Cassius Dio

Besides that, when they planned for the Parthian expedition, Cassius did not get any important command, although he was a skilful soldier and had great acquaintanceship of the enemy's country. Another example was Basilus who was annoyed because he had not been allowed to become a governor. They purposely censured him

The Sources of the Story of Rabban Jobanan b. Zakkai The Talmudic tradition concerning the episode of Rabban Jol;anan b. Zakkai and Vespasian is found (in its entirety) in five books, namely: (1) Avot de-R. Nathan, Version I, iv (Schechter, pp. 22-24); (i) Avot de-R. Nathan, Version II (Schechter, vi, p. 19); (3) Midrash Lamentations (pericope i, 31); (4) Babylonian Talmud (Giffin 56a-b); ~J) Midrash Proverbs, xv (Buber 79-80). But it appears that the Haggada in Midrash Proverbs was taken verbatim

Modern historians have suggested that Claudius ruled with far more effectiveness than the ancient sources credit him, Suetonius speaks of his ruling as carefree and unstrategetic as commented by Cassius Dio, Agrippina was adorned with various honors such as the title of Augusta appointed by Claudius himself. During the reign of Claudius, 'Augustus' was sometimes used as a name for men of noble birth, making Agrippina the first living consort of a living

Cassius Dio a Roman senator who wrote in Greek said it could be possible that the name Pantheon is not actually the buildings real name but merely a nickname. He also speculated that the name derives from all the god status that was located around the building

(Alston, 2013) According to ancient Roman statesman and historian, Cassius Dio, who recorded useful information about the events of Claudius’ return to Rome after spending only sixteen days in the British territories, the Senate granted him permission to celebrate a triumph, voted to allow for an annual festival to commemorate the event, and ordered that two triumphal arches be elected in the city and the other in Gaul. (Dio, 200 A.D.) Although, the Senate determined that Claudius was to receive

The Roman Empire is arguably one of the most vital and influential periods of Western history. Julius Caesar, the man who is given much of the credit (or the blame) for the empire is equally interesting, especially his stunning fall from grace and assassination. This assassination was widely discussed by the prominent authors of his time. While they do not all agree, the general consensus is that jealousy (both from his supporters and his detractors), Caesar's pride, and a cultural resistance to

and his sister, Octavia, were initiated by Augustus and dedicated by a senatus consultum. Sadly, these portraits are only known from Cassius Dio and their original location of display in Rome is unknown. However, the very fact that the Senate had to authorise such portraits by a special decree, suggests the unique nature of such public honours to women. Cassius Dio records that these women were correspondingly given both freedom from tutela and sacrosanctity, an honour traditionally bequeathed to

Claudius’s Decision to Invade Britain in AD43 as Motivated by a Desire to Emulate Julius Caesar There are many arguments as to why Claudius invaded Britain in AD43. One of his motives may have been to gain a quick military triumph, which is one argument that Suetonius wrote in his book ‘The Twelve Caesars’. He had said, “Britain was the country where a real triumph could most readily be earned”. A sentence later, he also raises a point about what is known as ‘The Bericus

The purpose of this paper is to look at the history of Cleopatra VII, as well as how and why she wanted to be portrayed in a certain manner with respect to visual art. As the last noble of the Ptolemaic Dynasty, her images communicate her political abilities, her religious feeling, her caring duties and determination in preserving royal lineage, and her direct connection to ancient Egyptian gods. In addition, having relationships with two of the most powerful men in ancient Roman history, Julius

Kyle Bourassa HIST 100-07 11/20/15 Champlin, Edward. Nero. Cambridge, Mass.: Belknap Press of Harvard University Press, 2003. Edward Champlin’s Nero, focuses on a much narrower scale than a historically oriented work. His novel is neither a retelling of events, as with most history books, nor a biography of Nero himself. Champlin takes the position of a third person narrator, telling the story of Nero’s life. He centers on how Nero presented himself to the public, as well as why and how he was