preservation of the Republic through peaceful means. He loved the Republic, and did not want to see it destroyed.

The aim of a ship’s captain is a successful voyage; a doctor’s, health; a general’s, victory. So the aim of our ideal statesman is the citizens’ happy life–that is, a life secure in wealth, rich in resources, abundant in renown, and honourable in its moral character. That is the task which I wish him to accomplish–the greatest and best that any man can have.

(Marcus Tullius Cicero, On the Republic / On the Laws)   

Unfortunately for the Roman people, the prolonged civil war that came out of the debates brought about political instability, economic hardships, and military conscription, which took a toll on the Roman populace. The social fabric of Rome was torn asunder, and the eventual victory of Julius Caesar marked the end of the Republic and the beginning of the Roman Empire, with centralized imperial rule replacing the traditional republican system.

Cicero had been justified in his concern about the erosion of the Republic’s institutions.

In both the examples of the Third Punic War and the Civil Wars, the disregard for public opposition to war by political leaders had serious repercussions. These instances serve as cautionary tales, highlighting the consequences of leaders pursuing their agendas despite significant public resistance, ultimately leading to significant upheaval and societal change.

Civil War

This is a vastly complicated topic, and we have but scratched the surface of the armour here. We’ve only looked at a few examples out of many in the history of Greece and Rome.

Comparing the Athenian and Roman models of democracy reveals striking differences in their approaches to war. Athens embraced a more direct form of democracy, where the citizens themselves decided on matters of war. This often led to rapid and aggressive military actions. In contrast, the Roman Republic, with its complex system of checks and balances, tended to approach war with more caution, as reflected in Cicero’s moral reflections. Still, were the wishes of Rome’s citizens carefully considered? Was Cicero facing a tidal wave of opposition, or were the greedy motives of a few what brought war to the Roman people once again?

Both Athens and Rome grappled with moral considerations when deciding whether to wage war. Pericles’ assertion of civic duty in Athens and Cicero’s ethical principles in Rome demonstrate that moral discourse was intrinsic to these ancient democracies. However, both models were not infallible. One could say that the Athenian democratic and Roman Republican models allowed for debate, but were also prone to more impulsive decisions driven by self-interest.

Artist impression of the Second Macedonian War

Ancient democracies navigated the intricate path of deciding whether to wage war against their enemies. These societies, though distinct in their democratic structures, were united in their commitment to deliberating the ethical dimensions of warfare.

The tension between self-interest and moral principles was an enduring challenge, reflecting the enduring complexity of democratic decision-making. 

As we reflect on these historical examples, we are reminded that the dilemma of whether to go to war or not remains a pressing concern in contemporary democracies. The lessons of the past offer valuable insights into the delicate balance between the will of the people and the moral and strategic imperatives that underpin the decision to wage war. Ancient democracies can serve as a source of inspiration and contemplation as we grapple with the challenges of our own time.

Modern politicians would do well to mind what history has taught us.

Public opposition and debates were common, reflecting the diversity of opinions within these societies. The outcomes varied, often with significant consequences for the states involved.

Certainly, there were instances in ancient Greece and Rome where the people were strongly opposed to going to war, but politicians ignored their concerns and pursued military campaigns regardless. These wars often had negative impacts on the populations involved, and this is not relegated to the distant past, but has indeed played out in the modern era.

Vietnam War

Here are some examples:

The Vietnam War (1955-1975) – This conflict had devastating consequences for both the United States and Vietnam. It resulted in a high death toll, significant economic expenditure, and a deeply divided American society. The war also led to environmental damage due to the widespread use of defoliants like Agent Orange.

In the case of the Vietnam War, American politicians faced widespread public opposition, with anti-war protests, draft dodging, and disillusionment among the youth. The negative impact of the war, both in terms of lives lost and economic burden, weighed heavily on subsequent administrations. The war’s unpopularity played a role in the electoral defeat of President Lyndon B. Johnson and influenced the 1972 presidential election.

The Iraq War (2003-2011) – This war had profound negative consequences. It destabilized the region, led to the loss of thousands of lives, and incurred substantial financial costs. The war’s aftermath saw the rise of extremist groups and sectarian violence, contributing to regional instability that persists to this day.

The Iraq War faced significant public opposition, and politicians who supported it faced criticism. The war’s costs, both in terms of lives and resources, contributed to declining public support and played a role in the 2008 presidential election, where the Iraq War was a key issue.

The Afghanistan War (2001-2021) – This was America’s longest conflict, and it had significant negative consequences. It resulted in a protracted and costly military engagement, with a high human toll. Despite initial objectives to combat terrorism, Afghanistan remained politically unstable, and the Taliban regained control following the U.S. withdrawal in 2021.

The Afghanistan War eroded public support over time and, one could say, the global good will toward the U.S. after 9/11 was ultimately squandered by the drawn out conflict. Politicians who advocated for continued military involvement often faced scrutiny, and the war’s unpopularity became a factor in subsequent elections.

American troops in Afghanistan

Again, these are just a few examples of wars, but it is worth asking: Are they worth the human, financial, and societal costs?

Perhaps modern politicians should listen more closely to public opinion, and take a more ‘Ciceronian’ approach to war when assessing the costs and consequences of going to war? There should be a robust debate. Should any one person make the decision to go to war? I would say there is too much at stake to allow that.

Citizens of modern democracies are led to believe that politicians encourage open and robust debates on matters of war and conflict. Do they?

Public discourse and debate can help weigh the pros and cons, ensuring that decisions are well-informed and scrutinized. Does that happen?

Do you think that diplomacy and conflict resolution should be prioritized whenever possible? 

Do you believe that war should be a last resort, and politicians should exhaust all diplomatic avenues before considering military action?

Again, we come back to one of the questions asked at the outset: Are citizens’ voices and opinions on these matters held in such high regard today as they were, say, in ancient Athens?

In ancient democracies, the people had avenues to express their wishes in matters of war, but do we truly have that today? Do the people’s wishes truly matter? Are our politicians simply taking the ‘easy’ way out?

It is more difficult to organize a peace than to win a war; but the fruits of victory will be lost if the peace is not organized.

Aristotle

The Voice of the People

I realize that our modern western democracies are enormous, covering continents in some instances. It is impossible for all citizens to gather in one place to debate, discuss, and vote as the Athenians did on the Pnyx in ancient Athens, or as the Roman people did on the Field of Mars or in the Forum Romanum.

Today, the people have their elected representatives speaking for them, be it in the House of Commons, or the in the Senate. The decisions taken in these bodies affect everyone.

The question now is, do you, as a citizen feel like your representatives in the Commons or Senate hear you and consider your own wishes and needs? When it comes to the deeply serious moral dilemma of whether or not our democracies should go to war, are the citizenry being listened to?

What would the world be like if all of our politicians were as thoughtful as Cicero, for example, when it came to matters of war and its consequences?

In some of the examples above, we’ve seen what happens when the citizenry is ignored. So today, we need to ask ourselves that if the will of the majority, of the people, is not being taken into account when it comes to the decisions that impact our way of life, our world, our very lives, is change required? Is the system of government broken? Have the elected representatives in our democracies lost sight of the true nature and purpose of those same democracies?

History seems to be repeating itself, and not in a good way.

Is it time for the citizenry to reassert its voice? Should there be virtual referendums when it comes to the decision of going to war?

I, like many of you, have many questions and doubts. But I do know this: Democracy may not be a perfect or fool-proof system, but it is (or at least it should be) at its core, more honest and fair.

Maybe we just need more Ciceros.

Thank you for reading.

This Remembrance Day and Veterans Day, Eagles and Dragons Publishing is, as always, grateful to our men and women in uniform who risk their lives to keep us all safe at home and abroad. We are proud to have made contributions to the causes of the following charities: Royal Canadian Legion Poppy Campaign, War Child Canada, and Wounded Warriors Canada.

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Mosaics and Mosaicists in the Roman Empire

The Art Beneath our Feet – Remote Mosaic in Roman North Africa

Greetings history-lovers!

Today we have a bit of a different post for you.

I don’t know about you, but whenever I travel around the Mediterranean to visit museums and archaeological sites, one of the things that always draws my eye are mosaics.

I can’t get enough of them to be honest. They fascinate me endlessly and I’m always shocked by how thousands of tiny tesserae can be combined to make almost lifelike images.

In a way, mosaics are artifacts that we often take for granted today as we tour ancient sites, but the fact remains that mosaic making is an ancient art form that has been used to decorate floors, walls, and ceilings for centuries.

The art of mosaic making reached its zenith during the Roman Empire, and Greek and Roman mosaicists across the empire produced some of the most beautiful and intricate mosaics in the world from Rome to North Africa and Carthage to Zeugma along the Euphrates river where some of the most glorious mosaics of the Roman world were rescued.

In this post, we will explore the art of mosaic making in the Roman Empire, and the techniques, materials, and designs that made it so unique.

Mosaic wall in Mesopotamia – 3rd Millennium B.C.E. (source: Klink)

Mosaic making is an art form that dates back to ancient Mesopotamia, where it was used to decorate the floors and walls of temples and palaces in the third millennium B.C.E.

The art of mosaic making was also popular in ancient Greece, where it was used to decorate public buildings and homes. On the sacred island of Delos, the mythical birthplace of Apollo, some of the most beautiful mosaics of the ancient Greek world are still visible, open to the Delian sky. If you look around the edges of this very website, you’ll see one of them!

Mosaic at the House of the Dolphins on Delos.

However, it was during the Roman Empire that mosaic making reached the height of sophistication.

Roman mosaics were characterized by their intricate designs, complex patterns, and use of a wide variety of materials. They were used to decorate the floors, walls, and ceilings of public buildings, such as temples, palaces, and baths, as well as private homes.

The range and beauty of Roman mosaics, as well as the skills of Roman mosaicists, really hit me when I was visiting the Bardo Museum in Tunis (Carthage) some years ago when doing research for Children of Apollo. Room after room contained mosaics that seemed to move upon the very walls and floors. To read about my visit to the Bardo Museum just CLICK HERE.

Roman mosaic representation of the months from North Africa

When it came to creating these intricate masterpieces, the techniques used by Roman mosaicists were highly sophisticated and involved a great deal of skill and precision.

Mosaics were created by laying small pieces of coloured stone, glass, or ceramic tiles, called tesserae, onto a bed of wet plaster. The tesserae were arranged to create intricate designs and patterns, and the finished mosaic was polished to create a smooth, even surface.

Roman mosaicists used a wide variety of materials to create their mosaics. The most commonly used materials were marble, limestone, and glass, which were all readily available in the Roman Empire. The tesserae were cut into small square or rectangular pieces, and were often arranged in intricate patterns and design.

Some mosaicist tools and materials

Roman mosaics were famous for their intricate designs and patterns, which often depicted scenes from mythology, nature, and everyday life. We learn a lot about the latter from mosaics! The designs were created by arranging the tesserae in a specific pattern, and it is believed they may have used drawings as a guide.

Some of the most famous Roman mosaics are the ones that depict scenes from mythology, such as the four seasons or the twelve signs of the zodiac. These mosaics often featured elaborate designs and intricate patterns, and were highly prized by the wealthy and powerful.

Mosaic depicting Roman country life and activities.

Roman mosaicists were highly skilled craftsmen who were revered for their artistry and technical skill. It is believed that they worked in workshops, where they would create mosaics for public and private buildings. Despite the survival of countless mosaics around the Mediterranean world, the actual names of these skilled mosaicists do not survive.

One of the few mosaicist’s names that have come down to us from the Roman world is the Greek artist Sosus of Pergamon, who created the famous “unswept floor” and “doves drinking at a bowl” mosaics.

Some mosaicists did sign their works, leaving behind their names for posterity. The famous mosaicist, Dioscurides of Samos, signed his name on a mosaic in Pompeii, ensuring his reputation would endure. However, the majority of mosaicists remain anonymous, as the focus was primarily on the artwork itself rather than the individual artist.

‘Doves drinking at a bowl’ mosaic by Sosus of Pergamon

Though we do not know many of their names, it is believed that mosaicists were highly respected in Roman society, and were often commissioned to create mosaics for the wealthy and powerful. They were also highly skilled in the use of colour and texture, and were able to create mosaics that were both beautiful and durable.

Roman mosaicists worked in specialized workshops where they would design and create their mosaics. These workshops were bustling centres of artistic activity, employing skilled artisans and apprentices who specialized in various aspects and stages of mosaic making from design to completion.

The mosaicists, often working in collaboration with architects and patrons, would create detailed sketches of the desired mosaic design. These sketches served as blueprints, guiding the placement of tesserae and ensuring the overall composition and proportions were accurate.

Mosaic of street performers by Dioscurides of Samos (Wikimedia Commons)

Once the design was finalized, the mosaicists would begin the painstaking process of selecting and cutting tesserae. They had to carefully choose stones, marbles, and glass pieces of various colours and textures to achieve the desired effect. The tesserae were then meticulously cut into uniform shapes, usually square or rectangular, using tools such as hammers and chisels.

To create a mosaic, the mosaicists would first prepare a flat surface by applying a layer of lime or gypsum plaster. This layer, known as the “bedding,” provided a stable base for the tesserae. Working in small sections, the mosaicists would apply a layer of wet mortar onto the bedding and carefully press the tesserae into it, one by one. They would often use special tools, such as tongs or tweezers, to ensure precise placement and alignment.

After the tesserae were set, the mosaicists would let the mortar dry and harden. Once the mosaic was solid, they would clean the surface and remove any excess mortar. The final step involved polishing the mosaic to achieve a smooth and lustrous finish. This was done by rubbing the surface with stones, sand, or even pieces of polished metal.

Preparing a mosaic bed

Roman mosaics displayed a wide range of themes and subjects, reflecting the cultural, mythological, and social context of the time. Mosaics were often used to depict scenes from mythology and history, showcasing the Romans’ deep appreciation for their ancestral stories and legendary heroes.

Mythological scenes featuring gods, goddesses, and mythical creatures were particularly popular. These mosaics brought ancient myths to life and adorned the walls and floors of temples, villas, and public spaces. The stories of the gods and heroes provided moral and religious lessons and connected the viewers with the divine.

Mosaic depicting Odysseus in the Bardo Museum

In addition to mythology, Roman mosaics also depicted scenes from daily life, nature, and the world around them. Mosaics with intricate floral patterns, animals, landscapes, and still-life compositions were abundant. They celebrated the beauty of the natural world and brought elements of the outdoors into interior spaces.

The legacy of Roman mosaicists can be seen in the numerous surviving mosaics that have withstood the test of time. These mosaics, found in archaeological sites, museums, and private collections around the world, continue to captivate and inspire audiences with their beauty and craftsmanship.

The Lod Mosaic

While the Roman Empire may have come to an end, the art of mosaic making has not faded into history. It continues to thrive in the modern world, with artisans and enthusiasts carrying on the ancient tradition.

Today, mosaicists draw inspiration from the techniques and designs of their Roman predecessors while incorporating contemporary styles and materials. They explore new possibilities by combining traditional tesserae with elements such as glass beads, ceramic tiles, and even recycled materials. Modern technology has also enhanced the craft, allowing for precise cutting and shaping of tesserae and the creation of intricate designs with computer-aided programs.

Gaudi’s Trencadis Mosaics at Sagrada Familia (source: Sagrada Familia blog)

Mosaic making has found its place not only in the realm of traditional art but also in contemporary architecture and public installations. Mosaics grace the facades of buildings, embellish public spaces, and adorn urban landscapes, adding colour, vibrancy, and cultural richness to our surroundings.

There are even mosaic-making workshops and schools offer opportunities for aspiring artists to learn the ancient techniques and develop their skills. Courses and classes provide a platform for creativity and artistic expression, ensuring that the art of mosaic making will continue to evolve and flourish. CLICK HERE for some recommended Greek and Roman mosaic making classes you can take today! Who knows? Maybe your work will adorn the floor of your home or a public space!

The art of mosaic making reached its height of sophistication during the Roman Empire, and Greek and Roman mosaicists produced some of the most beautiful and intricate mosaics in the world, the legacy of which can still be felt to this day.

Their names may have been forgotten, but their artistic creations live on!

Thank you for reading.

Aeneas and Dido mosaic from Low Ham Roman Villa near Ilchester

If you are interested in a wonderful historical fantasy series based around mosaic making in ancient Byzantium, I highly recommend Guy Gavriel Kay’s The Sarantine Mosaic duology which you can check out HERE.

Also, for those who are interested, the video below shows the mission to rescue the incredible mosaics at the ancient city of Zeugma along the Euphrates river. These mosaics are some of the most wonderful works of art to come out of the ancient world and are well worth seeing!

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The World of Sincerity is a Goddess – Part IX – Plautus: Playwright of the Roman People

Greetings Readers and History-Lovers!

Welcome to the final post in The World of Sincerity is a Goddess, the blog series in which we are taking a look at some of the research that went into our latest novel set in ancient Rome.

If you missed Part VIII on the theatre of Pompey, you can read that by CLICKING HERE.

In Part IX, we’re going to take a brief look at the ancient playwright whose work is central to the story of Sincerity is a Goddess: Plautus.

We hope you enjoy…

In misfortune if you cultivate a cheerful disposition you will reap the advantage of it.

– Plautus

Sincerity is a Goddess was always intended to be a comedy that involved the production of a play, but in the initial stages of research, one of the very first questions I had to pose myself was “What play?”

A lot hinged on the choice. Of course, when one thinks of ancient playwrights, one inevitably thinks of the great Greek playwrights, Aeschylus, Aristophanes, Euripides and others. But I knew that I wanted to use a Roman playwright’s work for this dramatic and romantic comedy, and so the choice inevitably came down to one between Terence and Plautus, the great comic playwrights of Republican Rome whose work was based on Greek New Comedy and subjects dealing with ordinary family life, love, and hilarity.

Terence’s plays are full of feeling. They are tender.

However, Plautus’ plays tended to be more comic and raucous with lots of music, songs, and duets that keep the audience at a distance. One might say that, in his time, Plautus had more popular appeal with the Roman people.

And so, I chose Plautus and his Menaechmi.

Titus Maccius Plautus (c. 254 – 184 B.C.)

Let deeds match words.

-Plautus

Who was Titus Maccius Plautus?

Let’s take a brief look at the man and his origins.

Plautus, who later became the great Roman comedy writer we know of, was originally from Sarsina, a town in northern Italy in Emilia-Romagna.

Early in his life, he moved to Rome where it is believed he worked at a trade in the theatre, either as a stage carpenter or scene-shifter. He also made money at some form of business, perhaps to do with shipping, but that business went under. He also worked as a baker, apparently.

The second century A.D. writer, Gellius, gives us some hints about Plautus’ life before fame:

Now there are in circulation under the name of Plautus about one hundred and thirty comedies; but that most learned of men Lucius Aelius thought that only twenty-five of them were his. However, there is no doubt that those which do not appear to have been written by Plautus but are attached to his name, were the work of poets of old but were revised and touched up by him, and that is why they savour of the Plautine style. Now Varro and several others have recorded that the Saturio, the Addictus, and a third comedy, the name of which I do not now recall, were written by Plautus in a bakery, when, after losing in trade all the money which he had earned in employments connected with the stage, he had returned penniless to Rome, and to earn a livelihood had hired himself out to a baker, to turn a mill, of the kind which is called a “push-mill.”

(Aulus Gellius, Attic Nights)

Luckily, his exposure to theatre is what got hold of him, and it seems that he began to write…and write…and write. We may not know much about Plautus’ personal life, but we are very fortunate indeed that much of his catalogue of plays survived the ages.

Plautine manuscript from 1530

Plautus wrote verse comedies, or fabulae palliatae which were based on Greek New Comedy, and he achieved huge success.

The plays of Plautus are the first substantial surviving written works in Latin and, no doubt thanks to the fact that they were so popular, they were copied frequently.

We know little about the man himself. Some hypothesized that even his name was not his true name and that ‘Maccius’ was actually a corruption of ‘Maccus’ the clown character in the Atellan farces, and that ‘Plautus’ meant ‘flat-foot’, referring to a character in the mimes. However, how many artists use stage names or pseudonyms? Lots, I’d say.

Though Plautus the man may be a mystery, we do know much about his extensive catalogue of works. It is not known exactly how many plays he wrote, but 21 have survived in their entirety, and there are fragments or mentions of an additional 30. In the quote above, Gellius alludes to many more as a possibility.

The metres of Plautus’ verse combined Greek metrical patterns with the stress patterns of the Latin language when spoken. But he went beyond simple translation.

Plautus adapted plays from Greek instead. He added much more music and songs, or cantica, like opera arias, then was normal in New Comedy. The performances were perhaps more like modern musicals which, in turn, partially owe their existence to Plautus’ work. Just think of A Funny Thing Happened on the Way to the Forum, by Stephen Sondheim. That musical is basically a great homage to Plautus!

Plautus’ plays appealed to Roman audiences because they presented a Latinized glimpse of Greek sophistication and outrageous behaviour that was outside of the audience’s experience. After all, theatre should be an escape!

Not by age but by capacity is wisdom acquired.

– Plautus

Plautus’ plays lacked the characterization and refinement of Greek New Comedy. His humour was more about jokes, verbal tricks, puns and alliteration that delighted the audience. He mastered the use of vulgarity, humour, and incongruity.

His stock characters were influenced by the Attelan farces, and included slaves, concubines, soldiers, and doddery old men. He created the ‘clever slave’ which would, in time, come to be known as a ‘Plautine Slave’. Often, the slave was smarter than his master, and even compared to a hero.

The plays involved everything from love and misunderstanding, to ghosts, rogues, tricksters, and braggarts who get humiliated in the end. Plautus only wrote one play based on myth, his Amphitruo. The rest of his plays portray the lives of more everyday people who his audiences could, more or less, relate to.

The Menaechmi itself is a comedy of errors about twins separated in infancy, in a Greek setting with numerous Roman references.

Not only did Plautus adapt Greek plays, he expanded on them and modified them in such a way that he made Greek theatre Roman!

Because he was a man of the people, having experienced their same toils, Plautus’ plays touched a nerve that made them extremely popular. They were performed for centuries after his death, well into the Renaissance, and his work was extremely influential on such greats as William Shakespeare (Comedy of Errors) and Moliere, who made use of many Plautine elements.

Like many comedians to this day, however, Plautus was not immune to criticism. Playwrights have always been rebels. The more conservative elements in Rome accused him of disrespecting the gods because his characters were sometimes compared to the gods either in mockery or praise. Sometimes, his characters even scorned the gods!

Some believe that Plautus was simply reflecting the changing tide of Roman society. He may have been controversial, but not enough to ban or prosecute him. Roman politicians were always keenly aware of the mood of the mob.

Artist impression of the Second Macedonian War

Conquered, we conquer.

-Plautus

War is a subject that seems constant throughout history. We are certainly aware of it today (sadly), as were Plautus and the Roman people.

During Plautus’ lifetime, the Roman people endured three great wars: the Second Punic War against Hannibal, and the First and Second Macedonian Wars against Philip V and Greece.

With the Second Punic War, the Roman Republic and people were fighting for their lives with the enemy being literally at their gates at one point. When it finally ended, they were exhausted by war, tired of it.

When certain powers in Rome wished to wage a successive war on Greece and Philip V of Macedon, the Roman people were not as supportive, and Plautus reflected these popular, anti-war sentiments in his plays such as Miles Gloriosus, and Stichus. 

Many Romans did not want another war, and Plautus championed them in a way by giving voice to their anti-war voices and touching on themes of economic hardship forced on the citizens by the wars.

Sounds strangely familiar to us today, doesn’t it?

One could say that the greatest contribution of Plautus’ work, his genius even, was to take up the cause of the average Roman through comedy.

He was saying that the state should take care of its suffering people at home before undertaking military actions abroad.

We should bear in mind too that at this time in Roman history, when the Roman Republic was expanding and gathering power, Roman theatre was still in its infancy.

Plautus broke new ground in Rome. He made the people laugh, but he also gave them an important voice.

Since he has passed to the grave, for Plautus Comedy sorrows;

Now is the stage deserted; and Play, and Jesting, and Laughter,

Dirges, though written in numbers yet numberless, join in lamenting.

– Epitaph for Plautus, attributed to Plautus by Gellius and Varro

We have but scratched the surface of Plautus’ life and plays. Little more is known of him personally but, as with any writer, we can perhaps discern something of the man from the stories he put into the world.

There can be no doubt that the Roman world mourned his death on some level, as is attested by the moving epitaph shared by his fellow writers.

In a sense though, because so much of his work has survived time, and continues to be performed, to influence other art, Plautus is perhaps one of the most immortal of Romans.

Renaissance representation of Plautus

The plays of Plautus are fun to read, even today, and I would encourage you to delve into them.

For my part, I truly enjoyed reading and re-reading the Menaechmi, and by incorporating it into Sincerity is a Goddess, by diving deep into the study of it, it has given me a new and wonderful insight into Roman theatre, and the man who was truly the playwright of the Roman people.

Thank you for reading.

Well, that is the end of The World of Sincerity is a Goddess. The curtain has fallen (or risen out of the ground, as was the case in Roman theatres!).

We hope you have enjoyed this blog series, and that you enjoy Sincerity is a Goddess if you read it. If you have read it, please leave a review on the Eagles and Dragons Publishing website or on the store where you purchased the book. Reviews are a wonderful way for new readers to find this dramatic and romantic comedy of ancient Rome!

If you missed any of the posts in this nine-part blog series, you can read all of them on one web page by CLICKING HERE.

Sincerity is a Goddess is available in hardcover, paperback, and ebook from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.

CLICK HERE to buy a copy and get ISBN#s for the edition of your choice.

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