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2. Gladiators Masarykova univerzita Filozofická fakulta Katedra Archeologie a muzeologie Klasická archeologie Lukáš Kratochvíl GLADIÁTOR TRÁK A JEHO ARMATURA OD ARCHEOLOGICÉ EVIDENCE PO REKONSTRUKCI Vedoucí práce: Dr. Elisabetta Maria Gagetti, Ph.D. 2012 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. ……………………………………… Podpis autora práce 2 Acknowledgement I would like to thank my supervisor Dr. Elisabetta Gagetti for her valuable advice, her time and encouragement that she provided me during work on this thesis. I would also like to express great thanks to my girlfriend Lenka Hadašová for her language correction and psychological support, which was inestimable during forming of this work and my studies. 3 Content 1. Introduction .......................................................................................................................... 5 2. Gladiators .............................................................................................................................. 6 2.1 Brief history of the games ................................................................................................ 6 2.2 Structure of the games ...................................................................................................... 8 2.3 The classes of gladiators ................................................................................................. 10 2.4 Thraex ............................................................................................................................. 12 2.5 Similarities and differences: the hoplomachus ............................................................... 14 3. The Finds ............................................................................................................................. 16 3.1 Galea (“Helmet”) ........................................................................................................... 16 3.2 Ocreae (“Greaves”) ....................................................................................................... 25 3.3 Manica (“Arm-guard”) ................................................................................................... 37 3.4 Weapons ......................................................................................................................... 38 3.5 Parmula (“Shield”) ......................................................................................................... 39 4 . The Iconographic Sources ................................................................................................ 40 4.1 Relieves .......................................................................................................................... 41 4.2 Mosaic ............................................................................................................................ 46 4.4 Decorative items ............................................................................................................. 53 5. The elements of the armature in the light of reenactment ............................................. 55 5.1 Reenactment: an experimental approach ........................................................................ 55 5.2 Reenactors ...................................................................................................................... 57 5.3 Reconstruction ................................................................................................................ 58 5.4 Manica ............................................................................................................................ 58 5.5 Ocreae ............................................................................................................................ 60 5.6 Sica ................................................................................................................................. 62 5.7 Parmula .......................................................................................................................... 64 5.8. Galea ............................................................................................................................. 66 6. Conclusion ........................................................................................................................... 70 7. Summary ............................................................................................................................. 71 7. Bibliography ....................................................................................................................... 73 4 1. Introduction There is a lack of modern literature dealing with particular a type only of gladiator. The present work has the wish to contribute to a better knowledge of the armatura of the gladiator type thraex. Two are the main ways: the first, to summarize the principal finds of equipment and the iconographical sources; the second, the experimental reconstruction of replicas of the equipment and armature of the gladiator type thraex from the 1st century AD onwards. The most meaningful sources used for such reconstructions are the finds from the gladiatorial barracks at Pompeii. The purpose of this experiment is to enlarge our acquaintance especially about the structural elements of representative gladiatorial material from archeological contexts. Another aim of the present work, then, is to answer the question which qualities and functions could original finds show in the time they were used. Scholarly studies are usually focused on setting the artifact into its context, on its implication and function more than on the way in which it was created. Projects devoted to the classification and function of gladiatorial equipment are rarely focused on its construction methods, the analysis of the realization of fixed and moving joints and other production processes. Even complex archeological studies on this theme usually lack the documentation about the structure of the items and the details of joints, which instead provides the best information about the techniques and the ways of construction of such artifacts. The active interest about reenacting of this period is one of the main reasons for writing this work and there is a separate chapter dedicated to it1. The reconstruction of the armature of the gladiator type thraex is part of a project dealing with the reconstruction of gladiatorial armatures of the 1st and 2nd century AD2. The bronze parts of the reconstructed armature were created by Mr. Martin Junek3, who is at the top of world-class armory crafters. 1 Chapter 5. 2 The project is brought on by the team of professional reenactors “Familia Gladiatoria Tavrvs”. 3 Armoury Maral company (for a brief overview of reconstructions of non-gladiatorial armatures belonging to different periods, but made with the same traditional techniques, see: www.maral.cz 5 His experience in bronze working enabled this experiment. The reconstruction of the thraex’s equipment was based on my own photographic documentation of originals4. In other cases it was necessary to start from the pictorial appendix of finished projects. The reconstruction of the bronze parts of an armature is a difficult and expensive procedure. The demand of time influenced the creating process of last part – the thraex’s helmet type Pompeii H12 − which is not yet finished. Anyway, the major part of the armature elements is ready and could be used in this work. 2. Gladiators 2.1 Brief history of the games The origin of the gladiatorial games in Rome is commonly connected with the year 264 BC, when two sons of the deceased D. Junius Brutus Pera brought out three pairs of gladiators at the funeral games to honour their dead father. Human sacrifices were already known in Rome before this date, but this was the first known occasion in the city when a gladiatorial combat was staged at a funeral. The blood of warriors spilled on the funeral pyre should propitiate the gods of the Underworld or put them into a good mood. This performance was called munus5. It was very typical in ancient Mediterranean cultures to spill blood on the deceased relative’s grave6. In the course of time the character of munera changed. The higher the deceased’s social rank was, the more expensive performance was expected. These funeral rituals were very popular with the audience, which considered the gladiatorial fight as an exciting and extraordinary amusement. During the second century BC the gladiatorial show spread throughout Italy and its religious purpose was transformed into a means of political power. With time, the number of fighters engaged in gladiatorial fights raised. Noble families vied in the number of committed fighters so much that in many munera hundreds of gladiators performed. Fifty years after the first mention about gladiatorial fights, in 216 BC, “After the death of M. Aemilius Lepidus, who had been augur and twice consul, his three sons, Lucius, 4 Mainly greaves and helmets from the Musée du Louvre, which are on permanent exhibition. 5 Plural: munera. Its meaning is “gift of living towards dead”. 6 Nossov 2009, p. 12. 6 Marcus, and Quintus, celebrated funeral games in his honor for three days and exhibited twenty-two pairs of gladiators in the Forum7. In 174 BC Titus Quintus Flaminius presented seventy-four gladiators, which was unprecedented number until that time. The funerary games lasted four days, three of which were consecrated to gladiatorial fights8. On this occasion a wooden amphitheatre was
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