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Entertainment




London Amphitheatre
Entertainment?



“”Pollice Verso" ("With a Turned Thumb"), Jean-Léon Gérôme, 1872
London       DRAIN

Amphitheatre
London
Roman Entertainment
• Chariot racing – circus
• Spectacles
  – Hunting
  – Gladiators
• Theatre
  – Bedroom farces
  – Musical dance – pantomime, choral
Amphitheatres
• Violent spectacles
  – Gladiators (munera)
  – Animals
     • Hunts (venationes) (? In Britain)
     • Scotland noted exporter of bears
  – Executions of criminals
     • Damnatio ad bestias
Amphitheatres
• Seating
  – Hierarchal
     • slaves and women at top
     • Highest classes at bottom
• Arena
  – Sand and perhaps scenery to create look of
    natural environment
• Hidden machinery
Other Amphitheatres
   Legionary Forts      Theatre-Amphitheatre
• Chester               Rural temple-bath centers
• York                  • Frilford
• Caerleon              • Gosbecks
      Other Forts       • Caistor
• Richborough           • West Heslerton
• Tomen-y-Mur (Wales)
• Catterick
Chester Amphitheatre




         c. 100 CE
Chester Amphitheatre
•   70 CE Timber
•   100 CE First stone amphitheatre
•   150 CE Abandoned
•   270-350 CE Second stone amphitheatre
Chester I and II
Maumsbury Rings, Dorchester
Bestiarius
Gladiatorial Combats
• Funeral role
• No first hand accounts by a gladiator
• Colonial beginnings
Gladiators - Laws
11 CE    Forbid women under 20 or men under
         25 from appearing on stage or in the
         arena
19       Forbids participation of upper ranks
~200    Outlaw single combat by women in the
        arena
Getting Ready
Secutor, Retarius and Radus
Defeat
Gladiators – Admit Defeat




                   Colchester
Glass Cup, Colchester
Named gladiators
(famous in Rome)
Copies found in Gaul
and Leicester
Hawkedon Helmet
             Helmet from Pompeii, ‘Gladiators’ Barracks”
Gladiatrix Grave
•   Doves, chickens
•   Figs, dates, white almonds   Funeral
                                 meal
•   Incense-Italian stone pine
•   Lamps
Turkey Female Gladiators Hamburg
Gladiator handled knife, Piddington, Northants.
York – Headless Romans
•   Victims of Caracalla?
•   Criminals?
•   Foreign soldiers?
•   Gladiators?
York – Headless Romans
•   Males 19-45
•   > 55% decapitated
•   Other signs of trauma
•   Grouped in major cemetery
Grave
Where are they from?
A match
A blow from Charon
Boxers
Verulamium (St. Albans) Theatre - reconstruction
Masks
Fighting Cocks
Fitness?




                           Piazza Armerina




London Bikini
Games of Chance

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11. F2011 Entertainment

Editor's Notes

  1. The capital's only Roman amphitheatre was located in Guildhall Yard, during an archaeological dig taking place in preparation for the new Art Gallery building project. In 2002, the doors to the amphitheatre opened for the first time in nearly 2,000 years.The surviving remains include a stretch of the stone entrance tunnel, east gate, and arena walls. They are protected in a controlled environment, 20 feet below the modern pavement, in which they can dry out slowly without damage to the ancient stonework. The original extent of the outer wall is marked by a circle of black paving stones in Guildhall Yard.
  2. Amphitheatres are readily identified by their form. They are all either oval or elliptical in plan. At the centre is an open, level central arena space, usually sunken beneath contemporary ground level. The arena is surrounded by either a high timber palisade or a stone wall depending on the building material employed. The arena is surrounded by seating. Usually the seating (cavea) survives as an earthwork, as in most cases the banks were formed using the material won from the excavation of the arena. Often the site was chosen to allow the arena to occupy an existing depression in the ground, the shape and side of which was adapted to shape. Entrances into the arena were provided (as a minimum) at each end of the long axis of the structure. For the military community, those built for the legions were large, in fact the largest in the province, and were stone-built. Amphitheatres serving auxiliary establishments were small earthworks, possibly constructed for single events on a temporary basis. The London amphitheatre (Figure 1) began in timber and was partially converted to stone, and the structures at the civitascapitals were predominantly large earthworks. The legionary fortresses and the new city of London were settlements of non-native peoples, the citizen troops of the legions, and incoming traders and administrators in London. It is worth noting that the only evidence from amphitheatre sites for gladiatorial spectacles comes from the legionary sites, while the only evidence for specific amphitheatre-related religious practice, the worship of Diana-Nemesis, is from London and the legionary sites. sand (arena, the Latin word from which the term "arena" is derived), a material whichprovided the gladiators with sure footing, absorbed the blood spilled during shows and was easilyrenewed.
  3. The dedication of the altar found in the small chamber to the west of the north entrance appears to be conclusive proof that this room functioned as a Nemeseum (shrine to Nemesis). However, although there are military parallels at Carnuntum and civil parallels in the Danubian provinces, these are placed outside the amphitheatre. At Caerleon, a possible Nemeseum was built into one of the side entrances in a secondary phase (Wheeler & Wheeler 1928, 119). Further parallels for the situation at Chester should be sought and consideration given to what the cult implies about the types of activities carried out in the amphitheatre.
  4. Began as a contest between slaves at funeral events as a tirbute to the departed.
  5. Excavated/FindspotHawkedon (all objects)(Europe,UnitedKingdom,England,Suffolk,Hawkedon)Period/CultureRomano-British (scope note | all objects)DescriptionCopper alloy gladiator's helmet, originally tinned and with face-guard, now lost.InscriptionsInscription Type: inscriptionInscription Language: Latin Inscription Content: [...]OSInscription Comment: This inscription is much weathered.The inscription is stamped in a panel on the upper surface of the neck-guard at the back.DimensionsHeight: 195 millimetresRoman Britain, 1st century ADFrom Hawkedon, SuffolkThis heavy bronze helmet originally had a tinned surface, giving it a shiny silver appearance. The wearer's face would have been encased in an intricate hinged mask with eye-guards, similar to helmets that have been found in Pompeii. The nearest place that gladiators are likely to have fought was Colchester, the leading town of the province in the first century AD, and just 20 miles away from where this was found.Bronze gladiator's helmet. It has a grille of linked circles to protect the face, and a broad brim to protect the back and sides of the head. At the front of the helmet is a medallion of Hercules.DimensionsHeight: 19 inches
  6. Place (findspot)
Excavated/Findspot Halicarnassus (all objects)
(Asia,Turkey,Aegean Region (Turkey),Caria,Bodrum,Halicarnassus)
Date
1stC-2ndC
Period/Culture
Roman (scope note | all objects)Description
Marble relief commemorating the release from service of two female gladiators, Amazon and Achillia. They are armed, and advancing to attack, with swords and shields. The figure on the right is missing the head. They stand on a platform, and below on each side is the head of a spectator. Inscribed above and on the platform. They are shown with the same equipment as male gladiators, but without helmets.

Inscriptions
Inscription Type: inscription
Inscription Language: 


Dimensions
Height: 24,5 inches
Width: 31 inches
Thickness: 5 inches
  7. Decapitations are usually interpreted either as signs of capitalpunishment e in the Roman period they were regarded as the mosthonorable type of execution (Garnsey, 1968) e or as ritual acts,designed to keep the dead from haunting the living (see Philpott,1991). While not uncommon in Roman Britain, decapitationsusually make up only a small proportion (typically <10%) of thetotal burials, with males and females encountered in roughly equalnumbers. In urban contexts they are often situated on the peripheryof burial grounds (
  8. If anything, it wastherefore not a common origin, but rather the diversity of theirbackgrounds which was the defining feature for the DriffieldTerrace Group.Whatever else connected this remarkable mix of people, so thatthey came to be interred in one of Roman York’s most prestigiouscemeteries, sharing, at least outwardly, similarities in burial ritethat rendered them so unusual, remains unknown. Dating evidencenow available indicates that burial took place over at least thewhole of the 2nd and 3rd century AD, possibly into the 4th (Hunter-Mann, 2006). This means that one of the earlier interpretations ofa single event, such as a “mass execution” of members of theImperial Court in the turbulent aftermath of Septimius Severus’death in AD 211 (see Montgomery et al., in press-b) is at least notthe whole story. A military connection of the cemetery may be mostlikely, given the all-male composition of the cemetery and therelatively high incidence of trauma related to interpersonalviolence noted during the preliminary assessment of the remains(see Tucker, 2006; Hunter-Mann, 2006). The initially more farfetchedsounding theory of a gladiator cemetery has also recentlygained support, based on possible similarities in trauma patternswith known gladiators (see Kanz and Grosschmidt, 2006) andespecially the toothmarks of a large carnivore, possibly a bear, lionor tiger, found on one of the skeletons (York Archaeological Trust,2010). Although there appears to be no evidence that decapitationswere part of the ritual used for dispatching defeated gladiators(see Kanz and Grosschmidt, 2006; Dunkle, 2008), this possibility is certainly intriguing. Nevertheless, the jury is still out,and it is hoped that the complete skeletal analysis, which is stillongoing will shed further light on the identity of these individuals.
  9. Another possibility is that these were gladiator burials. Losing gladiators who failed in their appeal formercy were generally dispatched by a knife or sword thrust through the back of the neck, severing thespinal column. Contemporary writers suggest that lifeless fighters brought to the corpse processingroom (spolarium) routinely had their throats cut for good measure (Seneca, Letters 19.12)), and thatsome victims had their throats cut in the arena as an entertainment in its own right (Seneca, Epistles7). The other documented method of dispatch was for apparently lifeless combatants in the arena,who were hit on the head with a hammer by a slave dressed as Charon to make absolutely certain (Zoll2002, 164). The average age at death for gladiators based on the evidence from tombstones was 27,but as many younger, less successful fighters would have died uncommemmorated it is likely that theactual age at death was somewhat lower (Wisdom 2001, 59). These demographic features are reflectedin the burial population at 6 Driffield Terrace. A comparison of documented 1st and 3rd centurygladiator duels found that whereas only 19 of 200 combatants (less than 10%) died in the 1st century,by the 3rd century the death rate was 25% (Wisdom 2001,59). As the numbers of fighters participatingin shows increased during the Roman period, it seems the number of fatalities grew steadily. Thebodies, already regarded as 'unclean' by the Romans, would have had additional social stigma asgladiators. They may well have been buried in designated areas by their comrades, perhaps with thehelp of burial clubs
  10. Steelyard weightRoman Britain, 1st-4th century ADThis bronze weight (1200 g), for a statera, or steelyard, has been made in the form of a rather unflattering but lifelike bust of a boxer, with cauliflower ears and a pigtail, a hairstyle often worn by Roman wrestlers and boxers.Height: 110.000 mmWeight: 1200.000 gBoxer – Vindilanda on silver
  11. Catterick Yorkshire MuseumBaldiockStead38 has already commented on the difference between the fine Baldock mask and the cruderexamples from Catterick and Wilderspool and pointed out its similarity to examples known from theContinent. These generally depict grotesque old men often with heavily emphasized wrinkles andlarge warts, and the three examples from London, although fragmentary, are most likely to be of thistype and are all possibly imports. Rouvier - Jeanlir~r~ec~ords the production of masks by the centralGaulish pipe-clay industry, but the main area of manufacture seems to have been the Rhineland.WilderspoolRome This terracotta mask represents a female character from ancient tragedy. The smooth face and straight nose are in stark contrast to comic masks, which were often grotesquely distorted. Only the arched brows betray the heroine's emotion. The calm face is framed by an elaborate hairstyle of finely structured parallel plaits held by a ribbon over the centre of the forehead.It is unlikely that this mask was actually worn by an actor. Terracottas of this kind were often found as offerings in sanctuaries or tombs.
  12. 1stC-3rdCPeriod/CultureRoman Imperial (scope note | all objects)DescriptionGem of glass paste imitating sard, engraved with two Erotes setting cocks to fight; in the background is a terminal figure.DimensionsLength: 0.9 centimetresHeight: 0.8 centimetresDate1stC-3rdCPeriod/CultureRoman Imperial (scope note | all objects)DescriptionGem of iridescent glass paste imitating sard, engraved with two Erotes setting cocks to fight; in the background is a terminal figure.DimensionsLength: 1.5 centimetresHeight: 1.3 centimetres
  13. London