Historical Background

What did the Romans use the Colosseum for?

Following the devastating fire of 64 AD, which destroyed much of the city, Emperor Nero commanded the building of an opulent palace for himself in the burned region. The Domus Aurea, which is currently being excavated and open for tours, served as the palace. The people of Rome were obviously unhappy about this, and when Nero was overthrown and Emperor Vespasian took over, he ordered the destruction of Nero's palace complex and the construction of the Colosseum on top of what had once been an artificial lake. As a vast amphitheater, the Colosseum intended to serve as a place of amusement for all Roman residents.

Animal Hunts

Animal hunts were among the many events held at the Colosseum in ancient Rome, which served as a center of entertainment. These so-called venationes featured exotic creatures such as hippos, bears, and lions. The animals engaged in combat with venatores, or warriors carrying weapons, at times in addition to one another. Plebeians and patricians flocked to the Colosseum's stands, reveling in these gory sights. Following the Second Punic War, in approximately 185 B.C., the venationes tradition was established and persisted for centuries. Throughout the enormous Roman Empire, animals were brought in, including lions, panthers, elephants, bears, tigers, crocodiles, and rhinoceros from North Africa. The brutality and gore of these hunts captivated the ancient Romans for many years.

Art Work Highlight

Pollice Verso, With a Turned Thumb, by Jean-Léon Gérôme 1872.

In Gérôme's renowned painting "Pollice Verso," central to the "Thematization of the Spectacle" section, the ambiguous Latin phrase refers to the gesture signaling the fate of defeated gladiators. The artwork, was created in 1872, it is an oil painting on a canvas measuring 96.5 cm × 149.2 cm. Debate surrounds whether "thumbs down" spared or condemned the fallen; historical sources suggest it meant death, contrary to popular belief. Gérôme's depiction of the retiarius gladiator, with trident and net, reimagines this moment. His unconventional framing captivates viewers, influencing both public perception and cinematic depictions like Ridley Scott's "Gladiator" and the series "Spartacus: Blood and Sand." The painting prompts questions about gladiatorial life and the role of vestal virgins, satirically depicted as bloodthirsty cheerleaders, revealing contradictions in their revered status. Looking at this work of art, I think about the significance of these choices, the judgment of the audience as a whole, the conflict between honor and survival. Gérôme's representation prompts us to consider our own decisions, the times in our life when we figuratively give something the thumbs up or down. In conclusion, "Pollice Verso" is a timeless examination of human fate that effectively conveys the drama, suspense, and moral complexity of ancient Rome.

Gladiator Fights

These gladiatorial fights captivated spectators for years and were a major aspect of Roman society in ancient Rome. Romans thought that blood was necessary to satisfy the spirits of the dead, therefore it's possible that these battles originally developed from burial customs. With time, the competitions grew in complexity and popularity. Gladiators engaged in combat with one another or with exotic creatures like lions. They were frequently slaves or captives of war. There were more violent fights in the Colosseum's early years, but as time went on, the exorbitant expense of replacing slain gladiators made the matches less dangerous. Ultimately, this cruel kind of entertainment came to an end due to shifting circumstances, including the fall of the Roman Empire, emerging religious and ethical norms, and financial constraints.

Tod des Spartacus, The Death of Spartacus, by Hermann Vogel 1882.

Art Work Highlight

Hermann Vogel's oil painting Tod des Spartacus realistically depicts the final moments of Spartacus, the famed rebel leader, during the Third Servile War (71 BC). Rich in warm tones, the artwork shows Spartacus standing tall and proud amidst surrounded Roman soldiers, his battle-worn, strong body emphasizing his fragility as much as his might. The broken chains at his feet stand for resistance and emancipation, while the red blood on his torso represents the heavy price of freedom and revolt. The far-off scenery highlights the epic scope of the resistance movement against Roman rule. Spartacus' courageous seclusion and unwavering spirit are highlighted by Vogel's portrayal, which turns his tragic demise into a potent historical symbol of hope and resiliency.

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