The new issue of the Journal of Roman Military Equipment Studies has arrived in Tirol. The two volumes published last year contained articles such as:
- A study of the impact marks from catapult balls and sling bullets on the walls of Pompeii, presumably dating back to the Roman siege of the town during the Social War.
- A project on Roman locking scale from Carlisle by David Sim and J. Kaminski which started with billets of specially-made wrought iron and ended in having a good bash at the armour with replicas of Roman weapons. This particular armour was sophisticated and effective, and the authors have many interesting insights into metallurgy and manufacturing process, including a time that their wish to ‘tidy up’ more than the original armourers did created a problem. I was left wishing that they had addressed some other issues, but I will put those below the fold.
- A pair of articles on the reconstruction of Roman boots and their use on a march across the Brenner Pass. I enjoyed the contrasting perspectives of the shoe-wearers and the shoemaker-cum-archaeologist who made the shoes.
The latest volume includes things like:
- Two examples of Roman lorica hamata squamataque preserved as a whole (rather than as loose scales or small clusters of scales), one of which was preserved with its linen liner. To my knowledge, this is the first archaeological evidence for mail with a lining in the Roman world.
- A copper-alloy crescent (lunula) similar to those mounted on Roman battle standards from a layer dating to the first century BCE at Gurzufskoe Sedlo in the Crimea. Both the date and the location are worth noticing.
- A set of silvered bronze saddle plates which ended up buried with a cow in the Meroitic kingdom of Kush.
- An article by Jon Coulston on Roman archery which makes use of comparative evidence from outside the Roman world.
If that sounds like the kind of thing you want to read or support, copies are available here.
One category of evidence central to this issue [of the abuse of civilians by soldiers] is the large number of petitions directed to officials, where in one sample roughly a third were directed to centurions acting in a local police role (Hobson 1993). The sheer number of petitions suggests that abuse was widespread. A still further complication could be that a centurion was petitioned concerning abuse by a soldier. How likely is fairness in this regard? Such was the case for Aurelius Sarapion in a petition to the centurion Aurelius Marcianus:
there is nothing more dreadful or harder to bear than maltreatment. At the time of life I have reached, being over eighty years, I served faithfully as an Arab archer. A sow having escaped from my daughter in the village and being reported to be at the house of the soldier Julius, I went to him to demand his oath about this matter, and he laying hands on me, despite my age, in the village in the middle of the day, as if there were no laws, laboured me with many blows. (P. Graux 4 )
He goes on to list witnesses and to seek redress.
From Colin Adams, “War and Society in the Roman Empire” in B. Campbell and L. A. Tritle eds., The Oxford Handbook of Warfare in the Classical World (Oxford University Press: Oxford 2013) p. 267
(I do not have access to that volume of P. Graux, so I cannot give the original text)
Adams uses this papyrus to ask a question about how often Roman centurions (who often acted as judges and police in the countryside) gave justice when a civilian accused a soldier. Today I will ask another question. In this passage an ancient person tells us a great deal about who he was, or who he wanted to be seen to be. So what was Sarapion’s ethnicity? I would encourage my learned readers to really think about this whether or not they click “more” to see my opinion.
People, especially people who are most interested in material culture, often find it hard to accept that ancient art does not directly and literally depict the world. People who recreate Roman material culture, for example, often fret that when we can check it against other evidence, Trajan’s column is usually wrong. “But the rest of the sculpture is so lifelike,” they complain. “Shouldn’t we use what evidence we have?” “Why would they go to so much trouble to depict something wrong?”