June 21, 2023 by AdamAH

Gladiators of Ancient Rome

When we think of ancient Rome and the Roman Empire, there are several images that come to mind – massive armies, marble temples and palaces, risqué parties, and emperors behaving badly. Whether these are accurate or not is somewhat beside the point. Depending of the books they’ve read, or the movies they’ve watched, different people will think of different things when it comes to the Roman world.

One thing that many people will think of when you utter the words ‘Ancient Rome’ is the amphitheatre (usually the Colosseum) and gladiators.

Gladiators – and charioteers, of course, – were the star athletes of their day, even though they were slaves on the social scale.

What had begun long ago as a funeral rite, over time, became one of the greatest and bloodiest entertainments in the Roman world.

In ancient Rome, gladiatorial combat was a popular form of entertainment. It was an integral part of Roman culture and provided a spectacle for the masses. Gladiators were trained fighters who engaged in mortal combat with each other, wild animals, or prisoners of war. The gladiatorial games were held in amphitheatres, and thousands of people would gather to watch the fights.

Ave Caesar, Morituri Te Salutant (1859) by Jean-Léon Gérôme

Despite the popularity of the subject today, and movies involving gladiators such as Gladiator or Pompeii, most newcomers to Roman history may not know that there were many different types of gladiators with distinctive weapons and styles of fighting. The Roman world was, after all, quite diverse, and the same went for the sands of the arena.

In this short blog post, we will explore the different types of gladiators and the weapons that they used.

Retiarius

Roman mosaic showing a Retiarius in combat

The Retiarius was a lightly armoured gladiator who fought with a trident and a net. He also wore an arm and shoulder guard on one side, and sometimes greaves. The net was used to ensnare his opponent, and the trident was used to stab him. The Retiarius was often pitted against the Secutor, who was heavily armoured and carried a sword and a shield.

Secutor

Artist Impression of a Secutor gladiator

The Secutor was a heavily armoured gladiator who fought with a sword and a large shield. He wore a helmet with a rounded top and small eye holes that gave him the look of a sea monster to be fought by the Retiarius, the fisherman, for whom he was the perfect match. The Secutor’s sword was short and straight, allowing him to make quick strikes and parry attacks. The Emperor Commodus, who used to fancy himself a gladiator, often fought as a Secutor.

Murmillo

A re-enactor dressed as a murmillo gladiator

The Murmillo was a heavily armoured gladiator who fought with a gladius and scutum. He wore a large helmet, an arm guard or manica, greaves with thick padding beneath, and a thick leather belt, or balteus. The Murmillo was often pitted against the Thraex, who wore a helmet with a griffin on it and carried a curved sword.

Thraex

Artist impression of a Thraex gladiator

The Thraex, or ‘Thracian’ fighter, was a lightly armoured gladiator who fought with a curved sword, called a sica, and a small, square shield. He wore a helmet and thick greaves. The Thraex was designed to be the perfect match for the Murmillo, and so these two gladiators were often paired off for the entertainment of the crowd.

Hoplomachus

Re-enactor dressed as a hoplomachus

The Hoplomachus was a heavily armoured gladiator who fought with a spear, a dagger, and a small round shield, reminiscent of the round shield of the ancient Greek Hoplite warriors of the past. He wore a helmet with a crest on top and a visor, a manica on one arm, and thick greaves. The Hoplomachus was often pitted against the Murmillo.

Dimachaerus

Dimachaerus – as portrayed by the character of Gannicus in the series Spartacus: Blood and Sand

The Dimachaerus was a lightly armoured gladiator who fought with two swords. He wore a helmet, arm guards, and a thick belt. The Dimachaerus was often pitted against other dimachaeri gladiators, or the hoplomachus. Because this gladiator had no shield and only fought with two gladii or curved blades, it would have required a lot of skill to survive.

Provocator

Artist impression of a Provocator

The Provocator was a heavily armoured gladiator who fought with a gladius and a scutum. He wore a large helmet with a crest on top and a visor, a greave on his forward leg, and sometimes a breastplate. This gladiator was meant emulate the Roman legionary in the arena. The Provocator was often pitted against other heavily armoured gladiators, such as the Murmillo or the Secutor.

Equites

Artist impression of two Equites gladiators

The Equites were gladiators who fought on horseback and would no doubt have added a lot of drama to the scene in the arena. They carried a lance, cavalry sword, and a round or oval shield. The Equites gladiators would also have worn a helmet, and sometimes a breastplate. The Equites were often pitted against each other or against other gladiators. The horsemanship skills would have had to be excellent to enable them to charge, wheel, and fight from horseback!

Bestiarii

Mosaic depicting a Bestiarius fighting a leopard or tiger in the arena.

While not strictly gladiators, the Bestiarii played a unique role in the arena. They were fighters who specialized in combat against wild animals. The Bestiarii used a variety of weapons, such as spears, swords, or even lassos, to subdue and kill their ferocious opponents. These gladiators had to possess exceptional agility and bravery to face the dangerous creatures. The Bestiarii fought wild animals in the arena, while Venatores were hunters of animals on occasions of wild beast hunts in the arena for the entertainment of the populace. If a person was considered damnatio ad bestias, that person was not a gladiator, but rather someone who was condemned to death at the mercy of the beasts, such as prisoners or persecuted peoples thrown to the lions. The use of animals in the arenas of the Empire caused the extinction of many of Europe and North Africa’s animal species.

Andabatae

Re-enactor dressed as an Andabatae gladiator

The Andabatae were gladiators who fought blindfolded. They wore helmets with no eye holes, making it impossible for them to see their opponents or their surroundings. Armed with various weapons like swords, axes, or clubs, the Andabatae relied solely on their instincts and hearing to engage in combat. This added an extra layer of danger and excitement to the fights, both for the gladiators themselves and for the spectators.

Laquerarii

Artist impression of a Laquerarius

The Laquerarii were gladiators who specialized in fighting with whips. They were usually pitted against other Laquerarii or against animals, such as lions or bears. These gladiators demonstrated exceptional skill in handling the whip, using it to control and subdue their opponents or animals. Their agility and precision were crucial in navigating the dangerous encounters.

Essedarius

Artist impression of two Essedarii

The Essedarius was a type of gladiator who fought from a war chariot that was meant to emulate the vehicles of the Celtic tribes of Europe whom Rome fought in Gaul, Britannia, and elsewhere. It is unclear from the sources whether the Essedarius rode the chariot into the arena and then dismounted to fight, or if they fought from the chariot cab while a driver whisked them around their opponents. The latter explanation seems more likely as it would have been much more dramatic for the audience. Who could forget the scene in Gladiator when the chariots burst into the arena!

These are but the main types of gladiators that one would have found on the sands of the arenas about the Roman Empire. Often, gladiators might have customized their equipment or changed things up a bit to align with their fighting personas.

There were other gladiators such as archers (Sagittarius), boxers (Cestus), and others, all of them risking death in the arena for the entertainment of the crowd.

Amazon warriors as depicted in the film Wonder Woman

In addition to male gladiators, ancient Rome also saw the presence of female gladiators, known as Gladiatrices or Ludia. While not as common as their male counterparts, these female warriors brought a unique and captivating element to the gladiatorial games.

While very little is known about female gladiators and their training, we do know that they existed and that they had stage names and personae similar to their much more common male counterparts.

Amazon

Mosaic depicting Amazon type gladiatrices

As a legendary race of female warriors, it is hardly surprising that the Amazons were a popular persona for female gladiators who drew inspiration from the mythical tribe of warrior women. They fought in a manner similar to male gladiators, wielding weapons such as swords, shields, and spears. These formidable fighters showcased their skills, strength, and agility in combat, challenging the notion that gladiatorial combat was solely a male domain.

Dimachaera

Dimachaeria as depicted in the series Spartacus: War of the Damned

The Dimachaera were female gladiators who fought with two swords, similar to their male counterparts. These skilled fighters displayed dexterity and precision as they engaged in dual-bladed combat. Their agility and quick reflexes made them formidable opponents in the arena.

Secutoria

The helmet of a secutor. note the small eye holes and covered ears.

Inspired by the male Secutor gladiators, the Secutoria were female gladiators who were heavily armoured and fought with swords and shields. They wore helmets similar to the Secutors, with rounded tops and narrow eye slits. The Secutoria often faced off against other female gladiators or, very rarely, male opponents, showcasing their courage and combat prowess.

Retiaria

Artist impression of a Retiaria

The Retiaria were female gladiators who adopted the fighting style of the male Retiarius. These gladiatrices engaged in combat using a trident and a net. Similar to their male counterparts, they wore light armour and were known for their agility and finesse in capturing and subduing opponents with their nets.

Essedaria

Essedaria from the film Gladiator

The Essedaria were a unique group of female gladiators who fought from chariots, demonstrating their skill in handling horses and engaging in fast-paced combat. They carried weapons like swords, spears, or bows, and unleashed their attacks while maneuvering the chariots. The Essedaria added a thrilling and visually striking element to the gladiatorial games.

Marble relief depicting two female gladiatrices named ‘Amazon’ and ‘Achillia’

Similar to their male counterparts, there would have been variations for female gladiators who adopted different fighting styles and weaponry. Some gladiatrices fought with weapons such as swords, shields, or spears, while others engaged in more unconventional combat using whips, lassos, or daggers. The range of fighting styles and weapons used by female gladiators added diversity and excitement to the arena that the crowd would have found spectacular and even titillating.

It’s important to note that while female gladiators did exist, they were not as numerous as their male counterparts, and their participation in the gladiatorial games varied throughout different periods of Roman history. The presence of female gladiators challenged traditional gender roles and norms, providing a platform for women to showcase their skills, strength, and bravery in combat.

Just because they existed doesn’t mean, however, that female gladiators were not a controversial topic. In A.D. 11, the Senate passed a law forbidding freeborn women under the age of twenty from participating in gladiatorial combat. And almost two hundred years later, Emperor Septimius Severus outlawed participation of women in the arenas of the Empire, claiming that such spectacles encouraged a lack of respect for women in general.

Despite Severus’ decree, it seems that women continued to fight as gladiators into the third century, after Severus’ death, at places such as Ostia.

Female gladiators made their mark in ancient Rome, defying societal expectations and participating in the intense world of gladiatorial combat. Their presence added an extra layer of intrigue and excitement to the gladiatorial games, highlighting the diversity and courage of these formidable women.

Mosaic depicting various types of gladiators

It’s important to note that while all the types of gladiators and gladiatrices and their weapons mentioned above were prominent in the Roman world, the gladiatorial games evolved over time, and variations existed within each category. Gladiator schools, known as ludi, played a significant role in training and honing the skills of these fighters. It was also big business!

The world of gladiators in ancient Rome was rich, diverse, and bloody.

It may not be Rome’s greatest contribution to society, but it has certainly left an impression that resonates today, as if the crowds of the Colosseum are still baying for blood.

Thank you for reading…

If you are visiting Rome, the Colosseum is a must-see for anyone interested in ancient Rome.

To get the most out of your visit, check out the skip-the-line tickets or special guided tours of the hidden places within the Colosseum that are available. CLICK HERE for more details!

July 5, 2019 by AdamAH

The World of The Dragon: Genesis – Part VII Sibling Rivalry: The Plot to Kill Commodus

Commodus was guilty of many unseemly deeds, and killed a great many people.

(Cassius Dio, The Roman History)

Salvete, history-lovers!

Welcome back to The World of The Dragon: Genesis, the blog series about the research that went into our latest historical fantasy release set in the world of ancient Rome.

If you missed part six, about the Antonine Plague, you can read it HERE.

In this seventh and final part of the blog series, we’re going to be taking a brief look at the children of Marcus Aurelius and Faustina Minor (‘the younger’), the reign of Emperor Commodus, and the plots against his life.

Was Commodus really the monster we imagine him to be, the megalomaniacal ruler we were confronted with in the movie Gladiator?

Read on to learn more.

Faustina Minor and Marcus Aurelius as Venus and Mars – Capitoline Museum

Some people view the reigns of Antoninus Pius and Marcus Aurelius as a sort of golden age of rulership in the Roman World. That was certainly true of Antoninus Pius, and perhaps less for Marcus Aurelius’ reign, but any sense of a golden age certainly ended with the accession of Lucius Aelius Aurelius Commodus who ruled as sole emperor from A.D. 180-192.

It was at this time that the Roman Empire perhaps took a turn for the worst. The time of the ‘five good emperors’ was at an end.

Because of popular culture, the two children of Marcus Aurelius and Faustina Minor that most people are aware of are Commodus and his sister, Annia Aurelia Galeria Lucilla, or ‘Lucilla’. However, what many may not know is that Marcus Aurelius and Faustina Minor had thirteen children together over the period of their thirty-year marriage.

Most of these young Aurelii died young. There was the first-born, Domitia Faustina, who died at the age of five in A.D. 151. Then there were Titus Aelius Antoninus and Titus Aelius Aurelius who both died in 149. After the birth of Lucilla in 150, two more children were born, Annia Galeria Aurelia Faustina, and Tiberius Aelius Antoninus who died in 151 and 155, respectively, before another unknown child died in 157. Titus Aurelius Fulvus Antoninus, Commodus’ twin brother, died at the age of four in 165, then Marcus Annius Verus Caesar passed at the age of seven in 169, followed by a young Hadrianus some time after that.

But there were other surviving siblings of Commodus and Lucilla who are not often mentioned in the history books, notably three more sisters: Annia Aurelia Fadilla (c. 159-211), Annia Cornificia Faustina Minor (160-212), and the youngest of Marcus Aurelius and Faustina Minor’s children, Vibia Aurelia Sabina (170-216).

Obviously, infant mortality rates were very high in the ancient world, even for the upper classes. But, in hindsight, when one looks at the number of children Marcus Aurelius and Faustina Minor had, despite their mortality rates, one has to wonder if the emperor was indeed obsessed with having an blood-heir to the throne, despite the fact that he and his illustrious predecessors came to the throne through adoption.

Before we look at the reign of Commodus, let us first look at the children of Marcus Aurelius who did survive to play a part in the drama that was to unfold after the death of their father in A.D. 180.

Statue of Lucilla in the Bardo Museum, Tunis

Annia Aurelia Galeria Lucilla (150-182) was the eldest daughter to survive her parents. She was born about eleven years before Commodus. As we know, she was betrothed and wed as a teenager to her father’s co-ruler, Lucius Verus. After Verus passed away from illness, perhaps from the plague his troops had brought back from the East, she was forced to marry Tiberius Claudius Pompeianus, a respected general of her father’s who was quite a bit older than her, having been born in A.D. 125.

Snapshot of family tree of Marcus Aurelius and Faustina Minor (Wikimedia Commons – Nerva/Antonine Dynasty)

Lucilla’s younger sister Annia Aurelia Fadilla (c. 159-211) was born and raised in Rome and was married to Marcus Peducaeus Plautius Quintillus, a senator, consul and augur. He was the nephew of Lucius Verus, but also became one of Commodus’ main advisors.

Fadilla and her family lived in a private palace on the Capitoline Hill, and it was she whom the ancient author, Herodian, says warned Commodus about the snaky freedman, Cleander, and a plot upon the emperor in 189.

But more on plots later…

Annia Cornificia Faustina Minor – sister of Commodus and Lucilla

Another sister of Commodus and Lucilla was Annia Cornificia Faustina Minor (160-112). She was married to an African Roman by the name of Marcus Petronius Sura Mamertinus who was consul in 182. This Faustina Minor and her family may have been with her father, Marcus Aurelius at the time of his death in Germania.

Around 190 or 192, Commodus ordered the deaths of Faustina Minor’s husband, son, and most of her in-laws. So, relations with her brother were strained at best. But, she survived Commodus’ reign, and even had an affair with the short-lived Emperor Pertinax. She lived into her fifties until, in A.D. 212, her death was ordered by Emperor Caracalla. Rather than be executed, this daughter of Marcus Aurelius committed suicide.

Vibia Aurelia Sabina – youngest sister of Commodus and Lucilla (Wikimedia Commons)

The youngest and longest surviving child of Marcus Aurelius and Faustina Minor was Vibia Aurelia Sabina (c. 170-216). She was born in Pannonia and travelled much throughout the empire.

The image we have of young Sabina is of an innocent, kind girl growing up with chaos all around her. Before her father’s death in 180, she was betrothed to an African Roman senator by the name of Lucius Antistius Burrus from near Hippo Regius. They were eventually married in Rome, after which Sabina moved to North Africa with her husband.

Despite a problem with her husband, which we will get into shortly, Sabina went on to marry Lucius Aurelius Agaclytus, a freedman of her father’s who may have foiled a plot against Marcus Aurelius. They had no children, but Sabina became a prominent Italian citizen of Roman North Africa who was well-loved by the Romans and native Berber population. She fared much better than her sisters.

Denarius of Commodus

And what of Commodus, the ruler at the centre of this family of orphan Aurelii?

Well, Commodus comes across as someone who was given too much power far too early, kind of like a child star who hits it big at a young age and then spirals out of control.

At the age of fifteen, in A.D. 177, Commodus became joint ruler with his father and was given the titles of ‘Caesar’, ‘Imperator’ and ‘Augustus’.

Cassius Dio, a contemporary of the period, gives us an account of his character:

This man [Commodus] was not naturally wicked, but, on the contrary, as guileless as any man that ever lived. His great simplicity, however, together with his cowardice, made him the slave of his companions, and it was through them that he at first, out of ignorance, missed the better life and then was led on into lustful and cruel habits, which soon became second nature. And this, I think, Marcus clearly perceived beforehand. Commodus was nineteen years old when his father died, leaving him many guardians, among whom were numbered the best men of the senate. But their suggestions and counsels Commodus rejected, and after making a truce with the barbarians he rushed to Rome; for he hated all exertion and craved the comfortable life of the city.

(Cassius Dio, The Roman History, Book LXXIII, 1)

At first, Commodus did seem to make an attempt to rule well. He dealt (not personally) with minor problems like a Caledonian breech of the Antonine Wall in 183, and the subsequent mutiny there that was put down by Pertinax. He also organized shipments of agricultural produce from Africa to Rome, and freed the tenants of Roman growers in that province from a sort of servitude.

But these small gestures, it seems, were not enough to dissuade his detractors or would-be assassins.

The Roman Forum (by Becchetti)

Commodus devoted most of his life to ease and to horses and to combats of wild beasts and of men. In fact, besides all that he did in private, he often slew in public large numbers of men and beasts as well. For example, all alone with his own hands, he dispatched five hippopotami together with two elephants on two successive days; and he also killed rhinoceroses and a camelopard. This is what I have to say with reference to his career as a whole.

(Cassius Dio, The Roman History, Book LXXIII, 9)

And what of his siblings? How did they feel about their emperor/brother?

We already know that Fadilla helped to foil a plot by Cleander against her brother in 189, but not all of Commodus’ sisters were so forgiving of their brother.

The plot we do know of for certain is that of Lucilla’s. Hers was the first plot against Commodus.

In A.D. 182, Lucilla and her cousin, Ummidius Quadratus, a Roman senator, plotted to kill Commodus and place Lucilla’s stepson, Pompeianus (son of her husband, the old general Tiberius Claudius Pompeianus) upon the imperial throne. It is supposed that Lucilla and her stepson may even have been intimately involved.

It must have been the case that Commodus quickly showed himself to be incapable of rule, for Lucilla and her fellow conspirators wasted little time in plotting. However, the assassination attempt was badly botched and the younger Pompeianus and Quadratus were executed, and Lucilla was exiled to the island of Capri where she was later murdered at her brother’s command.

Oddly enough, Lucilla’s husband, the elder Pompeianus, was not punished, even though it was his son she had tried to put on the throne. The general subsequently retired.

The historian, Herodian, describes the failed plot:

He sent out to rule the provinces men who were either his companions in crime or were recommended to him by criminals. He became so detested by the senate that he in his turn was moved with cruel passion for the destruction of that great order, and from having been despised he became bloodthirsty.

Finally the actions of Commodus drove Quadratus and Lucilla, with the support of Tarrutenius

Paternus, the prefect of the guard, to form a plan for his assassination. The task of slaying him was assigned to Claudius Pompeianus, a kinsman. But he, as soon as he had an opportunity to fulfil his mission, strode up to Commodus with a drawn sword, and, bursting out with these words, “This dagger the senate sends thee,” betrayed the plot like a fool, and failed to accomplish the design, in which many others along with himself were implicated. After this fiasco, first Pompeianus and Quadratus were executed, and then Norbana and Norbanus and Paralius; and the latter’s mother and Lucilla were driven into exile.

(Herodian, Historia Augusta, The Life of Commodus, 3-4)

Lucilla and Commodus in the movie Gladiator

It is not known whether Lucilla had been in touch with her younger sisters about the plot against Commodus. One supposes that they did not know, especially Fadilla, who would save him from Cleander later, or Sabina who was just twelve years old at the time.

What we do know is that after Lucilla’s betrayal, things changed for the worse in Commodus. The failed plot seemed to have ushered in a reign of terror. He became more hostile toward the senate and executed many, including his chief advisor Tigidius Perennis in 185, whom he replaced with Cleander.

Commodus, at this time, also came under the influence his mistress, Marcia, and his chamberlain, Eclectus. He tried to appease the populace by putting on extravagant games and shows, and to ingratiate himself to the troops by increasing their pay. All of this led to a huge financial crisis.

And what did he do to alleviate the situation? He confiscated the property of the rich.

Commodus was good at making enemies.

But his megalomania went even further, for he renamed Rome ‘Colonia Commodiana’ (Commodus’ Colony), and came to believe that he was Hercules incarnate.

Commodus as Hercules

Now this “Golden One”, this “Hercules”, this “god” (for he was even given this name, too) suddenly drove into Rome one afternoon from his suburb and conducted thirty horse-races in the space of two hours. These proceedings had much to do with his running short of funds. He was also fond, it is true, of bestowing gifts, and frequently gave largesses to the populace at the rate of one hundred and forty denarii per man; but most of his expenditures were for the objects I have mentioned. Hence he brought accusations against both men and women, slaying some and to others selling their lives for their property. And finally he ordered us, our wives, and our children each to contribute two gold pieces every year on his birthday as a kind of first-fruits, and commanded the senators in all the other cities to give five denarii apiece. Of this, too, he saved nothing, but spent it all disgracefully on his wild beasts and his gladiators.

(Cassius Dio, The Roman History, Book LXXIII, 16)

Commodus’ increasing brutality, as well as his neglect of duty, drove other parties to seek his end. In 188 another conspiracy against him came about, but this time it involved the husband of Commodus’ youngest sister, Sabina.

Unbeknownst to Sabina, who was just eighteen years old at the time, Lucius Antistius Burrus plotted with others against Commodus. Details about this plot are lacking, but we do know that it failed and that Burrus was put to death.

Sabina, however, was spared, perhaps because she was not involved in the plot. She remained in North Africa and married Agaclytus to survive the rest of her family until A.D. 217.

The year after Burrus’ plot against Commodus, in 189, there came the plot that was set by Cleander, and foiled by Fadilla and, according to Herodian, another sister, possibly Faustina Minor, whose family had not yet been executed by her brother.

One can imagine the paranoia that must have beset Commodus (and indeed his sisters!) at this time, and how it would have fuelled the fires of his mania.

All plots upon Emperor Commodus had failed to that point, and many people had been executed in the wake of those failures…that is…until the very end of A.D. 192.

On New Year’s Day, in A.D. 193, Commodus was due to present himself to the people of Rome as Consul and Gladiator. He had reached new heights of violence at that point in time, and had become a threat to everyone.

The Emperor Commodus Leaving the Arena at the Head of the Gladiators (by Edwin Howland Blashfield)

Cassius Dio was present at that time, and gives us our most detailed, surviving account of the day and the plot involving many players, including Commodus’ mistress, Marcia, his chamberlain, Eclectus, the Praetorian Prefect, Aemilius Laetus, and a famous athlete by the name of Narcissus:

This fear was shared by all, by us senators as well as by the rest. And here is another thing that he did to us senators which gave us every reason to look for our death. Having killed an ostrich and cut off his head, he came up to where we were sitting, holding the head in his left hand and in his right hand raising aloft his bloody sword; and though he spoke not a word, yet he wagged his head with a grin, indicating that he would treat us in the same way. And many would indeed have perished by the sword on the spot, for laughing at him (for it was laughter rather than indignation that overcame us), if I had not chewed some laurel leaves, which I got from my garland, myself, and persuaded the others who were sitting near me to do the same, so that in the steady movement of our armies we might conceal the fact that we were laughing.

After the events described he raised our spirits. For when he was intending to fight once more as a gladiator, he bade us enter the amphitheatre in the equestrian garb and in our woollen cloaks, a thing that we never do when going to the amphitheatre except when one of the emperors has passed away; and on the last day his helmet was carried out by the gates through which the dead are taken out. These events caused absolutely every one of us to believe that we were surely about to be rid of him.

And he actually did die, or rather was slain, before long. For Laetus and Eclectus, displeased at the things he was doing, and also inspired by fear, in view of the threats he made against them because they tried to prevent him from acting in this way, formed a plot against him. It seems that Commodus wished to slay both the consuls, Erucius Clarus and Sosius Falco, and on New Year’s Day to issue forth both as consul and secutor from the quarters of the gladiators; in fact, he had the first cell there, as if he were one of them. Let no one doubt this statement. Indeed, he actually cut off the head of the Colossus, and substituted for it a likeness of his own head; then, having given it a club and placed a bronze lion at its feet, so as to cause it to look like Hercules, he inscribed on it, in addition to the list of his titles which I have already indicated, these words: “Champion of secutores; only left-handed fighter to conquer twelve times (as I recall the number) one thousand men.”

For these reasons Laetus and Eclectus attacked him, after making Marcia their confidant. At any rate, on the last day of the year, at night, when people were busy with the holiday, they caused Marcia to administer poison to him in some beef. But the immoderate use of wine and baths, which was habitual with him, kept him from succumbing at once, and instead he vomited up some of it; and thus suspecting the truth, he indulged in some threats. Then they sent Narcissus, an athlete, against him, and caused this man to strangle him while he was taking a bath. Such was the end of Commodus, after he had ruled twelve years, nine months, and fourteen days. He had lived thirty-one years and four months; and with him the line of the genuine Aurelii ceased to rule.

(Cassius Dio, The Roman History, Book LXXIII, 21-22)

Marcus Aurelius and family performing a sacrificium

It is a pathetic end to the rule of the dynasty, and one can’t help but wonder how Commodus’ surviving sisters – Fadilla, Faustina Minor, and Sabina – felt once their brother was gone. Faustina Minor may have felt justice had been done, even if she may not have been involved, for she had lost her family to her brother’s brutality. But Fadilla had saved him previously, and Sabina probably barely knew him. The dangers to the three of them would come later, during the reign of the winning dynasty in the subsequent civil war, the Severan dynasty, and the rule of Caracalla, another son who was not the ruler that his father was.

What was it about imperial fathers and their lesser sons?

Marcus Aurelius, by all accounts was a wise man, and yet, despite having inherited the imperial throne through adoption, he appointed a lesser person as his successor. The same occurred with Septimius Severus when he appointed his two sons Caracalla and Geta to succeed him. Severus even sought to repair the image of Commodus in 195, even going so far as to deify him!

Under Aurelius and Severus, the empire reached great heights, and yet it could hardly have fallen lower under each of their sons.

But such is the world of family and politics in ancient Rome. It doesn’t always make sense to us today, but it certainly is fascinating and entertaining.

We do hope you’ve enjoyed The World of The Dragon: Genesis blog series.

If you’ve missed any of the posts in this seven-part series, you can read them all together HERE.

If you have not already downloaded your FREE COPY of The Dragon: Genesis, you can do so by CLICKING HERE.

Lastly, if you have read the book, please consider leaving a small review or comment at the bottom of the page HERE.

Eagles and Dragons Publishing will be taking a short summer break but will be returning in a few weeks with more posts about history and some exciting, highly-anticipated releases.

Stay tuned… Happy Summer, and thank you for reading.

February 16, 2018 by AdamAH

A Turn of the Thumb: Gladiators and the Thumbs Up

Greetings ancient history fans! We hope you enjoyed last week’s blog post on the origins of gladiatorial combat and the different types of gladiators. If you didn’t read it, you can check it out by CLICKING HERE.

This week we’re venturing farther into the world of gladiators with a special guest post by archaeologist Raven Todd Da Silva.

Everyone who is familiar with popular representations of gladiators and gladiatorial combat will be familiar with the ‘turn of the thumb’ gesture, but do you know how that expression came about? Is it historically correct? Why was the thumb so important to Romans?

Well, Raven is going to demystify that for us. Take it away, Raven!

A Turn of the Thumb: Gladiators and the Thumbs Up

By: Raven Todd Da Silva

‘Pollice Verso’, painted in 1872 by Jean-Léon Jérôme

The notion of signaling life or death for a defeated gladiator by a thumbs up or thumbs down has been made popular by famous pieces of artwork and the 2000 film Gladiator.

But what is the real importance of our thumbs (digitus pollex), and how did it really function in the gladiatorial games of Ancient Rome?

The Romans were unique in comparison to other civilizations in referring to the thumb as its own digit on the hand, and it’s suggested that they believed it to have power or hold sway (polleat) over the rest of the fingers. The Latin word for thumb, pollex, is also said to have derived from the word for power, pollet. So we can see here just how much influence a gesture with the thumb had.

In the days of the gladiatorial games, the audience could have their say in deciding the fate of the fallen combatants with a hand gesture – what we think of as thumbs up or thumbs down in today’s misconstrued pop culture-reliant society. The decision to kill the fallen gladiator was decided with what is know as the pollice verso – which translates only as “turned thumb”. If we look at Juvenal, he says:

to-day they hold shows of their own, and win applause by slaying whomsoever the mob with a turn of the thumb bids them slay. (Juvenal; Satire III 36)

The Christian poet Prudentius also backs this up when talking about a Vestal Virgin watching the games:

The modest virgin with a turn of her thumb bids him pierce the breast of his fallen foe (Prudentius; Against Symmachus II)

The Médaillon de Cavillargues

We aren’t sure what this exactly means though, and there are no other proper surviving texts to give us specific insight. Contrary to popular belief, the “thumbs up” we all know today as a sign of a good job or to show that everything is A-OK did not always have this meaning. A study by Desmod Morris shows that Italians did not consider this action as a positive one until American pilots, who used it to signal to the grounds crew that they were ready to take off, imported it in WWII.

So we don’t really know which way the audience’s thumbs were pointing to indicate if they wanted the gladiator to die.

But if an extended, turned thumb indicated the kill, what did the audience do if they wanted to spare the gladiator’s life? Martial stated that the crowd appealed for mercy by waving their handkerchiefs (XII) or by shouting (Spectacles, X).

It seems the gesture was possibly to hide your thumb inside of your fist known as the pollice compresso or “compressed thumb”. Anthony Corbeill, the leading expert on ancient Roman gestures has translated Pliny’s pollices premere to mean that a thumb pressed down on the index finger of a closed fist signified mercy.

There’s some speculation with the reasoning behind these two gestures. Firstly, it’s a lot easier to tell the difference from the crowd. Second, it could indicate the state of the gladiator’s sword. Extended thumb indicating that the audience wanted the gladiator to give the conquered one final stab or blow, and the compressed thumb telling the victor to sheath his weapon and grant mercy on the defeated.

The Zliten Mosaic

Archaeologically speaking, the The Médaillon de Cavillargues, located in the Nîmes Musée Archéologique supports Corbeill’s conclusions. Also interesting to note, the gladiator may have had to wait for a judgment call from the producer of the games to know the true outcome from the audience vote – waiting for an audible cue in the form of a horn or some music, which is suggested in the Zliten mosaic.

One of the most famous paintings depicting gladiatorial combat is called the Pollice Verso, painted in 1872 by famous historical painter Jean-Léon Jérôme. It displays a victorious gladiator standing over his vanquished opponent, showing off to a crowd enthusiastically thrusting their thumbs down. Jérôme was a highly respected historical painter, known for his extensive research and accuracy, which is why this misrepresentation lead to so many misunderstandings from the general public and fellow academics.

Raven Todd DaSilva is working on her Master’s in art conservation at the University of Amsterdam. Having studied archaeology and ancient history, she started Dig it With Raven to make archaeology, history and conservation exciting and freely accessible to everyone. You can follow all her adventures on Facebook and Instagram @digitwithraven

Resources

The Gladiator and the Thumb

“Thumbs in Ancient Rome: pollex as Index.” Memoirs of the American Academy in Rome 42 (1997) 61-81 Anthony Corbeill

Juvenal Satire Book 3

Nature Embodied: Gesture in Ancient Rome (2004) by Anthony Corbeill

Zliten Mosaic

Pollice Verso

I’d like to thank Raven for taking the time to share this fascinating research with us. To be honest, I had no idea the Romans thought of the thumb as a digit that held sway over the other fingers!

You can read more by checking out the list of resources above.

If you have any questions for Raven about the ‘turn of the thumb’, you can ask them in the comments below.

Also, be sure to check out her website Dig It With Raven where she has a wealth of information on archaeology, history and art restoration.

Raven also posts regular VLOGS about archaeology and art restoration that are fascinating and highly informative. She’s also really funny! For anyone wanting to get their feet wet in these subject areas, I can’t recommend the videos enough. Make sure you subscribe to her YouTube channel so you don’t miss any of her awesome and educational videos.

We’ll definitely have Raven back on the blog!

Thanks for stopping by, and thank you for reading!

February 7, 2018 by AdamAH

Gladiators: The Implements of Death

Few things about the ancient Roman world fascinate the modern masses more than gladiators. The subject of slaves dueling to the death for the entertainment of the mob is horrible, but at the same time darkly entertaining.

In the popular mind, most of what we imagine gladiators and gladiatorial combat to have been comes from popular movies and television. I still remember the first time I watched Spartacus as a kid, and the horror of the scene when Kirk Douglas fights his fellow gladiator, Draba (played by Woody Strode) and how the latter is cut down when he refuses to kill Spartacus. It made my heart race and guts tighten. A lasting impression to be sure!

And who can forget the more recent film, Gladiator, by Ridley Scott, with its epic fight scenes and recreation of the Flavian Amphitheatre, or rather, the Colosseum? Classics enrollment shot through the roof after that movie! What about the television series, Spartacus: Blood and Sand?

Bloody, brutal, entertaining and mesmerizing.

Are you not entertained!
(Sorry, I couldn’t help myself there. Love this movie!)

Apart from Spartacus: Blood and Sand, however, few attempts have been made to properly portray gladiators and their equipment, their styles. The focus in the media has been on death and the panem et circenses, or ‘bread and circuses’, aspect of it all.

In this post, we’re going to look at the various styles of gladiators, along with some of their weapons. The reality of gladiatorial combat in the major arenas of the Roman Empire was not of two half-naked men slashing away at each other, but rather of a highly organized blood sport with its own set of rules.

But before we delve into that, let’s take a brief look at the origins of gladiatorial combat.

Funeral Games were an ancient tradition. The Games in honour of the death of Patroclus beneath the walls of Troy are depicted here.

Originally, it’s thought that gladiatorial contests were not for entertainment, but rather for funeral games.

Possibly the oldest depiction of a gladiatorial contest comes from a tomb painting at Paestum, in Campania, around 370-340 B.C. The murals of this tomb portray various activities such as chariot races, fist fights, and a dual between armed men bearing, helmets, shields, and spears. A referee and three pairs of fighting men are also depicted.

Because of this find, and the presence of the oldest stone amphitheatres in the region, it has been argued that Campania is where gladiatorial fights originated. The region was also home to some of the most important gladiatorial schools, or ludi.

Some of the earliest known representations of gladiatorial combat from Campania, Italy.

The idea of shedding blood by a dead person’s grave, was an ancient tradition, and the Roman world was no stranger to blood sacrifice. You can read more about sacrifices in the Roman world HERE.

However, later Roman writers, such as the Christian writer, Tertullian (c. A.D. 200), frowned upon this particular rite of sacrifice:

For of old, in the belief that the souls of the dead are propitiated with human blood, they used at funerals to sacrifice captives or slaves of poor value whom they bought. Afterwards, it seemed good to obscure their impiety by making it a pleasure. So they found comfort for death in murder. (Tertullian, De Spectaculis 12)

Tertullian, in a way, displayed a mindset more in tune with our own, perhaps, in which most of us feel horror at the thought of public execution and torture. This is a modern mindset, however. When it came to early gladiatorial combat, it does indeed appear that life was cheap when it came to the first gladiators who were most likely prisoners of war and slaves.

Relief depicting gladiators

Over time, gladiatorial combat moved from being a rite for funeral games, to an entertainment for the masses. ‘Bread and circuses’ as Juvenal put it in the second century A.D.

With the growing popularity of gladiatorial combat, the aristocratic families who wanted to maintain their political power in Rome began to use the games as a means of securing their power. They did this by putting on public games for the masses, the mob. It became an expensive entertainment to put on, and also a part of everyday life in the Roman world.

The first public gladiator fight was apparently in the Forum Boarium, but later they occurred in the Forum Romanum, and then, once it was built, found a permanent home in the Colosseum.

Graffiti in Pompeii depicting two known gladiators

Gladiatorial contests grew in popularity, and these slaves, for that is what they were, came to be superstars, second only, you might say, to charioteers.

Though the Romans may not have invented gladiatorial combat, they do appear to have ‘perfected’ it. They developed ludi, gladiatorial schools run by a lanista. In the Roman Empire, the state came to exert a level of control – there were four imperial ludi in Rome itself! There were styles of gladiator with specialized weapons and training, diet and the best medical care. And gladiators were no longer just prisoners of war or slaves, but also criminals and even volunteers!

Gladiators were also an investment. They developed a market value depending on their successes. Gladiators were to ancient Rome, what our modern-day sports superstars are now. They were part of a great show, complete with stage sets and storylines. They even had stage names, their images popping up in scrawled graffiti all over Rome, etched by their adoring fans.

Mosaic depicting gladiators with their stage names. Note the theta symbol (a circle with a line) beside some which stands for ‘Thanatos’, indicating that they are dead.

At this point, you get the picture. Gladiators evolved from being a sacrifice, to superstars in the world of Roman blood sport.

However, it wasn’t just a matter of matching any type of gladiator against another. There were specific styles that developed over time, and they stemmed from mythological beasts to shadows of Rome’s former enemies.

Pairings of the different types of gladiators were not random. You might be surprised to know that the rules called for very specific types of gladiators to be pitted against each other, especially in the great amphitheatres of the Empire.

Much of what we know of the equipment of the different types of fighters comes from pictorial depictions on anything from elaborate mosaics, to frescos, oil lamps and even street graffiti.

An ancient oil lamp decorated with a gladiatorial combat scene. The perfect addition to any young man’s cubiculum!

The different classes of gladiators had distinctive equipment, and protection was worn on different parts of the body, depending on the style. Usually, the head, face and throat were protected by a helmet, and some of these are the most impressive remains of gladiatorial equipment. Different limbs were also protected by organic materials like leather and linen, but there were also metal guards such as greaves.

In almost all cases, the gladiator’s chest, no matter the style, was unprotected, but for the provocator which we will look at shortly. The only piece of clothing worn was a loin cloth, or subligaculum, which was belted with a cingulum or later, a wide sash.

There were variations on some of the protective equipment such as manicae, which were arm guards worn regularly in late antiquity, and fasciae, padded tubes for the legs which could be worn beneath greaves.

Artist impression of two equites gladiators

The first type of gladiator we are going to look at is the eques, or horseman.

Equites fought only against other equites, and were considered lightly-armed gladiators. They were the only gladiators to wear clothing, in the form of a tunica, and they wore gaiters on their legs, but no greaves. They had a manica on their right arm, wore a visored helmet, and carried a parma equestris, a round cavalry shield.

As far as weapons, the eques carried a hasta, which was a lance of about 2.5 meters in length, and a gladius.

More often than not, the equites bouts would take place at the beginning of the gladiatorial combat schedule during the games.

A re-enactor dressed as a murmillo gladiator

Probably the most famous or recognizable gladiator style was the heavy-armed murmillo.

Murmillo is actually a term for fish, and the style of his helmet resembled something of a sea creature or monster in a way. He was usually set against a thraex (Thracian) fighter, or a hoplomachus (a Greek style fighter).

When you look at this fighter, you can tell that it was a formidable opponent, and from the weapons, one could say that in the combat against others, he represented Rome and Rome’s army.

The murmillo’s torso was bare and he was protected by a manica on his right arm, and a gaiter and short greave on his right leg. The head was protected by a wide-brimmed helmet with a crest and feathers, and he bore a heavy scutum in his left hand, the large rectangular shield of Rome’s legions. Because of this protection, the murmillo fought with his left foot and shoulder forward, striking with the only weapon he carried, a gladius, in his right hand.

The murmillo never fought against his own kind, and it seems likely that the pairing of a murmillo against a thraex was the most common pairing in Roman amphitheatres.

Thraex helmet. This find is in amazing condition. Note the griffin shaped crest.

As mentioned, the thraex fighter, named after Rome’s Thracian enemies, was the main opponent of the murmillo, and was also a heavy class fighter.

The equipment of the thraex is often confused with the hoplomachus because of certain similarities such as quilted leg protection, two high greaves that reached above the knee, and a brimmed helmet with a tall crest.

The thraex carried a smaller, almost square shield known as a parmula, and his helmet was often decorated with a griffin. He had a manica on his right arm as well. Unique to the thraex was the distinctive curved short sword or sica.

In addition to being the main opponent of the murmillo, the thraex was also pitted against the hoplomachus.

Re-enactor dressed as a hoplomachus

Hoplomachus literally means ‘fights with a weapon’, which is rather obvious for a gladiator, but this heavy class fighter was representative of the ancient Greek hoplite warrior who was named after the round hoplon shield.

However, the circular shield carried by this gladiator was a smaller bronze version of the Greek shield. In addition to the body protection in common with the thraex mentioned above, the hoplomachus carried two weapons: a long dagger in his left hand, to which the shield was strapped, and a lance or spear in his right hand.

The hoplomachus usually fought a murmillo, although he could be matched against the thraex. The pairings were part of the show, an imitation of Roman soldiers (murmillo) against the foreign enemies of the past.

Artist impression of a provocator

The only middle weight gladiatorial class appears to have been the provocator.

This style of gladiator usually fought his own type, and was the only one with a protected chest in the form of a square or rectangular breastplate. He also had a half-length greave.

The provocator carried a rectangular shield, similar to a scutum and carried a gladius as his weapon. His helmet had a visor but no crest.

These fighters may not have been the headliners of the show, but their lighter weight must have made for a quick, equally-matched and impressive fight.

Mosaic depicting a battle between a retiarius and secutor.

Apart from the murmillo, the retiarius is probably the most iconic symbol of the gladiatorial family.

The name retiarius, means ‘fights with a net’.

This fighter was one of the few who had no helmet. Nor did he have a greave or shield. However, the retirarius did have a manica protecting his left arm, as well as a galerus, a tall metal shoulder guard. His weapons consisted of a net, a trident, and a pugio, or dagger.

A trident, one of the weapons of a retiarius.

Surprisingly, this fighter was a new category that was introduced during the imperial period. He was a light fighter, and though he did not pit well against the heavy, military-themed fighters, he was sometimes pitted against them during the Empire. Most often, however, the retiarius met the secutor on the sands of the arena. Sometimes, he even fought against two secutores!

The pairing of a retiarius and secutor was a storyline, a tale of the fisherman against a sea creature(s). Sometimes a set or stage was erected on the arena floor for this performance, with a bridge, or pons, from which the retiarius could fight against his one or two foes. At times, they even fought over real water!

The helmet of a secutor. Note the small eye holes and covered ears.

The secutor, the opponent of the retiarius, was also sometimes called a contraretiarius.

This gladiator was similar to the murmillo, but was designed specifically to fight the retiarius. He differed from the murmillo in the type and shape of helmet that he wore. Not only did the helmet look like a fish or sea creature, but it also had small eye holes that were deliberately intended to protect the fighter against the points of the retiarius’ trident. His hearing and vision were severely hampered by the helmet, but his heavy protection evened the odds against his more agile opponent. The secutor was not a fighter to mess with!

Mosaic depicting various types of gladiators, along with a referee (second from the right)

Those were the main types or classes of gladiators that appeared across the Roman Empire and in the amphitheatres of Rome.

However, there were other types of gladiators such female gladiators who depicted Amazon warriors, as well as gladiators with regional variations in the provinces.

Some other types included the essedarius, or war-chariot fighter who represented Rome’s Celtic enemies, the dimachaerus who was a fighter with two swords or daggers, and the crupellarius who was a sort of super heavy-armed gladiator.

There was also the aquerarius, a sort of retiarius with a lasso or noose, and the saggitarius who, you guessed it, was an archer gladiator. Between bouts, or at the half-time intermission of the games, you might also catch a glimpse of the paegniarius who was not for fighting, but more for comic relief like the clowns during a half-time show or intermission.

A wild beast hunt in the arena.

The world of gladiatorial combat was vast and better regulated than we are led to believe in movies. We’ve but scratched the surface here. The combats were not only on sand between men, but there were also venatio (wild animal hunts), and naumachiae (mock naval battles) to entertain the masses of Rome and the Empire.

There is much more to learn about this bloody aspect of Roman society and sport. If you want to read more, two very accessible books are Gladiators and Caesars: The Power of Spectacle in Ancient Rome edited by Eckart Kohne and Cornelia Ewigleben, and the Osprey Publishing ‘Warrior’ series book Gladiators: 100 B.C. – A.D. 200 by Stephen Wisdom and Angus McBride.

But we aren’t done with gladiators!

Very soon on the Writing the Past blog, we’ll have a special guest post from archaeologist Raven Todd Da Silva about the infamous ‘turn of the thumb’ in gladiatorial games. Make sure that you are signed-up to the Eagles and Dragons Mailing List so that you don’t miss Raven’s post or any others that are coming up!

For now, I hope you’ve enjoyed this peek into the world of gladiators.

Thank you for reading.

The Colosseum, also known as the Flavian Amphitheatre

August 21, 2014 by AdamAH

The World of Children of Apollo – Part II – Roman North Africa

Temple of Peace
Thurburbo Maius

In this second instalment of The World of Children of Apollo, we are going to take a brief tour of some of the settlements of Roman North Africa.

When I say ‘Roman’ I mean located within the Roman Empire, such as it was at the beginning of the 3rd century A.D., when Children of Apollo takes place. In actuality, most of the ‘Roman’ settlements in North Africa were either of Phoenician or Greek origin, with the exception perhaps of the legionary base at Lambaesis and the nearby colonia of Thamugadi, the latter established for veterans of the III Augustan Legion.

Severan Basilica
Leptis Magna

The southern Mediterranean coast was dotted with rich trading cities, settlements such as Apollonia, Cyrene, Leptis Magna, Sabratha and the once proud Punic capital of Carthage. Then there were the inland settlements of Thysdrus, Thugga, Thurburbo Maius and others. Where Egypt had long been the grain basket of Rome, the rise and wealth of these other settlements made them the new cornucopia of Empire. They were the leading producers of grain, oil, olives and garum (a highly popular fish sauce). The fact that Septimius Severus and his kinsman, the Praetorian Prefect Gaius Fulvius Plautianus, were from Leptis Magna ensured that the city and the region received imperial favour and capital investment.

The Forum of Sabratha

Children of Apollo begins in the desert of Cyrenaica province, near settlements of Apollonia and the splendid city of Cyrene, both across the water from Crete. I was not able to travel to these two sites in modern Libya, but from my research they seem splendidly sited in the fertile lands near the Mediterranean. Apollonia served as a port for Cyrene which was surrounded by olive groves and fields of wheat and barley. Cyrene itself rivalled Carthage in size and prosperity.

Arch of Trajan
Colonia of Thamugadi, Numidia

Moving west, one comes to the great city of Leptis Magna, the home town of Emperor Septimius Severus. Lucius does not visit this city in Children of Apollo, but rather in the next book, Killing the Hydra.

Leptis Magna garnered much wealth from its fertile lands with cereal crops and olives. Emperors Trajan and Hadrian had building projects there, but under Severus the city received much favour with a large new forum, a colonnaded street, a unique four-sided triumphal arch, a basilica, added warehouses and a lighthouse. Our main character, Lucius Metellus Anguis, gets his first real taste of politics in the town of Sabratha where he must make a very difficult decision that impacts later perceptions of himself.

Amphitheater of Thysdrus

When it comes to Tunisia, there are several Roman settlements. Lucius and his men end up attached to the III Augustan Legion at Lambaesis, on the rocky, Numidian plain of what is now Algeria. A unique feature of the base was its massive, enclosed parade ground which featured a viewing platform with an equestrian statue of Emperor Hadrian in the centre, a commemoration of that emperor’s visit to the base. Lucius meets up with some old friends at the colonia of Thamugadi which was founded by Trajan and featured high walls, a library and fourteen public baths.

Cells beneath the Amphitheater floor
Thysdrus (‘El Jem’)

In northern Tunisia, we traded our 4×4 for an aged Toyota minibus driven by a silent but mad driver we affectionately dubbed ‘Sebulba’. His driving was like pod racing in Star Wars and our ‘Sebulba’ seemed just as reckless, his chosen vehicle eating up the road with a very loud chug-chugging sound. We passed through many different villages along the way, the most disturbing one being the ‘village of butchers’, so called by us for all the cow and goat heads that hung bleeding along the very side of the road, glossy eyed and lifeless.

One of the most interesting sites I visited during our Tunisian safari was Roman Thysdrus (modern El Jem). This settlement today is pretty unassuming except for the massive, extremely well-preserved amphitheatre in the centre. It was a real treat to sit in the seats of the amphitheatre, looking down on the scene of an imagined combat. I could not visit this site and not include a tense scene of gladiatorial combat, as seen by the legionaries on leave. Walking beneath the floor, along the cells where the animals and gladiators were kept, the sounds of those bygone days of barbarism and brutality echoed in my ears. The place definitely has memory. If you ever get the chance to visit El Jem, I would highly recommend it. It must have held some spectacular games in its day.

Roman Thugga

Another settlement that bears mentioning here, though it figures more largely in Book II of the Eagles and Dragons series, is Thugga. This is a sprawling settlement surrounded by olive groves and green plains. It featured a large theatre, a massive capitol, public baths, a hippodrome and a network of paved streets that you can still walk today. This was a place where I could see my characters walking, and interacting with others. It was helped by the fact that we were the only group there the entire time. It was deserted, a Roman ghost town. The mosaics that decorated homes, baths, taverns and brothels are still there, intact and open to the sky.

The public latrine is there too, where men and women feeling nature’s call would sit cheek to cheek, literally. I wonder what odd bits of conversation happened there? Would Romans sit there and chat away while they did their business or would they stare at the ground and try not to make eye contact as they made offerings to the Roman infrastructure. Maybe the public latrine was just a place to be avoided, a place where one entered at one’s own risk for fear of robbery or worse. It was just down the street from the brothel (named ‘The House of the Cyclops’), so perhaps those patrons were regular users. The imagination ran wild in Thugga!

Public Latrine
Thugga

The final city we visited was Tunis, the ancient city of Carthage. Sadly, there was no sign of Dido, Aeneas, Hamilcar or Hannibal. When Rome razed Carthage to the ground after the Punic wars and salted its once-fertile earth, they built anew. And today, much of Tunis covers what the Romans built. There are however, some bits that are well worth the visit. One particular spot is the massive Antonine Bath complex which overlooks the sea. This was a quiet, sad site, surrounded by city, but it was still possible to glimpse the grandeur that it once exposited. Sadly, I was not able to see the great double harbour of ancient Carthage.

If you happen to be in Tunis, a must see is the Bardo Museum which contains much of the mosaics and statuary from all of the settlements of that part of the Roman Empire. This is a world class collection with some of the finest mosaics I have ever seen. It was there that the faces of Septimius Severus, Plautianus, Julia Domna and others stared back at me.

Antonine Baths
Carthage (modern Tunis)

Leaving Tunisia behind was bitter sweet for I knew that it may be a long while before I would be able to visit such ancient sites on a truly intimate basis again. Haggling in French in the bazaars was fun, as was the experience of seeing camel traders dressed in cloaks that looked a lot like Jawa outfits. I could have done without the bout of fever brought on by my poor choice of soup in Douz, but eating dates from a branch right off the tree was great. Such are the contrasts of travelling, but it all adds to the experiences required by research and writing.