The Cultivated Classicist

New Pieces of Roman Puzzle Wait to be Found

2010-08-26T13:32:00.000-07:00

Rome has been in the process of expanding its subway system for years now. The process is painfully slow (from the perspective of engineers) since every time a shovel is stuck in the ground, ancient artifacts are found and archaeologists must be called in. The subway tunnels themselves are far below the oldest strata of the city, but the locations of stations require digging from the top down. One such site may yield some exciting new discoveries in the near future. Work is slated to begin on the former site of the Forum of Peace. This Imperial forum and corresponding temple was once home to the giant marble map of the ancient city known as the Forma Urbis Romae. About 10% of the map exists today, but archaeologists are hoping to find more once excavations begin. They also hope to learn more about the forum and temple which housed the map.

Though we know much about the layout of ancient Rome, there are many questions that remain unanswered. You can stroll through Rome today and see many ancient sites, but one must always remember that most of the ancient city is below one's feet. Centuries of sediment buildup mean that the terra firma that Romans walked on is sometimes meters below the current ground level. The existing fragments of the Forma Urbis Romae give us a clear picture of how the ancient city was laid out, and any new fragments would add greatly to our knowledge.

The Forum of Peace was finished in 75 CE by the emperor Vespasian to commemorate his victories in Judea. The forum/temple complex was built adjacent to the Republican Forum, Forum of Julius Caesar and Forum of Augustus. In later years this area was see even larger and more splendid forums built by succeeding emperors. The Forma Urbis Romae was installed much later, finished in 211 CE by the emperor Septimius Severus. The map measured 60x45 feet and comprised of 150 carved marble slabs. The city was depicted in its contemporary layout, circa early 3rd century CE. Like many ancient artifacts and buildings made or marble, the map fell victim to Medieval plundering and destruction. Fragments began to be excavated during the Renaissance and today we have an assortment of 1,186 fragments.

Ancient Roman Map Puzzle May Get New Pieces

The Peroni Colosseum

2010-08-06T17:03:00.000-07:00

Here in Milwaukee, we are no strangers to corporate sponsorship. Miller Park, home of the Milwaukee Brewers, bears the name of, you guessed it, Miller Brewing Co. The signs are certainly big enough, so there's no doubt as to who helped finance the stadium. We've also got the U.S. Cellular Arena and the Bradley Center (named after its locally famous benefactor), where the Bucks play. I have no problem with breweries or cellphone providers plastering their names on sports complexes. Often, their capitol is needed for these buildings to be constructed in the first place, and they rightly expect a little advertising in return. Could the Colosseum soon join the ranks of corporately sponsored sports arenas?

One would think that the best way to maintain ancient monuments and sites is to throw money at them, and one would be right. Unfortunately, money is often hard to come by, especially in Italy. The Italian government just doesn't have the money to maintain its huge catalog of archaeological treasures. Admission is already charged at most famous sites, like the Colosseum and Pompeii, but ticket sales aren't enough. What is Italy's solution? Advertising. Italy hopes to find a corporate sponsor to spend over $30 million to restore the Colosseum. For that hefty fee the yet unnamed sponsor will get the right to print their logo on Colosseum admission tickets, place posters around the base of the building and conduct their own private tours. Miller Park is one thing, but the Peroni Colosseum? While I am not thrilled with this latest development, I understand its necessity. I only hope that a balance can be found between corporate investment and scholarship. Scholarship should never take a back seat to corporate interests, and I hope that whoever decides to fund the Colosseum restoration understands that they are nothing more than stewards of the building, keeping it safe for study, enjoyment and most importantly, future generations.

The Colosseum, known in antiquity as the Flavian Amphitheater, was completed in 80 CE by the emperor Titus. The project was begun by Titus' father, Vespasian, who wished to replace Nero's Golden House with something more egalitarian. The amphitheater was a Roman invention (the earliest example is found in Pompeii) and was constructed solely for public displays, such as gladiator fights, beast hunts and executions. With seating for 50,000, the Colosseum was the largest amphitheater ever built in the Roman world. It continued to be used through the 6th century CE, after which it fell into disuse, was damaged by earthquakes, and eventually became a marble quarry. The name Colosseum is a reference to the colossal statue that once stood near the arena. The 100 ft. tall bronze statue was built by Nero, in his likeness, and remained through antiquity, though the head was changed to resemble Sol Invictus.

Cash-Strapped Italy to Sell Colosseum Ad Space for Restoration

Massive Roman Canal Found Near Portus

2010-07-12T11:14:00.000-07:00

Recently there have been some amazing new discoveries in and around ancient Portus. A Roman amphitheater, an imperial residence, warehouses, burials and statues are among the notable finds in the area. All of these buildings and artifacts help to increase our knowledge of Rome's port and of the Roman world itself. The latest discovery will hopefully shed light specifically on Roman trade and shipping. A massive canal, 100 yards wide, has been unearthed at Portus. The canal is remarkable for its size and also because it will help us better understand the ancient port. In antiquity, Portus was located on the coast and this giant canal was used to connect the port to the Tiber river two miles away. This connection allowed river boats to bypass the tricky mouth of the Tiber. In conjunction with the finding of the canal, archaeologists have uncovered many artifacts relating to trade, especially with North Africa. Portus seems to have many secrets still hidden and I'm looking forward to the next archaeological discovery there.

Ostia, founded in the 4th century BCE, was the original port of Rome and functioned as such through the 1st century CE. By that time, it was clear that new harbor facilities were needed to meet Rome's expanding trade, particularly the massive amount of imports flowing into the capitol. Claudius began construction on a new port a few miles north of Ostia, which was simply named Portus (Latin for port or harbor). This new harbor featured a large mole and lighthouse and greatly increased the amount of ships that could bring goods into Rome. Portus changed little until the reign of Trajan, who felt the need for greater expansion. Trajan had a giant hexagonal port built that was connected to Claudius' port and the Tiber via a large canal. This hexagonal port was lined with docks and warehouses for the unloading and storage of good. By this time, Portus supplanted Ostia as the major port of Rome. Portus remained important through the rest of Roman history, though eventually fell out of use by the 6th century CE.

Today, the name Portus is misleading since the modern coast is about two miles away, due to centuries of silting by the Tiber. Just to the north of Portus is Leonardo da Vinci-Fiumicino Airport, which covers part of the ancient city. The most noticeable feature of ancient Portus is Lago di Traiano, which was built as Trajan's hexagonal port.

'Biggest canal ever built by Romans' discovered

Roman Coins as Looted Artifacts

2010-05-10T06:10:00.000-07:00

Should Roman coins be considered looted artifacts? The U.S. government may soon decide that issue. Laws have been in place since 2007 regulating coins from Cyprus and China, but regulations have left out coins from elsewhere, including Roman coins. The law states that people bringing certain Cypriot and Chinese coins into the U.S. must show proof of the coin's provenance. Collectors are worried that Roman coins may be next on the list, and though they have many arguments for their case, they fail to convince. It is certainly true that this issue is not black and white, but I have to take the side of archaeologists and anthropologists. The collectors argue that Roman coins circulated widely in antiquity and their provenance is impossible to determine. They also say that coin collectors are stewards of coins that museums don't want. Both valid points in my book, but there are larger issues at stake here. Including Roman coins in the current law will not end all looting, but it is a step in the right direction.

Coins are the single most valuable artifact used in dating archaeological sites. Coin hunters with metal detectors can rob sites of this valuable information. They can also damage sites in the process of digging up coins. There is nothing wrong with collecting ancient coins, but archaeology shouldn't be compromised in the process. That's what makes this issue so tricky. How do you regulate the thousands of Roman coins on the market? How do you stem the tide of looting, yet keep people interested in ancient coins and in the ancient world? It is impossible to excavate every site where a Roman coin is found, so what's to be done?

The Romans had a rich history in coin production and design. The standard system of Roman currency came about during the Second Punic War with the introduction of the system based on the silver denarius. The four major coins major Roman coins in the Republic and Empire were the silver denarius, the gold aureus (equalling 25 denarii), the bronze sestertius (1/4 denarius) and the as (1/4 serstertius). There was also a lengthly list of smaller coins representing fractions of the sestertius or as. The earliest coins showed the head of Roma on the obverse and the Dioscuri on the reverse. It didn't take long before coins were used to advertise victories in battle or the histories of important families. Senators were in charge of minting (the triumviri monetales), and they used the opportunitiy to depict their famous ancestors on coins. Sometimes the moneyers were creative, playing off puns of their names (like the charming coins minted by Quintus Pomponius Musa). It wasn't until Julius Caesar that a living Roman was depicted on a Roman coin. This practice was continued by the future leaders of the empire, giving us some of the most remarkable coins from the Roman world. Under the emperors, coins became their most effective way of spreading imperial propaganda. Coins depicted the likeness of the emperor or his family members on the obverse and either scenes of victories, deities or important political events on the reverse. Rulers throughout history, including those of today, use the artistic formula laid down by the Romans. Just look at the coins in your pocket and you won't be able to miss the similarities.

Domus Aurea Ceiling Collapses

2010-03-30T10:52:00.000-07:00

A section of Nero's Domus Aurea collapsed today leaving a gaping hole in the garden that sits above the buried structure. Luckily, the Domus Aurea was under repairs at the time and no tourists were inside, and as of the latest reports, no one was injured. Water damage is the likely cause of the collapse and the integrity of the entire structure is now in question. Damage is nothing new to Nero's palace, which was destroyed not long after it was built. Some parts of the structure were buried and those are the areas people can visit today. For decades, though, the structural integrity of the palace has been in doubt. Water damage and algae infestations have closed the site in the past, sometimes for years, and it it any one's guess how this new disaster will effect the future of the site.

Unfortunately, money is most likely at the root of today's collapse. Italy, Greece, Turkey and many other nations around the world are in the unenviable position of having a rich cultural heritage without possessing the means to protect it. These countries have hundreds of acres of exposed archaeological sites that require, above all else, money to maintain. Pompeii is perhaps the most famous example. There you have a small city that requires constant maintenance and millions of dollars just to keep it from falling apart, let alone preserved. Where this money is supposed to come from is a good question and one that will probably be asked again after today's collapse. Finding money for the preservation of ancient sites is sometimes quite difficult. In countries like Italy, which is inundated with archaeological sites, how is the country supposed to support them all? Not too long ago when Italian authorities started charging admission to the Roman Forum, people were far from pleased. In reality, though, sites like the Forum can't exist as archaeological parks free and open to everyone. People can't be trusted to leave ancient monuments well enough alone and lack of funds only serves to damage sites for future generations.

Of course, I must give you a history lesson. Nero stared construction on his Domus Aurea (golden house) after the great fire of Rome in 64 CE. The fire cleared large areas of timber construction, giving Nero the room to pursue his architectural fantasies. Unfortunately, not much of the original structure remains and little has been excavated; much was torn down in antiquity or is now covered by post-antique construction. It is estimated that the Domus Aurea was between 100 and 300 acres in size and according to ancient sources (and archaeological remains) it was richly decorated. It obviously wasn't made entirely of gold; the name stems from the rich accouterments and gilding that was found throughout the palace. Other famous attributes of the Domus Aurea were of course the revolving dining room, the Colossus of Nero and the large lake. For all its splendor, the Domus Aurea was short lived. Nero committed suicide in 68 CE and the victor in the civil war that followed, Vespasian, was a different kind of man and emperor. Vespasian rightly viewed the Domus Aurea as a contemptible exercise in greed and excess. Vespasian would gain fame by converting the site of Nero's lake into the Colosseum, the name of which was derived from the Colossus of Nero that stood near by. The colossus remained, but its dedication to Nero did not; it was rededicated to and altered to look like the sun god Helios. Today, the only accessible areas of the Domus Aurea are beneath the Baths of Trajan. These remains house wonderfulFourth Style frescoes that helped inspire Renaissance and Neo-Classical artists.

Part of Nero's Palace Collapses in Rome

Source of the Aqua Traiana Found

2010-01-30T07:32:00.000-08:00

Aqueducts are among Ancient Rome's most famous engineering achievements. Today, many impressive ruins can be seen throughout the Roman world, including in Rome itself. In fact some Roman aqueducts are still used today, including the restored Aqua Virgo and Aqua Traiana, which feed the Trevi Fountain and Fontana dell'Acqua Paoa respectively. Famous as they are, some Roman aqueducts have also held an air of mystery. The source of one aqueduct in particular, the Aqua Traiana, has long been a secret. Lake Bracciano has fed the aqueduct since ancient times, but the Aqua Traiana's exact starting point has been unknown until now. On the shore of Lake Bracciano, a pair of amateur archaeologists have discovered underground chambers, beneath a 13th century church, which they believe is the source of the aqueduct. The chambers exhibit typicall Roman opus reticulatum masonry and vaulted ceilings. The team's findings have yet to be confirmed by professional archaeologists, but if this is the true source of the Aqua Traiana, it would be an amazing find.

Aqueducts were common not only in the city of Rome, but were an instrument of 'Romanization' throughout the Mediterranean. The first aqueduct built in Rome was the Aqua Appia, built in 312 BCE. Aqueducts were usually named for the person responsible for building them, in this case the Appius Claudius Caecus the Censor. Many aqueducts were constructed during the Republic, and once emperors came to power, aqueducts were often named after them: the Aqua Claudia, finished by Claudius and the Aqua Traiana, built by Trajan. By the time the Aqua Alexandrina was built in 226 BCE, there were 11 aqueducts feeding Rome. The fresh water brought into Rome by these engineering feats greatly helped sanitary conditions in Rome and after the fall of the empire, such measures would be neglected for centuries. In the provinces, aqueducts helped spread sanitation and Roman culture. Some famous examples are the Nimes aqueduct (known for the Pont du Gard) and the aqueduct in Segovia, Spain.

Aqueducts in general are more impressive to an engineer than anyone else. Most are simply masonry channels that carry water from one point to another, with a very slight gradients. What is most impressive today are the massive structures built to compensate for terrain. Valleys and gorges had to be tamed in order to keep gravity working in the aqueduct's favor. The Pont du Gard in France is probably the most famous example of this type of architecture, which is synonymous with Rome itself. These structure are what people think of when they hear the word aqueduct, but in reality these bridges only represent tiny stretches of aqueducts, which are usually tens of miles long.

Rome's Ancient Aqueduct Found

Where do Artifacts Belong?

2010-01-16T08:19:00.001-08:00

Italy is at it again. This time their target is the famous 'Victorious Youth,' currently located at the Getty Villa in California. The statue is exceptional in the fact that it is bronze and Greek, a very rare combination in surviving ancient art. Italy's case is this: the statue was fished out of the sea near Fano, Italy in 1964 and subsequently illegally smuggled out of the country, later to be purchased by the Getty. The Getty's version is the same, minus the 'illegally smuggled' part. I'm sure both sides have what they believe to be concrete evidence supporting their case and it's going to be difficult to determine who acted in good faith and who didn't. The Getty's track record regarding stolen antiquities is certainly tarnished, but the Italians may also be accused of trying to drain other countries of antiquities for their own political purposes.

Does it matter that the 'Victorious Youth' may be stolen? Of course it does. Looting archaeological sites for objet d'art is not only illegal, but it irreversibly damages the archaeological record and prevents us from learning more about the past. Ancient art is concerned with far more than just aesthetics. Examining ancient art in context can tell us a great deal about the ancient world as a whole. So, if the 'Victorious Youth' was stolen, then what? Should it be returned to Italy or left in California? These are hard questions to answer but there are several things to take into consideration. First, who has the right to 'own' our cultural heritage and does it matter who owns it? Just because the current Italian state resides on the same land that the Romans did doesn't necessarily make them cultural heirs. The Roman Empire was huge, covering land from Scotland to Iraq. So who gets to claim they are the cultural heirs of Rome? Also, this is a Greek statue we're talking about, one that was probably stolen by the Romans. Does Greece have a claim to this statue then? The important issue here is the study of the statue and its treatment. If Italy had the statue, would it be as well cared for and studied as it has been at the Getty? I don't see why the Getty can't admit wrongdoing (if that was the case) yet still keep the statue. If Italy was actually concerned with the welfare of the statue, they should be happy that it has been so well cared for.

The 'Victorious Youth' is seen by tens of thousands of tourists a year, exposing them to ancient art and culture. Ancient artifacts are meant to be studied, appreciated and shared. What would Italy, especially Fano, do with it? Political bickering and scholarship don't make good bedfellows. Italy may posture all it wants, but what is really at stake here is something beyond national pride. What Italy and other countries should be doing is focusing their efforts on illegal looting and smuggling that's happening right now. Museums across the world have put in place strict guidelines regarding the purchase of antiquities to help stem looting. Punishing institutions for what they did in the past, under leadership that's long gone, is not the way to fix the problem. A mass exodus of antiquities from world museums is also not the answer. Did the Getty buy stolen goods? In the case of the 'Victorious Youth,' perhaps and in other cases most definitely. The question of who owns such artifacts is debatable and I'm not prepared to answer it. What I do know is that scholarship should have no national boundaries and that Italy's demand that the 'Victorious Youth' be given to them is not productive.

Italy Presses Its Fight for a Statue at the Getty

Ancient Roman Perspectives

2010-01-09T10:50:00.000-08:00

Art is meant to be seen. If you go to any art museum, you will see throngs of people examining all types of art, often contorting themselves to get the right perspective or to see certain details. I'm guilty of this; I can only image what the museum guards think of me as I twist my body and practically do handstands to get a certain exact view of some Roman statue or Greek coin. How people interact with art is a big part of my interest in ancient art. In particular, I am interested how ancient people viewed their art, why they created it and what it meant to them. Today, we view ancient artifacts in a museum setting, thinking of them as relics from a lost world. To the ancient Greeks and Romans, thought, their art was contemporary and alive, created for their every day use. How ancient people viewed their art can tell us a lot about their perspectives, but unfortunately literary evidence on such perspectives is scarce. We must instead look at the archaeological record and disseminate what information we can.

So, how did the ancient audience view their art? That's a question not easy to answers, but Martin Beckmann from the University of Western Ontario is on the case. To better understand how the Romans viewed their art, he examined the Alexander Mosaic, one of the most famous objet d'art of the Roman world. The mosaic, from the House of the Faun at Pompeii, was repaired many times in antiquity, and based on those repairs, Beckmann established the zones worn the most by feet. These zones indicate where the most foot traffic was and hence tells us were people stood to view the mosaic. I think his theory is sound and by examining art in this way, we can learn how such works were viewed and what aspects appealed to contemporary audiences. The zones that have the most foot traffic are interesting for several reasons. First, zones 1 and 2 would have given the viewer a panorama of the scene, but it would appear up-side-down. I find this very strange and wonder what Beckmann thinks about this. The other zones are obvious for their placement; they are located near scenes of intense emotion and it is clear that such scenes would have appealed to the Romans viewing the work. What isn't addressed in this article, but which would be of much interest to myself, is the pattern of foot traffic throughout this room and the entire house. Are some of the repair zones merely the result of being passively walked over, not a result of people 'touring' the mosaic? We must always keep an open mind and continually ask such questions to keep scholarship on its toes and to uncover the answers that the archaeological record holds. I think Beckmann's work in wonderful and feel that such research is key to our better understanding ancient art and what it meant to ancient society.

How the Alexander Mosaic was Seen

The Debate Over Caesar's Head

2009-12-01T06:36:00.000-08:00

When French archaeologists dug up a Roman bust from the bottom of the Rhone River in Arles, I was immediately sceptical about its identification. It was claimed that the bust depicted Julius Caesar and had been produced during his lifetime. Now, two years later, the statue has been restored and studied and scholars are in disagreement over who the bust depicts. Portraits of Caesar are rare and none exist that date from his lifetime (except those on coins). The sculptures that have been identified as Caesar are idealized and it is hard to determine his true likeness.

The archaeologists who found the bust say that it looks like Caesar and is from the mid 40's BCE. I disagree, and I'm not the only one. First of all, the bust was found in the Rhone River out of any discernible context. Without context, little can be known about the statue outside of an art historical perspective. What does that art historical context tell us? The statue is clearly Roman but it is impossible to date down to Caesar's lifetime as claimed by the French. Roman portraiture didn't change much over several centuries and this bust could easily be from either the 1st centuries BCE or CE. Without any context, it's nearly impossible to date the statue to a five year span. Furthermore, the article below quotes one of the French archaeologists dismissing criticism, asking "which noble from Arles would order a bust of himself made in the best, the most expensive and rare marble, and ship it by boat?" I strongly disagree with that statement for many reasons. First, Arles was heavily Romanized in the last 1st century BCE and any aspiring, wealthy citizen would have desired such a bust as a symbol of their position in society. Also, what was the context in which this bust was found? Was it found in a boat, and if so when does the boat date from? Who's to say that this bust ended up on the river bottom in Roman times? I understand that this bust was found on the river bottom, and there are many reasons why it could have ended up their. The only information I have been able to learn is that this bust was found with other Roman artifacts, including a 3rd century statue of Neptune. If there is more detailed information about the archaeological context of this bust, it needs to be published to place the artifacts in context.

Claiming that Roman statues represent famous Romans is a long lived and misguided aspect of art history. From the earliest discoveries of Roman statuary, nearly every statue dug up had a name assigned to it and most of the time the identification was completely arbitrary. The study of coin portraits led to more accurate identification of some statues, mainly emperors and their family, but old habits apparently die hard. Could this bust in Arles depict Caesar? It is possible, but I don't believe the evidence is at hand. Jumping to conclusions does nothing but stand in the way of serious scholarship.

A Museum Hails Caesar, Even if Some Antiquarians Don't Agree

Nero's Revolving Dining Room Found

2009-10-01T12:48:00.000-07:00

"The main banquet hall was circular and constantly revolved day and night, like the heavens."

-Suetonius, De Vita Caesarum

This short passage about Nero's dining room has made scholars scratch their heads for as long as people have studied Suetonius. What was this room like? What exactly rotated and how did it work? Did the room even exist, or was it another of Suetonius' anecdotes to help paint Nero as a depraved tyrant? These questions may finally receive answers, thanks to archaeologists in Rome. On the Palatine Hill, they have discovered new remains of the Domus Aurea, Nero's golden house. Archaeologists discovered a massive four meter wide pillar which they believe supported the revolving dining room. Like all archaeological finds, there is a certain amount of interpretation involved and this matter can't be seriously discussed until the findings are published (in a peer reviewed journal that is, not an online news source). This find is extremely unique and nothing comparable is know, so it is convincing that this could have been where Nero dined. I'm very excited to find out more about this unique and potentially groundbreaking discovery.

Nero stared construction on his Domus Aurea (golden house) after the great fire of Rome in 64 CE. The fire cleared large areas of timber construction, giving Nero the room to pursue his architectural fantasies. Unfortunately, not much of the original structure remains and little has been excavated; much was torn down in antiquity or is now covered by post-antique construction. It is estimated that the Domus Aurea was between 100 and 300 acres in size and according to ancient sources (and archaeological remains) it was richly decorated. It obviously wasn't made entirely of gold; the name stems from the rich accoutrements and gilding that was found throughout the palace. Other famous attributes of the Domus Aurea were of course the revolving dining room, the Colossus of Nero and the large lake. For all its splendor, the Domus Aurea was short lived. Nero committed suicide in 68 CE and the victor in the civil war that followed, Vespasian, was a different kind of man and emperor. Vespasian rightly viewed the Domus Aurea as a contemptible exercise in greed and excess. Vespasian would gain fame by converting the site of Nero's lake into the Colosseum, the name of which was derived from the Colossus of Nero that stood near by. The colossus remained, but its dedication to Nero did not; it was rededicated to and altered to look like the sun god Helios. Today, the only accessible areas of the Domus Aurea are beneath the Baths of Trajan. These remains house wonderful Fourth Style frescoes that helped inspire Renaissance and Neo-Classical artists.

Rare Alexander the Great Gemstone Found

2009-09-22T07:02:00.000-07:00

Alexander the Great is as much a historical figure as he is a legend. Today it is sometimes hard to separate the myth from the man, and even during his lifetime the line between man and mythical hero was vague. The facts we know about Alexander are impressive and it is no wonder that so many fantastic stories sprang up regarding his exploits. He was a master tactician; he conquered the Persian Empire and expanded the boundaries of Greek culture all the way to the Indus River. Authors and generals, both ancient and modern, have studied his tactics and victories. Pompey and Caesar are just a few of the famous men that tried to emulate his greatness. Not only was he a military genius, he was also a playboy. He was young, dashing and oh so handsome. It didn't hurt that he died young either, adding to his legendary appeal.

In ancient art, images of Alexander abound. He was a popular subject both during his life and throughout history. The famed sculptor Lysippos was his court artist; the only person Alexander saw fit to translate his likeness to stone. But that didn't stop countless copies from being made during and after his death. When reviewing the catalog of ancient art, you can find an image of Alexander in just about every medium; coins, sculpture, gemstones, etc. Below you can find some examples of these artifacts. The images and legends of Alexander were ubiquitous in the ancient world, just like the names and exploits of Washington and Lincoln are in America today.

Recently a remarkable gemstone carved in the likeness of Alexander the Great was found in Israel. The gem is small, but masterly carved. Such a gem would have been set in a gold ring, which probably would have served as a signet with which to stamp wax scroll seals. Made of carnelian, this gem represents not necessarily that such things were made in the area, but that wealthy residents appreciated such fine objects and had the means to procure them. The gem shows Alexander in profile with a crown on his head. One of the most important aspects of this find is that the gem was actually dug up by archaeologists! So many artifacts in museums today have lost their context, robbing the world of invaluable knowledge. The art of gem carving traces its root back to the Near East, where cylinder seals appear during the Uruk period. Gem carving spread from there to Minoan Crete. We see round and oval shaped gems (like the Alexander gem) being used in 8th century Greece and beyond. Carving on gems became very sophisticated and popular during the Hellenistic and Roman periods. The emperor Augustus is said to have worn a signet ring with the image of Alexander.

Second Century Coin Hoard Found in Israel

2009-09-18T12:02:00.000-07:00

I love Roman coins. The first Roman 'thing' I remember seeing was a collection of Roman coins being sold at a flee market. I was just a kid at the time and didn't know the first thing about the ancient world, but I do remember that the coins I saw looked just like American coins! Roman coins are extremely valuable from historical and archaeological perspectives, since they give us a documented chronology of important events and give us a terminus post quem for dig sites. Coins are also important from an art historical perspective; Roman coins have been the best, and in some cases only, way to assign names to the countless statues of emperors and other important persons. I consider ancient coins invaluable for the reasons above, but they also offer something for the non-scholar. When looking at Roman coins, one can't help but see the similarity between today's currency and that of the ancient world. Ancient coins are great for education because they are so familiar and they can help teach that people in the ancient world weren't that much different than us.

If you go through your change jar today, you'll find coins that are mostly the same. Aside from the redesigned quarters of the past years, most change hasn't changed much. The penny has looked the same for 50 years! Not so in Romans times. In the empire, when a single man held the reigns of power, coinage was the best way to advertise one's self. In an age of no newspapers or TV, everyone still had a pocket full of change. Issuing coins to commemorate both the emperor and important events happened all the time. So it was basically through money that the emperor could articulate to the empire his deeds and accomplishments. Also unlike today, the images struck on Roman coins, during the empire at least, were usually of the living emperor. Today we view coins as more commemorative, honoring great leaders of the past.

The largest Roman coin hoard from the period of the Bar Kokhba Revolt in the 2nd century CE was recently found in Israel. Some 120 gold, silver and copper coins were discovered in a cave and were minted in Israel and abroad. Many of the coins were over-struck with insignia of the Jewish rebels, making this an extremely valuable find. Follow the link below for full details on this exciting find!

Largest-ever Collection Of Coins From Period Of Revolt Against Romans Found

Colossal Statue Found in Turkey

2009-09-08T18:14:00.000-07:00

If you walked through any city or town during the time of the Greeks or Romans, you would be confronted with statues of all shapes and sizes. Many statues have come down to us through the ages, but some archaeological sites offer better evidence than others as to what the ancient city looked like. When the Persians sacked Athens in the 5th century BCE, they sacked the acropolis, destroying temples and statuary. The ruins the Persians left behind were buried by the Athenians after the war and in more recent times archaeologists have uncovered these same statues, giving us an idea of just how crowded the acropolis once was with them. Other Greek sites such as Olympia and Delphi were congested with statuary, as is attested by literary sources and archaeological remains. Rome followed suit and crowded its forum and beyond with statues of famous men and gods. Statues ranged in size and material, but the most prominent were life size or larger, usually made of bronze or marble. Colossal statuary also existed and two famous examples come to mind that were both made of bronze. One was the Colossus of Rhodes, completed in 280 BCE and considered one of the Seven Wonders of the Ancient World. The other is the Colossus of Nero. Less famous perhaps, this statue was the ultimate manifestation of Nero's arrogance and vanity and was converted to represent the sun god Helios after Nero's death. Most people aren't familiar with this statue but everyone knows of the building that stood next to it. The Flavian Amphitheater was nicknamed the "Colosseum" because of its proximity to the giant statue.

Recently, a colossal statue of the god Apollo was dug up in Hierapolis in modern day Turkey. The statue, made of marble, is now broken in half; the extant portions being the torso and legs. The statue is believed to be from the 1st century CE, placing it in the Roman period, and originally stood around 13 feet tall. Though statues were common in ancient times, a large statue like this would have been special. Perhaps this was a cult image or dedication by a wealthy patron? Apollo was a very ancient god; anyone familiar with the Iliad knows that Apollo played a large role in that book, helping Hector and the Trojans. He was associated with music, art, healing, prophecy and light, just to name a few of the roles he played. Popular during the Greek and Hellenistic periods, Apollo morphed into Roman religion, gaining particular attention during the reign of Augustus after his victories over Antony and Cleopatra were attributed to Apollo. Like all archaeological finds from the ancient world, this statue is just one more piece of the puzzle which will help us understand history that much better.

Colossal Apollo Statue Unearthed in Turkey

A New Theory Regarding Hadrian's Wall

2009-08-20T08:39:00.000-07:00

A recent study claims that the ditch on the north side of Hadrian's Wall originally served as the foundation for a temporary wooden. British archaeologist Geoff Carter believes that the ditch was not used as a defensive barrier but instead is the remains of the wooden wall that preceded the famous stone wall. In Carter's hypothesis, the wall's milecastles were built first (of stone) with a wooden wall spanning the distances between them. After the mile castles were completed, the wooden wall served as a temporary defensive barrier while the stone wall was being constructed. It was previously believed that the ditch and corresponding post holes were part of a defensive barrier in front of the stone wall, a view that is being challenged by Carter. Hadrian's Wall was not constructed as a massive defensive barrier but as a permanent, permeable border, though it is still believed to have had considerable defensive barriers in the form of ditches in front of the wall. Only further studies will determine how Carter's theory is compatible with current views on the wall's defenses.

The emperor Hadrian acted in marked contrast to his predecessors by halting imperial expansion. Upon his succession, he quickly abandoned Trajan's territorial gains in the east, correctly determining them to be unsustainable. During his reign, Hadrian was faced with military troubles from many regions in the empire and it was decided that Scotland was a prize not worth fighting over. Starting in 122 CE, a temporary wooden wall was constructed from coast to coast in northern Britain, to be followed by the stone wall that is a well know landmark today. The wall was just over 73 miles long and is thought to have been around 20 feet tall. Forts were incorporated into the wall every Roman mile (called milecastles) and there were also forts located north and south of the wall.

Though a monumental building project, the fate of Hadrian's Wall was in jeopardy not long after his death. In 138 CE the emperor Antoninus moved the border 100 miles north of Hadrian's Wall, building a new turf wall known to history as the Antonine Wall. This wall was short lived though, being abandoned forever in 164 CE in favor of Hadrian's Wall. The garrisons along the wall faced several attacks in the late 2nd century CE and much of the wall was restored under the emperor Septimius Severus. The wall continued to be used as the border between Roman Britain and the unconquered north until the Romans withdrew from Britain in 410 CE.

Hadrian's Wall was Built of Wood

Possible Imperial Villa Found

2009-08-08T15:15:00.000-07:00

An enormous Roman villa has recently been unearthed north of Rome in the Sabine Hills. Dating from the 1st century CE, the villa is believed to have been the country home of the Emperor Vespasian. Archaeologists at the site say the that the size and location of the villa point to Vespasian, though they admit that they have found no inscriptions or any other archaeological proof as to the owner's identity. Though this discovery is indeed special, it demonstrates a phenomenon that has been going on in classical archaeology since the birth of the field. Throughout the history of of Greek and Roman archaeology, erroneous attributions have been made to artifacts without any justification what so ever. Heinrich Schliemann and his "Mask of Agamemnon" comes to mind as an early example. Also, the countless number Roman statues attributed to famous people is astonishing. It was common practice one upon a time to dig up a bust and proclaim that it represented whoever you thought it did. Many positive identifications of Roman statues have been based on coin portraits, but that is a more recent science. You can still go to museums today and find a "Marius" or "Brutus" statue that could in reality be anyone.

I'm not saying that the villa found in Italy is not Vespasian's, but I am saying that simply finding a sumptuous villa in the Sabine Hills does not mean that it was the home of an emperor. If there are more facts to support the hypothesis that the villa belonged to Vespasian, where are they? I realize that a Discovery Channel story isn't the proper venue to document archaeological discoveries, but I'm suspicious when claims are made with little to no evidence presented. I don't particularly blame the archaeologists for making such a claim; I'm sure the excitement of the dig is overwhelming. Also, headlines stating that you've found an emperors villa are far better than saying you've found "some guy's" villa. I guess you could say headlines first, facts later.

Now for a little about Vespasian, or Titus Flavius Vespasianus to be precise. Vespasian was born in 9 CE during the reign of Augustus. Growing up during the reign of the Julio-Claudians, he probably never thought about becoming emperor himself. After obtaining public offices and military posts, Vespasian took park in Claudius' invasion of Britain in 43 CE as Legate of the Legion II Augusta. After Britain he became Consul in 51 CE, after which he retired from public service only to hold office again in 63 CE, this time as governor of Africa. After returning from Africa, Vespasian joined Nero on his tour of Greece. It was there that Vespasian apparently fell asleep during one of Nero's performances, ending his political career. In 66 CE, Vespasian's political exile ended with his appointment to Judea to suppress the revolt there. The appointment Judea was to prove fortuitous, for it was from here that Vespasian got to watch the downfall of Nero and the subsequent civil war from a distance. Always the popular general, Vespasian was urged by his troops to seek the purple and he actively did so in 69 CE. While Vespasian remained in Egypt to secure the grain supply, his forces were put under the command of Marcus Antonius Primus, who defeated Vitellius and secured Rome for Vespasian. The next ten years were spent undoing the extravagances of Nero and the crippling bankruptcy of the civil war. Vespasian died in 79 CE having set the stage for his sons Titus and then Domitian to succeed him. Despite his many achievements, Vespasian is probably best remembered by the world as the man who built the Flavian Amphitheater, known today as the Colosseum.

Roman Emperor Vespasian's Villa Found

Enjoying "Playful Idleness"

2009-08-04T05:19:00.000-07:00

Several years ago I went to Madison to see In Stabiano at the Chazen Museum of Art. The exhibit showcased frescoes and artifacts from ancient Stabiae, which was destroyed in the 79 CE eruption of Mt. Vesuvius. The exhibit was a delight; gorgeous frescoes covered the walls with marble sculptures and bronze artifacts interspersed, all in Madison care of the National Archaeological Museum of Naples. There was even a recreation of a triclinium with the original wall paintings assembled in their correct order so when you entered, you actually got the feeling of being in the ancient room. I'm not aware of any attendance figures, but I can only imagine that In Stabiano was a success for the Chazen. Though seeing such artifacts was a rare treat for me living in Wisconsin, the residents of Italy can see them at their leisure. The New York Times reports (see below) that Ravenna is home to a new exhibit entitled Otium Ludens (Latin for "playful idleness") which features nearly 200 wall paintings, many of which I was fortunate enough to see at the Chazen. The exhibit looks like yet another great collection of Roman art that will be displayed around the world; the New York Times states that the exhibit will travel from Ravenna to Toronto, Melbourne, Sydney, Madrid and Valencia.

Ancient Stabiae is located on the Gulf of Naples on a cliff overlooking the sea. The views are as amazing today as they were in antiquity and it is no surprise that Stabiae was the playground of the rich and famous. Several palatial villas have been excavated there and the quality of art discovered rivals any in the Roman world. Stabiae started out as a small Oscan port in the 6th century BCE. After its sacking in 89 BCE by Sulla during the Social War, Stabiae was reconstructed and began its life as a rich resort town. Stabiae remained a retreat for wealthy senators and the Imperial family until its destruction in 79 CE.

Though many works of art have been discovered in Stabiae, it is often overshadowed by its more famous neighbor Pompeii. In fact, the eruption of Mt. Vesuvius destroyed many towns in the area and all have produced amazing archaeological finds. The area to the south of Vesuvius bore the brunt of the destruction; it is here that Pompeii, Oplontis and Stabiae lie. Herculaneum, which lies to the west of the mountain, was also destroyed. Fortunately for the residents of nearby Neapolis (present day Naples), the mud and pyroclastic flows of the eruption traveled away from their ancient city.

Treasures of Art, Buried for Centuries

Two Exciting New Underwater Discoveries

2009-07-25T08:28:00.000-07:00

The scientific excavation and study of ancients sites around the Mediterranean has been going on for almost 150 years. It's hard not to trip over ancient cities and towns of the Greeks and Romans, not to mention the many other diverse cultures that have thrived throughout history. For centuries the various modern cultures of Europe have been fascinated by the ancient world. This interest was easily fueled by the convenient ruins strung about Europe, especially in cities like Rome and Athens. As far back as the middle ages, we have accounts of ruins and objets d'art being dug up and appreciated. It has not been until relatively recent times, though, that attention was turned away from land and towards the sea. It has never been a secret that the Mediterranean Sea contains countless ship wrecks containing who knows what. Tantalizing clues have occasionally been pulled from the sea floor; the Antikythera Mechanism and the Riace Bronzes come to mind. Scuba diving only became practicable and popular after WWII, so much less time has been spent in dealing with underwater archaeology that traditional land based archaeology. Even today, underwater archaeology is a small specialized field, due mostly to the costs involved.

Two new finds have brought attention to both the ancient world and underwater archaeology. First off, divers off the coast of Squillace, Italy have found what they believe to be the sunken remains of the ancient town of Scylletium. Scylletium was an unremarkable town founded by Athenian colonists probably in the 8th or 7th centuries BCE. Known as the birthplace of the late Roman author Cassiodorus, Scylletium was also claimed by some to be founded by Odysseus. The divers found stones that appear to be man made and are thought to be part of the ancient town.

Another find shows just what kind of archaeological treasures lie beneath the sea. Five Roman ships have been found in what is being called an underwater "museum." The five ships, dating from the 1st to 4th centuries CE, appear to be merchant vessels carrying amphorae and other trade goods. The ships did not capsize when they sank, so their cargoes are relatively intact. The spot where the ships sank seems to be a high traffic area, probably an established trade route. It's finds like this and the one at Squillace that show us how valuable underwater archaeology can be and just how much is out there that has yet to be discovered.

Generous Gift Showcases Roman Mosaic

2009-07-06T12:15:00.000-07:00

The Romans used mosaic art extensively throughout their empire. From Britain to the Middle East, examples of many different mosaic techniques have been discovered. Like much of Roman art, the mosaic technique was something that they absorbed and modified to suite their own artistic needs. The earliest mosaic examples come from Mesopotamia, dating from the 2nd millennia BCE. Those examples are primarily geometric in design using different colored tesserae. The Ancient Greeks embraced mosaics, decorating their floors with geometric designs made of tesserae or pebbles. In the royal Macedonian city of Pella we find some wonderful examples of figurative scenes executed in mosaic and during the Hellenistic period mosaic art would reach a new height. It is from the Hellenistic model that the Romans developed their mosaic art. Many famous Roman mosaics, such as the Alexander Mosaic from Pompeii, are thought to be based on Hellenistic paintings. Pompeii is famous for its many beautiful mosaics, but elsewhere in Italy and throughout the Roman world, many astounding mosaics have been found.

Artistic tastes in Rome fluctuated then just as they do today. First of all there were several different mosaic techniques that were in use, some being more popular than others at different times. The three most popular mosaic techniques were Opus Vermiculatum, Opus Tessalatum and Opus Sectile. Opus Vermiculatum was by far the most sophisticated mosaic technique, utilizing the smallest tesserae in a dazzling range of colors. Many fine examples, such as the Dove Basin Mosaic from Tivoli, showcase this technique. Opus Tessalatum utilized black and white tesserae and was primarily used to form geometric patterns, though figurative scenes using this technique became popular. Opus Sectile focused on patterns made out of large pieces of stone, usually different colored marble. The floor of the Curia Julia in Rome is a good example of this technique. Different techniques were also used in conjunction. An Emblemata was a small, finely made Opus Vermiculatum "picture" that was surrounded by a large area of geometric designs in Opus Tessalatum.

Thanks to a generous gift from the Leon Levy Foundation the Shelby White, Israelis will now be able to view a beautiful Roman mosaic once again. The Lod Mosaic is a huge, 600 square foot mosaic floor dating from around 300 CE. The mosaic was discovered in 1996 but had been subsequently reburied due to lack of funds for its preservation. That has changed thanks to the gift of $2.5 million to the Israeli Antiquities Authority. The money will be used to build a new facility to house and preserve the mosaic. Money for the preservation of the world's ancient sites is always in short supply and it's refreshing to see such generous philanthropy at work to protect the Lod Mosaic.

Roman Statues Found in Pozzuoli

2009-06-25T11:28:00.000-07:00

Despite the rarity of extraordinary, career defining archaeological finds, archaeologists dig up valuable artifacts every day. Value, of course, is subjective; a coarse-ware clay bowl may not have much "value" to an art historian, but it can mean a lot to a cultural anthropologist. Most archaeological finds don't make the news not because they are unimportant, but because they are not exciting to the general public. Every once and a while though, archaeologists dig up something "exciting." Such finds usually revolve around objets d'art simply because people find pieces of sculpture more worthy of their time than a pile of ancient roof tiles. Public disinterest in archaeology is unfortunate, but in my opinion the over-hyped art historical finds benefit archaeology as a whole. Finding a Roman sculpture or Greek vase is the desert after an otherwise bland meal of culturally and historically significant, if not pretty, artifacts. The exposure that archaeology gets when artistic finds surface makes people think about archaeology and hopefully convinces them that archaeology is a good and necessary thing.

Recently, a marble head of the Roman Emperor Titus was found in Pozzuoli. Several other artifacts were discovered, including a marble Gorgon head as well as fragmentary statues, columns and inscriptions. Finds like this are great for art historians and archaeologists, but also good for the public. It is basically good PR for archaeologists to dig up statues and the like. "Visually stimulating" archaeological discoveries help archaeologists justify to the lay masses that what they do is important and should be funded.

We've got his head, but who was he? Titus was the second Emperor in the Flavian Dynasty, which was started by his father Vespasian. Vespasian was the fourth Emperor in the so called Year of the Four Emperors, 69 CE. It all started in 68 CE with Nero's suicide and the subsequent usurpations of Galba, Otho and Vitellius. Vespasian and his son Titus where in Judea at the time, attempting to suppress the Great Jewish Revolt. While in the East, Vespasian was declared Emperor by his troops and he subsequently returned to Rome to establish his position, leaving Titus to finish the Jewish War. Titus finished the war in 70 CE with the infamous siege of Jerusalem and the subsequent destruction of the Second Temple. Returning the Rome, Titus held several governmental offices under his father, including seven consulships. Upon Vespasian's death in 79 CE, the purple was seamlessly transferred to Titus, who would go on to become the darling of the Roman people. Though Titus' reign lasted just over two years, it saw three important events in Roman history: the eruption of Mt. Vesuvius in 79 CE, the opening of the Colosseum in 80 CE and the fire in Rome in 80 CE. Titus died in 81 CE at the age of 41 leaving Rome in the hands of his younger brother Domitian. Domitian was quite a bit different from his brother and father and his rule has been has been compared to those of Gaius and Nero, though recent studies have tried to clear his name, so to speak. Sounds like another post topic to me.

Marble Head of Emperor Titus Found

Rome's Aurelian Wall in Danger

2009-06-13T12:41:00.000-07:00

Societies have long used walls to protect themselves from real or imagined dangers. In the ancient Greek and Roman world, walls were used extensively around cities and towns to act as barriers against attack. Military technology being what it was, walls did a relatively good job at keeping out people who weren't welcome. Not until Rome's sophistication of artillery and siege works did walls loose some of their protective value; but walls continued to be widely employed until the 19th century. Walls were often constructed out of dry or mortared ashlar masonry and many incorporated towers at set intervals as well as gates. Gates grew in size and complexity during antiquity; the double gates of Classical Athens come to mind. It is interesting to note that Sparta never had city walls.

Like most other major cities during antiquity, Rome had its share of walls. The so called Servian Wall was built in the 4th century BCE after Rome was sacked by Gauls. This wall had a circumference of roughly 11 km and enclosed an area of 426 ha. Made of tufa blocks and nearly 10 m tall, little remains of this wall, which served Rome for hundreds of years. By the time of Augustus, the city of Rome had long spread beyond the borders of the Servian Wall and a newer and longer wall wasn't deemed necessary until the 3rd century CE. Due to military pressures existant in the troubled 3rd century, the Emperor Aurelian built a new circuit of walls in 271-75 CE. This new wall was 19 km long and enclosed an area of 1,372 ha, completely enclosing the Servian Wall. This so called Aurelian Wall was made of brick faced concrete with towers every 100 Roman feet and a series of impressive gates. The Aurelian Wall was used through the 19th century CE for the defense of Rome; Cadorna was forced to breach it in 1870 during the Risorgimento. Today the Aurelian Wall is obviously no longer used to defend the city, though much of the wall remains; it's state of preservation due to its long use.

Ruins from ancient Rome are fragile and require diligent stewards to care for them. As I've talked about before, Italy is swollen with ancient sites that not only require watchful eyes but millions of Euros to protect. Recently, some pieces of the Aurelian Wall came crashing down, forcing the closure of a near by street. It's now believed that the remaining sections of the wall may be in grave danger. The cause of the damage? Money, or lack there of I should say. Italy just doesn't appropriate enough funds for the upkeep of it's history, as the condition of Pompeii can attest. Not that the Italian government is entirely to blame; the costs facing it are enormous, especially in this economy. I'm not an economist, but I do realize the importance of history. Ancient sites need protection so we and future generations can learn from them and enjoy them.

Ancient Roman wall in danger of collapse

Ancient Scrolls May Soon Reveal Their Secrets

2009-06-11T12:46:00.000-07:00

I have an illimitable appetite for books. I buy books all the time and am always reading at least two are three at once. The knowledge contained in books is certainly their first draw, but my passion for books goes far beyond mere information. I can get information online quicker than in a library or my own bookshelves. Looking at words on a computer screen, though, just isn't the same as holding a book in your hands. There is something romantic about holding a book, feeling it and smelling it (yes, smelling it). Books have their own personalities and I consider them more as companions rather than possessions (who would ever say such a thing about a web-site!).

In today's society you can buy books everywhere and books are written about every conceivable subject. In the ancient world, books didn't exist, let alone paper. Texts were written on scrolls made mainly of papyrus (though parchment, wax tablets and other forms were in use), and such items were reserved for the those wealthy enough to afford them. Publishing as we know it did not exist and scrolls were far less common than books are today. Libraries existed and it was common for wealthy persons to send one of their trained slaves to such libraries to copy texts for the home library (copyright laws didn't exist). Scrolls were covered with text written with no spaces and no punctuation and were not very long; several if not dozens of scrolls were needed for long works. One can imagine the organization required to keep a library, whether public or person, in a condition were anything could be found. I'm sure to the bibliophiles of the day, their scrolls were prized possessions, even more so since every scroll was a unique hand written copy.

Our knowledge of ancient literature is very comprehensive, yet we can only speculate at the amount of works lost to time. The works that have survived are mostly a result of copies made during the middle ages; the original scrolls having long disintegrated. There have been many fragments of scrolls found, mainly in Egypt and the near east, but their number doesn't rival the 1,785 scrolls found at the Villa of the Papyri near Herculaneum in Italy. The scrolls, turned to carbon during the volcanic eruption of 79 CE, were found in the 18th century and have been kept safe in Italy and France since then. Scientists are now trying to "unroll" the scrolls via computer and if they are successful, the world of ancient literature could be turned on it's head. We can only imagine what great lost works are hidden in these scrolls. Of course, they could be nothing more than grocery lists either, but that's not the point. Any written words from the past would help with our understanding of the ancient world. I'm always amazed at what technology can do for archaeology and I hope the scientists and scholars involved in this project are successful.

Scientists hope to digitally 'unroll' ancient Roman scrolls

The Complexities of Roman Religion

2009-06-05T10:26:00.001-07:00

The face of religion in Ancient Rome was complex and dynamic. Though the state religion, based on the Greek model, was pervasive throughout the empire, the worship of the Olympians was hardly the only religious practice. To understand religion in the Roman world, you must forget much of what you know about religion today. Religion in the modern sense (in regards to Christianity, Judaism and Islam) is based on sacred texts which dictate moral dogma to the religion's followers and requires those followers to perform codified rituals. The latter applied to religion in Ancient Rome, but no the former. There were no sacred texts in Roman religions and moral behavior was not dictated by religion. Instead of following a certain dogma in order to gain eternal salvation, worshipers in the Roman Empire viewed religion as a means to appease the gods. The gods were seen as fickle and their power unlimited, so placating them was in man's best interest. The purpose of religion was as a safeguard for society; making the gods happy, through sacrifice, prevented them from reigning down wrath upon man. If the gods were happy, man was happy, and if the gods were especially pleased, certain gods might be extremely generous with their benevolence.

There certainly were moral lessons to be learned in Roman religion, but the ultimate goal was somewhat different when compared to modern religions. In the "big three" religions of today, adhering to the moral code laid down by your respective religious text not only benefits you and your fellow man, but is your ticket to paradise. Not so in the ancient world. In the view of Romans, everyone went to the Underworld. Only the most wicked or hated mythological figures went to Tartarus and experienced Hell as we know it. The Underworld was not Heaven as we think of it. Elysium was the island in the Underworld where heroes and virtuous souls spent eternity, but it must be reiterated that Roman religion did not promise a paradisical afterlife. How a Roman acted in day to day life didn't matter when he was dead. The moral lessons inherent in Classical mythology were concerned with the present; offend the gods and they will exact revenge on you. Being a productive member of society was the goal of moral lessons both then and now, but the rewards differ greatly.

Finally, monotheism is the most prevalent type of religion today; in the Roman world, polytheism was the rule. Not only was the state religion made of up dozens of gods, but there were many other religions that people followed in addition to their obligations to the state. Some notable examples from the Greek world include the cults of Dionysus and Demeter. The word "cult" has modern negative connotations and can be misleading when applied to ancient worship, but its use is standard. Both Dionysus and Demeter were long established Greek deities, but their worship was outside of the standard religious practices of both the Greeks and Romans. So called foreign cults were also prevalent in the Roman world. The Egyptian goddess Isis became very popular (see article below) and the worship Mithras from the Near East also flourished. As the Roman Empire spread, soldiers took the state religion with them, but also adopted local gods into their worship, so in far off places like Gaul or Britain, it was not uncommon for Jupiter to be worshiped along side some minor local deity. The Romans also added dead emperors to their list of gods and in some parts of the empire the living emperor was worshiped as divine. So, not only were the Romans polytheistic, they also incorporated other religions into their own or worshiped other gods along side their traditional tutelary deities.

Remains of Temple of Isis Found

How Secure is Your Job?

2009-05-18T17:16:00.000-07:00

Now for a little fun. I was talking with a friend a while back, and he told me it would be fun to compare the modes of death of Roman Emperors (sounds like your idea of fun, doesn't it?). So, I decided to put a list together and see how things added up. The final tally was 11 for natural deaths and 16 for unnatural deaths; not what I would call job security.

Some disclaimers are in order. Unnatural deaths include murder and suicide, both which I have distinguished in my list. I consider natural deaths to be anything other than murder or suicide, be it old age, illness or injury. There is controversy surrounding the deaths of some emperors, most noticeably Claudius, so here I stick with the common belief that he was murdered. Also, my list ends at 235 CE for various reasons. 235 CE saw the end of the Severan Dynasty and marked a fundamental shift in the Roman world. The next fifty years would see over 20 emperors propped up by the military. From a political view point, the era was one of chaos and the Rome that would emerged in 284 CE was considerably different than the Principate of the preceding centuries. Also, cutting the list off at 235 CE gives me the opportunity to write a post at a later date comparing the "lifespan" of emperors of the Principate and the Late Empire.

Julio-Claudian Dynasty
Augustus (27 BCE-14 CE) - natural
Tiberus (14-37) - natural
Gaius (37-41) - murder
Claudius(41-54) - murder
Nero (54-68)- suicide

Civil War of 69
Galba (68-69) - murder
Otho (69) - suicide
Vitellius (69) - murder

Flavian Dynasty
Vespasian (69-79) - natural
Titus (79-81) - natural
Domitian (81-96) - murder

Nervan-Antonian Dynasty
Nerva (96-98) - natural
Trajan (98-117) - natural
Hadrian (117-138)- natural
Antoninus Pius (138-161) - natural
Lucius Verus (co-ruler w/Marcus) (161-169) - natural
Marcus Aurelius (161-180) - natural
Commodus (180-193) - murder

Civil War of 193
Pertinax (193) - murder
Didius Julianus (193) - murder

Severan Dynasty (with usurpers)
Septimius Severus (193-211) - natural
Geta (co-ruler w/Caracalla) (211) - murder
Caracalla (211-217) - murder
Macrinus (217-218) - murder
Diadumenian (co-ruler w/Macrinus) (217-128) - murder
Elagabalus (218-222) - murder
Alexander Severus (222-235) - murder

Natural - 11
Unnatural - 16

Vive la France

2009-05-18T04:28:00.000-07:00

When you think of Ancient Rome you probably picture the Colosseum or perhaps the Pantheon, right? What about the Arc de triomphe d'Orange or the Théâtre antique d'Orange? Not ringing a bell? How about the Maison Carrée or the Arèna de Nîmes? Still nothing? When one has a desire to see the physical remains of the Roman Empire, the best place to go is not necessarily Italy. France, particularly South East France, has some of the best preserved Roman architecture you'll find anywhere. First, a little history. In the beginning, the Romans had a uneasy relationship with their Northern neighbors. Though mocked by the Romans, the Gauls were also respected for their bravery and hardiness in battle. The Romans always had a eye turned toward those "hairy Gauls," especially after the sack of Rome in 387 BCE. It wasn't until the late 2nd century BCE that Rome intervened in Gaul and set up it's first permanent provincial holding there. The following century saw Julius Caesar's bloody conquest of the rest of Gaul. Gaul then began the process of "Romanization," but was always a troublesome region for the Romans.

Today, France has some of the best preserved Roman architecture. Both Nîmes and Arles have amphitheaters that, though not as massive as the Colosseum in Rome, are certainly more complete (though both have been restored). The Roman theater in Orange is a wonderfully preserved example of that type of architecture, and like Roman theaters throughout the Mediterranean, it is still in use. The Maison Carrée in Nîmes started its life in 16 BCE as a temple dedicated to Gaius and Lucius Caesar and today is the most complete Roman temple found anywhere. The more practical side of the Romans is also evident in France. There are no shortage of Roman bridges from Roman times, including the Pont de Sommières, the Pont Flavien and the Pont des Marchands, just to name a few. We can't forget aqueducts since France is home to one of the most famous examples, the Pont du Gard. The exact date of the Pont du Gard's construction is a matter of debate, but it probably was constructed sometime between the late 1st century BCE and the mid 1st century CE. The Pont du Gard has long been a symbol of Roman Gaul and is probably the most famous Roman ruin in France.

Northern France can't be neglected and many wonderful sites are still to be found there. Lillebonne, Sens and Grand are just a few of the cities that have Roman theaters or amphitheaters. Even Paris has the small remains of its amphitheater, the Arènes de Lutèce, which is now a public park. The sites listed above are just a sampling of the Roman sites in France and there are dozens if not hundreds more ruins scattered around the countryside, not to mention what is buried underneath modern cities. From England to the Euphrates you can find physical remains of Roman civilization and it's always important to remember that there is more to Ancient Rome that the Colosseum.

Roman France (from the NY Times)

Hadrian's Villa Gets the Limelight

2009-05-13T09:23:00.001-07:00

The Emperor Hadrian (r. 117-138 CE) left us many monuments for which he is remembered. The most famous of course being the Pantheon, but he also left us with the Temple of Venus and Roma and Hadrian's Wall, to name a few. Those monuments were all meant for the public in some degree, but one of his most stunning architectural creations was meant for himself. Hadrian's Villa at Tivoli (Roman Tibur) was built by Hadrian as his own personal sanctuary away from Rome. Make no mistake, being emperor was a busy job and we can imagine Hadrian's Villa teaming with servants, courtiers and advisers, but compared to the hustle and bustle of Rome, the villa was certainly a place where Hadrian could relax.

Hadrian's Villa not only featured advanced architecture (the famous 'pumpkin' domes criticized by Apollodorus) but rich works of art as well. In building his magnificent country retreat, Hadrian wanted to recreated some of the many places he had traveled to throughout the empire. The huge pool was called the Canopus was named after a site in Egypt on the Nile and the copies of Greek statuary, especially the caryatids, recall his love for all things Greek. The villa is in ruins today, but from the ruins and art works found we can imagine what a breathtaking place Hadrian's Villa once was.

A new exhibit at Hadrian's Villa will be showing some of the hundreds of artifacts found there over the years. Showing those artifacts in the context of where they were found is a great way to educate the public about the ancient world. I know I've said it a thousand times, but without context, artifacts loose a lot of their meaning. I think this exhibit is a unique opportunity to showcase ancient artifacts in their original ancient setting. The Mediterranean world is lucky enough to be able to put on such a unique exhibit and I look forward to seeing more exhibits like this in the future.

Tivoli Fetes its Ancient Past

Naples Museum Overhauls Roman Fresco Exhibit

2009-05-05T09:22:00.000-07:00

When Pompeii and the other Roman sites on the Gulf of Naples were destroyed in 79 CE, posterity was given a unique gift. No were else was Roman civilization sealed in a "time capsule" to the extent that Pompeii was. Being sealed for over 1500 years, Pompeii and its related sites preserved much that was lost elsewhere in the Roman world. The most famous artifacts from the area are the hundreds of walls paintings found in situ. The importance of other artifacts can not be ignored and contribute immense knowledge to our understanding of Roman society, but the frescos are by far the most well know to the general public. Random (and limited) examples of wall painting have been found throughout the Roman Empire, but those few pieces pale in comparison to the shear magnitude of paintings found in Pompeii. The study and appreciation of those paintings has been going on since the 18th century and still today those paintings offer us a rare glimpse into the colorful world that was ancient Rome.

The Naples National Archaeological Museum (Museo Archeologico Nazionale di Napoli) houses a great quantity of frescos removed from Pompeii and the Gulf of Naples area. Many of these paintings were removed to protect them, but many were also removed long ago for the sake of profit. Today, many of the paintings left in situ at Pompeii are badly deteriorating, so it is my opinion that the removal, though damaging the walls that once held them, was an appropriate thing to do (this is a complicated issue which I will discuss in a future post). After a 10 year renovation, the Naples National Archaeological Museum has completely revamped it's Roman frescos section. The new exhibition of frescos apparently seeks to place the paintings in their historical context, which I think is great. The paintings will also be organized by their "style," based on Mau's four style categorization. I get excited any time Roman art is shown to the public, but especially when it is done in a way that emphasizes the importance of art in the framework of culture and history.

Pompeii Frescos On Show In Naples

Roman Bowl Found in London

2009-04-30T14:57:00.000-07:00

There is something magical about the shapes and colors of Roman glass that has always fascinated me. Blown glass, and especially mould-blown glass, allowed the Romans to manufacture glass vessels in some very unique shapes. Glass blowing was invented in Phoenicia in the 1st century BCE, and it was quickly realized that the new technique presented an unlimited range of potential designs (see photos below). Glass products spread throughout the Roman Empire and became extremely popular. The variety of shapes and colors probably helped make glass ware fashionable, but it was glass that imitated rock crystal that was most widely sought. One beautiful technique employed by Roman glass makers was millefiori. This technique used multi-colored glass rods from which cross sections were cut and placed side by side, creating designs that resembled flowers, hence the name.

Archaeologists at a Roman graveyard in London have unearthed an amazing find, a magnificent Roman millefiori bowl found in the grave of a wealthy Londinium resident. The bowl, which dates from the 3rd century CE, was found broken, but complete. It has recently been pieced back together and the final result is beautiful. The bowl is of a typical Roman shape and is made of hundreds of glass rod sections pieced together. This is apparently the first such artifact to be found in Western Europe, so this find is quite important. Roman period archaeology in London is rare, since the city has been continuously occupied since antiquity. The site were the bowl was found was once covered by Victorian houses, which were leveled in WWII, giving archaeologists a unique opportunity to dig in London. This bowl gives us only a hint of what treasures are still buried under London and other modern European cities.

Where Have All the Artifacts Gone?

2009-04-23T06:42:00.000-07:00

It seems that every time I look at the news lately, there's an article about antiquities and illegal dealings. The most recent news I've found is that the Cleveland Museum of Art will be returning a whopping 14 artifacts to Italy. The artifacts were allegedly all stolen from Southern Italy, but the museum seemingly acquired them innocently. Last November, The Cleveland Museum of Art signed an accord with Italian authorities which guaranteed the return of the artifacts. I wrote about Cleveland's Apollo Sauroktonos and the debate about its provenience, but that statue is not one of the artifacts being returned. This story has it all; an American museum and the Italian government getting along, the willful return of known stolen artifacts and an agreement to conduct long term loans between Cleveland and Italy.

Sounds great, right? Returning stolen artifacts to their rightful owners is the right thing to do, but I'm forced to ask about the fate of these artifacts. Italy, with it's mile long list of museums, has more Greek and Roman artifacts than it knows what to do with. Where are these Cleveland artifacts going to be housed and who is going to study them? Italy owns them, fare and square, but don't they currently have a good home in Cleveland? If the artifacts are going to be returned to Italy and displayed and studied, I'm definitely on board with their repatriation. But what if these artifacts are put in a box in the basement of some museum. I think Italy would be the first to admit that it doesn't need another red-figure krater. Would it have been possible for Italy to take official ownership of these artifacts while letting Cleveland "borrow" them? These are all very complicated questions and the answers are not black and white. Please don't get the idea that I am against the return of illegally acquired artifacts, because I most certainly am not. I am concerned about how these artifacts are used, though, and I want to make sure that everyone has the chance to view them and learn from them.

Cleveland Museum of Art will return tainted antiquities to Italy

Bronzes Find New Home at the Getty

2009-04-17T18:09:00.000-07:00

In my last post, I discussed the J. Paul Getty Museum's return of a Roman fresco to Italy. The past few years have seen a multitude of illegally acquired artifacts returned to their country of origin and it is a process that I applaud and encourage. But what about American museums? Are they doomed to be picked clean by European institutions who claim the rights to their artifacts? Despite the fears of many, the answer is no. Many museums house artifacts that, according to UNESCO accords, are the legitimate property of the museums that house them. Many such artifacts were purchases in the 19th century and early 20th century, and though we may disapprove of such sales now, at the time they were bought legally.

Returning artifacts to their country of origin is great, but when American museums where ironing out the details of such agreements, both sides decided that an atmosphere of cooperation was essential. Being a scholar means sharing information with your peers and the public, and without cooperation both at home and abroad, the accumulation and dissemination of knowledge suffers. Countries of origin have no desire to close American museums and take their artifacts, and a new loan to the Getty is proof of the renewed cooperation across the Atlantic. The National Archaeological Museum in Naples is loaning the Getty two nearly life size bronze statues found at Pompeii. Large bronze statuary is extremely rare, for reasons I have talked about before, and the fact that Italy is letting the Getty house these artifacts proves that there is a new found trust between American institutions and those in Europe. Let's hope that such actions encourage more loaning of artifacts, because the only way to advance the fields are archaeology, history and art history is openly share knowledge and resources.

Getty gets first loan of antiquities from Italy

Getty to Return Roman Fresco

2009-04-10T10:03:00.000-07:00

The past few years have been sad for museums and archaeologists, but things are looking up. After many high profile scandals rocked the world of antiquities trade, things seem to finally be heading in the right direction. Museums now are ceasing their shady dealings and are being open about where their artifacts came from and how they got them. Not that the problem of looting is solved of course, but every small step helps in ending the practice. When a looter digs up an artifact and sells it on the black market, everyone looses. The country of origin looses a small piece of its history and archaeologists loose valuable information about the context of that artifact. The latter by far has the biggest impact because every shred of information regarding context, no matter how small, helps us better understand history as a whole. It is infuriating and frustrating that looting happens at all, but as long as there is a market for stolen artifacts, the practice will continue.

The J. Paul Getty Museum in California is no stranger to scandal. Marion True and her alleged dealings in looted artifacts is a stain on the whole archaeological community as well as the Getty itself. The facts about what Ms. True did and didn't do are complicated and I'm not going to pass judgment on her here. What I will say, though, is that her high profile court case has led to many positive changes in museums around the country. Many "hot" artifacts from the Getty (and many other institutions) have been returned to their country of origin, which is were they belong. I fully support museums from around the world housing artifacts from other countries, as long as those artifacts were acquired legally and are professionally studied. Returning artifacts to their country of origin can't give us back lost information regarding context, but at least the artifacts are returned to their rightful owners. The Getty recently agreed to repatriate a Roman wall painting, not because of international pressure, as has been the case in the past, but because of changed attitudes at the institution. The Getty apparently saw newly published images of another repatriated fresco and realized that the fragment they had was from the same wall. I applaud the decision to send the fresco back to Italy and hope that this positive step is a sign of continued and expanded cooperation between American museums and museums throughout the world.

Getty to Return Ancient Fresco to Italy

The Many Faces of Julius Caesar

2009-04-07T08:19:00.000-07:00

Caesar - the mere name conjures up images of power, prestige and arrogance. Julius Caesar has never failed to capture the hearts and minds of the public, whether it be in ancient times or today. During and directly after his life, Caesar was both revered and hated by many. Those who revered him would eventually prevail, and it was his name and "divine" lineage that helped solidify Octavian's position in the latter half of the 1st century BCE. Octavian, who would later be given the name Augustus, took Caesar's family name and exploited the fact that he was now the son (adopted) of the divine Julius. The name Caesar would eventually loose its family connection with the death of Nero and would hence forth be more of a title of office. Julius Caesar faded from the public view during the middle ages until his story was revived by Shakespeare in his famous play. Today, Caesar is a house hold name, though many probably don't know his full story or the amazing role he played in shaping Rome's destiny

Julius Caesar has always been one of my favorite characters from Roman history. The story of his life and his rise to power is full of drama and intrigue and his personal desire for success was astonishing. Caesar possessed many rare talents that made him stand out from the crowd, and putting those talents to use made him continually victorious against overwhelming odds. Caesar the man is perhaps not so noble as Caesar the myth, though, and it's important never to look at history through rose colored glasses. For all his famous clemency, Caesar started a war in Gaul out of a desire for personal glory. The Gallic Wars probably cost over one million lives and led to widespread destruction. Caesar also launched the Roman world into civil war to suit his own ends and protect his own interests. Arguing the pros and cons of Caesar's exploits has been discussed in multiple volumes, and I won't try to justify or condemn his actions here.

So, why all this talk of Caesar. A new museum exhibit, of course. "Caesar: The man, the deeds, the myth" is now showing in Italy at the Chiostro del Bramante. According the to the New York Times article below, the exhibit is quite promising. Far too often the public gets the facts wrong about history, and they can't necessarily be blamed. Gladiator and HBO's Rome are sensational, but tend to distort facts. Movies and shows like those are necessary to spark people's interest, but it's up to scholars and museums to make clear the fact vs. the fiction. This new Caesar exhibit has a wide range of artifacts spanning Caesar's career, and it is always exciting to see such exhibits brought to the public. I hope this exhibit shows a balanced picture of Caesar though, for to understand the man is to understand all aspects of him, both good and bad.

Tracing a Roman Ruler's Life and Legacy

Catch of the Day

2009-03-24T14:02:00.000-07:00

Bronze statuary was as ubiquitous in the Classical world as Starbucks are today. Ever since people began to mix copper and tin to create bronze, people shaped that bronze into useful tools or decorative ornaments. Think of bronze as the ancient equivalent to plastic if you will. Weapons, armor, statues, lamps, plumbing and everything in between was fashioned out of bronze in the Greek and Roman world. From an archaeological standpoint, bronze can be a big deal. Bronze coins and fibulae are extremely common finds and can serve as time markers, but bronze statuary is very rare and when one is found it can yield much information. In late antiquity and the middles ages, bronze (in particular bronze statuary) was melted down and turned into something considered more useful at the time. As a result, ancient bronze statues are extremely rare today and any find can greatly increase our knowledge about ancient art.

Just a few days ago in Greece, a fisherman pulled a 2,200 year old bronze horseman out of the water. He did the right thing and contacted authorities immediately. Study of the statue is obviously just beginning, so we'll have to wait quite a while before any detailed information about it's significance is published. Any bronze statue found today is bound to divulge some information that either confirms or reshapes our current hypotheses in regards to art and archaeology. I hope that this statue is not an isolated find and leads to the discovery of a shipwreck. Many such statues that have been pulled from the sea have led to the discovery of new shipwreck sites. Some very famous statues, though, such as the "Victorious Youth" were isolated finds and no subsequent shipwrecks have been found. It is hypothesized that isolated statues such as this were perhaps thrown overboard in a storm. Whether the bronze horseman is an isolated find or not, I'm looking forward to the stories it has to tell about the ancient world.

Greek fisherman nets 2,200-year-old bronze statue

The Ancient World in Technicolor

2009-03-15T11:38:00.000-07:00

The most common material associated with the cultures of ancient Greece and Rome is marble. Anyone who has ever visited an art museum has seen countless Greek and Roman heads, torsos and full bodied statues in all of their white, shinny austerity. The image of the ancient white marble statue is extremely pervasive and most people don't realize the truth about these magnificent works of art. Ever since artists in the Renaissance began to look at ancient statuary for artistic influence, they utilized not only the themes and styles of ancient art, but the material as well. The statues that surfaced in the Renaissance for the most part were devoid of paint due to the ravages of time, and it's the starkness of marble that inspired artists of that time. In the following centuries though, it began to be understood that these statues were painted. Statues with their paint still intact began to be uncovered and a more complete picture of what the ancient world looked like began to take shape.

Archaeologists and scholars have known for a long time that the ancient world was one of color, not plain white marble. The public, though, to a large degree still imagines a Rome or Athens that was blindingly white in the mid-day sun. There have been some recent efforts to educate the public about ancient statue painting, the most comprehensive and successful being Gods in Color: Painted Sculpture in Classical Antiquity. This exhibit used state of the art technology to uncover the long lost paint and used fully sized and painted replicas of famous statues to get the point across. The result was amazing. Another recent effort is described in the article linked below. In this case, a team of archaeologists and scholars are attempting to reconstruct a statue of a wounded Amazon which has a considerable amount of paint in situ. The results of this team's work is bound to be another important addition to art history and archaeology.

Ancient Warrior Brought Back

"Column Wreck" Yields Unique Discoveries

2009-02-27T10:01:00.000-08:00

The waters of the Mediterranean hold countless treasures from the ancient world. When most people think about travel in ancient Greece or Rome, they conjure up images of sword and sandal films with their chariots and famous Roman roads. True, both of those this did exists, but sea travel was the "rapid transit" of the day. If you had great distance to travel, boarding a ship was your best bet. Unfortunately (or fortunately, if you're an archaeologist) sea travel was also very dangerous. Coast Guard safety regulations certainly did not exists and weather prediction was far from an exact science. Still, intrepid ancients boarded ships and sailed off. Many ended their journey safely, but it's the ships that didn't make it to their destinations that intrigue us today.

A recently published discovery off the coast of Turkey has once again shown us what lies beneath the waves. This ship, dubbed the "column wreck," contains the remains of a massive marble Doric column. Such things have been found in the past, but this wreck is different. Not only has the location of the marble quarry for this column been identified, but the destination of the column has been ascertained as well. The column was destined for the Temple of Apollo at Claros. Claros has a history dating back to the seventh century BCE and was prosperous throughout ancient history. That this column never made it to Claros probably didn't surprise anyone back then. Sea travel, while it was quick and enabled you to transport large quantities of goods or people, was none the less very dangerous. That danger was probably never far from the minds of anyone who held stake in maritime commerce, but it's those loses that enrich the archaeological record today.

Ancient Shipwreck's Stone Cargo Linked to Apollo Temple

A New Museum, Sans Star Attraction

2009-02-14T17:55:00.000-08:00

It's official; the new Acropolis Museum in Athens is scheduled to open on June 20th. It is definitely an exciting day for Athens and the whole of Greece. The new museum has been much anticipated; ushering in a new era of Greek cultural patrimony. Stunning architecture aside, the museum promises to serve the diverse preservation needs of its collection. The opening of the new museum, though, will be marred by the conspicuous absence of it's star exhibit, the Parthenon Marbles.

As I've mentioned before, and as the media mentions all the time, the Parthenon (or Elgin) Marbles were removed from Greece in the early 19th century at the behest of Thomas Bruce, Earl of Elgin. At the time, and ever since, the removal of the marbles was seen as controversial. To this day, the debate rages on over the legality of the purchase and removal. I've stated my opinions on the matter in a previous post, but let me summarize again. I don't care whether or not the marbles were stolen two hundred years ago. The British have been relatively good stewards of the marbles (aside from some dubious restoration techniques performed by the British Museum). I believe that the marbles have been better off in England than in Greece, but I also believe that times have changed and that the Greeks are much more serious about, and have the capital to support, the preservation of their rich cultural heritage. The new Acropolis Museum is proof that Greece is investing in its future by investing in its past. The British need to realize that they are in possession of stolen property, and the only right thing to do is return it.

As for the marbles themselves, the various architectural elements that make up the Parthenon Marbles are indeed masterpieces. The pediment and metope sculptures are of superb quality and the frieze is a stroke of Phidian brilliance. Anyone who has ever had an art history class has seen pictures of the marbles before, and their significance and beauty are unrivaled. The Parthenon Marbles that remain in Athens will be displayed at the museum along with displays highlighting the missing pieces. Let's hope that one day soon, all the pieces will be reunited.

Greece to open new Acropolis museum in June

Looting made easy

2009-01-30T19:16:00.000-08:00

Looting; that never ending problem. It's no secret that looting and the antiquities unearthed by looting stain the museum world's reputation today. Names like Marion True and the MET come to mind when looting is discussed. In recent years, many countries have tried to put measures in place (with varying success) to stop looters and drain the illegal antiquities market of merchandise. Apparently, though, some countries are also trying to make it easier for looters to do their work.

Most people associate looting with digging up tombs or hoards and selling off the various artifacts found. Digging a hole is certainly a work out, but cheap none the less. There is also an entire industry built up around the looting of shipwrecks. Though a much more expensive operation, looting shipwrecks can certainly reap great "rewards" for those involved. It can be argued that the waters off Greece probably have the most shipwrecks of any geographical area. And it's those uncounted shipwrecks that are fair game for looters. Once upon a time, the vast majority of Greek's coast was off limits to divers. As a result, valuable shipwrecks were saved from being destroyed. Not so anymore. I'm saddened that a country like Greece, with it's immense cultural history, would put that very history on the line to make a buck. Sure, Greece is in financial straights, but a short sighted solution like opening up the coast to divers could cost the country untold amounts of cultural patrimony.

Divers plunder Greece's sunken treasure troves

Notizie meravigliose

2009-01-24T14:40:00.000-08:00

Art museums are usually thought of as stuffy, elitist institutions. You don't go to an art museum to have a good time; you go to an art museum to learn. I've always though that learning is a good time, but I can see where people are coming from when they complain about art museums. Many museums don't go the extra mile in making a visit an "experience." Many do though, and I think that's wonderful. Visiting a museum should be more engaging than simply looking at an artifact behind a glass case. The museum I visit the most, the Milwaukee Art Museum, does a good job of incorporating world renowned art with informative histories, descriptions and displays. If I were in charge, I would go a step further, but that's the topic of a previous post.

What the Palazzo Massimo is doing is a great. The many art museums in Rome have always had a bad reputation, not for lack of amazing art, but for multi-hour queues and stuffy atmospheres. That's all about to change, at least at Palazzo Massimo. The Palazzo Massimo alle Terme museum is only ten years old, but it holds an amazing collection of Republican/Imperial/Late Roman art. Their new attitude on the museum "experience" is one that will hopefully be copied by the many other great institutions in Rome and around the world.

New Light on Ancient Art in Rome

Shedding Light on Ancient Women

2008-12-29T19:01:00.000-08:00

Women have been marginalized throughout history. Ancient Greece and Rome, hailed as paragons of western civilization, were not immune from misogyny. It can perhaps be argued that women weren't as bad off as some historians may claim, but truth be told, women and men were far from equal. Until the last few decades, the study of women's role in history was negligible. Besides taking a look at the most famous females of antiquity, every day women (and men for that matter) didn't fit into the upper class/white/male viewpoint on history. Times are different now, and movements like Engendering Archaeology and Post-processual Feminism have allowed us to take a scholarly look at ancient women and the role they played.

The new exhibit at the Onassis Cultural Center, Worshiping Women: Ritual and Reality in Classical Athens, looks like a wonderful experience. Women of the past deserve to have their story told, and this exhibit appears to do that story justice. I'm surprised that it took until 2008 to see such an exhibit come to light. I'm always excited to see new exhibits focused on the ancient world, especially when they appear to be of this high a caliber.

The Glory That Was Greece From a Female Perspective

New Discovery of Roman Lamps

2008-12-16T06:35:00.000-08:00

Pottery is a blessing for archaeologists. Short of grinding pottery into dust, it is practically indestructible. Also, pottery can be a wonderful dating tool, as styles tended to change often and relatively uniformly. This latest find in Italy is another example of how pottery shapes our perception of the ancient world. Lamps in the Roman Empire were as common as they are today (albeit of a different kind), and made in equally diverse shapes and sizes. Lamps, being a necessity, were made to suit all budgets (see below) and some very plain as well as outrageously ostentatious examples have been found. Its interesting to think of the different name brands and trendiness in pottery manufacture in the ancient world. It just goes to show that no matter how much people have changed over the past 2,000 years, there are parts of us that are still the same.

Who owns Apollo?

2008-12-12T15:59:00.000-08:00

The looting of antiquities is an ongoing problem that plagues us today, and it is a issue that I have talked about in this blog before. The question of "who owns the past" is seemingly impossible to answer, and I certainly don't claim to know how the issue should be resolved. One thing I do know is that politics and scholarship are not good bedfellows. Take the Cleveland Museum of Art for example. In their possession is a bronze sculpture of Apollo possibly made by Praxiteles himself. For those of you who don't know, Praxiteles is one of the most famous Ancient Greek sculptors, and original large bronze sculpture from Ancient Greece is extremely rare. The valuable bronze of ancient statues was too easy a target for later smelting. A good deal of our knowledge of Greek bronzes comes from Roman copies made of marble. Now, the true identity of the Cleveland Apollo's sculptor is in question, but an important chance to study the work in comparison with Roman copies of Praxiteles' work has been lost due to politics and the international illicit antiquities scandal. Instead of recapping what happened here, please read the link below for full details. To make a long story short, the Cleveland Apollo was shunned from a Louvre exhibit on the famous sculptor due to unsubstantiated claims by Greece that the statue was illegally looted. It is a shame that a wonderful opportunity for scholarly research has been blocked by the ongoing international antiquities scandal. When a country of origin can make claims with no evidence that an object has been looted, and the repercussions of those allegations lead to stifled research, a sad day has indeed come.

Also, the Cleveland Museum of Art has agreed to return 14 works of art to Italy that were proven to be acquired illegally. In contrast to the Cleveland Apollo, if artifacts can indeed be proven that they were looted, they should be returned to the country of origin.....to a point. I know what a divisive issue that is, and I will dwell on it more in depth at another time.

Pompeii comes to the National Gallery of Art

2008-10-30T16:50:00.000-07:00

The art of Pompeii has always fascinated me. The beautiful frescoes, marble statues and mosaics are what started my love affair with ancient Rome and with ancient art in particular. Pompeii and the surrounding area gives us some of the best examples of Roman art from any period. The disastrous eruption of Mt. Vesuvius in 79 CE was a tragedy for the inhabitants of the Bay of Naples, but a goldmine of art and culture for historians.

I saw a similar Pompeii exhibit in Chicago years ago, but the current exhibit at the National Gallery of Art in Washington, D.C sounds even better than what I experienced. Pompeii still holds sway over people today because of the tragedy of life as well as the eerie completeness in which the city was preserved. I am glad to hear that Pompeii and the Roman Villa is more than strictly an art show; it tries to bring visitors into feeling like they are in a roman villa. Adding features to art museums to give patrons a more enriching experience is an issue I have talked about at length, and I feel that the success of Pompeii and the Roman Villa will only help reinforce my point.

Pompeii Style, B.C.E.

Ancient Cologne goes digital

2008-10-16T16:11:00.000-07:00

Like many European cities, Cologne has a rich Roman history that lives more in the mind's eye than in actual physical form. A city like Cologne has been in constant occupation since Roman times, so the monuments left standing are usually few and far between. Most people associate Cologne with the Dom as opposed to the Roman-German Museum across the street. The latest project to come out of that museum hopefully will let visitors see ancient Cologne in a new, digital light.

Cologne, or Oppidum Ubiorum (Settlement of the Ubii) was founded in 39 BCE as a military base and Germanic colony. The settlement grew, eventually being renamed Colonia Claudia Ara Agrippinensis (Colony of Claudius and the altar of Agrippina) during the reign of the emperor Claudius and was adorned with all the trappings of a Roman town. Perhaps the most infamous event in the history of ancient Cologne is the fact that it became the capitol of the short lived Gallic Empire.

The digital views of ancient Cologne are very impressive; be sure to check out the video. Using advanced technology in the study of the ancient world is nothing new, but it seems that new and innovative uses for technology are happening more and more in the fields of archaeology, history and related disciplines.

Another great project just announced is the Duke Databank of Documentary Papyri from Duke University; again we see technology put to use for the study of the ancient world. This project is geared toward scholars as opposed to museum patrons, but the use of technology, especially the Internet in this case, is a great step in the right direction. I consider the Internet to be one of the greatest inventions of all time. Never in the history of mankind, has so much information and knowledge been so readily available to millions. The Duke Databank of Documentary Papyri is a great way to bring scholars together from around the world and spread knowledge, and the digital ancient Cologne project is a great way to bring people to the world of the past. Technology and ancient studies definitely have the ability to work together, and who knows what next great project we will see.

Port of Rome gets a new look

2008-10-07T15:18:00.000-07:00

Ostia, the port of Rome, has long been a tourist destination, if somewhat obscure. Though only a short trip from Rome, Ostia lacks the prestige and jaw dropping monuments of the Eternal City. It doesn't have the mystique and tragic aura of Pompeii. Nor does it have the imperial dignity and ostentatiousness of Tivoli. What Ostia lacks in tourist appeal is definitely made up for in its rich history, and anyone who ventures there will surely not be disappointed. Ostia is wonderfully preserved, mostly due to it's fading from history. There you will find an theater, beautiful frescoes and seemingly acres of mosaic floors. Rome, being too far up the Tiber to make it a port city, had Ostia as it's gateway to the sea. Ostia maintained it's position as the port of the largest city in the world until the construction of Portus just to its north, in the early second century CE. From then on, Ostia slowly declined until its eventual abandonment. Therefore, Ostia lacks the romance of the Pompeii disaster, but that doesn't mean it isn't an amazing site with wonderful architectural remains. That the Italian government has spent the money to restore the four buildings mentioned in the article below is great news. Judging from the slide show, the money has been well spent. As anyone who has studied Pompeii or even recently read a newspaper knows, open air sites like Ostia and Pompeii and extremely difficult to take care of. The elements take a huge toll on ancient sites, and constant maintenance and repair is required to keep them from disintegrating. Efforts like this restoration in Ostia is a great step, but only a small step towards protecting the past for the future. Recent news from Pompeii has shown us just how bad things can get when lack of funds and over site bring ruin upon an archaeological site. Perhaps the recent efforts at Ostia are a sign of things to come.

Archaeologists Unveil Majestic Roman Ruins that Rival Riches of Pompeii

My thoughts on the Parthenon Marbles

2008-09-23T15:40:00.000-07:00

The mere mention of the words "Parthenon Marbles" (also know as the Elgin Marbles) ignites a passionate debate in which everyone seems to have an opinion. I would like to share my opinions, which I'm sure many will agree with, though I know there are plenty who will think I'm wrong. The Parthenon Marbles were stolen, plain and simple. Now, before you jump to your own conclusions about my views, hear me out. The Parthenon Marbles where stolen from Greece between 1801 and 1812, and subsequently found their way to the British Museum. Thomas Bruce, the 7th Earl of Elgin, was the British ambassador to the Ottoman Empire when he purchased the marbles. At the time, as is the case now, the legality of that transaction raised a few questions. I feel that whether or not the sale and removal of the Parthenon Marbles was legal is a mute point after two hundred years. The marbles where taken, they now sit in the British Museum, and no amount of squabbling over the original transaction details is going to change that. My view is that the Parthenon Marbles were better off being bought/stolen. In the roughly two hundred years that have passed since their appropriation, they have been lovingly cared for in the British Museum and entertained millions of art fans from around the world. They are a cultural, historical and artistic treasure that have demanded professional care and respect. The British have taken far better care of the Parthenon Marbles than the Greeks could have.

So, what is my point? Though the British have been good stewards of the marbles, times have changed, both in Greece and around the world. Though the purchase of the Parthenon Marbles has always been suspect, the illegal trading of antiquities has gotten a lot of media coverage in the past few years, and public opinion is largely against such acts. Also, up until recently, Athens didn't really have an appropriate place exhibit and maintain the marbles. The New Acropolis Museum has changed that. And it's that museum that leads me to my conclusion. Greece now has a permanent home for the Parthenon Marbles, so there is no reason not to return them. No matter what excuses the British Museum or the British government make up, there is no good reason to keep the marbles in Britain. It's not a question of legality; every one knows that the marbles belong in Greece. The Parthenon Marbles owe their survival to Lord Elgin and the British Museum, but what they represent to Greece far outweighs any debt that is owed to Britain. The Parthenon Marbles belong in Greece not because of any law, but because when it comes down to it, it's the right thing to do.

Italy Returns Parthenon Fragment

Temple of the Deified Hadrian Restored

2008-09-19T16:05:00.000-07:00

Rome is a city of architectural layers. Since antiquity, pieces of the city have been reused and incorporated into newer structures. Some early examples of this process would be the building of the Aurelian Wall, which incorporated existing buildings along its stretch, or the Arch of Constantine, which reused sculptural elements from previous reigns. Many later examples of this process are evident today, the Temple of the Deified Hadrian being among them. Built in 145 CE by Antoninus Pius to honor the deification of the Emperor Hadrian, the temple was eventually incorporated into Carlo Fontana's 17th century palace. Today the palace hold the stock exchange, with the still extant columns of the temple facing the Piazza di Pietra. Like most ancient marble structures, the remains of the temple have been ravaged by time and the elements, and in the last century, by smog and acid rain. I'm thrilled that Italy, with it's long history of looking the other way when it comes to monument repair, has spent 1 million Euros on the temple's restoration. The Temple of the Deified Hadrian, like all of Rome's monuments, is an important piece of history. It is our job to protect these remnants of the past so future generations can enjoy them and learn from them. I hope that this latest effort is a sign of Italy's renewed interest in historical preservation.

Remains of Ancient Roman Temple Restored

Amazing finds from ancient Pella

2008-09-11T19:26:00.000-07:00

The graves recently unearthed in ancient Macedon are truly spectacular. Amour, weapons, gold, pottery; what more could you ask for. The early history of Macedon is incomplete, so hopefully with further study, these new artifacts can shed some light on one of the most important civilizations of the ancient world. Macedon, that uniter of the Greeks (under force) and conqueror of the Persians ushered in a new age, the Hellenistic, changing the shape of Europe and the Near East. The Hellenistic Era brought new heights to the arts and sciences, and set the example that the Romans emulated so well. Understanding the origins of the Macedonians will help complete the picture their history and the history of the Mediterranean world.

Large Roman Camp Found in Cumbria

2008-09-03T09:19:00.000-07:00

The discovery of a large Roman camp in North Western England is an extremely important find and adds a new piece the the Roman Britain puzzle. As the article states, a Roman presence in that specific area has been hypothesized, but never proven. This camp obviously shows that the Romans where there, but when and for how long remains a mystery. It is interesting to think that this camp may have belonged to the Agricola period or before, but there is no way to tell without digging. I'm saddened to hear that excavations are not planned for this site, but that certainly may change in the future. I know it's impossible to dig up every archaeological site, so for now we'll have to hypothesize about the history of this Roman camp.

Roman Fort is Found in the Lake District

Sagalassos yields yet another colossal statue

2008-08-26T07:21:00.000-07:00

Oh to be in Turkey right now! The archeological site of Sagalassos has yet again yielded another colossal statue, this time of Marcus Aurelius. The bath complex where these statues have been found apparently housed some sort of imperial gallery of Hadrian and the Antonines. This most recent find is of particular craftsmanship and in an apparently exceptional state of preservation (the head at least). I was excited when I first heard about the Hadrian statue last summer and Sagalassos has continued to excite with these new finds. Hopefully the rest of the "family" will show up soon. We're still missing Sabina, Faustina the Younger and last but not least Antoninus Pius. Antoninus has always been a favorite emperor of mine, so finding his statute would be a particular treat for me. Be sure to check out the Archaeology Magazine link below for great pictures of the Marcus Aurelius statue being dug up. (As a side note, the Archaeology Magazine Web site always has great photos and a great photo viewing interface. Other Web sites should follow their example.)

Some museum solutions

2008-08-25T19:04:00.000-07:00

In a previous post of mine, I talked about some of the issues I have with art museums. My argument was that art museums, as opposed to history museums, present objects for their aesthetic value while glossing over the historical context in which they where made. Now I know that I may be generalizing and that many art museums do a good job of combining the aesthetic with with contextual, but I feel there is room for art museums to grow without compromising their mission. Let me outline some of my proposed improvements. Keep in mind that I do not want art museums to become history museums; I respect and encourage the idea of the art museum and some day hope to work in one.

Maps - You may think the addition of a map or two would be common sense, but you would be surprised to find out how many art museums don't employ such basic tools. I would place small maps in easy to find areas of galleries; a map of ancient Greece in the antiquities section and perhaps a map of Renaissance Europe in the appropriate gallery. These maps could be small enough and placed well enough so they wouldn't detract from the art on display, which is after all the main propose of the museum. Maps would help the lay person better understand where the objects they are viewing came from, which is of course an extremely important piece of the overall picture. The average person off the street probably doesn't know where Corinth is or isn't familiar with the borders of the Holy Roman Empire circa 1750. These maps shouldn't be a history lesson, but they would help the average museum patron.

Time line - In addition to maps, another important tool for understanding art would be a time line appropriate to the period. Again, these could be small and out of the way, but would help immensely with putting art in it's proper context. The same argument I make for maps applies for time lines, but here I'm talking about historical context as opposed to geographical context.

Diagrams - Again, some museums do this much better than others. A simple diagram goes a long way in telling a story. A step by step display of red-figure vase manufacturing or glass blowing would help translate a piece of art into a living, breathing artifact. I can't stress enough that these diagrams along with maps and time lines should not interfere with the presentation of art as an object; they should merely augment the object and help people better understand it and appreciate it.

For me , art is about more than viewing a beautiful object. Art is meant to be looked at for it's beauty, but that beauty goes beyond the surface. Knowing the story of an object makes the experience infinitely more enjoyable. Artifacts may be prized for their artistic qualities, but it is not until you place them with in the context of history that there true beauty comes through.

Another colossus from Sagalassos

2008-08-17T18:26:00.000-07:00

Last year, a colossal head of the emperor Hadrian was unearthed at Sagalassos in modern day Turkey. I hoped at the time that a partial if not entire giant statue of the emperor would be discovered. Unfortunately, no other remains of the Hadrian colossus, save for his feet and a calf, have been found, but this new discovery sheds light in what else my be buried in Southwestern Turkey. This new giant head, of similar size and style representing Faustina the Elder, suggests that they were probably joined by other members of the imperial "family." I hope the digging continues at Sagalassos so more amazing finds such as this one can be discovered.

Head of Roman empress unearthed

Here is a link to the Archeology Magazine story about this and the Hadrian statue. Check out the great pictures!

Colossal Head of Roman Empress Unearthed

Not quite OS X, but still pretty impressive

2008-08-13T11:06:00.000-07:00

The Antikythera Mechanism is an artifact that has awed us since its discover in 1902. What it was used for, when and where it came from are questions that have been debated for decades; the answers of which have helped change our outlook on the ancient world. The recent new discoveries in regards to the mechanism's purpose are fascinating and well timed in lieu of current events. I have come across countless articles about the new Olympic aspect of the mechanism, so I won't attempt to extol these new findings any more here. I will say, though, that the Antikythera Mechanism is a fascinating piece of history that with more research and extrapolation will help enlighten our current understanding of ancient technology.

New Origins for Ancient Computer

Wie viel ist ein Flugticket nach Xanten?

2008-08-06T11:17:00.000-07:00

Speaking of museums! The new museum at the Roman baths in Xanten, Germany appears to be everything I could hope for in a museum and more. Not only is there a large, artifact rich museum to immerse yourself in Roman culture, but the complex houses continued excavations. The building, which melds contemporary architecture with red gabled roofs helps recreate the feel of the original Roman architecture without looking like a theme park. The inside sounds fascinating, though my preliminary Internet research didn't dig up too much information. I did find some pictures, which are linked below. I am happy that a whopping $35 million was invested in this project. A common theme in my blog entries is protecting ancient sites, and I will reiterate that point again. Italy should take pay attention to what other European countries are doing with their ancient sites and take note. I hope to find out more about this new museum, so stay tuned.

Some thoughts on musem exhibits

2008-08-04T06:33:00.000-07:00

Say the word museum and I am guaranteed to get excited. I love museums and I'm not ashamed to say it, no matter how nerdy it makes me look. If they would let me, I would probably live inside of one. I have been a volunteer at the Milwaukee Public Museum for just over a year now, and my only regret is that I didn't sign up sooner. The MPM, like most other institutions of it's kind, are amazing places where you can learn just about anything you could imagine. In the middle of downtown Milwaukee, you can hike through a Costa Rican rain forest, you can walk amongst dinosaurs and prehistoric mammals, you can visit 19th century Europe or travel back in time the ancient Mediterranean. It's the latter part, of course, that brought me to the MPM in the first place. Unfortunately there permanent exhibit, Temples, Tells and Tombs, has been closed since last summer and just when it's going to reopen is any one's guess. It was, and hopefully again will be, an extremely well planned and researched exhibit spanning ancient cultures from the Egyptians through the Romans. The museum has a wonderful collection of artifacts, many of which are still on display throughout the museum, but it was the setting of these artifacts that really made the exhibit stand out. I love art museums, but they have always bothered me in the fact that they present artifacts for there sheer artistic importance as opposed to putting them in the context of their place in history. It is true that high quality artifacts from the ancient world are artistic masterpieces and should be treated as such, but something is lost in translation when a red-figure vase is looked at for it's beauty alone. That vase has a story; where it was found, who it was made by, what it was used for, what the story painted on it meant to it's owner. It is the details like these that tell the whole story of an artifact. Temples, Tells and Tombs had artifacts in cases just like any other museum, but it was the maps, diagrams, short history lessons and models that really brought the whole exhibit together. You didn't feel like you where merely looking at artifacts, you where transported back to the ancient world. The antithesis to Temples, Tells and Tombs is evident at the Milwaukee Art Museum. Now, it it's defense, I love the MAM and realize that ancient art is not it's focus. Milwaukee is lucky enough to have the outstanding ancient artifacts on display that we do, but I feel I must voice my opinion. The MAM room as it is, covers Egyptian through Roman art. The collection is small but diverse. The artifacts are displayed in the typical museum style, with placards describing where and when they came from and what they where used for. Unfortunately, that is all. A few maps, maybe a small tutorial on the differences between black-figure and red-figure pottery making would be nice. Something is needed to put the artifacts in their own time and place. They are beautiful for sure; the MAM has a wonderful Hydria by the Niobid painter which is exquisite. But, that Hydria is more than the sum of it's form and design. Now, I'm not saying that art museums should or need to be public history museums like the MPM, but a balance needs to be struck between the contextual and the aesthetic.

Here are some photos from the MPM and MAM exhibits for you to compare:

MPM1

MPM2

MAM1

MAM2

Ancient "eye" found off Israeli coast

2008-08-02T09:38:00.000-07:00

Talismans where a common sight in all societies in the ancient world. The most famous, and provocative that come to mind are the phallic charms found in Ancient Rome. Many different talismans had unique functions, but they primarily where all designed to ward of some kind of evil or misfortune. The giant eye designs on the bows of ships where no different; watching the seas ahead for signs of danger. That an Israeli lifeguard stubbed his toe on a unique and important archaeological find shows how archeology is as much about chance as it is science. Artifacts are sometimes literally below our feet without us knowing it. Sometimes it takes the digging of a new subway tunnel in Naples or a lifeguard's foot to bring to light new finds. That this artifact exists at all should come as no surprise. Sea travel in the Classical world was risky business, but the unfortunate fate of ancient sailors has preserved many a ship wreck for us to study today.

Ancient Underwater Relic Found in Israel

Another new discovery in Britain

2008-08-01T09:34:00.001-07:00

Here's yet another intePublish Postresting find from Britain, this time from Caerleon in Wales. Roman military history is of course a fascinating aspect of Ancient Rome that many scholars devote their lives to. I'm especially partial the the history of Roman Britain, probably because most of my ancestors are from England, Ireland and Scotland. I'm glad this article includes a video. For once, a media web site is using tools from the 21st Century.

Rare artifact found at Roman site

Pompeii crubmling

2008-07-17T19:01:00.000-07:00

I've never been to Pompeii. In fact, I've only been to Italy once, and I was mostly in Venice on that trip. The closest I've ever been to Pompeii was the "Pompeii" exhibit that rolled through the Chicago Museum of Science and Industry a few years back. Since long before then, I have dreamed of strolling through the ancient streets and peering into doorways to find polychrome frescoes or delicately laid mosaics. Nowhere in that fantasy do I picture myself having to step over someones used mattress, but apparently that's the reality today. It's shocking, though by no means surprising, that Italy has let Pompeii take a nose dive towards destruction. Italy, the very country that chases down illegally traded antiquities all over the world, can't even protect what is probably the most important Roman site ever discovered. Italy has a long history of under-maintaining its historical sites. But, in their defence, you can't walk ten feet in Italy without tripping over a Roman ruin. Still, it's politics that dictate where the money goes in Italy, and the Italian government works as smooth and efficiently as a 70's vintage Fiat. The fact that Pompeii has been left to crumble is an enormous blow not only to the Italy's reputation, but to future generations, who depend of the current stewards of historical sites to keep them in good repair. The damage is done in Pompeii and can probably only be slowed, not stopped or reversed. The irony is that digging up Pompeii in the first place is what brought about it's destruction; for a second time that is. I still dream about going to Pompeii and the surrounding area. I still read books on the subject and hope one day to do some research there. Hopefully there will be a Pompeii for me to visit one day, and I hope that I won't have to climb over any one's garbage in the process.

Pompeii ruins crubmling away

Roman Rostrum Found

2008-07-14T18:23:00.000-07:00

What a find! As I mentioned in a previous post, I love nautical archeology. So much history is waiting beneath the waves waiting to be found; artifacts such as the Antikythera Mechanism and the statue of the Victorious Youth are just of few outstanding examples of what lies beneath the waves. Rostrums are an extremely rare artifact and of much historical importance; their bronze beaks helping shape both the worlds of Ancient Greece and the Roman Empire. Unfortunately, now that the Greek coast is open to divers, artifacts like the ones mentioned above may be easy prey for looters. The last thing the world of antiquities needs is another avenue for looting. At least this rostrum was found by scholars, not criminals, but I'm sure we'll be hearing more news about underwater sites ravaged by theft.

Ancient Roman Ramming Rostrum Discovered

French Romans in Oklahoma

2008-07-08T11:48:00.000-07:00

If had unlimited funds and time, my dream vacation would be a grand tour of the entire Roman Empire. I would start in Rome and go from there; from southern Scotland to the Euphrates. No ancient ruin or museum would I let go unstudied. Now, I'm sure that trip would take more vacation time than my job currently gives me, but dreams are sometimes meant to be unreasonable. Fortunately, I live in a world that does a relatively good job in sharing it's culture. Hence Roman Art from the Louvre at the Oklahoma City Museum of Art. I tend to get overly excited about all things Roman, but this exhibit really gets my pulse racing. Not only are the artifacts first rate, but the exhibit its self is a wonderful balance of artistic representation and historical substance. The juxtaposition between "wealthy"and "poor" artifacts I find especially interesting. Too often the general public sees the ancient world in the form of gold and marble. This exhibit should be a refreshing reminder of the huge class differences that existed in the Roman world and perhaps will teach museum goers that society hasn't changed all that much in 2,000 years. Now, if I only had the funds and time for a trip to Oklahoma.....

Louvre art exhibit portrays daily life in the Roman Empire

2008-06-17T05:51:00.000-07:00

Roman-era necropolis for the poor found intact

In my last post, I talked about how finding everyday cargo in sunken ancient ships helps us to understand the common man in the ancient world. This newly found necropolis takes that frame of though even further; by studying the ancient common man himself. The skeletons found in these 1-2nd century CE tombs represent the huge class divisions within the "Pax Romana." These laborers likely have skeletal damage similar to those of other contemporary burials found thoughout the empire. For everyone but the super rich and powerful, life was hard and the tolls taken by the body led to injury and early death. The Emperor Augustus lived to be 75. The unprivileged laborer or slave probably would have been lucky to see 40. The disparities in the lifestyle of classes in ancient Rome is nothing new and is a topic that has been well documented in recent years. What really peeks my interest about this necropolis is the male skeleton with the fused jaw. Today, differently-abled individual are treated as equal members of society, as of course they should be. The ancient world had different views. It was common practice in ancient Rome for the father of a new born the "judge" the child before accepting it into his household. Physically deformed children were commonly exposed, either to die or possibly be snatched up for the purpose of slavery. Physical deformities where not looked kindly upon, whether it be a new born or grown person. The Roman virtue of constantinum was at odds with being physically infirm. That's not to say that disabled people where rounded up the disposed of, but they weren't generally accepted as important members of society. Of course, I'm speaking in generalizations here, so let me not stray from my point. Ancient Roman sources are mute about such people, as they are mute about most people outside their social class. What this new found skeleton shows us is that we need to take a second look on how these people where treated in society. Someone obviously helped care for this person, though to what extent and how long we can not tell. Regardless, though, our perceptions on the treatment of physically disabled people in the ancient world need to re reexamined.

2008-06-12T15:17:00.000-07:00

Ancient ship was carrying the finest wine

I love nautical archeology. I've always loved the ocean, and I've always loved archeology, so I guess it's a natural fit. There have been many famous Greek and Roman discoveries made underwater, probably the most important being the Antikythera mechanism. Ancient shipwrecks that are discovered today provide us with a rare look into the the seafaring side of ancient civilizations. More often that not, it is the cargoes of these ships that provide the greatest amount of information, not the ships themselves. If you're looking to find an ancient wooden ship sitting quietly on the sea floor, the Mediterranean is a bad place to look. Shipworm and the passage of thousands of years eat away most wood and other biodegradable material. There have been several notable ships found, mostly burried in sand and mud, but these are more likely to be found close to shore or in rivers and lakes. It's the cargo, though, that really gives us incite into the ancient world. What the cargo is, where it was found and when it sank all help to paint a clearer picture of what ancient sea trade was like. Finds like the garum carrying ship a few years ago, and the wine carrying ship from the article above are important not because of sunken gold or statutes, but because of the seemingly mundane cargo of bulk goods. Though gold, coins, statues and such are indeed important artifacts, it's the cargo of these merchant ships that help us understand the "lower" aspects of Greek and Roman life. Much is knows about the Caesars and Senators ruling over Rome, or of great figures and philosophers of Greece, but studying the cargoes of merchant ships can put us in touch with the lower classes of ancient society. Cicero didn't neatly stack up those amphora full of fish sauce, a slave or pleb did. It's their story that is so often left untold, but by looking past the gold coins and studying the pottery shards encrusted with garum or wine residue, perhaps we'll be one step closer to hearing it.

2008-06-12T11:37:00.000-07:00

Ancient Greek grave found during subway work

I touched base on the topic in a previous blog, and I have a feeling that I'm going to be writing about finds like this for the foreseeable future. I mentioned in a previous blog about the new subway in Naples, the construction of which has turned up some interesting Roman artifacts. Check out Archeology Magazine for more info on that dig. It's always fun to wonder what is under our feet waiting to be dug up.

Getty Adds to Antiquities With Third-Century Work

2008-06-09T15:55:00.000-07:00

Getty Adds to Antiquities With Third-Century Work

When the story first broke years ago about the Marion True/Robert Hecht illegal antiquities trading conspiracy, I was afraid that the end was near for the industry. I was concerned that great works would be crated up and sent over seas and that American museums would never again buy a Greek red-figure vase or Roman bust. Well, I didn't really think that would happen, but I was worried that museums would treat antiquities like they had some disease and stay far away from them. But, every time I hear of an institution obtaining a new piece, my fears are relieved. The new guidelines put in place by the Association of Art Museum Directors (see previous blog) will hopefully usher in a new ear for the antiquities trading industry, but illegal dealings are still a problem and unfortunately will continue to be so for a long time. But, at least museums are trying to right past wrongs and are continuing to enrich us with artifacts from the past.

Museums Set Stricter Guidelines for Acquiring Antiquities

2008-06-05T16:16:00.000-07:00

http://www.nytimes.com/2008/06/04/arts/design/04coll.html?partner=rssnyt&emc=rss

As someone who plans on working in a museum one day, I have been following the saga of illegally purchased antiquities for quite some time. The news in this article is refreshing, and I hope the introduction on the new Association of Art Museum Directors' guidelines help stem the trade of illegal artifacts. Unfortunately, illicit antiquities dealing if still a problem throughout the world, so I doubt this is the last time we hear about it in the news.

Roman remains found buried at infirmary site

2008-06-03T17:04:00.000-07:00

I've said it several times now, and I'm going to say it again. Britain continues to dominate the news with important Roman finds and I'm convinced that it's only going to produce more valuable information in years to come. This new site found in Worcester in intriguing. Aside from the evidence of trade between Gaul and Britannia in the form of pottery shards, the "mysterious circular ditch" could prove to be very interesting. Hopefully new studies will determine it's function. Until then, keep on eye on Britain, because there's a lot still buried there waiting to be discovered.

Alexander, The Ambiguity of Greatness

2008-05-30T09:01:00.000-07:00

I recently finished Alexander, the Ambiguity of Greatness by Guy MacLean Rogers. While the book didn't break any ground in the study of Alexander the III of Macedon, I still highly recommend it.

The book is a straight forward biography, starting with background info on Macedonia and Philip the II. From then on the book follows the chronological path of Alexander from childhood to his enormous conquest of Asia and premature death. Mind you, this is not a book for scholars of Alexander. It is, however, very user friendly and a vast knowledge of Alexander or the world of antiquity is not required to understand and enjoy the book. That's not to say the Alexander, the Ambiguity of Greatness glosses over facts and is elementary. In my opinion, this book is balanced enough to please people with a varied background on Alexander.

Before reading this book, I had a general knowledge on Alexander, his history, his conquests and the aftermath of his death. What I got out of this book was a greater knowledge of his (alleged) motives and a better overall understanding of the inner workings of his conquest. The ambiguity of greatness comes in the form of his legacy. Alexander is both loved and hated by historians for various reasons. Some see him as a cruel despot who ruthlessly conquered Persia and beyond, slaying men, women, children and friends who stood in his way. Others see him as a latter day multi-culturist who sought to incorporate the various people he conquered into his new government and adopted some of there ways and traditions himself. The true Alexander probably lies somewhere in between.

I feel that scholars, from whatever age, try and judge history using their own mores, which can be a flawed philosophy. The end of the book points out that we may revile someone like Alexander for the "war crimes" he committed, but we call a Truman, who ordered the deaths of thousands with the stroke of a pen, a patriot. I can see the where the potential disagreement on that point can come into play, but I think it raises an interesting question. The point is perspective. Truman died in 1972; his life and times are far more documented that Alexander's. There are plenty of people alive today that remember Truman. We can easily dissect every aspect of his decision to use atomic weapons. Alexander died 2,331 year ago. We don't have the luxury of mass media or eye witness accounts to tell of Alexander's motives. Perhaps the killing of Greek mercenaries or the wholesale murder of the entire population of Massaga seemed justified over 2,000 years ago, no matter how offensive it seems to us. Unfortunately for Alexander, he is judged by people now living in a different world, separated by over 2,000 years. I am not prepared to call Alexander a hero or a villain, and there in lies the ambiguity of his greatness.

Et tu.....Caesar?

2008-05-14T18:10:00.000-07:00

Divers find Caesar bust that may date from 46B.C. They found what now? OK, let my state that I am not an expert on archaeology, or anything for that matter. But that bust kind of maybe looks like Gaius Julius Caesar......kind of. Ever since the Renaissance brought renewed interest in Ancient Rome, people have been tacking names on portrait busts without any historical evidence to back up the claim. Some guy digs up a bust of an old man and says "Hey, that must be Marius." Now, I'm not saying that is what happened recently in France, but they really don't give you any evidence in the article, do they. Now, I know I should only expect so much from a Yahoo! news article, but I'm left with my doubts. Just because you pull a male portrait bust out of the Rhone near Arles, you can't assume that it's Caesar. Nor can you assume that it's from 46 B.C. I know you can tell by the technique the general period from which a statute is from, but through around words like "undoubtedly," especially in the archaeological field, is asking for trouble. If there is "doubtless" proof on the origins of the statue, show me, because I would love to see it. Until then, I'm going to consider this bust a "possible" representation of Caesar. Here are some other busts of Caesar, both real and supposed.

http://web.mac.com/heraklia/Caesar/graphics/Caesar_Home.gif.gif
http://www.mimenta.com/Images/Extra%20Graphics/VA07/Julius%20Caesar.jpg
http://julius-caesar2.tripod.com/sitebuildercontent/sitebuilderpictures/caesar10.jpg

Is the Rhone bust Caesar? What do you think?

Emperor Nero's gate discovered in Cologne

2008-05-03T08:25:00.000-07:00

http://www.expatica.com/de/articles/news/Emperor-Nero_s-gate-discovered-in-Cologne--.html

Yet again, another wonderful discovery of a Roman site. Many modern cities in Europe have been continuously inhabited since Roman times, so most traces of their ancient past have been covered up over the centuries (think London and Paris). So, more often than not, it's a new subway or construction project that ends up shedding light on the history buried below. Discoveries made this way will only continue to become more frequent in my opinion. Some good examples are in Rome and Naples, which are both expanding their inadequate subway systems. New discoveries in Naples where recently discussed in a fascinating article in Archaeology Magazine.

Speaking of Nero, I'm almost done with a wonderful biography on him. Nero, The End of a Dynasty by Miriam Griffin is a wonderfully researched look into the reign of one of Rome's most notorious emperors. The book is unique in the fact that it is not a chronological account of Nero's life, but more of a critique on his reign and himself as a man. The first part of the book goes into depth about all aspects of his Principate, ranging from his dealings with the Senate to his extravagant artistic endeavours. In the second part of the book, his eventual downfall is reviewed with scholarly precision. I definitely recommend Nero, The End of a Dynasty if you are looking to learn more about Nero and also looking for something other than a mere collection of chronological facts.

Rare statue of Roman Emperor found

2008-04-21T17:50:00.000-07:00

http://www.thestate.com/372/story/372975.html

It's always cool when new discoveries come to light, even if the circumstances are less than ideal. Illegal smuggling of antiquities is an ongoing problem which I have touched based on before. Luckily, these artifacts where saved before being sold on the black market. We can only hope the increased pressure on the smugglers will eventually put an end to this destructive criminal activity.

Last Parthenon marbles threatened by pollution: archaeologist

2008-04-17T07:55:00.000-07:00

http://news.yahoo.com/s/afp/20080413/ts_afp/greecearchaeologypollution_080413085950;_ylt=Aovi0cDV8FHIvvvMTuHYQWpFeQoB

I lieu of my last post, this comes as no surprise. Greece has long history of letting it's monuments be eaten away by pollution. The new Acropolis Museum just opened, though Athens has been under a cloud of smog for decades. Acid rain destroys marble, as we have seen in Athens, Rome and abroad. I am glad that Greece is finally attempting to take care of its monuments, but it is a shame that so much is left out in the open, slowly disintegrating.

Archaeologists warn ancient Greek theatres crumbling

2008-04-17T07:27:00.000-07:00

http://www.reuters.com/article/artsNews/idUSL1074878120080410

This just makes me so mad! Though I understand the complexities of running a country, it's sad that so much history is eroding away. How can Greece afford to maintain over 100 theaters? I don't have the answer to that question. All I know is that an answers must be found before it's too late. None of us "own" these historical sites. We merely are caretakers with the responsibility to maintain these sites for future generations. Hey Greece, find the money and make it happen!

Ancient statue discovered in Rome

2008-04-10T16:06:00.000-07:00

http://www.adnkronos.com/AKI/English/CultureAndMedia/?id=1.0.2056023971

News like this always makes me happy. I only wish that articles like this would print a freaking picture! I know it's not as simple as that, but come on guys. People want to see what you've found. Sculpture is best appreciated if you can see it! Anyway, that gives me a good lead in to a topic I've been wanting to mention. I love books, and I'm sure most people who love Classics love books as well. I have a large and ever growing collection of books on all things Greek and Roman. I have my share of Tacitus, Cicero, Plato, Pliny and so on. But I have another category of books witch sometimes brings me to blush. I love what I call, Sunday morning coffee books. These are large format coffee table books, full of glossy pictures. Books like this are the porn of the Classics world. They have limited if sometimes dubious historical information, but the pictures are outstanding. I call them Sunday morning coffee books for reasons you can guess. I look forward all week to the time spent with my Sunday morning coffee books. It's a time where I can look as some glossy pictures of Pompeii fresco or the Colosseum and just day dream. Some people may laugh at me for spending money on these "bargain rack" books when there are plenty of "legitimate" books out there to be had, but I don't care. My Sunday morning coffee books are like a little escape for me. When I look out my window I see Milwaukee, not Rome or Athens, so it's nice to change the view sometimes, if just for a morning.

Artifacts desappear from Rome sites

2008-04-10T15:54:00.000-07:00

http://www.upi.com/NewsTrack/Top_News/2008/04/03/artifacts_disappear_from_rome_sites/2035/

It's fitting that this article came to my attention, seeing as how my last blog talked about protecting sites in Rome. This article absolutely blows my mind. How can people be so short sited to rob the world of it's history one pottery shard at a time? I'm sure people think that by taking a little pebble from the Forum or what have you makes no difference, but when you multiply that by millions of tourists with the same attitude, you've got big problems. Rome recently announced that it will start charging admission to the Forum Romanum, and I say more power to them. Sites like that need some sort of control, or greedy "turisti" will pick the place clean. I'm not saying that we should turn every historical site into a Carabinieri fortress, but some measures, though inconvenient to tourists, are need to preserved history for everyone. I think a lot of the worlds problems would be solved if people stopped thinking so much about themselves and considered how their actions effect the big picture.

Circus Maximus redux

2008-04-10T12:01:00.000-07:00

http://www.independent.co.uk/news/europe/after-1500-years-as-a-ruin-gladiators-stadium-to-be-restored-804002.html

I applaud the Italian's effort to bring the Circus Maximus back to life, but I question their motives. Rome is over run with ancient ruins that no one can afford to maintain. I would love to see new digs and restoration at the Circus Maximus, but before that happends, Italy needs to put in place some new policy regarding the treatment of it's history. Italy has done a good job in the past when trying to preserve it's ancient cites, but money is always a problem. You can't really blame the Italian government though, because Italy is plastered with ancient sites that need protection, at a very hight cost. I hope the new efforts at the Circus go well, and hopefully they uncover new and exciting archaeological finds, and who knows, maybe the PR surrounding the Circus restorations will generate new public interest in maintaining Italy's history.

Greece to Britain: Hand over artwork

2008-04-01T06:17:00.000-07:00

http://www.usatoday.com/news/world/2008-03-30-marbles_N.htm?loc=interstitialskip

Not bloody likely! This is an issue that has been around for quiet a while and is not going away any time soon. The issue of provenance is a touchy subject in the antiquities world at best. The dealings in allegedly stolen artifacts has plagued many museums and collectors is this county and abroad, and the problem, though diminishing, seems to be here to stay. That said, the Elgin Marbles present a different case. We know where they came from, when they where taken and who took them. The Elgin Marbles are not a few red figure vases dug up in some field and smuggle out of the county, they are part of the most famous and visible symbol of Greece, the Parthenon. Greece wants them back, and who can blame them. But, Britain says it acquired them fair and square, which it did. Here is where is starts to get complicated. To make a long story short, I don't believe that we will see the Elgin Marbles returned to Greece in the foreseeable future. And maybe they shouldn't. Just because a modern state happens to occupy an ancient land, does that give the right of ownership to that ancient culture's legacy? It's a very touchy subject and I'm not exactly sure where I stand. The modern state of Greece is not ancient Greece. "Ancient Greece" didn't even exist. It was a collection of city states that had numerous and ever changing alliances with each other. Does the modern Greece get to lay claim to all artifacts found withing it's present borders? Do Athenian and Spartan and Cypriot artifacts all get to be claimed by "Greece?" If so, Britain has the right to keep the Elgin Marbles, for once upon a time England was part of the Roman Empire, as was Greece. They were all part of the same "country" back then, so why shouldn't Greek artifacts reside in Britain? I know that's flawed logic, but you see my point. When we try to "own" history, someone is always left out. Greece wants the Elgin Marbles back as a matter of pride, Britain wants to keep them as a matter of stubbornness. In the end, we are arguing over the very thing we should be sharing with each other, our vast and wonderful history.

Remains of rare Roman roundhouse found during sewer works

2008-03-27T17:47:00.000-07:00

http://www.blackpoolcitizen.co.uk/display.var.2146724.0.remains_of_rare_roman_roundhouse_found_during_sewer_works.php

Wow! It seems like every day there is a new Roman discovery in Britain. In my opinion, northern England and Scotland will bring forth the some of the better Roman archaeological finds in the coming years. Stay tuned!

Rome to 'paint' Trajan's Column with light

2008-03-27T17:43:00.000-07:00

http://www.upi.com/NewsTrack/Science/2008/03/22/rome_to_paint_trajans_column_with_light/5987/

Interesting. I'm not sure how they're going to do this, seeing as they don't explain it in the article. They do have a good point though. Most people associate ancient Greece and Rome with stark white marble. Not so! Those lovely statues that grace todays museums where once polychrome and probably quite stunning.

Getting things started

2008-03-27T17:29:00.000-07:00

Si vales bene est ego valeo.

Where to begin, where to begin. This being the first blog entry of my first blog, I feel like I should put forth some grand introduction explaining my purpose for writing and the ideals that make me who I am. Well, that's not going to happen. What I am going to tell you is that I am in love with the Classics, and that's why I'm here. I hope to share with you the ups and downs of my never ending reading habits, the latest info and opinions on what's going on the the archaeological world, as well and discussing Greek and Roman art, architecture, society, military history and what have you. Your feedback is always welcome; one of the main reasons behind this blog is to spark discussion on Classical issues. I hope you check in often.

Vale