Tag Archives: Rome
“What have the Romans ever done for us?” asks Reg from the People’s Front of Judaea in Monty Python’s comedy classic, Life of Brian. Rome: City + Empire, now showing at the National Museum of Australia, offers visitors a clear answer: they brought civilization.
This collection of more than 200 objects from the British Museum presents a vision of a vast Roman empire, conquered by emperors and soldiers, who brought with them wealth and luxury. Quotations from ancient authors extolling the virtues of Rome and the rewards of conquest stare down from the walls. This is an exhibition of which the Romans themselves would have been proud.
Indeed, the major issue is that the displays present a largely uncritical narrative of Roman imperialism. One section, called “Military Might,” features a statue of the emperor Hadrian in armour, a defeated Dacian, and a bronze diploma attesting to the rewards of service in the Roman army. An explanatory panel informs us that resistors were “treated harshly” while those “who readily accepted Roman domination, benefited”. This is especially troubling to read in an Australian context.
The exhibition is beautifully laid out, with highly effective use of lighting and colour to emphasise the different themes: “The Rise of Rome”, “Military Might”, “The Eternal City”, “Peoples of the Empire” and “In Memoriam”. And it boasts impressive busts and statues of emperors, imperial women, priests and priestesses, gods and goddesses, most displayed in the open, rather than behind glass. This allows visitors to view them up close from many angles.
The use of imagery is one of the exhibition’s greatest strengths. Close-ups of coins and other small artefacts are projected against the wall, while enlarged 18th-century Piranesi prints of famous monuments such as the Pantheon provide a stunning backdrop.
There are some excellent curatorial choices. The number of images of women is commendable, enabling the exhibition to move beyond emperors, soldiers and magistrates to emphasise women as an intrinsic part of the life of Rome.
Stories of key monuments, such as the Colosseum, the Baths of Caracalla, and the Pantheon, are accompanied by busts of the emperors who built them as well as associated everyday objects such as theatre tickets and strigils. However, there is no map of the city of Rome to allow visitors to place these buildings in context. And the evidence for the true cost of Roman conquest is not sufficiently highlighted.
Where are the slaves?
Coins show emperors subduing prostrate peoples, including one featuring Judaea, where Vespasian and Titus cruelly crushed a revolt between 66-73 CE. The accompanying plaque refers obliquely to Roman “acts of oppression”, but one has to turn to the exhibition catalogue to find the true list of horrors, including the thousands enslaved and the sacking of the Temple of Jerusalem. Nor is there any mention that the construction of the Colosseum, profiled just a few feet away in the exhibition, was funded by the spoils of the Jewish War.
The walls are covered with quotations extolling the Romans’ own imperialistic vision. “The divine right to conquer is yours”, a line from Virgil’s Aeneid, greets visitors at the start. Even more troubling is a quotation from Pliny the Elder which looms over the “Peoples of the Empire” section:
Besides, who does not agree that life has improved now the world is united under the splendour of the Roman Empire.
This section is full of objects displaying the luxurious lifestyle of provincial elites under Roman rule, from the stunning decorated spoons and bracelets of the British Hoxne treasure to beautiful funerary reliefs of rich Palmyrenes. The exhibition trumpets the “diversity” of Rome’s peoples, but this curious set of objects does not tell any coherent story beyond the comfortable lives of the privileged.
Slavery – the most horrifying aspect of Roman society – is all but absent. There are incidental references (a gladiator given his freedom, the funerary urn of a former slave), but they are presented with little context. Scholars have estimated that slaves composed at least 10 per cent of the empire’s total population of 60 million. They undertook domestic and agricultural labour, educated children, and served in the imperial household. Their stories remain largely untold.
The absence of any counterpoint to the Romans’ story in this exhibition is all the more surprising given that the catalogue contains an essay from the NMA that does show awareness of these problems. Curators Lily Withycombe and Mathew Trinca explore how the narrative of Roman conquest influenced imperial expansion in the modern age, including the colonisation of Australia.
Particularly revealing is their statement: “While the Classics may have once been in the service of British ideas of empire, they are now more likely to be taught using a critical postcolonial lens.” Yet this nuance does not make it into the exhibition itself.
A very different narrative about the Roman world could have been presented. Even in their own time, Roman commentators were aware of the darker side of imperialism. In his account of the influx of Roman habits and luxuries into Britain, the historian Tacitus remarked:
The Britons, who had no experience of this, called it ‘civilization’, although it was a part of their enslavement. (Agricola 21, trans. A. R. Birley).
The colossal head of the empress Faustina the Elder from a temple in Sardis is a spectacular object, but its overwhelming size should remind us of the asymmetrical power dynamics of Roman rule. Emperors and their family members were meant to be figures of awe to peoples of the empire, to be feared like gods. Tacitus memorably described the imperial cult temple at Colchester in Britain as a “fortress of eternal domination”.
Guide to the Classics: Virgil’s Aeneid
The Rome of the exhibition is a curiously timeless world. The grant of Roman citizenship to all free inhabitants of the empire in 212 CE goes unmentioned, and the coming of Christianity is presented almost as an afterthought.
There are some spectacular items from the vibrant world of Late Antiquity (3rd-7th centuries CE), such as the gold glass displaying Peter and Paul and parts of the Esquiline treasure. But this section is marred by factual errors and it misses the opportunity to explore the dynamics of fundamental religious and cultural change.
Rome: City + Empire is a wonderful collection of objects, displayed in an engaging manner, which will be of interest to all Australians. The exhibition is likely to be a hit with children – there is a playful audio-guide specifically for kids and many hands-on experiences dotted throughout: from the chance to electronically “colour-in” the funerary relief of a Palmyrene woman on a digital screen, to feeling a Roman coin or picking up a soldier’s dagger.
But visitors should be aware that it presents a distinctly old-fashioned tale of Rome’s rise and expansion, which is out of step with contemporary scholarly thinking. The benefits of empire came at a bloody cost.
Rome: City + Empire is at the National Museum of Australia until 3 February 2019.
Every two years, when the Winter or Summer Olympics comes around, we hear about how the games staged at Olympia in Greece since 776 B.C. came to a sudden end in the late fourth century A.D. The finger is pointed at the Christian Roman emperor Theodosius I (A.D. 379-395), who is said to have banned the Olympics in the 390s as part of a wider political program directed against pagan religion, its rituals, and its festivals.
The idea that the athletic contests – held in honour of the Greek god Zeus for over a thousand years – were shut down by a puritanical Christian emperor makes for a good story. But is it actually true?
Theodosius I did issue a series of edicts against pagan sacrifice in the years A.D. 391-392. These have been preserved in a collection of laws known as the Theodosian Code, which was compiled in the fifth century A.D. by the emperor’s grandson. An excerpt from one of these edicts states:
No person at all … shall sacrifice an innocent victim to senseless images in any place at all or in any city. He shall not, by more secret wickedness, venerate his lar with fire, his genius with wine, his penates with fragrant odours; he shall not burn lights to them, place incense before them, or suspend wreaths for them.
Neither this passage, nor any of the other edicts in the Theodosian Code, actually mentions the abolition of the Olympic Games, as the historian Ingomar Weiler has pointed out. Sacrifices and libations to the gods had long been a part of the ancient Olympics, as with other Greek festivals. But the evidence suggests that sacrifices had largely ceased to take place at these events by the mid-fourth century as a result of changes in religious practices.
The games at Olympia remained popular throughout the Roman period, with athletes competing both for their personal fame and for glory for their home city. A recently discovered inscription listing victorious athletes demonstrates that the games were still going strong through to Theodosius I’s reign. The court poet Claudian then refers to the Olympics in A.D. 399, after the emperor’s death.
The most conclusive evidence of the games’ survival after Theodosius I issued his ban on sacrifice can be found in the work of an anonymous literary commentator. He states that the Olympics ceased to be held in the fifth century A.D., during the reign of Theodosius I’s grandson, Theodosius II (A.D. 408-450):
Since the Temple of Olympian Zeus had caught fire, both the Elean festival and the Olympic Games came to an end.
Olympic festivals (named after the original games at Olympia) continued to take place elsewhere in the Roman empire as well. The Olympics at Ephesus are attested until A.D. 420, and they continued at Antioch in Syria until the early sixth century A.D. Even though public entertainments were often criticised by Christian clerics, a prominent Christian senator, Leontios, intended to stage his own Olympics in Chalcedon in the mid-fifth century A.D. He would not have dared to do this if the imperial administration had banned such festivals.
What did cause the games at Olympia to end in the fifth century A.D.? Archaeological evidence shows that the site and the infrastructure for the contests (such as the buildings used to house athletes) fell into disuse. The statue of Zeus, one of the seven wonders of the world, was removed from the temple and taken to Constantinople. The workshop of Phidias, who built the statue, was converted into a church. This evidence suggests a gradual decline and re-appropriation of the space at Olympia.
The historian Sofie Remijsen has argued that the end of the games was not the result of an imperial edict against paganism, but a change in economic circumstances. Long-term developments in the administration of the empire during the fourth century A.D. meant that rich elites increasingly had to sponsor contests out of their own pockets, and the civic funds set up to support the games were used for other purposes. The contests at Olympia ended because no one could afford it. Such a fate may eventually befall the modern games, as spiralling costs make hosting the Olympics an unattractive proposition.
Let the games continue
The notion that Theodosius I banned the Olympics has quite a history. Back in the 11th century, the Byzantine author Georgius Cedrenus cited the now familiar story of the ban, but it came back into the popular imagination with the advent of the modern Olympic Games under the auspices of Pierre de Coubertin in the late 19th century.
De Coubertin, a French aristocrat, had an inherent belief in the “character-building” capacity of sport. Alongside English educator William Penny Brookes, he formed a committee with a mission to restore the Olympic Games to their former glory, minus tripods, incense, and sacrifices. Athens was the place and 1896 was the year. Following the games, de Coubertin reflected upon his achievement in Century Illustrated Magazine:
It was a thrilling moment. Fifteen hundred and two years before, the Emperor Theodosius had suppressed the Olympic games, thinking, no doubt, that in abolishing this hated survival of paganism he was furthering the cause of progress; and here [opening the games] was a Christian monarch, amid the applause of an assemblage composed almost exclusively of Christians, announcing the formal annulment of the imperial decree; while a few feet away stood the archbishop of Athens, and Père Didon, the celebrated Dominican preacher, who, in his Easter sermon in the Catholic cathedral the day before, had paid an eloquent tribute to pagan Greece.
De Coubertin highlights a problem: for centuries newspapers, periodicals, and literature had propagated the belief that pagan practices, including the Olympics, had rightly been stamped out by the rise and spread of Christianity. Yet the modern Olympic founder was taking pleasure not only in the fact that the games had been revived but also that a Dominican preacher (who was, incidentally, also the inventor of the Olympic motto) had paid tribute to pagan Greece.
The answer to this apparent contradiction lies in de Coubertin’s wider modern Olympic message, which itself was based on an idealised version of Classical Greece. However critically Greek and Roman paganism were viewed, the status of Classical Greece as the home of Socrates, Plato, and Aristotle had always confirmed its place at the centre of European education. For physical educationalists such as de Coubertin, nothing topped the pinnacle of the Olympic Games, Greece’s oldest and most popular sporting event.
The key was to adapt the games to “the needs and taste of the age”. This meant no more trappings of religious cult. Thus, when Père Didon praised “pagan Greece”, it was as the home of “beauty, grace, and strength all in one” (de Coubertin’s words); the perfect, philosophical place to educate the energetic youth of any era.
Ending with a whimper not a bang
Ultimately, the blame for ending the Olympic Games was laid at the feet of Theodosius I because it was difficult for people to believe that the festival – a defining cultural symbol of antiquity – simply fizzled out after more than a thousand years. The conflict between paganism and Christianity in the later Roman empire became an easy way of explaining the end of this great athletic contest.
By the time de Coubertin came to revive the Olympics in the 19th century, this story was set in stone. In restaging the games in a modern world, he drew inspiration from the athleticism of the Classical Greeks, but left the pagan rituals of the ancient world far behind.
In our sexual histories series, authors explore changing sexual mores from antiquity to today.
Rarely does L.P. Hartley’s dictum that “the past is a foreign country” hold more firmly than in the area of sexuality in classical art. Erotic images and depictions of genitalia, the phallus in particular, were incredibly popular motifs across a wide range of media in ancient Greece and Rome.
Simply put, sex is everywhere in Greek and Roman art. Explicit sexual representations were common on Athenian black-figure and red-figure vases of the sixth and fifth centuries BC. They are often eye-openingly confronting in nature.
The Romans too were surrounded by sex. The phallus, sculpted in bronze as tintinnabula (wind chimes), were commonly found in the gardens of the houses of Pompeii, and sculpted in relief on wall panels, such as the famous one from a Roman bakery telling us hic habitat felicitas (“here dwells happiness”).
However these classical images of erotic acts and genitalia reflect more than a sex obsessed culture. The depictions of sexuality and sexual activities in classical art seem to have had a wide variety of uses. And our interpretations of these images – often censorious in modern times – reveal much about our own attitudes to sex.
When the collection of antiquities first began in earnest in the 17th and 18th centuries, the openness of ancient eroticism puzzled and troubled Enlightenment audiences. This bewilderment only intensified after excavations began at the rediscovered Roman towns of Pompeii and Herculaneum.
The Gabinetto Segreto (the so-called “Secret Cabinet”) of the Museo Archeologico Nazionale di Napoli best typifies the modern response to classical sexuality in art – repression and suppression.
The secret cabinet was founded in 1819, when Francis I, King of Naples, visited the museum with his wife and young daughter. Shocked by the explicit imagery, he ordered all items of a sexual nature be removed from view and locked in the cabinet. Access would be restricted to scholars, of “mature age and respected morals”. That was, male scholars only.
In Pompeii itself, where explicit material such as the wallpaintings of the brothel was retained in situ, metal shutters were installed. These shutters restricted access to only male tourists willing to pay additional fees, until as recently as the 1960s.
Of course, the secrecy of the collection in the cabinet only increased its fame, even if access was at times difficult. John Murray’s Handbook to South Italy and Naples (1853) sanctimoniously states that permission was exceedingly difficult to obtain:
Very few therefore have seen the collection; and those who have, are said to have no desire to repeat their visit.
The cabinet was not opened to the general public until 2000 (despite protests by the Catholic Church). Since 2005, the collection has been displayed in a separate room; the objects have still not been reunited with contemporary non-sexual artefacts as they were in antiquity.
Literature also felt the wrath of the censors, with works such as Aristophanes’ plays mistranslated to obscure their “offensive” sexual and scatalogical references. Lest we try to claim any moral and liberal superiority in the 21st century, the infamous marble sculptural depiction of Pan copulating with a goat from the collection still shocks modern audiences.
The censorship of ancient sexuality is perhaps best typified by the long tradition of removing genitals from classical sculpture.
The Vatican Museum in particular (but not exclusively) was famed for altering classical art for the sake of contemporary morals and sensibilities. The application of carved and cast fig leaves to cover the genitalia was common, if incongruous.
It also indicated a modern willingness to associate nudity with sexuality, which would have puzzled an ancient audience, for whom the body’s physical form was in itself regarded as perfection. So have we been misreading ancient sexuality all this time? Well, yes.
It is difficult to tell to what extent ancient audiences used explicit erotic imagery for arousal. Certainly, the erotic scenes that were popular on vessels would have given the Athenian parties a titillating atmosphere as wine was consumed.
These types of scenes are especially popular on the kylix, or wine-cup, particularly within the tondo (central panel of the cup). Hetairai (courtesans) and pornai (prostitutes) may well have attended the same symposia, so the scenes may have been used as a stimuli.
Painted erotica was replaced by moulded depictions in the later Greek and Roman eras, but the use must have been similar, and the association of sex with drinking is strong in this series.
The application of sexual scenes to oil lamps by the Romans is perhaps the most likely scenario where the object was actually used within the setting of love-making. Erotica is common on mould-made lamps.
The phallus and fertility
Although female nudity was not uncommon (particularly in association with the goddess Aphrodite), phallic symbolism was at the centre of much classical art.
The phallus would often be depicted on Hermes, Pan, Priapus or similar deities across various art forms. Rather than being seen as erotic, its symbolism here was often associated with protection, fertility and even healing. We have already seen the phallus used in a range of domestic and commercial contexts in Pompeii, a clear reflection of its protective properties.
A herm was a stone sculpture with a head (usually of Hermes) above a rectangular pillar, upon which male genitals were carved. These blocks were positioned at borders and boundaries for protection, and were so highly valued that in 415 BC when the hermai of Athens were vandalised prior to the departure of the Athenian fleet many believed this would threaten the success of the naval mission.
A famous fresco from the House of the Vetti in Pompeii shows Priapus, a minor deity and guardian of livestock, plants and gardens. He has a massive penis, holds a bag of coins, and has a bowl of fruit at his feet. As researcher Claudia Moser writes, the image represents three kinds of prosperity: growth (the large member), fertility (the fruit), and affluence (the bag of money).
It is worth noting that even a casual glance at classical sculptures in a museum will reveal that the penis on marble depictions of nude gods and heroes is often quite small. Classical cultural ideals valued a smaller penis over a larger, often to the surprise of modern audiences.
All representations of large penises in classical art are associated with lustfulness and foolishness. Priapus was so despised by the other gods he was thrown off Mt Olympus. Bigger was not better for the Greeks and Romans.
Myths and sex
Classical mythology is based upon sex: myths abound with stories of incest, intermarriage, polygamy and adultery, so artistic depictions of mythology were bound to depict these sometimes explicit tales. Zeus’s cavalier attitude towards female consent within these myths (among many examples, he raped Leda in the guise of a swan and Danae while disguised as the rain) reinforced misogynistic ideas of male domination and female subservience.
The phallus was also highlighted in depictions of Dionysiac revelry. Dionysos, the Greek god of wine, theatre and transformation was highly sexualised, as were his followers – the male satyrs and female maenads, and their depiction on wine vessels is not surprising.
Satyrs were half-men, half-goats. Somewhat comic, yet also tragic to a degree, they were inveterate masturbators and party animals with an appetite for dancing, wine and women. Indeed the word satyriasis has survived today, classified in the World Health Organisation’s International Classification of Diseases (ICD) as a form of male hypersexuality, alongside the female form, nymphomania.
The intention of the ithyphallic (erect) satyrs is clear in their appearance on vases (even if they rarely caught the maenads they were chasing); at the same time their massive erect penises are indicative of the “beastliness” and grotesque ugliness of a large penis as opposed to the classical ideal of male beauty represented by a smaller one.
Actors who performed in satyr plays during dramatic festivals took to the stage and orchestra with fake phallus costumes to indicate that they were not humans, but these mythical beasts of Dionysus.
Early collectors of classical art were shocked to discover that the Greeks and Romans they so admired were earthy humans too with a range of sexual needs and desires. But in emphasising the sexual aspects of this art they underplayed the non-sexual role of phallic symbols.
The new TV series Britannia airing now (produced for Sky Atlantic in the UK, screening on Foxtel’s Showcase in Australia) is undoubtedly influenced by the scale and success of Game of Thrones. Created by acclaimed English playwright Jez Butterworth, the nine-part series is an ambitious exploration of a profoundly important era in British history.
It tells the story of the second Roman invasion of Britain in 43 AD, when the Roman fleet under the control of the ruthless general Aulus Plautius (a real historical figure played in the series by David Morrissey) lands on the coast of the near-mythical island. It is the story, too, of Celtic Britain tribalism and the Machiavellian interplay with the new Roman arrivals.
Although reviews to date have been mixed, the series is a bold undertaking exploring the clash of cultures. It is the second significant pop cultural exploration of key historical moments in the relationship between Britain and Europe since the Brexit vote. (Christopher Nolan’s film Dunkirk was the first). It also comes at a time when the relationship between historical fact and fiction is being hotly debated, particularly in relation to the Netflix series The Crown.
Most of what we think we know about the Briton’s religion was proposed by later writers; no contemporary accounts survive. In Britannia, the role of druids, the Celtic priests, within society is presented in an otherworldly, trance-like way. The main druid character Veran (played by MacKenzie Crook) feels like a hallucination.
This renewed popular cultural interest in the establishment of Roman Britain and the Celtic response to the Roman arrival coincides with an exciting and profound period of archaeological discovery and historical reinterpretation of this historical event.
A nod to Caesar
Plautius’s invasion of Britain on orders of Emperor Claudius established Roman rule in much of Britain for nearly 400 years. But it was not the first time Rome came into contact with the tribes of the island.
Julius Caesar’s invasions of Britain in 55 BC and 54 BC are mentioned briefly in an opening title of the TV series, which suggests that fear of the Celts drove the Romans to abandon ideas of permanent occupation of the island. The real reason is far more complex. Caesar’s account provided the Romans with their first description of the island and its inter-tribal fighting.
In 2016 and 2017, excavations by the University of Leicester demonstrated that Caesar’s 54 BC fleet was blown off course and landed on the sandy shores of Pegwell Bay in Kent.
Although Caesar left without leaving a military force on Britain, he established a series of client relationships with British royal families in the south-east. These allegiances may have assisted the later Claudian invasion. At the very least, they mean the arrival of Roman forces wasn’t the surprise it is presented as in Britannia.
The Claudian Invasion
The real general Aulus Plautius was regarded highly in Rome, but like his fictional counterpart he did struggle against soldier rumblings. Roman historian Cassius Dio writes that he “had difficulty in inducing his army to advance beyond Gaul. For the soldiers were indignant at the thought of carrying on a campaign outside the limits of the known world”.
Why did the emperor Claudius choose to invade Britain? It seems most likely that, like a number of modern political leaders, the invasion allowed Claudius to distract public attention from domestic political issues.
No contemporary account survives of the real invasion. It seems most likely that as depicted in the show, Plautius landed 40,000 men on the coast of Kent, and attempted to negotiate truces and restore Roman friendly monarchs. These ultimately failed. The Romans then undertook a campaign of “shock and awe”, even bringing war elephants to the fight, and established their first provincial capital at Camulodunum (today’s Colchester).
A Roman view
Most of what is known about the Britons, including the dubious druids, was written not by them but by the Romans. The main literary source was written in the late first century AD by Tacitus, whose father-in-law, Agricola, served as governor of Roman Britain (after the events of the series).
The traditional Tacitian historical narrative is now being questioned, by both archaeological evidence and new historical interpretation. These point out that in creating a biography of Agricola, Tacitus was presenting a heroic figure, freed from the moral corruption of Rome. In this narrative, he needed worthy adversaries in the form of rebels such as the British chief Calgacus.
It was obviously a complex relationship between native and conqueror, politically and culturally. Mary Beard has famously described Britain as “Rome’s Afghanistan”, an endless struggle to wins hearts and minds in the four centuries that followed Plautius’s forces. Hers is a provocative, but valid description.
The brawling Britons
In the first century AD, Britain was politically fragmented, with a series of constant wars between various tribes, (at least according to Roman sources). In the series tribal warfare is represented by the fictitious Cantii (led by King Pellenor, played by Ian McDiarmid) and Regni tribes (led by Queen Antedia, played by Zoë Wanamaker).
This plotline reflects the Roman literary trope of the brawling Britons; but it appears the reality of the internal political structure was far more complex than Roman writers could ever comprehend. Many of the political groups of the south-east of England had already adopted some Mediterranean cultural traits before the invasion through trade and other contacts with the Roman World. New archaeological excavations at Silchester for example, demonstrate urban planning during the Iron Age, prior to Roman occupation.
British society certainly seems to have been more egalitarian than Roman, with both men and women holding political and military power. The character of the warrior Kerra (played by Kelly Reilly) appears to be presented as some sort of precursor to a figure like Boudica, a Celtic queen who would lead a rebellion within decades.
What about Stonehenge?
Trailers for forthcoming episodes suggest Stonehenge will play a significant role in Britannia’s plot . (It has beenfilmed using a scale replica constructed in the Czech Republic). Meanwhile, the real Stonehenge has undergone a series of recent excavations supervised by Mike Parker Pearson, which have revolutionised the way we think about the site, and destroyed many myths as well.
Again, ultimately, very little is known about the use of Stonehenge at the time of the invasion, nor about Roman conceptions of the structure. (Despite this, modern druids have associated themselves with the structure.)
Irrespective of the quality and historical accuracy of Britannia, the series is a dynamic presentation of an important period of British history. But the real story being slowly teased out by the archaeologist’s trowel is just as dynamic and in many ways, more dramatic and exciting than the fictional one.