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Bustuarius
A ''bustuarius'' (plural: ''bustuarii'') was a kind of gladiator in Ancient Rome, who fought about the funeral pyre () of the deceased at a Roman funeral. ''Bustuarii'' were considered of even lower status than other gladiators whose fights were exhibited in public gladiatorial games. ''Bustuarii'' are mentioned by Cicero in his ''Against Piso'' speech, criticizing Lucius Calpurnius Piso Caesoninus before the Senate and comparing Publius Clodius Pulcher to a ''bustuarius gladiator''. Tertullian, alleges in his treatise attacking ancient Roman religion in favour of Christianity – ''On Spectacles'' – that the origin of gladiatorial games was these funerary rituals. The word could also refer to a gravedigger or cremation attendant. At first, the practice was to sacrifice captives on the tomb, or at the ''bustum'' of warriors: instances of which are in Homer – at the funeral of Patroclus – and in Greek tragedy. Their blood was supposed to appease the ''di inferi'' or the ''ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gladiator
A gladiator ( la, gladiator, "swordsman", from , "sword") was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their lives and their legal and social standing by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalized, and segregated even in death. Irrespective of their origin, gladiators offered spectators an example of Rome's martial ethics and, in fighting or dying well, they could inspire admiration and popular acclaim. They were celebrated in high and low art, and their value as entertainers was commemorated in precious and commonplace objects throughout the Roman world. The origin of gladiatorial combat is open to debate. There is evidence of it in funeral rites during the Punic Wars of the 3rd century BC, and thereafter it rapidly became an essential fea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Funeral
Roman funerary practices include the Ancient Romans' religious rituals concerning funerals, cremations, and burials. They were part of time-hallowed tradition ( la, mos maiorum), the unwritten code from which Romans derived their social norms. Elite funeral rites, especially processions and public eulogies, gave the family opportunity to publicly celebrate the life and deeds of the deceased, their ancestors, and the family's standing in the community. Sometimes the political elite gave costly public feasts, games and popular entertainments after family funerals, to honour the departed and to maintain their own public profile and reputation for generosity. The Roman gladiator games began as funeral gifts for the deceased in high status families. Among the elite, funeral displays and expenses were supposedly constrained by sumptuary laws, designed to reduce class envy and consequent social conflict. The less well-off, and those who lacked the support of an extended family could ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patroclus
In Greek mythology, as recorded in Homer's ''Iliad'', Patroclus (pronunciation variable but generally ; grc, Πάτροκλος, Pátroklos, glory of the father) was a childhood friend, close wartime companion, and the presumed (by some later ancient sources) lover of Achilles. of name There are at least three pronunciations of the name 'Patroclus' in English. Because the penultimate syllable is light in Latin prose (''pă′.trŏ.clŭs''), the antepenult was stressed in Latin and would normally be stressed in English as well, for (analogous to 'Sophocles'). However, this pronunciation is seldom encountered: for metrical convenience, Alexander Pope had made the 'o' long, and thus stressed, in his translation of Homer, following a convention of Greek and Latin verse, and that pronunciation – of Latin ''pa.trō′.clus'' – has stuck, for English . Moreover, because in prose a penultimate Greco-Latin short ''o'' (omicron) would only be stressed in a closed syllable, the pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sword And Sandal
Sword-and-sandal, also known as peplum (pepla plural), is a subgenre of largely Italian-made historical, mythological, or Biblical epics mostly set in the Greco-Roman antiquity or the Middle Ages. These films attempted to emulate the big-budget Hollywood historical epics of the time, such as ''Samson and Delilah'' (1949), ''Quo Vadis'' (1951), ''The Robe'' (1953), ''The Ten Commandments'' (1956), '' Ben-Hur'' (1959), ''Spartacus'' (1960), and ''Cleopatra'' (1963). These films dominated the Italian film industry from 1958 to 1965, eventually being replaced in 1965 by spaghetti Western and Eurospy films. The term "peplum" (a Latin word referring to the Ancient Greek garment ''peplos''), was introduced by French film critics in the 1960s. The terms "peplum" and "sword-and-sandal" were used in a condescending way by film critics. Later, the terms were embraced by fans of the films, similar to the terms "spaghetti Western" or "shoot-'em-ups". In their English versions, peplum films ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slavery In Ancient Rome
Slavery in ancient Rome played an important role in society and the economy. Besides manual labour, slaves performed many domestic services and might be employed at highly skilled jobs and professions. Accountants and physicians were often slaves. Slaves of Greek origin in particular might be highly educated. Unskilled slaves, or those sentenced to slavery as punishment, worked on farms, in mines, and at mills. Slaves were considered property under Roman law and had no legal personhood. Most slaves would never be freed. Unlike Roman citizens, they could be subjected to corporal punishment, sexual exploitation (prostitutes were often slaves), torture and summary execution. Over time, however, slaves gained increased legal protection, including the right to file complaints against their masters. One major source of slaves had been Roman military expansion during the Republic. The use of former enemy soldiers as slaves led perhaps inevitably to a series of ''en masse'' armed rebel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Military Of Ancient Rome
The military of ancient Rome, according to Titus Livius, one of the more illustrious historians of Rome over the centuries, was a key element in the rise of Rome over "above seven hundred years" from a small settlement in Latium to the capital of an empire governing a wide region around the shores of the Mediterranean, or, as the Romans themselves said, ''mare nostrum'', "our sea". Livy asserts: :... if any people ought to be allowed to consecrate their origins and refer them to a divine source, so great is the military glory of the Roman People that when they profess that their Father and the Father of their Founder was none other than Mars, the nations of the earth may well submit to this also with as good a grace as they submit to Rome's dominion. Titus Flavius Josephus, a contemporary historian, sometime high-ranking officer in the Roman army, and commander of the rebels in the Jewish revolt describes the Roman people as if they were "born readily armed". At the time of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Roman Amphitheatres
The remains of at least 230 Roman amphitheatres have been found widely scattered around the area of the Roman Empire. These are large, circular or oval open-air venues with raised 360 degree seating and not to be confused with the more common theatres, which are semicircular structures. There are, however, a number of buildings that have had a combined use as both theatre and amphitheatre, particularly in western Europe. Following is an incomplete list of Roman amphitheatre locations by country. See also * Roman architecture * Circus (building) * Arena * Stadium Related modern building structures * List of contemporary amphitheatres * List of association football stadiums by capacity * List of indoor arenas * List of stadiums References External links Aerial Photographs(Smith's Dictionary of Greek and Roman Antiquities) with Platner article Google Earth file containing several locationsRomanheritage.com site with photos of Roman Amphitheaters {{Ancient Roman architecture ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Greek Underworld
In mythology, the Greek underworld, or Hades, is a distinct realm (one of the three realms that makes up the cosmos) where an individual goes after death. The earliest idea of afterlife in Greek myth is that, at the moment of death, an individual's essence (''psyche'') is separated from the corpse and is transported to the underworld. In early mythology (e.g., Homer's ''Iliad'' and ''Odyssey'') the dead were indiscriminately grouped together and lead a shadowy post-existence; however, in later mythology (e.g., Platonic philosophy) elements of post-mortem judgment began to emerge with good and bad people being separated (both spatially and with regards to treatment). The underworld itself— commonly referred to as Hades, after its patron god, but also known by various metonyms—is described as being located at the periphery of the earth, either associated with the outer limits of the ocean (i.e., ''Oceanus'', again also a god) or beneath the earth. Darkness and a lack of sunlig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manes
In ancient Roman religion, the ''Manes'' (, , ) or ''Di Manes'' are chthonic deities sometimes thought to represent souls of deceased loved ones. They were associated with the ''Lares'', ''Lemures,'' '' Genii'', and ''Di Penates'' as deities ('' di'') that pertained to domestic, local, and personal cult. They belonged broadly to the category of ''di inferi'', "those who dwell below," the undifferentiated collective of divine dead. The Manes were honored during the Parentalia and Feralia in February. The theologian St. Augustine, writing about the subject a few centuries after most of the Latin pagan references to such spirits, differentiated Manes from other types of Roman spirits: Latin spells of antiquity were often addressed to the Manes. Etymology and inscriptions Manes may be derived from "an archaic adjective manus—''good''—which was the opposite of immanis (monstrous)".. Roman tombstones often included the letters ''D.M.'', which stood for ''Dis Manibus'', liter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Di Inferi
The ''di inferi'' or ''dii inferi'' (Latin, "the gods below") were a shadowy collective of ancient Roman deities associated with death and the underworld. The epithet ''inferi'' is also given to the mysterious Manes, a collective of ancestral spirits. The most likely origin of the word ''Manes'' is from ''manus'' or ''manis'' (more often in Latin as its antonym ''immanis''), meaning "good" or "kindly," which was a euphemistic way to speak of the ''inferi'' so as to avert their potential to harm or cause fear. Sacrifices Varro (1st century BC) distinguishes among the ''di superi'' ("gods above"), whose sites for offerings are called ''altaria''; the ''di terrestres'' ("terrestrial gods"), whose altars are ''arae''; and ''di inferi'', to whom offerings are made by means of ''foci'', "hearths," on the ground or in a pit. In general, animal sacrifice to gods of the upper world usually resulted in communal meals, with the cooked victim apportioned to divine and human recipients. Inferna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Greek Tragedy
Greek tragedy is a form of theatre from Ancient Greece and Greek inhabited Anatolia. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy. Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes around human nature, mainly as a way of connecting with the audience but also as way of bringing the audience into the play. Etymology Aristotelian hypothesis The origin of the word ''tragedy'' has been a matter of discussion from ancient times. The primary source of knowledge on the question is the ''Poetics'' of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Human Sacrifice In Ancient Rome
Religion in ancient Rome consisted of varying imperial and provincial religious practices, which were followed both by the people of Rome as well as those who were brought under its rule. The Romans thought of themselves as highly religious, and attributed their success as a world power to their collective piety ''(pietas)'' in maintaining good relations with the gods. Their polytheistic religion is known for having honored many deities. The presence of Greeks on the Italian peninsula from the beginning of the historical period influenced Roman culture, introducing some religious practices that became fundamental, such as the ''cultus'' of Apollo. The Romans looked for common ground between their major gods and those of the Greeks (''interpretatio graeca''), adapting Greek myths and iconography for Latin literature and Roman art, as the Etruscans had. Etruscan religion was also a major influence, particularly on the practice of augury, used by the state to seek the will of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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