The Serious Business of Dressing Up Part III – and the Mystery of Trajan

A post about commemorating the origins of the Emperor Trajan – origins which may or may not be historically accurate.

One of the things I admire about the Italian education system is the way that kids are taught about the traditions and history of their own town and region at school. It obviously adds considerably to the sense of community identity. And if you are an immigrant, you’ll learn it all too, and will share that local knowledge, and perhaps some sense of community, with those whose families have been there for centuries.

Worthy as this system is, it does have the disadvantage that children learn (and firmly believe as adults) some dubious local mythologies. Such as that Umbrians eat unsalted bread because they were protesting against a papal salt tax (except that they eat unsalted bread in neighbouring Tuscany too, where there was no such tax, and did so centuries before the tax was imposed).

Todi’s two most famous sons were the Emperor Trajan, who ruled from 98-117 AD, and the medieval poet Jacopone da Todi. So I am going to have to tread carefully here, because I don’t want to be run out of town, but it seems that the evidence for Trajan’s association with Todi is more tenuous than I first thought.

The authorised version is that the Emperor Trajan was born – in Spain – to parents from Todi families, and that, traditionally, he visited the town as emperor and bestowed honours on it. I will examine all that later, but first, a couple of weekends ago there was an event in Todi called Tuder – La Città di Traiano, evento di rievocazione storica, which is to say “Tuder (the Roman name for Todi) – the City of Trajan, historical re-enactment event”.

Tuder La Città di Traiano
The publicity material for the event. The text on the right says “Emperor Marcus Ulpius Traianus. Todi, city of the origin of his family, the Gens Ulpia, organises an event in his honour”. (click to enlarge).

I’ve written before about such events in Italy – in The Serious Business of Dressing Up and The Serious Business of Dressing Up, Part II and I do enjoy them a lot. There is something special about watching people in medieval costume taking part in an archery competition where their ancestors in the town militia would have practised similar skills in the 12th Century. Or indeed people dressed as Roman legionaries marching up a street which was once an actual Roman road, and parading in a Piazza which was an actual forum.

Legionaries marching under the Porta Catena in Todi
These legionaries are marching through an actual Roman town gate. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge)

The amount of attention to detail that goes into some of these is remarkable. A few years ago I was particularly impressed by a group that had decided to specialise in armour and uniforms of the late imperial period. Most go for the more famous uniforms of the late republican and early imperial eras.

Late Imperial troops
These legionaries, seen at the 2024 Festival of San Fortunato, are dressed as soldiers of the late imperial era (4th-5th Centuries). Note the trousers – a dead giveaway. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge)

This was not going to be a problem for the Città di Traiano event, because Roman military uniforms in Trajan’s reign were those with which we are most familiar, whether from Life of Brian or Astérix. In fact, the detailed carvings on Trajan’s column in Rome may be the precise reason that when we think of Roman soldiers, they are wearing armour of Trajan’s day. I hadn’t thought of that before. By the way, there is an excellent website on Trajan’s column which contains many photographs of the carvings.

The event started with setting up displays – of armour, weapons, pottery, jewelry and the like. There were some detailed models of Roman engineering as well, such as road-building techniques.

Construction of a Roman Road
A model showing the construction of a Roman road, at least as it would have been in an urban area. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge)
Roman bridge model
A model showing the construction of a bridge, with wooden superstructure on stone bases. Wooden cranes on barges are lifting prefabricated wooden structures into place. Trajan built just such a bridge across the Danube. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge)

I was very impressed to see that they had a facsimile of the famous “Peutinger Map” of the Roman road network. This is a fascinating document – actually a strip of parchment about seven metres long, prepared in the 13th Century and based, it is thought, on originals from late antiquity, possibly earlier.

Peutinger Map
The facsimile of the Peutinger Map, partly unrolled. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge)

As a geographically accurate representation of the ancient world it is a bit of a failure. But as a way of planning an itinerary – like the London Underground Map – it would work very well. So if you wanted to get from Rome to Perugia, you would first take the road to Baccanae, then to Falerii, and so on, just as, if you were going from Earl’s Court to Oxford Circus, you would change at Notting Hill Gate.

Peutinger Map
The section of the Peutinger Map that shows Tuder (just above the “E” of “Etruria”). The geographical inaccuracy is immediately apparent, as Ravenna is most definitely not just across the Apennines from Todi. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge)

After a while, an altar was erected, a metal brazier was placed on it, and something in the bowl was burned as an offering. From what I have read, these offerings might be incense, or something as simple as a bit of grain with salt in it.

Blowing on the offering
Blowing on the brazier to help get the offering alight. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge)
Well alight
Well alight. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge)

I have read that Roman armies carried portable altars with them on campaign, but I was under the impression that these were made of metal for ease of transport. The altar in the photographs above is clearly intended to be marble, which would have made it very heavy. Once the offering was well alight, the area in front of the altar then became a parade ground on which the legionaries formed up while someone dressed as a priest read a Latin speech of dedication to Jupiter.

Getting ready for the parade. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge)
Forming up in the forum. The lady on the left was carrying a bow and arrows, so is perhaps intended to be some kind of allied irregular fighter. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge)
Dedication to Jupiter
The dedication to Jupiter. The steps in the background lead up to the Duomo, which is close to the site of the principal temple of ancient Tuder – dedicated to either Jupiter or Apollo, depending on the source. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

The soldiers then saluted the city (as represented by the deputy mayor).

NCOs from any era always manage to look exasperated
NCOs from any era always manage to look exasperated. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).
Marching off
Marching off in good order. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

Let’s talk about Trajan

It is a bit unexpected, given that we are in what is considered the “Golden Age” of the Empire, that there are so few contemporary historical sources for the period. Suetonius’ De Vita Caesarum (Lives of the Caesars), most of which was written when he had access to the imperial archives, stops at Domitian, Trajan’s predecessor but one. What snippets we do have tend to be anecdotes intended to illustrate the characters of the emperors, rather than a record of their policies and politics. There is a contemporary source in the form of the letters of Pliny the Younger (as governor of Pontus in Asia Minor, Pliny actually corresponded with Trajan directly). But Pliny’s letters were reporting on the affairs of Pontus, and receiving directions from the emperor, rather than recording history.

Pliny did actually write a history covering the reign of Domitian, of Nerva and the early part of Trajan’s reign, but it has been lost. Wouldn’t it be wonderful if a new history were to be found hidden among the burnt scrolls of Herculaneum that are awaiting analysis?

Some things are  known about Trajan from the writings of the Greek historian Cassius Dio. Unfortunately Dio was writing a century or so after Trajan, and his complete text has not survived. Instead we are reliant upon summaries (“epitomes”) made in the 7th Century.

Marcus Ulpius Traianus
Marcus Ulpius Traianus. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

Marcus Ulpius Traianus is known in Italian as Traiano and his name is mispronounced even worse by anglophone historians as Trajan. He was a career soldier, whose family had at some point been raised to senatorial rank (this was quasi-hereditary; once one family member was thus ennobled, it was easier for their descendants). On the assassination of the Emperor Domitian in 96 AD, the Senate chose one of their number, the elderly Nerva , as emperor. Nerva adopted Trajan as his heir, and when Nerva died in due course, Trajan succeeded him without any kind of coup or bloodshed.

He is generally held up as an example of a “good emperor” – not licentious or cruel, a capable soldier and administrator, ruling not by fear but by setting a good example. His wife, Pompeia Plotina, was known for her interest in philosophy and the dignity and simplicity of her life. She undertook projects to assist the poor, and improve access to education. They had no children of their own, but their adopted son became the Emperor Hadrian.

Pompeia Plotina
A portrait bust of the Empress Pompeia Plotina looking philosophical and dignified, in the museum of Palazzo Massimo alle Terme in Rome. Fujifilm X-Pro 3 camera, 35mm lens (click to enlarge).

It was under Trajan that the Roman Empire reached its widest ever extent. He was also known for his building works, including a major rebuilding project in central Rome. In what was doubtless a managed public image, he comes across as a bluff, honest soldier, respectful of the privileges of the Senate, and giving honour to philosophers, although he claims not to understand them much. In his portrait busts and the carvings on his column in Rome, that’s very much the impression one gets, with his pudding-basin haircut and frank gaze. Just the sort of fellow, then, that any city would be proud to claim as its own. Here’s where it gets a bit murky though.

On parade
On parade. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge).

Trajan was born in southern Spain, in a town called Italica near modern Seville, which had been founded around 250 years earlier at the end of the Punic Wars, as a colony for Roman army veterans. When exactly Trajan’s family settled there is I believe unknown, but certainly his father was born in Spain. Cassius Dio is quite explicit that Trajan was an Iberian, not a transplanted Italian, but then perhaps he was only saying that to make the point that Trajan was the first Emperor to have come from the provinces, and as we have seen he was writing a century later.

Centurion
A veteran centurion, or possibly an optio. You can imagine someone like this, having served for years with Trajan on the German frontier, being gladdened by the news that his former commander was now emperor. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

Todi tradition has it that two prominent local families, the Ulpii and the Traii, took service with Rome and rose to military and senatorial rank. Maybe they did – and emigrating to Spain to live in a colonia of military veterans is not inconsistent with that story. Moreover the existence of the Gens Ulpia and the Gens Traia in Umbria is not an inference – they are independently attested through funerary monuments as having lived in Tuder before Trajan’s time. An additional bit of evidence is that Trajan owned land in Umbria near the town of Ameria (modern Amelia), not far south of Todi, which he apparently inherited from his mother.

Amelia
Looking east from the walls of Amelia, with the Apennines in the distance. Was some of this land owned by Trajan’s mother, based on her family origins in Umbria? Hasselblad 501 C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge).

So far, so plausible. Is there any hard evidence? It seems that there is only one primary source from antiquity that explicitly links Trajan to Tuder. This is a work called Epitome di Caesaribus by an anonymous 5th-Century author – three hundred years after Trajan – with brief accounts of all the emperors from Augustus to Theodosius I. In it, the author describes Trajan as Ulpius Traianus, ex urbe Tudertina — “Ulpius Traianus, from the city of Tuder.”

Agrictultural land near Amelia
Another view of agricultural land near Amelia. Hasselblad 501 C/M camera, Zeiss Distagon CF 60mm lens, CFV-50c digital back (click to enlarge).

That seems fairly unequivocal, and Todi has taken that to be the gospel truth ever since. In both the Bishop’s Palace and the town hall you can see 17th-Century frescoes depicting Trajan visiting the town on his way to conquer the Dacians.

Trajan in the Episcopal Palace, Todi
Fresco from the Episcopal Palace in Todi. The Latin reads (I think) “As the Roman Emperor Trajan set out for the land of the Dacians—so that his native city, Tuder, might not suffer too long from the longing for his presence—he graciously traversed its territory, following the Flaminian Way.” Well, OK, but taking a Roman army north was what the Via Flaminia was actually built for. Trajan was unlikely to have gone any another way. Fujifilm GFX 50R medium-format digital camera, 32-64mm lens (click to enlarge).

But, there remain a few problems. One is that Epitome di Caesaribus is a fairly sketchy account – written three hundred years after Trajan – that gets other things badly wrong. Another is that the more contemporary accounts we have are united in describing Trajan as Spanish, not Italian. Yet another is that there is apparently evidence for a native Iberian Trahii family in that part of Spain which, if Latinised, could turn into “Traianus”.

The final problem, advanced by some scholars, is that the region of Iberia around Italica was called “Turdetania”. Is it possible that “ex urbe Tudertina” is actually a misprint for “ex urbe Turdetana”? We’ll never know.

Personally, I don’t think that either the pro or the con arguments for an Umbrian origin for Trajan are proven beyond doubt (I hope my Todi friends will still talk to me after this). It’s possible that some more evidence may come to light, but at the moment I would say that the Umbrian claims are plausible, as are the Andalusian counter-claims. For now, both claim him as their own.

Meanwhile, Back at the Re-enactment

On the afternoon of the second day (Sunday) there was a march up to the Piazza del Popolo (the ancient forum) from a little piazza by the Porta Romana called the “Foro Ulpio Traiano” – and which local tradition associates with the Ulpii and the Traii.

Some of the re-enactors were on the wrong side of sixty, and it is a long slog up the hill from the Porta Romana, so the centurions in charge judiciously ordered a few tactical halts on the way.

Climbing the hill
Hard work, these Todi hills. This is how I get back from the shops. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

Once back at the top we were treated to a display of gladiatorial combat by a group of re-enactors called “Ludus Aemilius” from Cesena. Cesena is on the ancient Via Aemilia so it’s a good choice of name.

The banner of Ludus Aemilius
Here be lions, says the banner of Ludus Aemilius. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).
Gladiator
Ladies and gentlemen, let’s hear it for the White Team. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

The gladiators were divided into two teams, red and white, and they distributed red and white ribbons to the audience so we could wave them in support of one side or the other. Each bout (with wooden swords, or in the case of the retarius, a trident with much padding on the tips) proceeded until one of the combatants was “hit” at which he fell to his knees and the victorious one stood over him while the crowd was encouraged to shout either mitte (spare him) or iugula (cut his throat). We were a soft-hearted crowd and always wanted to spare them, although the legionaries in the crowd generally stayed in character and roared for death.

Gladiators
Two gladiators. The term comes from the word “gladius”, the short sword with which they fought, although originally not made of wood. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

I say “he” but there were in fact a couple of female gladiators. These apparently existed, although they were regarded as a bit indecorous. If they hadn’t been a thing, the Emperor Septimius Severus would not have felt it necessary to ban them in 200 AD.

Lady gladiators
Two lady gladiators. Does that make them gladiatrixes? Anyway, Emperor Septimius Severus would not have approved of this photograph. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

At the end of the final bout, the calls for mercy were just as loud, but this time the referee decided that iugula had won – and the defeated gladiator pretended to fall dead. Just as mothers were assuring their children that it was all make-believe, the dead man sprang back to life, leapt into the crowd and started chasing the legionary who had been calling the loudest for his death, to general amusement.

The departure of the legions
And the legions prepare to depart. The NCOs still aren’t happy. Fujifilm GFX 50R medium-format digital camera, 100-200mm lens (click to enlarge).

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