Herodes Atticus, more than a name

Herodes Atticus is best known for his theater at the foot of Athens’ Acropolis. For most people, it is only a name to define this historic monument, forgetting who he was and what he achieved in life.

Herodes Atticus was born in Marathon, Greece, into a family of Athenian descent in 101 AD. He is known as an Athenian rhetorician and a Roman senator, spending time between Greece and Italy.

 

He was exceptionally wealthy and moved in the highest social circles. Emperor Hadrian, for instance, appointed him Prefect of the free cities in the Roman Province of Asia in 125 AD. A good year later, he was elected archon (high magistrate) of Athens. And in 140 AD, Emperor Antoninus Pius invited him to Rome to educate his adopted sons, the future Emperors Marcus Aurelius and Lucius Verus. As a Roman citizen, he was appointed Consul of Rome in 143 AD.

 
When he was 40 years old, he married Appia Annia Regilla, a 14-year-old aristocrat related to the family of Antoninus Pius’ wife.
 
Herodes Atticus was a philanthropic magnate and patron of many public works. What comes immediately to mind is the theater in Athens, which he financed in 161 AD to honor his wife, Regilla. Watching a Greek play performed within these walls or attending a popular or classical concert is a gratifying experience!

However, thousands and perhaps even millions of visitors have left their marks on the white marble construction. It calls for an extensive restoration and conservation process that is expected to take at least three years. During that time, the summer Athens Epidaurus Festival will be relocated elsewhere.

 
The overall deterioration consists of cracks in the Pentelic marble due to the variations in temperature and rainwater infiltration. Another problem is the plants that root in crevices and hold water. The theater had been destroyed in 267 AD and was in ruins until the 1950s, when the seating area and orchestra were restored. These repairs are now in dire need of improvement and require a comprehensive conservation plan.
 
The list of buildings Herodes Atticus funded is quite extensive. The ancient Panathenaic Stadium in Athens,  with a capacity of 50,000 seats, for instance, was one of his projects executed in 144 AD. Elsewhere in Greece, we owe him the Theater of Corinth, the Stadium of Delphi, the Baths of Thermopylae, and a splendid Nymphaeum in Olympia.
 
I was very surprised to read Herodes Atticus' name and his wife’s in Olympia. The Nymphaeum stands at the entrance to the Stadium. The two-story-high back wall was filled with statues of Herodes Atticus and several Roman Emperors like Antoninus Pius, Hadrian, Marcus Aurelius, and their family members. 

Most statues have been moved to the Museum of Olympia. Among them, I noticed Athenais, one of Herodes Atticus’ daughters. She married Lucius Vibullius Rufus, and the couple had six children, but only three survived to adulthood. The eldest daughter, Elpinice, was born in 142 AD and died in 165 AD. The son, Atticus Bradua, was born in 145 AD and was the only child to survive his father. Herodes Atticus was heavily disappointed by his son and left him nothing after his death.

 
Also exhibited in Olympia’s Museum is a life-size bull, which carries an inscription left by Regilla reading: "Regilla, priestess of Demeter offers the water and appendices to Zeus." This brings history to life!
 
Outside Greece, aqueducts donated by Herodes Atticus can be found in Canusium, Puglia region in Italy, and in Alexandria Troas, Asia Minor. In my blog post of February 2024, I mentioned the Baths and Gymnasium of Alexandria Troas built by Herodes Atticus in 135 AD. They were surrounded by vaulted corridors with marble walls, and water was delivered thanks to the aqueducts on the northeast side of town. Most of the building remained intact until it was destroyed by the severe earthquake in the winter of 1809-1810.
 

At the National Archaeological Museum in Athens, I encountered a statue of Polydeukes, also Vibullius Polydeukion, the adopted son of Herodes Atticus, dated to circa 150 AD. Wikipedia, however, mentions the boy as his pupil and lover in a relation resembling that of Hadrian and Antinous. Polydeukes died around 173-174 AD. His loss greatly affected Atticus, who built a Heroon in his memory.

 
Herodes Atticus lived to be 76 years old in 177 AD. Regilla had died in 160 AD, after being brutally kicked in the abdomen while eight months pregnant.  Her brother accused Herodes Atticus of having ordered one of his freedmen to beat her to death. At the trial that ensued, Herodes Atticus was acquitted by Emperor Marcus Aurelius, his former tutor.
 
I’m sure we’ll look at the Theater of Herodes Atticus with different eyes next time we walk through Athens.

The bronzes from Bubon’s Sebasteion

Illegal digs are inevitable and Turkey with its countless antique sites is no exception. A beautiful bronze head of an unknown young man displayed at the Getty Villa has recently been identified as stolen or illegally excavated, and it is heartwarming to hear that it will be returned to Turkey. 

The Getty Museum in Malibu, California, acquired the head in 1971 and it could be established that it belonged to a now-lost life-size figure. It is marked with the letter alpha (the Greek A) at the bottom of the neck. The inlaid eyes, which always add so much character to a face, are missing. 

Dated to the period between 100 BC and 100 AD, the statue's provenance was not documented, although scholars now link it to the archaeological site of Bubon in ancient Lycia. Since the late 1960s, several bronzes have been smuggled out of Turkey from that area. Most depicted Roman emperors and their families but the head at Getty has yet to be identified. 

In October 2023, the New York Times published an article on these bronzes from illegal digs that have been scattered around the world to various private homes and museums. 

By 1967 the looting became apparent and slowly stopped as the Turkish police found a headless bronze torso hidden in the woods near Bubon. This site turned out to be the main source for this unique collection and authorities are determined to track the looters down. 

Bubon has not been systematically excavated and all that remains are a small theater and stadium, as well as an Acropolis. The main building may have been a shrine or Sebasteion, where several bronze statues stood around a U-shaped courtyard that was probably roofed. The Sebasteion may have been started by Nero and his wife Poppea Sabina. His example was followed by eleven emperors and three empresses, the last being Gallienus, who ruled till 268 AD. In the following decades, Bubon suffered from repeated earthquakes which buried and saved the Sebasteion. 

Scholars and experts aim to restitute the group of statues, which represented an important binding factor between the citizens to the power of faraway Rome. 

In the end, the villagers themselves, now in their 60s and 70s, provided the most precious information. They described the statues and their posture and remembered how they were sold. Their plinths with the names of the emperors in Greek are still in situ. 

Lucius Verus apparently stood next to Marcus Aurelius, his adoptive brother and co-ruler. His headless statue may be at The Cleveland Museum of Art and his Bubon origin is now under investigation. 

Septimius Severus was accompanied by his wife and sons, Caracalla and Geta. His headless statue was on loan at the Metropolitan Museum of Art in New York and has been turned over to the authorities for repatriation. Some experts believe the missing head is kept at the Carlsberg Glyptotek in Copenhagen, Denmark. The head of Caracalla has been seized from the Met and his torso is probably in the hands of a Greek collector. Emperor Valerian stood nearby and his torso is now exhibited at the Museum of Burdur, Turkey. Commodus also had a plinth of his own.

In due time, more emperors will be reconciled with their names on the pedestals and more effigies or body parts will be returned to their rightful spot in Turkey. 

[Top picture from Getty Museum. Lucius Verus is mine taken at the MANN]

Museum of Tripoli, Libya

There are several reasons to write about the Archaeological Museum of Tripoli. It is one of those ‘must-see’ places that sadly are off the beaten track for the average tourist, especially since Gaddafi has been eliminated and the country has not regained its stability. 

I was privileged to visit this wonderful collection just before the outbreak of the Arab Spring, unaware of the quantity and high quality of artwork that awaited me. It must be said that I discovered these treasures on my first day in Libya, and, as always, I should have returned after my tour of the archaeological sites as well. 

Anyway, I took in as much as I could, fully aware that the best pieces from any excavation made their way to the museum in the country’s capital. Tripoli was no exception. 

The bulk of the collection comes from Leptis Magna, second to Rome (see: An introduction to Leptis Magna in Libya). 

The first statues I see are two magnificent Roman copies of Praxiteles’ originals from the 4th century BC. One is the Diadumenos, a young athlete who is tying the ribbon of victory around his head. The other is Apollo-Antinous, hinting at Dionysus, combining the body of Apollo with the head of Antinous, the lover of Emperor Hadrian. Both life-size marbles were recovered from the Baths of Hadrian in Leptis Magna. The arched vaults of these baths from the 2nd century AD have simply collapsed, burying and saving their precious statues in the process. 

Stealing the show is the marble Apollo playing the lyre. He is a little taller than life-size and as true to life as imaginable. Apollo’s delicate hands and fingers seem to strike the strings as he holds his instrument with his left hand and the plectrum in his right. The lyre is intact, except for the strings, and it is a unique opportunity to have a close-up look. His eyes, whose traces of paint make them alive, stare melancholically into the distance. They are a vivid reminder of all the painted statues in antiquity. Apollo’s body is truly worthy of a god. 

The elegant Muse Calliope is sitting nearby, listening carefully to his tune. More remarkable statues gather around Apollo. An unspecified sea goddess is looking up to him, and Mars is standing in a niche behind him. The slender Isis is wearing a diadem, and Venus is very similar to other copies of the famous Aphrodite of Cnidos (see: Was Alexander the Great aware of Cnidos?). Hadrian definitely had an outspoken taste for beauty! 

Another large group of statues and busts is brought together from the theater of Leptis Magna, consisting mainly of Roman emperors: Augustus, Tiberius, Claudius, Marcus Aurelius, Lucius Verus, etc. Even Augustus' wife, Livia and granddaughter, Agrippina the Elder, are present. Upstairs, in the Mezzanine, there is a statue of Faustina, the wife of Marcus Aurelius. 

Inside the theater of Leptis Magna stood a small temple dedicated to Ceres-Augusta, goddess of the harvest – our word for cereal derives from the name Ceres. A seated statue of this goddess also found its way to the museum. 

The goddess Cybele, with the many breasts (or whatever they represent) as worshiped in Ephesos, was unearthed in the sanctuary of the amphitheater. A Roman copy of a Greek original Diana/ Artemis, as displayed at the Louvre in Paris and the Archaeological Museum of Antalya, is also exhibited. 

The Ancient Forum of Leptis Magna yielded a rather damaged Dionysus with satyr and panther, and a headless Lady Fortuna wearing a beautifully draped tunic. 

The museum’s impressive main hall also displays four delicate mosaics from a private villa in Leptis Magna. It dates from the 2nd century AD and depicts scenes of daily life in and around the Nile – hence its name, Villa of the Nile. 

Upstairs, a special room holds the original reliefs of the Arch of Septimius Severus (see: A solid gold bust of Septimius Severus), proof of the political loyalty of the inhabitants of Leptis Magna in the 3rd century. The relief of Septimius Severus standing between his two sons, Caracalla and Geta, was meant to express the good harmony inside the imperial family. Here is also a statue of Caracalla as a child. 

The Cyrene Room has a wooden scale model of the Agora, which, unfortunately, is meaningless unless one has visited the site. Nearby are faceless goddesses believed to represent Persephone from the necropolis of Cyrene. Also, a rare Minerva wearing the Aegis tied to her waist as opposed to her Greek version, Athena, who wears it around her shoulders. She also holds her owl and carries the spear and shield. The statue is carefully carved in pure Greek tradition. 

The Archaeological Museum of Tripoli has a rich collection of mosaics from the 2nd century AD. Many villas were built along the Mediterranean coast by wealthy landowners who loved to show off. One such example is the Roman Villa of Zliten, some 200 km east of Tripoli. It yielded a large floor mosaic executed in a wonderful combination of opus sectile and clearly outlined opus vermiculatum. The central panel is filled with different sorts of fish, and the border with less peaceful scenes of gladiator fights. From the same villa comes the floor mosaic representing the Four Seasons. Tajura is located closer to Tripoli, where another Roman villa from the 2nd century AD has been spotted. A large mosaic with geometric figures and the head of the sea god, Amfitritus, in its center has been removed from the Villa of the Nereids. 

Unfortunately, I did not visit any of these villas since they were usually closed to preserve them. Under the present chaotic regime, I wonder how many of these precious villas have survived the revolt and looting in the wake of Gaddafi’s execution. 

From Ghirza, a Roman fortress near Misrata, an entire Mausoleum from the 4th century AD has been moved to the entrance hall of the museum. It has a strange mixture of different styles that can hardly be defined. 

It is, of course, preferable to leave such constructions and the precious statues and mosaics in situ, but in case of political unrest and war, the artifacts are generally better protected inside the walls of a museum. It so happens that the Archaeological Museum of Tripoli is housed inside the so-called Red Castle of Tripoli. In 2011, following the outbreak of the Libyan Civil War, the museum was closed, but rebels managed to break into the museum and steal a few of Gaddafi’s belongings that were kept in a special room. Previously, the most valuable artifacts had been moved to a safer location. As of 2020, the museum is still closed.

Another gold bust, this time from Switzerland

Some time ago, I wrote about a gold bust of Septimius Severus discovered in Plotinopolis, some 20 km north of Thracian Greece (see: A solid gold bust of Septimius Severus). 

I thought the find was pretty unique, but the Getty Villa just opened a special exhibition around a nearly life-size gold bust of Marcus Aurelius (see: the gold emperor of Aventicum published online in 2023). 

The bust is not made of solid gold like Septimius Severus’ but is hammered from a single sheet of gold. The gold bust was retrieved from an ancient sewage pipe in 1939. It was probably hidden there during a Germanic invasion in the 3^rd century AD. 

Interestingly, the discovery was made at Aventicum, modern Avenches, in Switzerland. The Romans occupied Switzerland as they expanded their empire over the Alps. Julius Cesar defeated the local Helvetii tribe in 58 BC, and soon their land became a Roman Province. 

Aventicum, located between Lausanne and Berne, was built on the site of this Celtic settlement and prospered during the first three centuries AD. In its heyday, it counted as many as 20,000 people, who became Roman citizens assimilating Roman culture. 

The treasures of ancient Aventicum are kept in the Avenches Roman Museum, occupying a medieval tower from the 12^th century near the amphitheater. 

This amphitheater from the early 2^nd century AD could seat 16,000 spectators. It was partially built of stone, i.e., the walls, stairs, and central entrance, but the seating area was made of wood. When it fell into disuse in the 4^th century, the building served as a stone quarry. 

The Roman vestiges counted more imposing monuments, including a theater, a temple where the bust was found, and the Thermal Baths of the Forum. Another striking feature is the Tornallaz, the only tower remaining from the initial 73 of the Roman city walls. This wall was 5.5 kilometers long and counted four gates. 

The gold bust of Marcus Aurelius was found under a temple situated at the center of a large courtyard framed with a Stoa on all sides. According to the available inscriptions, the temple was dedicated to Celtic gods as well as the ruling Roman emperor! 

The museum holds an impressive collection of artifacts such as mosaics and friezes, but also portrait sculptures recovered from the sanctuaries and the public monuments. 

A selection of artifacts, including the gold bust of Marcus Aurelius, is presently exhibited at the Getty Villa in Malibu, California till January 29, 2024. 

[Both pictures are taken from the Getty Villa exhibition link]

Who were the Parthians?

The name of the Parthians often raises questions, and their territory is hard to define. Scholars have established that the tribe of the Parthians may be closely linked to the Scythians who lived southeast of the Caspian Sea. 

The Parthians appeared in history after the death of Alexander the Great, when Seleucos inherited the largest portion of the lands he had conquered in the east, from the eastern Mediterranean to Bactria and India. Seleucos kept the existing Persian governing system of satraps in place, and at an early stage, Parthia became one of its satrapies. 

Seleucos founded the Seleucid Empire and soon discovered that ruling such a vast territory was a nearly impossible task. As the empire weakened, the Parthians revolted and established their independence. 

The first king of Parthia was Arsaces, who came to power in 247 BC. Not for long, as the Seleucid King Antiochus III managed to reconquer Parthia in 209 BC from Arsaces’ son, the new king Arsaces II. For some unknown reason, Antiochus did not want to kill his enemy and established him instead as satrap. This did not sit well with the Parthian nobility, and as soon as Antiochus left for Syria, they deposed Arsaces II and proclaimed Phriapatius as their new king in 191 BC. 

Meanwhile, the Romans subdued Antiochus III according to the Treaty of Apamea, signed in 188 BC. Now that the Seleucid King was no longer a threat, Phriapatius’ son, Phraates, took heart and conquered the territories between Hyrcania in the east and Media in the southwest. He created a solid base for his brother Mithridates, who succeeded him on the throne in 171 BC. 

At this point, Parthia started a new era. Mithridates conquered the Bactrian kingdom in 168 BC and then turned west. He took Media from Phraates in 151 BC and then focused on Mesopotamia. He captured the capital city of Seleucia, followed by Babylon in 141 BC, and Susa three years later. 

Phraates II, Mithridates’ son, continued the fight for power. A worthy successor to his father, but his power was short-lived as he soon died in an attempt to stop a Scythian mutiny. From then onward, Parthia would be torn by successive uprisings and battles. After the death of Phraates II, Parthia was ruled by his uncle, Artabanus I, who crushed several revolts in his short life. 

His son, Mithridates II, in turn, would become Parthia’s greatest ruler (124-91 BC). He strengthened his position in Bactria, Mesopotamia, Characene (on the Iran-Iraq border where Alexander had founded Alexandria-on-the-Tigris, modern Charax Spasinou), and the realm of Babylon. He also annexed the lands of Albania and Armenia, together with the vital Syrian city of Dura-Europos on the Euphrates. Roughly, the Parthian Empire now stretched from the Mediterranean all the way to China! 

No wonder Parthia was very much coveted by the rising Roman Empire and lost several territories, including Armenia. The tables were turned in 53 BC when Crassus invaded Parthia near Carrhae (see: Harran, better known under its Roman name Carrhae) and lost. Rome suffered a severe psychological blow. The situation worsened when Marc Antony was defeated in 32 BC in an effort to keep hold of Armenia. After decades of constant fighting, Emperor Augustus secured a peace agreement with King Phraates IV in 20 BC. Instead of fighting each other, both rulers agreed to unite their efforts against enemies outside their borders. 

No treaty lasted forever, and after several skirmishes back and forth, Emperor Trajan invaded Mesopotamia in 115 AD, looting the capital cities of Seleucia and Ctesiphon. At about the same time, Parthia was invaded on its eastern border by the Kushans, who established their empire in Bactria. 

However, two years later, Parthia, now ruled by Vologases IV, was invaded by Hadrian, Trajan’s successor. Lucius Verus, the adopted son of Marcus Aurelius, followed suit and sacked Seleucia and Ctesiphon once again. The Parthians managed somehow to expel the Romans, but like a Jack-in-the-Box, they returned in 198 AD. 

This time, Emperor Septimius Severus invaded Mesopotamia and marched down to take the Parthian-held cities of Seleucia, Babylon, and Ctesiphon. It makes one wonder how often cities are destroyed and rebuilt over the centuries. 

I now better understand the significance of the Severan bridge I crossed many years ago on my way to Mount Nemrud. At that time, I wondered what could have been so important in this god-forsaken, steaming hot land to need a bridge! It crossed the Cedere River, a tributary of the Euphrates. It is possibly the second-largest still-existing Roman bridge, with a length of 120 meters and a span of 34 meters. Two Corinthian columns of 9-10 meters guard either side of the bridge. One set is erected in honor of Septimius Severus and his wife Julia Domna, and the other for their two sons, Caracalla and Geta.

 

The weakened Parthian Empire finally collapsed when it was overthrown by King Ardashir, the founder of the Sassanid Empire, in 224 AD. That is another story altogether (see: Sassanid reliefs tell a story of their own in Persia).

What do we know about Arrian of Nicomedia?

Although Arrian is quoted repeatedly by many historians, ancient and modern alike, we don’t know precisely when he was born or died. He lived during the reign of two great emperors, Trajan and Hadrian, when the Roman Empire experienced its most remarkable expansion.

He was a versatile man and prolific writer, but he was a historian most of all. How he found the time to pen down his many books besides pursuing a military career, holding public offices, and becoming a famous philosopher is commendable. 

Arrian, whose full name was Lucius Flavius Arrianus, was born in Nicomedia (modern Izmit, Turkey), a province of Bithynia ruled by Rome. Consequently, he was probably a Roman citizen. He grew up in an aristocratic family, was well-educated, and held the post of governor of Cappadocia from approximately 131 until 137 AD. Since the culture in Asia Minor was still very Greek, he grew up with this dual identity, making him a true Graeco-Roman. 

Arrian was the perfect person to write about Alexander the Great, having such a background. With his upbringing in Nicomedia, he realized that Alexander left behind so much Greek culture (he didn’t use the word Hellenistic!) He absorbed it all, even though he looked at it from a Roman perspective several centuries later. 

As a young man, c.108 AD, he moved to Nicopolis, Greece (earlier in Epirus), to stay with Epictetus. Epictetus considered philosophy a way of life, meaning that whatever happened was beyond our control, and we should accept events as they unfolded. His main philosophy was self-knowledge, similar to the Delphic maxim, know thyself. These wise words were visible in the pronaos of the Temple of Apollo in Delphi and were spread by Aeschylus, Socrates, and Plato. It is unknown whether Epictetus based his thoughts on this inscription, as no writings from his hand have survived. It was Arrian who wrote down Epictetus’ lectures in his Discourses of Epictetus and Enchiridion. 

The philosopher considerably influenced Arrian’s education and introduced him to important political people. The most notable figure probably was the later Emperor Hadrian – himself a pupil of Epictetus - whom he befriended in 126 AD. Hadrian appointed Arrian to the Roman Senate around 130 AD and promoted him to the governor of Cappadocia about a year later. During his governorate, he successfully stopped the invasion of the Alani in 135 AD. This was when Arrian documented his victory by writing his Ectaxis contra Alanos (Order of Battle against the Alans), which provides us with a unique insight into the Roman army in action that still bore “the stamp of Macedon.” Aware of the difference between the Macedonian and Roman phalanx, Arrian drew parallels between them. He underscored that the phalanx was not something of the past but still an active weapon in the contemporary military. His military career took him to many countries away from his native Bithynia, where he saw very different animals and plants from his familiar homeland. 

Arrian’s military career probably started earlier as he led an army to the Caspian Gates during Emperor Trajan's rule (98-117 AD). As governor of Cappadocia, Arrian commanded two Roman legions, which was when he wrote his Ars Tactica (The Tactical Arts). Experiencing the strategies and maneuvers firsthand, he described cavalry tactics and praised military innovations. In both Ectasis and Tactica, he mixed Greek and Roman military theories.

Arrian has a great interest in geography and a keen eye for details. Under Hadrian, he wrote the Periplus of the Euxine Sea (Sailing around the Black Sea) to inform the emperor about the region he considered exploring. Besides helpful information about ports, rivers, and cities, he included specific details about the viability and landscapes. In his Cynegeticus, which is an addition to Xenophon’s work, he stated, for instance, that Mysia (northwest Turkey), Dacia (mainly all of present Romania), Scythia, and Illyricum (the greater Balkans) had plains that were “adapted for riding.” 

Clearly, our historian started writing at a very young age. However, many of his works are lost or only survive fragmentarily, leaving us with titles alone. Besides the titles already mentioned above, he wrote:

- Biographies like Lives of Dion, Timoleon, and Tillorobus

- several volumes dedicated to his homeland, the Bithyniaca

- a history of the Parthians, the Parthica

- a history of the Alans, Historia Alanica

- an essay on maneuvers, On Infantry Exercises

- an essay about astronomy, On Nature, Composition, and Appearances of Comets

- And, most interestingly, a volume focusing on the events after the death of Alexander, The History of the Successors – sadly lost to humanity forever! Imagine the twists history could take if we had this book!

When or where exactly Arrian wrote his famous Anabasis or The History of the Wars and Conquests of Alexander the Great remains obscure. It is generally accepted as his most outstanding work, together with the Indica addendum about India. With these two books, Arrian is, to this day, our most precious and reliable source about Alexander. The historian could project his own military experiences and campaigns into his vision of Alexander. Arrian also had a profound fascination with Persia and Persian customs, which he lavishly shares in his Anabasis. 

Notably, he could rely on several sources, from first-rank witnesses to Alexander’s campaigns. These were generals and close Companions who had access to Alexander’s Royal Journal – men like Ptolemy, Nearchus, and Megasthenes. Another precious source was Eratosthenes, a librarian at the rich Library of Alexandria. Aristobulus also served under Alexander and later wrote a history of Alexander, including careful observations on geography, ethnography, and natural science. Aristobulus’ notes about which plants grew in specific regions of the lands Alexander conquered were vital because it gives us a glimpse of Alexander’s knowledge of plants and animals based on Aristotle’s lessons. 

It is still being determined what happened to Arrian at the end of his governorship in Cappadocia in 137 AD. Still enjoying the favors of Hadrian, he most probably became governor of Syria between 135 and 150 AD.

Towards the end of his life, he moved to Athens, where he became archon, probably in 145 or 146 AD. Other sources, however, state that Arrian retired to Nicomedia, where he was appointed priest to Demeter and Persephone. 

Arrian died some time during the reign of Marcus Aurelius, 121-180 AD, who was the last of the so-called good emperors. 

Witnessing how meticulous and objective Arrian proceeds in his Anabasis to describe Alexander’s campaigns, not only the sieges and the battlefields but also the geography and the nature and habits of the people, it is easy to realize how much information is lost in his other works.

Ways to preserve mosaics

Most archaeological sites we can visit nowadays date from Roman times. In the 2nd century AD, Rome reached its apogee under the reign of the five "good" emperors: Nerva, Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius. They constructed monumental public buildings, and the houses of the Roman citizens were also lavishly decorated, often with frescoed walls and telling mosaic floors. 

The best-known examples are the houses and villas in and around Pompeii and Herculaneum. Still, many sites in Greece (like Pella and Vergina) and Turkey (like Ephesos and Sagalassos) also treasure such striking walls and floors. 

Some mosaic floors are left in situ where they rightfully belong, in which case they need to be protected from the elements. Shelters for this purpose are then constructed. However, even these shelters need to be maintained, which is not always the case. 

Another way of protection is to cover the mosaics with a tarp held in place with a layer of gravel. This procedure requires less maintenance as only the edges have to be checked. Many curious visitors will be tempted to push the tarp and the gravel aside to look underneath. The mosaic floors are "eaten" away from the fringes without careful and repeated care. 

Anyway, this manner of preservation is a favorite among archaeologists because it requires little or no maintenance. However, plants' roots may damage and displace the tiny tesserae. 

The most appropriate way to save a mosaic is to remove it from its spot and entrust it to the care of a museum, where it hopefully will be on display. 

Such removal is very time-consuming and expensive, as the top layer of the tesserae has to be detached from the existing floor in one piece. For this purpose, archaeologists use a large wooden cylinder around which the mosaic is rolled face down. A facing of two layers of fabric and an adhesive is applied to prevent losing tesserae or damaging the surface during this tricky operation. The entire mosaic floor can then be moved to its new location using a panel of aluminum honeycomb and resin, following the most recent techniques. 

When strolling through a museum, the visitor is seldom aware of the effort and delicate work involved in displaying the mosaics for us to enjoy. We'd better take a closer look next time we visit a museum!