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Venatio was first introduced by Marcus Fulvius Nobilior, who celebrated his Greek campaign by hosting games where gladiators would fight lions and panthers. Exotic wild beasts from the far reaches of the Roman Empire were brought to Rome and hunts were held in the morning prior to the afternoon main event of gladiatorial duels.
By the middle of the third century BC. multiple forms of dramatic performance had already developed in the Italian peninsula, owing both to Greek influence and to local traditions, [28] including: (i) in Etruria and Rome the fescennine had developed, which was sometimes accompanied by music and dance performances or sports games; [29] (ii) in ...
Greek literature (Greek: Ελληνική Λογοτεχνία) dates back from the ancient Greek literature, beginning in 800 BC, to the modern Greek literature of today. Ancient Greek literature was written in an Ancient Greek dialect, literature ranges from the oldest surviving written works until works from approximately the fifth century AD.
Garlanded bucrania on a frieze from the Samothrace temple complex Bucranium on the frieze of the Temple of Vespasian and Titus in Rome.. Bucranium (pl. bucrania; from Latin būcrānium, from Ancient Greek βουκράνιον (boukránion) 'ox's head', referring to the skull of an ox) was a form of carved decoration commonly used in Classical architecture.
In Constantinople, the center of the Greek East, one could find Greek-speaking poets and historians referring to Rome as a foreign city full of vice, corruption, and decadence. The situation of the Romans and Rome began to change rapidly and many local Roman traditions disappeared. It was common to hear Barbarian languages in the Italian ...
The Greek language became a favorite of the educated and elite in Rome, such as Scipio Africanus, who tended to study philosophy and regarded Greek culture and science as an example to be followed. The Roman Emperor Nero visited Greece in 66 AD, and performed at the Ancient Olympic Games , despite the rules against non-Greek participation.
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Book IV strongly indicates Propertius was planning a new direction for his poetry. The book includes several aetiological poems which, in reviewing the mythological origins of Rome and its landmarks, can also be read as critical—even vaguely subversive—of Augustus and his agenda for the new Rome.