Gladiators-Teacher-Guide.Pdf

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Exhibition season 23 JUNE, 2017 – 28 JANUARY, 2018

TEACHER GUIDE

This Teacher Guide was developed by Queensland Museum Learning and is intended to support teachers when planning a class visit to the Gladiators: Heroes of the Colosseum exhibition. Learning Resources produced by Queensland Museum cannot be reproduced or used for commercial purposes in any form. Material remains the property of Queensland Museum or other therein acknowledged sources, and normal copyright laws apply.

INDEX

Pg 2 Introduction

Pg 3 Making the most of your visit to Gladiators: Heroes of the Colosseum Teacher offer

Age Suitability

Curriculum links and cross-curricular applications for the classroom Group size Duration Pg 4 Booking your visit to Gladiators: Heroes of the Colosseum

Pg 5-6 Exhibition layout , map and what to expect with your visit experience Pg 7-13 Exhibition themes

Pg 14-15 Meet the Team: Museum staff share how they acquired their Museum role and what it

entails.

Pg 16 Gladiators hiding in museum collections Pg 17 External Links

INTRODUCTION

Gladiators have been immortalised in myth and legend from Hollywood movies to Lego! But the most authentic immortalisation of these warrior athletes can be found by de-coding evidence – in ancient sites, mosaics, frescoes, museum objects and texts as well as less salubrious findings such as the graffiti, trash and lost property of those who cheered and jeered from the stadia.

This exhibition brings the role of the Gladiator, the spectacle of the arena and the culture of Imperial Rome to life. Evidence presented challenges us with concepts entertainment, sport, public service or propaganda as well as the value placed on human (and animal) life.

This international exhibition of over 120 objects was collected from sites such as the Colosseum and the Gladiator School at Pompeii. These historical artefacts are investigated, identified and invigorated through evocative projections, costumed mannequins and hands- on experiences: Peer out through the visor of a reproduction thraex helmet, raise a gladius sword to issue the final blow, be surrounded by four tiers of spectators and investigate the objects that tell us these stories. Witness the delicate to destructive – from a lost hairpin, bronze surgical scalpel and fine curving musical horn to spearheads, armour, and the skull of a bear killed in the Colosseum. Art, archaeology and architecture reveal many aspects of this epoch in history.

This Guide provides teachers with extra insight to assist with planning a class visit to the exhibition. Tabulated Curriculum Links and an Exhibition Map to complement this kit are also available for download.

JUST FOR TEACHERS

Exhibition preview opportunities: Queensland Museum invites you to consider two options for previewing this exhibition to help plan your visit effectively.

OPTION 1: Early Bird exhibition viewing. July 10 – 28, 2017. Preview this exhibition FREE OF CHARGE. Offer valid for a limited time and for limited sessions. Teachers may enter sessions from 3:00pm – 4:00pm (the exhibition and Queensland Museum closes at 5:00pm).

Present at the exhibition entry, Level 3. Entry is at staff discretion. Admission is free with provision of current contact details and proof of teacher registration/photo ID.

OPTION 2: Teacher Preview Event (CPD certificates of attendance will be issued). Thursday 20 July, 2017. Teachers are invited to join us after-hours for this unique Professional Development event. Learning and Curatorial staff offer insight into museum services, practices and the Gladiator exhibition experience. This presentation is followed by exclusive exhibition viewing and opportunity to network and browse the shop for resources. Claim the date: Tickets available soon

MAKING THE MOST OF YOUR EXHIBITION VISIT

Age suitability: This exhibition is recommended for ages 8+ .

Curriculum relevance: Tabulated Australian Curriculum links and cross-curricular suggestions available for download.

Group size: To optimise your visit experience, sessions of 50 (students + adults) will be scheduled. Large groups may be required to view the exhibition in rotations. Our Booking Officer will coordinate your visit itinerary.

Recommended duration inside exhibition: 1 hour. Please note, some interactive experiences may be popular with your students (photography is permitted). This may require supervisors to manage group movement and time, to ensure all exhibition sections are explored. Your session may include General Public visitors. We ask students and supervisors to be mindful of others. Supervisors are encouraged to liaise with staff at the exhibition entry or inside the exhibition if assistance is required.

TO BOOK YOUR VISIT

Find out more and/or book your visit using any of these options:

Web: Go to Gladiators: Heroes of the Colosseum - Visiting with a School Submit the online booking form.

Phone: Queensland Museum & Sciencentre Booking Office on 3840 7608 (8:15am to 3:30pm, Monday - Friday).

Email: [email protected] Your Queensland Museum visit may include additional experiences such as School Programs, Sciencentre visit or a Museum “general visit” (please indicate if these preferences apply).

ADMISSION TO Gladiators: Heroes of the Colosseum

Groups comprise of 10+ paying students or children’s groups (scouts, vacation care, home- schoolers, etc. are categorised with ‘schools’ and offered the same entry fee and discounts).

Entry fee: $10 per child / student. Supervising adults are admitted free within recommended ratios.

Prep 1 adult free for every 3 students

Primary (years 1 – 6) 1 adult free for every 5 students

Secondary (years 7 – 10) 1 adult free for every 10 students

Senior Secondary (years 11 – 12) 1 adult free for every 15 students

Additional adults with a school/children’s group at discounted ticket price of $16

Image courtesy of Contemporanea Progetti 4

EXHIBITION LAYOUT

Exhibition map: Floorplan showing different exhibition zones and orientation within Museum Building available for download.

Your arrival time is structured to ensure your students have adequate viewing access and movement throughout the exhibition galleries. Visitor services staff will direct you to the exhibition on Level 3 as per your booked time slot. Ensure your students (and supervising adults) are aware of any dedicated instructions for the exhibition and other facilities. Please note there is a gift shop at the exhibition exit and no toilets inside the exhibition. This exhibition features no audio guides or seated theatre session, but throughout the exhibition, several audio visual screens portray re-enactments, animations and documentary footage. No trail or worksheets accompany this exhibition as it is highly immersive and interactive.

WHAT TO EXPECT WHEN YOU VISIT

As with many museum exhibitions, Gladiators: Heroes of the Colosseum is displayed in subdued lighting. This enhances the video projections while protecting the artifacts. The exhibition does offer touchable authentic and reproduction material. Photography is encouraged and experiences range from touching fragments of masonry from the Colosseum itself, to trying on a provocator helmet or striking a training pole with a wooden gladius (training sword).

An introductory video by exhibition Curator, Dr Rosella Rea is available inside the exhibition.

The exhibition is arranged in 6 zones (see map and additional information, following pages).

EXHIBITION THEMES

ROOM 1: INTRODUCTION (Includes animated map and timeline showing the expansion of the Roman Empire, with mannequins depicting the Gallic warrior and Roman Legionary)

Gladiators: Heroes of the Colosseum In the ancient Roman Empire, gladiators were elite athletes who took part in violent combat. These often deadly spectacles attracted thousands of ordinary citizens.

From A Village to a Super Power It started with a village. According to legend, Rome was founded on the banks of the Tiber River in the 8th century BC. Over the period of a thousand years, the village became a magnificent city on seven hills and the centre of the Imperium Romanum, a power that would conquer and culturally shape large parts of the known world.

From All Over the World The Roman army was the backbone of the Empire. Its development from a militia group to a force of voluntary citizens and, finally, to a standing professional army was the factor that enabled Rome to become a military super power.

ROOM 2: SEVEN CENTURIES OF GLADIATOR GAMES (Includes touchscreen timeline connecting artefacts with historical events, social change, key identities and sites)

Gladiator Contests and Animal Hunts. Seven centuries of spectacle In the 1st century AD, the early part of the Imperial Period, the Romans combined gladiatorial games with hunting, a favourite sport, to create major public spectacles.

Gladiator Contests. How it all began Early forerunners of gladiator contests took place in southern Italy around 350 BC, but the first recognised contests took place in Rome almost a century later. The spectacles became larger and more popular and, eventually, the State organised its own public games.

Hunting Animals. The time of the Republic Spectacles involving animals were an integral part of Roman society long before gladiator contests began. The first public venatio, or animal show, which involved hunting and killing wild animals such as lions and panthers, took place in Rome in 186 BC. The driving force behind it was the General Marcus Fulvius Nobilior, who was inspired by a military victory in Aetolia (Greece). Such was the interest in hunting among wealthy citizens at the time that the Senate imposed restrictions on the import of animals into Italy, though the restrictions did not apply to public spectacles.

Spectacles as a State Affair. The time of the Emperors Gladiator contests and hunting parties had their heyday in the first three centuries AD. These state- sponsored spectacles were financed by tax revenue.

Spectacles In Decline. The 4th And 5th Centuries Ad The games began decline in the 4th century AD, mainly for economic reasons. In many regions, the spectacles dwindled in number, or even disappeared, as was the case in Gaul, North Africa and the east of the Empire. In Rome itself, they continued for longer, but the last known contests took place in 434–435 AD and the last animal hunts around 520 AD.

ROOM 3: GLADIATORS - WHO WERE THEY?

Who Were They? The Gladiators A person could become a gladiator in one of several ways. Many gladiators had been taken prisoner in the numerous wars waged by the Romans. Others were slaves, whose owner had sold them to a gladiator manager. Some had been found guilty of a serious crime. None of these people had any rights.

Specialisation Types of Gladiators Each gladiator was trained to become a certain type of skilled fighter. Based on images, ancient texts and a few artefacts, it is possible to reconstruct more than 10 kinds of gladiator, each with their own typical equipment.

A Wealth Of Information Finds from Pompeii Archaeological finds at the city of Pompeii have aided modern understanding of ancient Roman civilisation, including the daily lives of gladiators and the weapons they used. Many different weapons have been discovered in Pompeii.

ROOM 4: AMPHITHEATRES AND THE COLOSSEUM

Skilled Athletes. Life in the ludus Gladiators lived and trained in a ludus, a sort of permanent training camp. Their exacting training was not unlike that of soldiers. Generally, they were well looked after.

The owner of the ludus and the gladiators was called the lanista. He hired out his men to the spectacle organisers. As each gladiator was an expensive investment, a lanista went to great lengths to keep his familia of gladiators healthy. Gladiators suffered many breaks and wounds, mainly to their forearms and head, while training and during contests in the arena. They received the best possible medical attention from doctors working in the ludus.

Gladiator Training Specialisation All gladiators wore a loincloth, leather manicae (arm protectors) and metal shin guards over fasciae or tibiale (protective leg padding made of leather or linen).

However, there were different types of gladiators and their weapons, equipment and techniques differed accordingly. As a result, gladiators were specialist fighters. For example, a gladiator who trained a murmillo, remained a murmillo for his whole career.

Different gladiators tended to be paired in duels. For example, a murmillo was frequently matched with a thraex, and a retiarius with a secutor. Two provocatores, the only gladiators with a covered torso, would often fight each other. Gradually, variations within each class of gladiator were introduced to retain the interest of the public.

As a rule, gladiators fought only twice a year. Few faced more than 20 battles in their career and many did not survive beyond the age of 30.

Main Types Minor Types

 Retiarius versus Secutor  Hoplomachus  Murmillo versus Thraex  Eques  Provocator versus Provocator  Scissor  Venator versus Lion  Female gladiators  Sagittarius  Essedarius

A New Style of Architecture Amphitheatres in the Roman Empire The Romans designed a new type of building for their gladiatorial spectacles: the amphitheatre. There were 230 amphitheatres in the Roman Empire and almost half were in Italy. The model during the time of the emperors was the Colosseum.

ROOM 5: AMPHITHEATRES

Origin and types Amphitheatres met two essential requirements of gladiatorial contests: they provided an area large enough for the event and visibility for all spectators.

Amphitheatre of the Emperors

The Colosseum The Colosseum took 10 years to build and was inaugurated in 80 AD. It was Rome’s first and only permanent, public amphitheatre and was constructed as part of a large scale building program started by the Emperor Vespasian.

Architectural design and construction The Colosseum is a massive, oval structure capable of seating 55,000–75,000 spectators. It was the greatest entertainment complex of the ancient world and its form has changed little since it was built.

Vicissitudes of time: the Colosseum today The Colosseum has been an iconic landmark in Rome for 2000 years, yet little of the original Colosseum remains today. Fires and earthquakes repeatedly damaged the arena, so that it required extensive repairs and new construction replaced most of the building. The inner frame structure and the supporting walls under the seats are probably all that remains of the original stonework.

Building materials The Romans could build massive structures like the Colosseum because they made extensive use of concrete, which dries as hard as stone, but is much lighter. Arch-shaped vaults made the walls light but strong. Although the Greeks invented concrete, the Romans were the first to use it on a large scale.

Decorating the Colosseum White marble covered the entire spectators’ area, including columns, railings, sculptures, seats and boxes for dignitaries and the imperial family. Galleries and passages were lined with brightly-painted plaster, or marble paneling. Much of the marble interior was embellished with floral motifs, horns of plenty, the mythical sphinx and animal figures, such as dolphins and birds of prey. Unfortunately, none of the original paintings or sculptures have survived intact.

Gods, heroes and celebrities Some 160 marble statues of gods and heroes once decorated the second and third stories of the Colosseum’s outer wall and round bronze shields adorned the fourth storey. Evidence for this comes from written sources and images on coins and funerary reliefs. For example, a coin issued for the inauguration in 80 AD shows a large statue in each second and third storey arch. In keeping with the Greek model, these statues were mostly of gods and heroes. The uppermost storey did not have any arches so instead of statues, round bronze shields, which may have been gilded, hung between the windows.

Behind-the-scenes Beneath the Colosseum was a maze of 15 corridors containing stage scenery and cages and teeming with people and animals. Here, gladiators, hunters, acrobats, criminals and wild beasts all waited for their turn in the arena. Added to this, were the many operators, animal handlers, physicians, cleaning staff and stage technicians. The corridors were narrow, dark and unbearably hot — and they stank. The animals were terrified and the noise coming from the arena above was deafening.

Social design The design of the Colosseum allowed the common people to express themselves freely, in a way that was not permitted in other aspects of Roman society, but it also maintained social control. There was a hierarchy of seating that had been prescribed by Caesar Augustus. Senators sat in a reserved area; other seats were assigned to married common men; and under-age boys also had a section. Some free seating was allocated to the poor, probably by a lottery. Except for the slaves, every Roman citizen was allowed to attend the games in the Colosseum, including women and children. Friends, fans and hooligans Just as in professional sport today, fan clubs existed in ancient Rome. The names of the different groups of gladiators were taken from their shields. Thus, the fans of the 'small shields' idolised the fighters with small shields (the Thracians or thraeces). The friends of the 'large shields' were on the side of the heavily armed gladiators, such as the murmillones.

Clever construction Construction of the Colosseum required perfect planning, excellent organisation, inventiveness and at least 100,000 workers, although the exact number is not known. Several construction crews worked at the Colosseum at the same time, using methods that are still current today.

Symbolic significance Three emperors were involved in the building process — Vespasian and his sons Titus and Domitian. Vespasian chose the symbolic location in 70 AD and lived to see the completion of the first two tiers. Following his death, Titus added the third tier and inaugurated the structure in 80 AD. His brother Domitian completed the building with the fourth tier and commissioned the stage management systems and the interior finishes. In a very short time, the largest amphitheatre of its time was built, a masterpiece of architecture, engineering and logistics — and above all a political symbol.

Image courtesy of Contemporanea Progetti

ROOM 6: A DAY AT THE ARENA

Let The Games Begin! A day at the Arena In Rome, the Emperor and his entourage organised many games. Elsewhere in the Empire it was one of the duties of local officials during their term in office. Advance notice was always given of an upcoming spectacle in a city.

Before The Spectacle. Advertisements to feast The program for an event was publicised well in advance and surviving promotional notices are a fascinating source of information.

Painted advertisements for spectacles in the local amphitheatre at Pompeii give details of the organiser and how many pairs of gladiators were to fight. Sometimes the reason behind the spectacle is also mentioned, such as an homage to the Emperor, or the inauguration of a new building or altar. The advertisements often specify place, time and duration and, in some cases, even note whether an awning would be provided for protection from the sun.

The Procession. Part 1 of the spectacle A day at the amphitheatre began in the morning with a solemn procession, which was followed by a parade of animals, animal fighting and hunting.

Executions And Entertainment. Part 2 of the spectacle At lunchtime, in the gruesome second part of the day's program, condemned criminals met their end. Executions took different forms. The damnatio ad bestias or ‘condemnation to beasts’ was particularly barbaric and very popular. Near naked condemned men, barely able to move, were torn to shreds by hungry animals. Some organisers played up the ‘condemnations to beasts’ by staging the execution against the background of an historical event or old myth. It was important that everything ran smoothly so as not to interfere with the rest of the program.

The Gladiators! Part 3 of the spectacle A day at the amphitheatre ended in the afternoon with gladiators fighting each other, frequently in one to one combat.

The fights began with a warm-up session where the gladiators used blunt, wooden training weapons. After the real weapons had been inspected, the presenter announced the gladiators and briefly listed their achievements. Once they had entered the arena, the fight began, watched closely by an arbitrator. The duel usually continued until there was a victor. If it went on for too long, or wounds needed attention, the arbitrator could call for an interval.

Conclusion: Curtain! The gravestones of gladiators are an important source of information. A large number of gravestones have been found and they provide an insight into the gladiators' world. The inscriptions often record whether a gladiator was a slave or a free man, what type of fighter he was, his age and the number of contests he fought. Pieced together, this information provides a good picture of the gladiator population through the centuries.

MEET THE TEAM who brought you Gladiators

Hosting a touring exhibition involves a big team of staff from designers to educators and retailers. This selection of Queensland Museum Archaeologists join the Exhibition Project Manager to describe their role, how they got here and what their job on this team entails.

Bernadette McCormack is Senior Creative Producer, Exhibitions & Major Projects. She is responsible for the management of a touring exhibition from proposal to planning stages, continuing throughout the install and entire exhibition season. Bernadette’s role involves the evaluation and negotiation of exhibitions (or collections that become exhibitions), steering the vision of how they might operate with Qld Museum audiences and spaces. Bernadette will then manage a project team across a diverse range of museum professionals - from conservators to researchers, exhibition designers, visitor services, retail and events staff, educators, editors and ticket agents. She will also liaise with sponsors and other external partnership agencies within the community.

Bernadette has worked as a Visual Art and Design lecturer, Curator of Public Programs and Visitor Experience Manager. In 2006 she was awarded a Queensland-Smithsonian Fellowship to study the role of public programs in museums and is currently working towards a Doctorate of Creative Industries in exhibition production.

Dr Brit Asmussen is an anthropological archaeologist. Brit has a Bachelor of Arts, double major in Anthropology (the study of study of diverse cultures and societies).

As Curator of Archaeology at Queensland Museum, she manages public inquiries, archaeology collections, assists other researchers to access Museum collections. Brit also researches objects relevant for exhibitions and online collections.

She has conducted research and held professional roles in areas of zooarchaeology (study of animal remains – bone, shell, hair, scales, etc), environmental archaeology and taphonomy (what happens to an organism after its death). Brit’s academic investigations have examined evidence of climate change and it’s impact on technologies, diet and landscape use in early human communities.

Her role with this exhibition is mentoring and managing Nick and Dave.

What else have I been up to? In 2012, when visited by a Curator from the British Museum, Brit saw an opportunity to perhaps solve a mystery. As an expert in Ancient Egyptian manuscripts, Dr John Taylor recognised inscriptions from the back of some papyrus fragments that had been in Queensland Museum collections for 100 years - identifying them as missing fragments from a book of the dead, with several other fragments in the British Museum, several museums in USA and a collection in Sweden! Working with a Museum Librarian, Brit located archival documentation about the previously unidentified fragments. The story of where an object came from (its provenance) is integral to its accurate identification, and museum “value’. In this case, the paper trail back to 1902 revealed more of the story, to add to John’s discovery. Read more.

Nicholas Hadnutt is an Archaeology Curator, responsible for researching, curating and sharing the Museum’s archaeology collections. Nick originally joined Queensland Museum’s Cultures and Histories program as a volunteer, while completing a Bachelor of Arts (Archaeology double major).

Nick’s role and responsibilities with this touring exhibition require him to conduct several assessments of the exhibition objects. This includes legal protocols for borrowing the material from the original sites or cultural institutions, checking exhibition content, labels and text for marketing and media so it is historically accurate. Nick will be the Queensland Museum representative to handle interviews and tours of this exhibition for media. He will ensure the objects are safely arrive and leave Australia and are securely installed in the exhibition space. What else have I been up to? In 2009, Nick was part of a team of Archeologists investigating a remote, western Queensland site. This site was claimed to be one of the camps of explorers, Burke and Wills from their famed 1860 expedition to travel from south to northern coasts of Australia. Videos and transcripts of Nicks theatre presentation describe what the Team found to confirm this claim. Burke and Wills – the journey Watch and listen to the historic journey made by Burke and Wills to cross Australia from south to north. Burke and Wills – the discoveries Watch and listen to the recent findings of archaeological fieldwork which recovered a number of artefacts from a remote Queensland site. Is this evidence from the last days of Burke and Wills?

David Parkhill is Assistant Collection Manager (Archaeology). Dave has a Bachelor of Arts (majoring in Ancient History plus Medieval and Early Modern Studies). He also holds qualifications in Museum Studies and Library & Information Studies.

Dave is currently tasked with researching the Museum’s Classical Collection. His role in the Gladiators exhibition includes assisting in the safe importation and secure installation of the artefacts. He will also assist in the security and handling of the objects and in ensuring the display cabinets and exhibition spaces are secure during the install and de-install. Once the exhibition is over, that role will apply to the safe and secure de-installation and exportation of the artefacts to their next destination.

What else have I been up to? Dave has contributed to Queensland Museum blogs to bring the collections behind the scenes to wider audiences. Read Shine a Light, his blog entry about ways human civilizations have illuminated their living or workspaces over millennia. Lamps such as those described by Dave can be found in the Gladiators exhibition. Read how commonly used objects with evolving design may provide clues into a particular time period, and how Ancient Roman games included souvenirs and merchandise, just like sporting events of today.

HIDDEN GLADIATORS IN THE COLLECTION

There is evidence of Gladiators representing fighting prowess and vigor, not just in ancient artifacts and popular culture. Meet a few animals in the collection who have taken their name from the Gladiators and their reputation. Meet some 1, 2, 6, 8 (and zero) - legged Gladiators

NOTE: Teachers please monitor viewing of clips, for unsuitable comments and advertising if sharing with students. All video links direct viewers to public domain, YouTube.

SPIDER: Dienopdae family. This Spider group are called Net casting spiders – occasionally known as the Gladiator Spider. This refers to the Gladiator type, Retiarius, who fought with a net and trident to ensnare his opponent. This spider has a unique way of catching their prey. A small web in the form of a net held between the front legs. On ambush, this net is stretched out wide to envelop an unwary passing insect. Sir David Attenborough narrates some incredible slow-motion footage of this adaptation: Video (1:58) Gladiator spider (BBC, 2006)

FISH: The freshwater fish, Betta gladiator is found only in a small area of Borneo. While they are not overly threatening in appearance (no armour or spines), males highly aggressive toward other males. This behavior is recognized in a more widely known member of the Betta genus, Betta splendens, the Siamese Fighting Fish.

CRAB: Portunus (Monomia) gladiator is a large and aggressive Swimming Crab. Photo : Crab Database

SEA SNAIL: Gladiator Cone Snail Conus gladiator from Panama. Live Cones have a harpoon-like tooth for spearing prey. See a Cone Snail feeding process in action: Video (3:47) How killer cone snails kill (The Nature of Science, 2015) Photo : Gastropods.com

BEETLE: Homoderus gladiator. A large African Stag Beetle Male stag beetles use their elaborately-shaped jaws (occasionally referred to as “antlers”) to wrestle rival males. This behavior is to claim a preferred mating site. See Stag Beetle wrestling in action: Video (1:13) Stag beetles fight with massive mandibles (New Scientist, 2015)

TREE FROG: Hypsiboas rosenbergi, Rosenberg’s gladiator tree frog, is from South America. Males are known for their aggressiveness when guarding a prime nesting site. They construct mud nests or occupy puddles to attract a mate. Females only mate with the occupant of a satisfactory nest. An adaptation of dagger-like spines on the thumb can result in death, injury or retreat during wrestling with contenders or intruders.

EXTERNAL LINKS

 Painting by Jean-Leone Gerome Pollice Verso (1872) Phoenix Art Museum ART GUIDES FOR EDUCATORS

 Eating History (Italy) Episode 1: What the Romans Ate SBS TV EPISODE – YouTube (47:28) This episode explores the Gladiator diet including an ancient recipe for an energy drink. Comparisons are made with supplements taken by contemporary athletes.

 Guide to Gladiator fight training - BBC History. VIDEO EXTRACT – YouTube (3:58) Historian and comedian, Terry Jones puts himself in the training arena.

 The Gladiator - Archeology Archive (Archaeological Institute of America). ARTICLE ABSTRACTS o The Gladiator Diet o Victorious Gladiators o Sculpture Gallery o Pursuit of the Gladiators o The Roman Arena o Everybody Loves a Bloodbath o Sandals, Sweat and Swords

 Seeing Spectacles – University of British Columbia Public class site for course on Greek and Roman spectacles o Chariot Racing o Gladiators o Emperors and the Games o Animals in the Arena o Executions o Greek Games and Spectacles