Slavery in ancient Rome
Slavery in ancient Rome played an important role in society and the economy. Besides manual labor, slaves performed many domestic services, might be employed at skilled jobs and professions. Accountants and physicians were slaves. Slaves of Greek origin in particular might be educated. Unskilled slaves, or those sentenced to slavery as punishment, worked on farms, in mines, at mills, their living conditions were brutal and their lives short. Slaves had no legal personhood. Unlike Roman citizens, they could be subjected to corporal punishment, sexual exploitation and summary execution. Over time, slaves gained increased legal protection, including the right to file complaints against their masters. A major source of slaves had been Roman military expansion during the Republic; the use of former soldiers as slaves led inevitably to a series of en masse armed rebellions, the Servile Wars, the last of, led by Spartacus. During the Pax Romana of the early Roman Empire, emphasis was placed on maintaining stability, the lack of new territorial conquests dried up this supply line of human trafficking.
To maintain an enslaved work force, increased legal restrictions on freeing slaves were put into place. Escaped slaves would be returned. There were many cases of poor people selling their children to richer neighbors as slaves in times of hardship. In his Institutiones, the Roman jurist Gaius wrote that: the state, recognized by the ius gentium in which someone is subject to the dominion of another person contrary to nature; the 1st century BC Greek historian Dionysius of Halicarnassus indicates that the Roman institution of slavery began with the legendary founder Romulus giving Roman fathers the right to sell their own children into slavery, kept growing with the expansion of the Roman state. Slave ownership was most widespread throughout the Roman citizenry from the Second Punic War to the 4th century AD; the Greek geographer Strabo records how an enormous slave trade resulted from the collapse of the Seleucid Empire. The Twelve Tables, Rome's oldest legal code, has brief references to slavery, indicating that the institution was of long standing.
In the tripartite division of law by the jurist Ulpian, slavery was an aspect of the ius gentium, the customary international law held in common among all peoples. The "law of nations" was neither natural law, which existed in nature and governed animals as well as humans, nor civil law, the body of laws specific to a people. All human beings are born free under natural law, but slavery was held to be a practice common to all nations, who might have specific civil laws pertaining to slaves. In ancient warfare, the victor had the right under the ius gentium to enslave a defeated population; the ius gentium was not a legal code, any force it had depended on "reasoned compliance with standards of international conduct."Vernae were slaves born within a household or on a family farm or agricultural estate. There was a stronger social obligation to care for vernae, whose epitaphs sometimes identify them as such, at times they would have been the children of free males of the household; the general Latin word for slave was servus.
Throughout the Roman period many slaves for the Roman market were acquired through warfare. Many captives were either brought back as war booty or sold to traders, ancient sources cite anywhere from hundreds to tens of thousands of such slaves captured in each war; these wars included every major war of conquest from the Monarchical period to the Imperial period, as well as the Social and Samnite Wars. The prisoners taken or re-taken after the three Roman Servile Wars contributed to the slave supply. While warfare during the Republic provided the largest figures for captives, warfare continued to produce slaves for Rome throughout the imperial period. Piracy has a long history of adding to the slave trade, the period of the Roman Republic was no different. Piracy was affluent in Cilicia where pirates operated with impunity from a number of strongholds. Pompey was credited with eradicating piracy from the Mediterranean in 67 BC. Although large scale piracy was curbed under Pompey and controlled under the Roman Empire, it remained a steady institution and kidnapping through piracy continued to contribute to the Roman slave supply.
Augustine lamented the wide scale practice of kidnapping in North Africa in the early 5th century AD. During the period of Roman imperial expansion, the increase in wealth amongst the Roman elite and the substantial growth of slavery transformed the economy. Although the economy was dependent on slavery, Rome was not the most slave-dependent culture in history. Among the Spartans, for instance, the slave class of helots outnumbered the free by about seven to one, according to Herodotus. In any case, the overall role of slavery in Roman economy is a discussed issue among scholars. Delos in the eastern Mediterranean was made a free port in 166 BC and became one of the main market venues for slaves. Multitudes of slaves who found their way to Italy were purchased by wealthy landowners in need of large numbers of slaves to labor on their estates. Historian Keith Hopkins noted that it was land investment and agricultural production which generated great wealth in Italy, considered that Rome's military
History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings depict a moment in a narrative story, rather than a specific and static subject, as in a portrait; the term is derived from the wider senses of the word historia in Latin and Italian, meaning "story" or "narrative", means "story painting". Most history paintings are not of scenes from history paintings from before about 1850. In modern English, historical painting is sometimes used to describe the painting of scenes from history in its narrower sense for 19th-century art, excluding religious and allegorical subjects, which are included in the broader term history painting, before the 19th century were the most common subjects for history paintings. History paintings always contain a number of figures a large number, show some type of action, a moment in a narrative; the genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as narrative scenes from mythology, allegorical scenes.
These groups were for long the most painted. The term covers large paintings in oil on canvas or fresco produced between the Renaissance and the late 19th century, after which the term is not used for the many works that still meet the basic definition. History painting may be used interchangeably with historical painting, was so used before the 20th century. Where a distinction is made "historical painting" is the painting of scenes from secular history, whether specific episodes or generalized scenes. In the 19th century historical painting in this sense became a distinct genre. In phrases such as "historical painting materials", "historical" means in use before about 1900, or some earlier date. History paintings were traditionally regarded as the highest form of Western painting, occupying the most prestigious place in the hierarchy of genres, considered the equivalent to the epic in literature. In his De Pictura of 1436, Leon Battista Alberti had argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, because it had the greatest potential to move the viewer.
He placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. At the same time there was from the latter part of the 18th century an increased interest in depicting in the form of history painting moments of drama from recent or contemporary history, which had long been confined to battle-scenes and scenes of formal surrenders and the like. Scenes from ancient history had been popular in the early Renaissance, once again became common in the Baroque and Rococo periods, still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer to paintings of scenes from secular history, rather than those from religious narratives, literature or mythology; the term is not used in art history in speaking of medieval painting, although the Western tradition was developing in large altarpieces, fresco cycles, other works, as well as miniatures in illuminated manuscripts.
It comes to the fore in Italian Renaissance painting, where a series of ambitious works were produced, many still religious, but several in Florence, which did feature near-contemporary historical scenes such as the set of three huge canvases on The Battle of San Romano by Paolo Uccello, the abortive Battle of Cascina by Michelangelo and the Battle of Anghiari by Leonardo da Vinci, neither of which were completed. Scenes from ancient history and mythology were popular. Writers such as Alberti and the following century Giorgio Vasari in his Lives of the Artists, followed public and artistic opinion in judging the best painters above all on their production of large works of history painting. Artists continued for centuries to strive to make their reputation by producing such works neglecting genres to which their talents were better suited. There was some objection to the term, as many writers preferred terms such as "poetic painting", or wanted to make a distinction between the "true" istoria, covering history including biblical and religious scenes, the fabula, covering pagan myth and scenes from fiction, which could not be regarded as true.
The large works of Raphael were long considered, with those of Michelangelo, as the finest models for the genre. In the Raphael Rooms in the Vatican Palace and historical scenes are mixed together, the Raphael Cartoons show scenes from the Gospels, all in the Grand Manner that from the High Renaissance became associated with, expected in, history painting. In the Late Renaissance and Baroque the painting of actual history tended to degenerate into panoramic battle-scenes with the victorious monarch or general perched on a horse accompanied with his retinue, or formal scenes of ceremonies, although some artists managed to make a masterpiece from such unpromising material, as Velázquez did with his The Surrender of Breda. An influential formulation of the hierarchy of genres, confirming the history painting at the top, was made in 1667 by André Félibien, a historiographer
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Used drying oils include linseed oil, poppy seed oil, walnut oil, safflower oil; the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired; the paints themselves develop a particular consistency depending on the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Although oil paint was first used for Buddhist paintings by painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century, its practice may have migrated westward during the Middle Ages. Oil paint became the principal medium used for creating artworks as its advantages became known.
The transition began with Early Netherlandish painting in Northern Europe, by the height of the Renaissance oil painting techniques had completely replaced the use of tempera paints in the majority of Europe. In recent years, water miscible. Water-soluble paints are either engineered or an emulsifier has been added that allows them to be thinned with water rather than paint thinner, allows, when sufficiently diluted fast drying times when compared with traditional oils. Traditional oil painting techniques begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is'fat over lean', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will peel; this rule does not ensure permanence.
There are many other media that can be used with the oil, including cold wax and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or'body' of the paint, the ability of the paint to hold or conceal the brushstroke; these aspects of the paint are related to the expressive capacity of oil paint. Traditionally, paint was transferred to the painting surface using paintbrushes, but there are other methods, including using palette knives and rags. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might remove an entire layer of paint and begin anew; this can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, is dry to the touch within a span of two weeks, it is dry enough to be varnished in six months to a year.
Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan. Outdoor surfaces and surfaces like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in the traditional tempera paints. Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel supports. However, Theophilus gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period, it was used for painting sculptures and wood fittings especially for outdoor use. However, early Netherlandish painting with artists like Van Eyck and Robert Campin in the 15th century were the first to make oil the usual painting medium, explore the use of layers and glazes, followed by the rest of Northern Europe, only Italy.
Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular as the support, as it was cheaper, easier to transport, allowed larger works, did not require complicated preliminary layers of gesso. Venice, where sail-canvas was available, was a leader in the move to canvas. Small cabinet paintings were made on metal copper plates; these supports were more expensive but firm, allowing intricately fine detail. Printing plates from printmaking were reused for this purpose; the popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540, the previous method for painting on panel had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, less successful and durable in damper northern climates; the linseed oil itself comes from a common fiber crop. Linen, a "support" for oil painting comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors li
Gustave Clarence Rodolphe Boulanger was a French figure painter known for his classical and Orientalist subjects. Boulanger was born at Paris in 1824, he was orphaned at age 14, his uncle and guardian subsequently sent him to the studio of Pierre-Jules Jollivet and to Delaroche in 1840. In 1849 took the Prix de Rome with his painting, Ulysses, a work which combined a classical approach with Orientalist overtones. In 1845, he first visited Algeria and this gave him an interest in Orientalist themes, taken up by his friend Jean-Léon Gérome. Boulanger's knowledge of Pompeii, which he visited while studying at the École de Rome gave him ideas for many future pictures, his paintings are prime examples of academic art of the time history painting. Boulanger had visited Italy and North Africa, his paintings reflect his attention to culturally correct details and skill in rendering the female form, his works include a Moorish Cafe, Cæsar at the Rubicon, the Promenade in the Street of Tombs and The Slave Market.
The recipient of many medals, he became a member of the Institut de France in 1882. He began teaching at the Institut de France in 1882 and was an influential teacher, noted for his dislike of the Impressionism. Boulanger taught at Académie Julian, among his students were: List of Orientalist artists Orientalism This article incorporates text from a publication now in the public domain: Gilman, D. C.. "article name needed". New International Encyclopedia. New York: Dodd, Mead
Academic art, or academicism or academism, is a style of painting and architecture produced under the influence of European academies of art. Academic art is the art and artists influenced by the standards of the French Académie des Beaux-Arts, practiced under the movements of Neoclassicism and Romanticism, the art that followed these two movements in the attempt to synthesize both of their styles, and, best reflected by the paintings of William-Adolphe Bouguereau, Thomas Couture, Hans Makart. In this context it is called "academism", "academicism", "art pompier", "eclecticism", sometimes linked with "historicism" and "syncretism"; the first academy of art was founded in Florence in Italy by Cosimo I de' Medici, on 13 January 1563, under the influence of the architect Giorgio Vasari who called it the Accademia e Compagnia delle Arti del Disegno as it was divided in two different operative branches. While the Company was a kind of corporation which every working artist in Tuscany could join, the Academy comprised only the most eminent artistic personalities of Cosimo's court, had the task of supervising the whole artistic production of the Medicean state.
In this Medicean institution students learned the "arti del disegno" and heard lectures on anatomy and geometry. Another academy, the Accademia di San Luca, was founded about a decade in Rome; the Accademia di San Luca served an educational function and was more concerned with art theory than the Florentine one. In 1582 Annibale Carracci opened his influential Academy of Desiderosi in Bologna without official support. Accademia di San Luca served as the model for the Académie royale de peinture et de sculpture founded in France in 1648, which became the Académie des beaux-arts; the Académie royale de peinture et de sculpture was founded in an effort to distinguish artists "who were gentlemen practicing a liberal art" from craftsmen, who were engaged in manual labor. This emphasis on the intellectual component of artmaking had a considerable impact on the subjects and styles of academic art. After the Académie royale de peinture et de sculpture was reorganized in 1661 by Louis XIV whose aim was to control all the artistic activity in France, a controversy occurred among the members that dominated artistic attitudes for the rest of the century.
This "battle of styles" was a conflict over whether Peter Paul Rubens or Nicolas Poussin was a suitable model to follow. Followers of Poussin, called "poussinistes", argued that line should dominate art, because of its appeal to the intellect, while followers of Rubens, called "rubenistes", argued that color should dominate art, because of its appeal to emotion; the debate was revived in the early 19th century, under the movements of Neoclassicism typified by the artwork of Jean Auguste Dominique Ingres, Romanticism typified by the artwork of Eugène Delacroix. Debates occurred over whether it was better to learn art by looking at nature, or to learn by looking at the artistic masters of the past. Academies using the French model formed throughout Europe, imitated the teachings and styles of the French Académie. In England, this was the Royal Academy; the Royal Danish Academy of Fine Arts founded in 1754, may be taken as a successful example in a smaller country, which achieved its aim of producing a national school and reducing the reliance on imported artists.
The painters of the Danish Golden Age of 1800-1850 were nearly all trained there, many returned to teach and the history of the art of Denmark is much less marked by tension between academic art and other styles than is the case in other countries. One effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies until the last half of the 19th century; this was because of concerns over the impropriety presented by nudity. Special arrangements were made for female students until the 20th century. Since the onset of the Poussiniste-Rubeniste debate, many artists worked between the two styles. In the 19th century, in the revived form of the debate, the attention and the aims of the art world became to synthesize the line of Neoclassicism with the color of Romanticism. One artist after another was claimed by critics to have achieved the synthesis, among them Théodore Chassériau, Ary Scheffer, Francesco Hayez, Alexandre-Gabriel Decamps, Thomas Couture.
William-Adolphe Bouguereau, a academic artist, commented that the trick to being a good painter is seeing "color and line as the same thing". Thomas Couture promoted the same idea in a book he authored on art method — arguing that whenever one said a painting had better color or better line it was nonsense, because whenever color appeared brilliant it depended on line to convey it, vice versa. Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism; this is best seen in the work of Baron Jan August Hendrik Leys, a influence on James Tissot. It's seen in the development of the Neo-Grec style. Historicism is meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past; the art world grew to give increasing focus on allegory in art. Theories
Paris is the capital and most populous city of France, with an area of 105 square kilometres and an official estimated population of 2,140,526 residents as of 1 January 2019. Since the 17th century, Paris has been one of Europe's major centres of finance, commerce, fashion and the arts; the City of Paris is the centre and seat of government of the Île-de-France, or Paris Region, which has an estimated official 2019 population of 12,213,364, or about 18 percent of the population of France. The Paris Region had a GDP of €681 billion in 2016, accounting for 31 percent of the GDP of France, was the 5th largest region by GDP in the world. According to the Economist Intelligence Unit Worldwide Cost of Living Survey in 2018, Paris was the second most expensive city in the world, after Singapore, ahead of Zurich, Hong Kong and Geneva. Another source ranked Paris as most expensive, on a par with Singapore and Hong-Kong, in 2018; the city is a major rail and air-transport hub served by two international airports: Paris-Charles de Gaulle and Paris-Orly.
Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily, is the second busiest metro system in Europe after Moscow Metro. Gare du Nord is the 24th busiest railway station in the world, the first located outside Japan, with 262 million passengers in 2015. Paris is known for its museums and architectural landmarks: the Louvre was the most visited art museum in the world in 2018, with 10.2 million visitors. The Musée d'Orsay and Musée de l'Orangerie are noted for their collections of French Impressionist art, the Pompidou Centre Musée National d'Art Moderne has the largest collection of modern and contemporary art in Europe; the historical district along the Seine in the city centre is classified as a UNESCO Heritage Site. Popular landmarks in the centre of the city include the Cathedral of Notre Dame de Paris and the Gothic royal chapel of Sainte-Chapelle, both on the Île de la Cité. Paris received 23 million visitors in 2017, measured by hotel stays, with the largest numbers of foreign visitors coming from the United States, the UK, Germany and China.
It was ranked as the third most visited travel destination in the world in 2017, after Bangkok and London. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris; the 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. Paris will host the 2024 Summer Olympics; the 1938 and 1998 FIFA World Cups, the 2007 Rugby World Cup, the 1960, 1984, 2016 UEFA European Championships were held in the city and, every July, the Tour de France bicycle race finishes there. The name "Paris" is derived from the Celtic Parisii tribe; the city's name is not related to the Paris of Greek mythology. Paris is referred to as the City of Light, both because of its leading role during the Age of Enlightenment and more because Paris was one of the first large European cities to use gas street lighting on a grand scale on its boulevards and monuments.
Gas lights were installed on the Place du Carousel, Rue de Rivoli and Place Vendome in 1829. By 1857, the Grand boulevards were lit. By the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps. Since the late 19th century, Paris has been known as Panam in French slang. Inhabitants are known in French as Parisiens, they are pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the area's major north–south trade routes crossed the Seine on the île de la Cité; the Parisii minted their own coins for that purpose. The Romans began their settlement on Paris' Left Bank; the Roman town was called Lutetia. It became a prosperous city with a forum, temples, an amphitheatre. By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum "Montmartre", from where he walked headless to the north of the city.
Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île-de-la-Citie failed to avert sacking by Vikings in 845, but Paris' strategic importance—with its bridges prevent
In historiography, ancient Rome is Roman civilization from the founding of the Italian city of Rome in the 8th century BC to the collapse of the Western Roman Empire in the 5th century AD, encompassing the Roman Kingdom, Roman Republic and Roman Empire until the fall of the western empire. The civilization began as an Italic settlement in the Italian Peninsula, conventionally founded in 753 BC, that grew into the city of Rome and which subsequently gave its name to the empire over which it ruled and to the widespread civilisation the empire developed; the Roman Empire expanded to become one of the largest empires in the ancient world, though still ruled from the city, with an estimated 50 to 90 million inhabitants and covering 5.0 million square kilometres at its height in AD 117. In its many centuries of existence, the Roman state evolved from a monarchy to a classical republic and to an autocratic semi-elective empire. Through conquest and assimilation, it dominated the North African coast and most of Western Europe, the Balkans and much of the Middle East.
It is grouped into classical antiquity together with ancient Greece, their similar cultures and societies are known as the Greco-Roman world. Ancient Roman civilisation has contributed to modern language, society, law, government, art, literature and engineering. Rome professionalised and expanded its military and created a system of government called res publica, the inspiration for modern republics such as the United States and France, it achieved impressive technological and architectural feats, such as the construction of an extensive system of aqueducts and roads, as well as the construction of large monuments and public facilities. The Punic Wars with Carthage were decisive in establishing Rome as a world power. In this series of wars Rome gained control of the strategic islands of Corsica and Sicily. By the end of the Republic, Rome had conquered the lands around the Mediterranean and beyond: its domain extended from the Atlantic to Arabia and from the mouth of the Rhine to North Africa.
The Roman Empire emerged with the dictatorship of Augustus Caesar. 721 years of Roman–Persian Wars started in 92 BC with their first war against Parthia. It would become the longest conflict in human history, have major lasting effects and consequences for both empires. Under Trajan, the Empire reached its territorial peak, it stretched from the entire Mediterranean Basin to the beaches of the North Sea in the north, to the shores of the Red and Caspian Seas in the East. Republican mores and traditions started to decline during the imperial period, with civil wars becoming a prelude common to the rise of a new emperor. Splinter states, such as the Palmyrene Empire, would temporarily divide the Empire during the crisis of the 3rd century. Plagued by internal instability and attacked by various migrating peoples, the western part of the empire broke up into independent "barbarian" kingdoms in the 5th century; this splintering is a landmark historians use to divide the ancient period of universal history from the pre-medieval "Dark Ages" of Europe.
The eastern part of the empire endured through the 5th century and remained a power throughout the "Dark Ages" and medieval times until its fall in 1453 AD. Although the citizens of the empire made no distinction, the empire is most referred to as the "Byzantine Empire" by modern historians during the Middle Ages to differentiate between the state of antiquity and the nation it grew into. According to the founding myth of Rome, the city was founded on 21 April 753 BC on the banks of the river Tiber in central Italy, by the twin brothers Romulus and Remus, who descended from the Trojan prince Aeneas, who were grandsons of the Latin King Numitor of Alba Longa. King Numitor was deposed by his brother, while Numitor's daughter, Rhea Silvia, gave birth to the twins. Since Rhea Silvia had been raped and impregnated by Mars, the Roman god of war, the twins were considered half-divine; the new king, feared Romulus and Remus would take back the throne, so he ordered them to be drowned. A she-wolf saved and raised them, when they were old enough, they returned the throne of Alba Longa to Numitor.
The twins founded their own city, but Romulus killed Remus in a quarrel over the location of the Roman Kingdom, though some sources state the quarrel was about, going to rule or give his name to the city. Romulus became the source of the city's name. In order to attract people to the city, Rome became a sanctuary for the indigent and unwanted; this caused a problem, in that Rome was bereft of women. Romulus visited neighboring towns and tribes and attempted to secure marriage rights, but as Rome was so full of undesirables he was refused. Legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins with the Sabines. Another legend, recorded by Greek historian Dionysius of Halicarnassus, says that Prince Aeneas led a group of Trojans on a sea voyage to found a new Troy, since the original was destroyed at the end of the Trojan War. After a long time in rough seas, they landed on the banks of the Tiber River. Not long after they landed, the men wanted to take to the sea again, but the women who were traveling with them did not want to leave.
One woman, named Roma, suggested that the women burn the ships out at sea to prevent their leaving