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Europe's only ancient pyramid (and Colosseum myths) - Aliens 65
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This episode will be a bit different than normal. First, it was recorded in Rome. Secondly, there will not be too many aliens. Don't worry, it will be a fun one, we will finally find Europe's only ancient pyramid. They were not in Bosnia or Greece but in Italy all along. Then we'll bust some Colosseum myths and talk a little about Romes's obsession with moving obelisks.
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The intro music is Lily of the woods by Sandra Marteleur, and the outro is named “Folie hatt” by Trallskruv.
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Transcript
Introduction and Episode Overview
00:00:00
Speaker
You're listening to the Archaeology Podcast Network.
00:00:19
Speaker
Welcome to Digging Up Ancient Aliens. This is the podcast where we examine strange claims about alternative history and ancient aliens in popular media. Do their claims hold the water to an archaeologist or are there better explanations out there? We are now on episode 65. I am Fredrik, your guide into the world of pseudo-archaeology, and this episode will be a little bit different than normal. First, it was recorded in Rome, Italy. So if you wonder why there's any difference in the audio, it might be just
Europe's Only Ancient Pyramid
00:00:56
Speaker
that. Secondly, there will not be that many aliens showing up in this episode, but don't worry it will be a fun one, I promise that we will finally find Europe's only ancient pyramid. And they were not in Bosnia, they were not in Greece, but it seems as they were in Italy all this time. And then we will bust some Colosseum myth and talk a little bit about Rome's obsession with moving obelisks.
00:01:25
Speaker
As always, I want to thank the patrons and members of the show. Your support is amazing and there's more bonus episodes that are scheduled to release shortly. And if you want to help and finance the show, wait to the end of all of this and I will tell you exactly where to go to do just this. And remember, as usual, you find sources, resources and reading suggestions on our website, taking up ancientaliens.com. So with those preparations out of the way, let's dig into the episode.
00:02:13
Speaker
So I have made my way all the way here to Rome, where we find Europe's only ancient pyramid. So behind me you can see the pyramid of Gaius Sestius. As you might suspect, it is quite the important character within the ancient Roman society. He was a praetor, a tribune of the plebs. He was also an important member in one of Rome's religious corporations.
Roman Burial Practices and Architectural Influence
00:02:44
Speaker
He served for some time as a septumier for the epilowness, the religious corporation, or one of four religious corporations operating in ancient Greece. The pyramid was not built by Cestius himself, but it was built upon his order. In his testament, Cestius stated that he wants this pyramid to be built outside of Rome, and it was supposed to be built in 330 days, and this was an important number for Cestius.
00:03:14
Speaker
And it left this construction project to this air that we can find out the name of if we read on the side of the pyramid. So on the side of the pyramid we find two texts. Technically there's three texts. Two of them are from the original construction of the pyramid. and then we have a third text that was written in the 1600s when an excavation around the pyramid took place trying to determine whose pyramid this was really because the Pope got a bit tired of the speculations of this being Romulus tomb or any other fantastic figure and he wanted to get to the bottom of this and he then inscribed that the excavations took place at the bottom of the pyramid.
00:03:57
Speaker
So if we go and read what's written on the pyramids, we can learn the following. Gaius Sestius, son of Lucius of the Puglia, member of the College of Apollonus, Praetor, Tribune of the Plebs, Septimveer of the Apollonus. The work was completed in accordance with the will in 330 days by the decision of the heir Lucius Pontus Mela, son of Publius of the Claudio and Palthus. freedman. And the most interesting thing about that text was that a freedman was mentioned on it. And a freedman, that's a Roman slave. And he seems to gain quite of importance for the family. So he was even mentioned in the text as one of those who constructed these monuments as Cestius wanted them to. And while this today is a bustling intersection with heavy traffic, this was not the case when the pyramid was built. We're not entirely sure when the pyramid was constructed, but most likely somewhere between ATBC and, well, BCE. It's not specified on the pyramid, but these are the most likely dates of the construction.
00:05:07
Speaker
And while Rome today only had one pyramid, this was not the case back in the ancient Rome. There were actually two pyramids, but only this one survives. And the reason for this is, as we see behind here, is that as Rome expanded, the pyramid was incorporated within the city wall that was constructed between 271 and 274 CE. Due to Roman burial practices, that was not allowed to be buried inside the city limits, but this was something that needed to change as Rome grow bigger and bigger. And when this city wall was constructed later on, it was just incorporated within the city wall. And and that way it was preserved for future generations to come and look at.
00:05:58
Speaker
And if we look at the pyramid, we're noticing that while it's a pyramid, it looks a bit different from those we are used to in ancient Egypt. And the reason for this is that this was not modeled after the Egyptian pyramids. You see, during Sestio's lifetime, Rome incorporated Nubia into their empire, and Nubia has these very tall pyramids, very narrow with a deep angle, a very steep angle on them. And worth mentioning is that if we go to Alexandria, this would have been the preferred building style too. The Greeks living and ruling from alex Alexandria prefer the Nubian pyramid style over the traditional construction style of the pyramids.
00:06:46
Speaker
And if we look even closer at the stones and construction method used in this pyramid, we're noticing there's more difference between this pyramid and the Egyptian pyramids, and even the Nubian pyramids. We see that they use several smaller blocks, a sort of a decoration on the side of the pyramid. They also use a different material, of course. We see the sun blocks as she saw with an angle, we see smaller blocks as put in place with the bigger ones. And this was more for decoration than to prove anything else. And I can't show you this today, but you can actually go inside the pyramid. It does require
History of the Colosseum and Surrounding Area
00:07:25
Speaker
a bit of planning, though, and make sure that you actually can count the days. The inside of pyramids are open the second and fourth Saturday each month. So if you want to go inside,
00:07:38
Speaker
These are the dates you should visit Rome. But if we go inside, we see frescoes and um quite modest burial chamber. We don't see the horrible roof that we can spot in some pyramids in this pyramid, but it can be due to the, well, smaller size of this burial. But there we have it, Europe's only ancient pyramid.
00:08:09
Speaker
um The valley where the Colosseum stands today looked a lot different in the past than what we see today. The valley would have been narrower and deeper, and before the construction of the theatre it was surrounded by several hill or There's still hills surrounding it. Today we can see, for example, the Palatine, the Fagutal, Opinion, and Sahelan, and you can still visit many of these hills today. Another hill would have been visible too from here, the Vaela. It was, however, leveled during the construction of the Via del Impero,
00:08:48
Speaker
Even if the area between the hills isn't optimal here for human habitation, we can see people living here in the 7th and 6th century BCE. It seems as somewhere during this time people start to move down from the hills and settle in the valley, most likely to get better access to the river Tiber. and as people moved down into the valley it also quickly became more connected with the mythology surrounding the founding of Rome, and this has become more evident in recent excavation of the Palatine's northeast slope. Archaeologists have found a sizable sacred area constructed here in the 6th century BCE,
00:09:37
Speaker
And when we got to the late Republic, an early imperial era, this district would have been one of Rome's largest and most densely populated places. However, a great fire occurred in 64 CE that would put a drastic end to that. This fire demolished this district and nearly half of Rome rose in the flames. Today we're not and entirely sure what caused the fire. I can stress, though, that there there isn't any need for a massive conspiracy here. Remember that the favelas were mostly built out of wood and more or less constructed on top of each other. These high wooden buildings. In addition to that,
00:10:28
Speaker
Open flames was basically a necessity both for cooking and lighting. Everything was oil lamp at this point in history. Yet many fingers have later in history pointed towards narrow as the cause for the fire. And today I don't think that there are too many historians that believe that Nero was the one who planned these fires. If there are, I've not been able to find them at least, but let's put it like this. Nero had very little to gain and a lot to lose by staging these fires. While the emperor was often described as unstable, he he wasn't really stupid.
00:11:14
Speaker
his enemies would have gained much, much ammunition for their propaganda if there were an incredible eyewitness to all of this. And even without their accusations, say, these and this idea that Nero planned the fire still survived to our day, so I mean, how would it have been if he really were the one behind it? And Nero also lost a lot of his precious art collection in the fire. And I mean, he would lose risking his popularity among the plebs. He were maybe not as popular among the Roman upper classes, the senators, but he had a decent support among the lower classes in Rome. And in the end, he ended up using a vast amount of his own wealth to rebuild the city later. And it seems as the real cause for the fire wasn't really known among the Romans either. Tacitus, that would have been ah contemporary with the fires, gives us several different versions of the causes. In his work the Annals, in book 15, verse 33-47, Tacitus covered a great fire of Rome and claims, quote,
00:12:33
Speaker
A disaster followed, whether accidental or treacherously contrived by the emperor is uncertain, as authors have given both accounts, worse, however, and more dreadful than any which have ever happened to this city by the violence of fire. Tacitus then goes on to talk about the events, and while mentioning that Nero was not in town for the event, there were rumors that, quote, at the time when the city was in flames, the emperor appeared on a private stage and sang of the destruction of Troy.
00:13:13
Speaker
So Tacitus seems to try to be a little bit neutral, presenting different versions of the events and the causes behind it. Other authors are a bit more direct in their blame. In 121 CE, Cetonius wrote in his book Life of the Twelve Caesars that Nero started a fire because the city was too ugly for his taste. He wanted to reshape the city in his own image. We again find that this singing part, viewing the conflagration from the Tower of Mycenas and exalting, as he said, in the beauty of the flames. He sang the whole of the sack of Elimium in his regular stage costume.
00:14:05
Speaker
Cassius Dio claims in his Roman history, book 62 verses 16-18, written around 221 CE, that Nero sent out men on the town to burn it down. The emperor is then to have, quote, put on the professional sitara players' garb and sang the sack of Troy, so he asserted, although to common mind it seems to be the sack of Rome. From this passage we get a saying that narrow fiddled while Rome burned, stemming from a mistranslation or maybe an attempt to make the instrument more relatable. You see the sitara were a sort of a primitive lute or guitar,
00:14:53
Speaker
So to make it more relatable in a 17th century plate called the tragedy of Nero, this was replaced by a fiddle. While Cassius Dio never explicitly claimed that Nero played an instrument, most poetry recitals during this time were a accompanied by an instrument. while only the garbage mention is very plausible that cautious also meant it to be an instrument included in this costume. So while Nero most likely was innocent of setting the fire, he actually seems to have a blamed it on the tiny Jewish cult called the Christian, leading to a minor local persecution of them. Four years after the fire, Nero died, that was in 68 CE,
00:15:45
Speaker
and Shortly after, this former emperor was ah posthumous, sentenced to dominatio memori. and This means that all of his monuments were to be destroyed, even a large palace that he started to build where well Colosseum now stands. and The following emperor, Vespasian, from the Flavian family, saw the need for a permanent amphitheatre. And with the area of Nero's Domus Aurea opened up, he used this to his political advantage. He re-gifted the land back to the public as a place for entertainment. Just imagine how this must have affected Vespasian's approval rating among the Roman population.
00:16:31
Speaker
Now, the construction of this enormous arena would take about 10 years. Unfortunately, Vespasian would not be the one benefiting from the arena, but his son Titius would inaugurate it in ADCE. So the construction of the Colosseum would take about 10 years and this quick construction was thanks to partly the reuse of the material from narrow so construction in this area.
00:17:05
Speaker
So by reusing the materials from Nero's construction, his buildings and legacies in a way preserved in the Colosseum, and today you might hear this building being referred to as the Flavian Amphitheatre, but there's no real evidence this was used in Roman times this name, Now, while it's easy to think that the name Colosseum refers to the giant theater itself, it's actually in reference to a large bronze statue outside. The statue depicted the god Sol, or Helios, the Roman sun god.
00:17:48
Speaker
The statue, however, it didn't start out as a statue to the Sun God. It started out as the statue of the Colossus of Nero. But instead of melting it down when the damnatio Memori went into effect, they just reworked this statue into an image of a deity. I don't really think Nero would have protested much for this, to be honest, but in a way, Nero's legacy is preserved in the Colosseum, even if it was intended as a way to kinda erase his memory.
Gladiator Myths and Realities
00:18:29
Speaker
So Titus inaugurated the arena in 80 CE with games that would last a hundred days.
00:18:39
Speaker
And this game would not have been cheap and the must have been a kind of unforgettable event that most likely remained a topic of conversation for decades to come. The Flaven dynasty had procured a considerable wealth from their successes in the Jewish wars, and there would have been different spectacles taking place here. There would have been beast hunts, gladiator fights, and even naval battles, an event we will circle back to in just a moment here.
00:19:14
Speaker
I'd like to take a moment here and talk about a common misconception. I actually hadn't it quite recently. From movies, books, games and other pop culture sources, we get these pictures of gladiators entering the arena and marching up in front of the emperor that is stopped and other these famous words. Ave Imperator, Morituri te Salutante. Or in English, Hail Caesar, or Emperor. Those who are about to die salute you. It's a powerful imagery, and it's easy to see how people just accept it as true. I mean, it is a powerful imagery that we kind of like, I think.
00:20:02
Speaker
but with a very high certainty, though this was not a standard gladiator greeting. The only time we know it was, in fact, used was a nomaki, or a naval battle, that took place in 52 CE on Lake Fuchine, organized by the emperor Claudius. Three authors mentioned this Nomeki or naval battle. Tacitus was the first one, and he doesn't mention this greeting at all. Actually, his account will, as it turns out, it differs quite a lot from the other authors. Later we have Arthur Cetonius, who is the first to mention the phrase.
00:20:47
Speaker
with the addition that Claudius responded vitally out none. Cassius Dios is the third, and might be quoting Cetonius on this account. Worth noting here is that it was not gladiator that these authors were writing about, Now there were condemned criminals. Satanius and Cassius deal frame this as an attempt by the man to be spared. They're pleading to the emperor, please save us. And when these pleas for mercy are ignored, these two authors claim that the fighters either refuse or kind of pretend to battle. You know, they thought in a way that they wouldn't hurt their opponents.
00:21:34
Speaker
or if they hurt them, it wouldn't be you know very serious wounds. But if we listen to Tacitus, we get a completely different tale. He wrote, quote, The battle, though one of criminals, was contested with the spirit and courage of three men, and after much blood had flowed, the combatants were exempt from destruction. So we have two stories with different agendas it seems like and I mean it's a cool phrase but this is the only time we hear it being used and then it was as a plea for mercy. So if this greeting happened at all it could be debated in this case. We still got a pretty catchy AC-DC song out of it and
00:22:28
Speaker
Well, that's not too bad, I think. So, we have already mentioned these naval battles, and a common claim about the Colosseum is that maritime battles were arranged in the arena, and while it do sounds a bit over the top of an engineering feat, it seems as if it actually could have happened. Now, it was not a regular thing here, just to make that clear. It most likely, if happened, only occurred twice in the arena's history. One time during the inauguration of the arena, so Titus did in ATCE arrange a naval battle in Colosseum,
00:23:15
Speaker
And the second time seems to have occurred in 85 CE, that time arranged by Titus' brother Domitian. And this would also have been the emperor who would end up completing the arena, and he did this by construction in the lower gallery we see today. and this construction would then stop future water events at the theatre since it would have been quite tricky to keep the lower level from flooding and still keep all that them machinery down there working. Because while it must have been an experience for those attending the Nomaki at the Colosseum, Colosseum isn't really that big arena. It's not naval battle big.
00:24:05
Speaker
the arena part of the Colosseum is only something like 80 times 47 meters or so and this means you can't really have large ships or that many vessels in here and it would have been hard for them to move around properly to make a very you know, realistic and compelling and naval battle. It might have been a bit adult compared to the other battles that were staged as the at the larger lakes. For example, compare the small Colosseum in comparison to the Augustinian Basin that would have been huge and allow for a proper nomad to take place.
00:24:45
Speaker
But by building these lower galleries, you lost the water as I mentioned, but in turn you gained the ability to make the fights and hunts more fun and interactive. So they built these galleries where animals, sceneries and even people and other things could be raised up from below upon the arena and through this whole forest and beast could just suddenly appear in front of the crowd and it must have been a maybe more impressive view to see a tiger, a bear, ah some trees, mountains just ah appear in front of their eyes in the arena compared to and most likely ah very shouty naval battles.
00:25:32
Speaker
So before we leave the Colosseum, let's talk about a question that I see from time to time. Did women fight in the arena? And based on historical sources, it seems as women did in fact participate as fighters on occasion. An issue for us today is that most of these sources have a tendency, since they are written by men, to focus on the sexiness of these fighting women and the novelty of the act. Now Kathleen Coleman has done some amazing work trying to shed light on these ah female combatants from Coleman and other people's work. We can see that there was a profession of trained female gladiators.
00:26:21
Speaker
It's harder to know, yeah however, if it was a male or female gladiator in the arena, because there's no separation for the word. There's no masculine or feminine version of it, so to say. There isn't a gladiatrix entering the scene or something like that. The closest word we have describing women in relation to gladiatorial settings are one word, and a very uncommon one, Lydia. This word however seemed to be only used for female slaves that are connected to the gladiator school in the sense that they were lovers or girlfriends of a gladiator.
00:27:08
Speaker
And it seems to not have been used when discussing a woman fighting as a gladiator in the arena though. There are a few different sources for women in the arena. One part is actually laws that forbade daughters, granddaughters, and great-granddaughters, and the wives to senators and equestrians from participating in the games. And you often don't need a law if something never happens. We also have, again, Tacitus lamenting that during Nero's game in 63 CE, quote, prominent matrons and senators disgraced themselves by appearing in the amphitheater.
00:27:53
Speaker
and Cassius Dios mentioned that female and male Venatorus, that's the name for those participating in the Beast Hunts or the Hunters in that sense. Anyway, Cassius Dios mentioning that during Titus opening games, both male and female ah Hunters or Venatorus participated. Domitian is supposed to have enjoyed seeing women fighting people with dwarfism in the arena, Statues also describe professional women gladiators in his work Sylvae. Marcus Valerius Martalis mentions female gladiators and Venatorus in his poems. So while it might have been to some extent and novelty a act,
00:28:42
Speaker
women definitely engaged and took an active role as combatants and hunters in the public games in ancient Rome.
Rome's Egyptian Obsession
00:29:00
Speaker
If you happen to visit Rome, you might notice that there's a lot of obelisks standing around in the city. In fact, there's more obelisks in Rome than there are in Egypt. So there's seven ancient Egyptian obelisks here in Rome that still stands. But in Egypt, there's seven obelisks still standing. In total, there's 13 obelisks that you can visit it here in Rome. But as I mentioned, eight of them are from ancient Egypt. the rest of them are later replication by the Romans, who wanted more obelisks and didn't want to go to Egypt to fetch more of them. In total, it seems as from the historical sources that ah we have preserved to our days, they shipped between 40 and 50 obelisks from ancient Egypt
00:29:50
Speaker
here to Rome. So the first obelisk moved by the Romans is the one that we see behind us here at the Flaminion Square and the obelisk is called the Flaminion Obelisk. And the obelisk was moved here to Rome on the order of Emperor Augustus, formerly known as Octavian, and this large stone obelisk out of Egyptian granite is weighing 263 tons. So this was not something they would be able to move quite quickly. They actually had to do a couple of prior runs. And these trials are started in 13 BCE. Augustus then ordered two obelisks to be moved from Heliopolis to Alexandria. And this took a little bit, but they figured out how to do this well.
00:30:40
Speaker
They then moved on in 10 BCE to move two obelisks from Heliopolis, one of which, the one that we see behind us here, and the other obelisks today found at the square on Montesochtorio and Argostosi. order this movement of these two obliques a bit to celebrate his victory over Cleopatra and Mark Anthony. But there's more reason behind this move that we will get to in just a moment. And they managed to move these large stone pillars across the Mediterranean by using similar technology as the ancient Egyptian.
00:31:18
Speaker
So it seems as according to the sources we have that the Romans used a similar technology inspired by the ancient Egyptians' way to move the obelisks through the Nile. So they designed the ships in a similar manner as the ancient Egyptian stone-moving barges. But why did the Romans move so many of these Egyptian obelisks to Rome? Well, to answer this question, we need to go to a different location to figure this one. Well, to answer this question, we need to head over to another location. Come with. So it was here at Circus Maximus, where Emperor Augustus placed one of the Egyptian obelisks that he brought back from Egypt.
00:32:04
Speaker
but The obelisk would have stood in the center of the spina in here and that's also a reason why Rome brought in so many in the end because later in Roman history when you had these arenas for horse races He wanted one in each end of the Spina. So one over there and one over there. The second Egyptian obelisk that Augustus brought to Rome became part of his giant sundial. And while the Romans were awesome engineers, the moving of these giant obelisks were still viewed as quite an achievement in ancient Rome.
00:32:47
Speaker
So the ships that they used to transport these giant obelisks from Egypt here to Rome was often, when the task was complete, put out on display so they the citizens of Rome could go and marble upon these large vessels used to transport the obelisks. And if you read Pliny the plinidy Elder, he covers this just a few years after the first obelisks were moved at here to Rome. And it's not really strange that the the ancient Roman citizens looked upon these moves of the obelisks as quite ah
00:33:26
Speaker
technical achievements. The largest obelisk ever moved by the Romans were not the first one by Augustus, but the later obelisk known today as the Laturnan obelisk. And these giant and stone pillar ways or way of whopping 413 tons Once upon a time, today it's only, only, today it weighs on, well, only 330 tons. And it is because it was ah toppled over in the earthquake part of the obelisk. Well, broke down and couldn't really be put back together with it.
00:34:05
Speaker
And something worth noting is that the Romans, while being more technically advanced, they used most of the same methods as the ancient e Egyptians when they raised and transported these obelisks. The difference is that the Romans used pulleys, something that ancient the ancient Egyptians during the construction of many of these obelisks did not have access to. Other than that, you put similarity in the tools and the ways they ah transported the obelisk. But when it came to you know putting the obelisk up on this pedestal, yeah, they used coalesced ancient egyptian method. We're not 100% clear on which method to use if they build it up and then topple it over.
00:34:50
Speaker
if they build a larger hill and then you drag it up pop and then slid it down on the other side. There's several different possible solutions to this that does not require a policy system. But a policy system isn't really necessary for raising an obelisk. As we've talked about before, Wally Wallington from the U.S. have demonstrated that with simple fulcrums and levels and plain sticks, you can by yourself so If you have some time on your hands, you have these large blocks in place by yourself. is bill He built his own stonehenge in his backyard, if you're not familiar with this person. And while putting it on the spina in theircus the the racetracks,
00:35:38
Speaker
was one reason for these obelisks to be transported to Rome. It's not the only explanation for them, because so later in Roman history, there was a bit of Egyptomania cults dedicated to Isis and the Serapists, sort of become a bit popular, and they imported these obelisks to you know decorate these ah these ah Egyptian Roman temples dedicated to these mystery cults. And this actually started with Augustus bringing the first two obelisks here to Rome. Before that, the Roman um government, those in charge of Rome, were a bit skeptical to these non-Roman religions starting to pop up in the Rome. Augustus managed to change this with these two obelisks.
00:36:30
Speaker
that he imported here, because he did not only put them up for decoration, he kept the meaning of the obelisks. They were a sort of sun symbol, and I talk more about this in the special episode about the obelisks, but there he dedicated these obelisks to the Roman god Sugele. the sun god within the Roman pantheon and this opened up this Egyptian influence to start making its way into Roman culture civilization be accepted within the Roman society. But yes, this is why we have ah more obelisks in Rome than in ancient Egypt because they
00:37:12
Speaker
were well exported out of the country. And it really shows that, well, if it was possible for the Romans, I don't think it was impossible for the ancient Egyptians either. I mean, they they didn't really need aliens to solve this type of thing, as we see later in history.
Conclusion and Credits
00:37:34
Speaker
Well, I hope that you enjoyed this little trip to Rome with me, even if we didn't cover a lot of alternative history and pseudoscience this time. I think it was a nice exploration. And I do hope to see you next time. Until then, please help Spread The War by leaving a positive review on platforms like iTunes, Spotify, or even better, recommend the episode or two to your friends. And if you head over to diggingupancientaliens.com, you will find the episode page and the transcript for this episode. There you will also be able to find sources and reading recommendations if you want to expand your knowledge on the subjects that we bring up in these episodes. And if you want to help supporting the show, and I'm very grateful for those who do it,
00:38:28
Speaker
helps a lot actually with different costs that appears with this ah production. Just head over to patreon dot.com slash digging up ancient aliens. And if you want to support the show, but not through patrons, there's also a membership thing if you head over to digging up ancient aliens.com slash support. And if you want to support the Archaeological Podcast Network, you can hand it over to their website, and they have a membership feature there too. And if you want to contact me, you can do that through most social media sites, or if you prefer, you can send an email to frederick at digging up ancient aliens dot com.
00:39:15
Speaker
Sandra Martelor created the intro music, and her outro is by the band called Thrallskriv, who sings their song Foljaat. Links to both of these artists will be found in the show notes. Until next time, keep shoveling that science!