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Archaeology, Cultural Heritage, History, Culture, Museums & exhibitions, News

Legio IX Hispana – The Lost Legion

From BBC News:

One of the most enduring legends of Roman Britain concerns the disappearance of the Ninth Legion.

The theory that 5,000 of Rome’s finest soldiers were lost in the swirling mists of Caledonia, as they marched north to put down a rebellion, forms the basis of a new film, The Eagle, but how much of it is true?

It is easy to understand the appeal of stories surrounding the loss of the Roman Ninth Legion – a disadvantaged band of British warriors inflicting a humiliating defeat upon a well-trained, heavily-armoured professional army.

It’s the ultimate triumph of the underdog – an unlikely tale of victory against the odds. Recently, however, the story has seeped further into the national consciousness of both England and Scotland.

For the English, the massacre of the Ninth is an inspiring tale of home-grown “Davids” successfully taking on a relentless European “Goliath”. For the Scots, given the debate on devolved government and national identity, not to say the cultural impact of Braveheart, the tale has gained extra currency – freedom-loving highlanders resisting monolithic, London-based imperialists.

The legend of the Ninth gained form thanks to acclaimed novelist Rosemary Sutcliff, whose masterpiece, The Eagle of the Ninth, became an instant bestseller when published in 1954.

Since then, generations of children and adults have been entranced by the story of a young Roman officer, Marcus Aquila, travelling north of Hadrian’s Wall in order to uncover the truth about his father, lost with the Ninth, and the whereabouts of the Legion’s battle standard, the bronze eagle.

The historians have dissented, theorising that the Ninth did not disappear in Britain at all, arguing both book and film are wrong. Their theory has been far more mundane – the legion was, in fact, a victim of strategic transfer, swapping the cold expanse of northern England, for arid wastes in the Middle East. Here, sometime before AD 160, they were wiped out in a war against the Persians.

But, contrary to this view, there is not one shred of evidence that the Ninth were ever taken out of Britain. It’s just a guess which, over time, has taken on a sheen of cast iron certainty. Three stamped tiles bearing the unit number of the Ninth found at Nijmegen, in the Netherlands, have been used to support the idea of transfer from Britain.

But these all seem to date to the 80s AD, when detachments of the Ninth were indeed on the Rhine fighting Germanic tribes. They do not prove that the Ninth left Britain for good.

In fact, the last certain piece of evidence relating to the existence of the Legion from anywhere in the Roman Empire comes from York where an inscription, dating to AD 108, credits the Ninth with rebuilding the fortress in stone. Some time between then and the mid-2nd Century, when a record of all Legions was compiled, the unit had ceased to exist.

But what happened to the Ninth?

Theories on the Ninth

  • Ambushed in Caledonia while fighting revolt
  • Destroyed in the Bar Kokhba Jewish revolt
  • Wiped out in battle against the Parthians

The early years of the 2nd Century were deeply traumatic for Britannia. The Roman writer Fronto observed that, in the reign of the emperor Hadrian (AD 117 – 138), large numbers of Roman soldiers were killed by the British.

The number and full extent of these losses remain unknown, but they were evidently significant. The anonymously authored Augustan History, compiled in the 3rd Century, provides further detail, noting that when Hadrian became emperor, “the Britons could not be kept under Roman control”.

The British problem was of deep concern to Roman central government. Thanks to a tombstone recovered from Ferentinum in Italy, we know that emergency reinforcements of over 3,000 men were rushed to the island on “the British Expedition”, early in Hadrian’s reign. The emperor himself visited the island in AD 122, in order to “correct many faults”, bringing with him a new legion, the Sixth.

The fact that they took up residence in the legionary fortress of York suggests that the “great losses” of personnel, alluded to by Fronto, had occurred within the ranks of the Ninth.

It would seem that Sutcliff was right after all.

It was the Ninth, the most exposed and northerly of all legions in Britain, that had borne the brunt of the uprising, ending their days fighting insurgents in the turmoil of early 2nd Century Britain.

The loss of such an elite military unit had an unexpected twist which reverberates to the present day. When the emperor Hadrian visited Britain at the head of a major troop surge, he realised that there was only one way to ensure stability in the island – he needed to build a wall.

Hadrian’s Wall was designed to keep invaders out of Roman territory as well as ensuring that potential insurgents within the province had no hope of receiving support from their allies to the north. From this point, cultures on either side of the great divide developed at different rates and in very different ways.

The ultimate legacy of the Ninth was the creation of a permanent border, forever dividing Britain. The origins of what were to become the independent kingdoms of England and Scotland may be traced to the loss of this unluckiest of Roman legions.

From BBC News.

Filed under: Archaeology, Historia, Rome, , , , , , , , , ,

Contemporary Art Museum of Casoria requests asylum in Germany

From Spiegel:

After years of mafia threats and what he sees as official indifference, the director of a contemporary art museum near Naples has had enough. In a letter to German Chancellor Angela Merkel, he has requested asylum for his museum — and says his entire staff is prepared to move to Berlin if she agrees.

Like many in and near Naples, Antonio Manfredi, the director of the Contemporary Art Museum of Casoria (CAM), lives in fear. Threatening phone calls, vandals and not-so-subtle warnings — the local mafia organization, the Camorra, has left little doubt that he is on their radar. What truly frightens him, though, is just how horribly Italy treats its artistic and cultural treasures.

And now, he has decided to call wider attention to his plight. At the beginning of this month, he mailed an official letter to Angela Merkel’s Chancellery in Berlin requesting asylum for his entire museum. The letter was sent in both Italian and German, and copies were forwarded to the German Embassy in Rome, as well.

“If the Italian government isn’t capable of taking care of its cultural treasures, then let another country do it,” Manfredi told SPIEGEL ONLINE. “This is a warning scream from Italian art to the world.”

The stunt seems to have had an effect. Since the letter went out on Feb. 1, a number of Italian newspapers have published stories about his letter and foreign news media have likewise begun to take an interest. Locals, Manfredi says, have been stopping by the museum to express solidarity.

‘Very, Very Mad’

Ominously, however, Manfredi has yet to hear anything from local politicians. “The mayor,” he says, “is very, very mad at me.”

That, though, was perhaps to be expected. Manfredi, now 50, founded his museum in 2005 with much of its funding coming from the municipality. Within three months, however, public backing dried up and those officials who approved the grant had been replaced.

Having grown up in Casoria himself, Manfredi immediately suspected that the mafia was behind the funding cut. Indeed, in October of that same year, the Casoria city council was dissolved for the second time in six years on suspicion that it had been infiltrated by the Camorra.

Manfredi, however, resolved to go on. “I wanted to continue,” he said. “But I realized that no town, no region and no state would help me.”

Since then, with the help of local donors and volunteers, the museum has collected roughly 1,000 pieces of contemporary art from around the world, including photographs, sculptures, video installations and paintings. It is also used as a space for performance pieces. “People usually tell me that the space seems very Berlin,” he says.

There is, however, a decisive difference. The exhibitions at the museum deal with all manner of relevant cultural issues — from paedophilia to urban decay. In addition, though, the presence of the mafia in daily life is far from taboo. After six immigrants from West Africa were shot down in Naples — allegedly by the Camorra — in September 2008, for example, the museum hosted “AfriCAM,” an exhibition on immigration. There has also been “CAMorra,” a 2008 show on the local mafia.

A Black Doll

Shortly afterwards, the vandalism and telephone threats started. Gates and doors at the museum showed signs of break-in attempts and security cameras were stolen. And then there was the black doll someone laid outside the museum’s front gate following the AfriCAM exhibit.

“The mafia doesn’t need to say outright ‘We are going to kill you!’” Manfredi explains. “They are very subtle. You might receive a message saying you should give some thought to hiring a private security company. If you live here, you know that’s a strong threat.”

Manfredi turned immediately to the police when the threats started, but he says they did nothing. And the warnings haven’t stopped.

In his letter to Merkel, Manfredi wrote: “I am sending you a request that I know probably sounds absurd, but that just goes to show the immense difficulties one faces in trying to make culture in my country.” Manfredi explains his museum’s situation and asks Merkel to adopt the collection. “In the name of culture and art, I hereby ask you to grant our request. I am prepared to move the entire collection to a space in Germany and to run (the museum) there together with my staff.”

Manfredi said he chose Germany as the recipient of his cry for help since it has avoided the drastic cuts in cultural funding seen recently in several other countries around Europe.

Still, his request is not likely to be granted. On Monday, a Chancellery spokeswoman told SPIEGEL ONLINE that they would not be commenting on Manfredi’s letter as they viewed it more as a public protest than as a genuine asylum request meriting further consideration.

‘The Whole Point Is to Not Be Afraid’

Manfredi himself allows that the move was in part meant for a domestic audience. And he is no stranger to high-profile appeals. After the collapse of a house in the ancient city of Pompeii late last year — which he blames on official corruption and indifference — he sent a letter to several government officials and authorities asking for more support for Italy’s cultural sites.

He got a response from Italian President Giorgio Napolitano who told him “to have courage.” That, though, says Manfredi, is not enough.

“Another purpose of my letter (to Merkel) is to open the eyes of Italians,” he says, “to ask them how they can let Italy — home to 70-80 percent of the world’s cultural sites — allow its art to be destroyed.”

Whatever the outcome of his appeal to Berlin might be, Manfredi vows to continue offering his museum as a showroom for the works of young, local artists whose works deal with their mafia-saturated world.

“Not all of them are afraid,” Manfredi says in praise of those artists who continue their work in the face of the threats. “The whole point is to not be afraid. Otherwise you should just go and shut yourself into your house for the rest of your life. The majority of people here want change — and these artists are their voice.”

From Spiegel.

Filed under: Cultura, Heritage, , , , , , , , , ,

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