Circus Maximus, the greatest sporting stage of the ancient Roman world, where the best horses and charioteers compete in a race to the death, and one girl dreams of glory. Ben Hur meets National Velvet in the ultimate 9-12 adventure story by debut children's author, Annelise Gray. Twelve-year-old Dido dreams of becoming the first female charioteer at the great Circus Maximus. She's lost her heart to Porcellus, a wild, tempestuous horse she longs to train and race. But such ambitions are forbidden to girls and she must be content with helping her father Antonius – the trainer of Rome's most popular racing team, The Greens – and teaching the rules of racing to Justus, the handsome young nephew of the Greens' wealthy owner. When her father is brutally murdered, she is forced to seek refuge with an unlikely ally. But what of her dream of Circus triumphs and being reunited with the beloved horse she left behind in Rome? And the threat to her life isn't over as she faces a powerful and terrifying new enemy... the emperor Caligula. 'I loved this adventure – full of brilliant horses, and a determined heroine following her dreams against all the odds. Looking forward to discovering what's in store for them next' Pippa Funnell, MBE

Dido is the only girl ever to have raced to victory at the Circus Maximus, Rome's greatest sporting arena. Now she and her beloved horse, Porcellus, are in hiding, and Emperor Caligula has put a price on their heads. Can she outwit the emperor and his bounty hunters? And will a shocking family secret stop her in her tracks, or spur her on to make a daring return, helped by a one-eyed mare with a heart as brave as her own? Horses, history, mystery, thrilling entertainment and sensational storytelling race neck and neck through the second pulse-pounding adventure in Annelise Gray's 9 + series set in Ancient Rome. 'I loved this adventure – full of brilliant horses, and a determined heroine following her dreams against all the odds. Looking forward to discovering what's in store for them next' Pippa Funnell, MBE, three-time Equestrian Olympic medalist

Describes the events and games held in the amphitheaters, cicuses, and theaters in ancient Rome.

Documents the stories of eight wives of Roman rulers, assessing their historical contributions and cultural influence and drawing parallels between modern first ladies and the lives of such ancient-world figures as Livia, Helena, and Julia.

Using her supreme knowledge of the period, author Annelise Freisenbruch presents the great new heroine of historical fiction, Hortensia, who must navigate the male-dominated courts of law in her quest to uncover a sinister plot to overthrow the Republic. Drawing from historical accounts of the daughter of famed Roman orator Quintus Hortensius Hortalus, Freisenbruch delivers an atmospheric, meticulously accurate and fast-paced story that will have readers craving more. Rome, 70BC. Roman high society hums with gossip about the suspicious suicide of a prominent Roman senator and the body of a Vestal Virgin is discovered in the river Tiber. As the authorities turn a blind eye, Hortensia is moved to investigate a trail of murders that appear to lead straight to the dark heart of the Eternal City.

Like their modern counterparts, the 'first ladies' of Rome were moulded to meet the political requirements of their emperors, be they fathers, husbands, brothers or lovers. But the women proved to be liabilities as well as assets - Augustus' daughter Julia was accused of affairs with at least five men, Claudius' wife Messalina was a murderous tease who cuckolded and humiliated her elderly husband, while Fausta tried to seduce her own stepson and engineered his execution before boiled to death as a punishment. In The First Ladies of Rome Annelise Freisenbruch unveils the characters whose identities were to reverberate through the ages, from the virtuous consort, the sexually voracious schemer and the savvy political operator, to the flighty bluestocking, the religious icon and the romantic heroine. Using a rich spectrum of literary, artistic, archaeological and epigraphic evidence, this book uncovers for the first time the kaleidoscopic story of some of the most intriguing women in history, and the vivid and complex role of the empresses as political players on Rome's great stage.

Let the Games Begin! GURPS Imperial Rome takes you to a world of adventure and intrigue, gladiators and glory. The sprawling Roman Empire is full of campaign options, from orgies in the decadent Roman villas to battles with pirates off the coast of Sicily. As an adventurer in the Imperial Age of Rome, you can . . . Journey through the narrow streets of the greatest city in the world. Haggle with shop owners, debate with senators on the floor of the Forum, or run through dark alleys with the infamous Roman gangs. Fight gruesome battles as a slave gladiator in the Colosseum - clashing with other warriors or dangerous beasts. Or race your chariot around the Circus Maximus, cheating death and vying for Imperial favor. Visit exotic provinces like Greece, Egypt, and Asia; and meet traveling thinkers, merchants, soldiers, and mysterious natives - from the barbarian Celts of northern Britain to the nomadic Berbers of Africa. March to war with the Roman legions, defending the borders against Carthaginian invaders or the savage Huns of Asia. Includes maps of Rome and its provinces, adventure ideas, and much more . . .

The pompa circensis, the procession which preceded the chariot races in the arena, was both a prominent political pageant and a hallowed religious ritual. Traversing a landscape of memory, the procession wove together spaces and institutions, monuments and performers, gods and humans into an image of the city, whose contours shifted as Rome changed. In the late Republic, the parade produced an image of Rome as the senate and the people with their gods - a deeply traditional symbol of the city which was transformed during the empire when an imperial image was built on top of the republican one. In late antiquity, the procession fashioned a multiplicity of Romes: imperial, traditional, and Christian. In this book, Jacob A. Latham explores the webs of symbolic meanings in the play between performance and itinerary, tracing the transformations of the circus procession from the late Republic to late antiquity.

This book examines the appetite for Egyptian and Egyptian-looking artwork in Italy during the century following Rome's annexation of Aegyptus as a province. In the early imperial period, Roman interest in Egyptian culture was widespread, as evidenced by works ranging from the monumental obelisks, brought to the capital over the Mediterranean Sea by the emperors, to locally made emulations of Egyptian artifacts found in private homes and in temples to Egyptian gods. Although the foreign appearance of these artworks was central to their appeal, this book situates them within their social, political, and artistic contexts in Roman Italy. Swetnam-Burland focuses on what these works meant to their owners and their viewers in their new settings, by exploring evidence for the artists who produced them and by examining their relationship to the contemporary literature that informed Roman perceptions of Egyptian history, customs, and myths.

The Roman Emperor Commodus wanted to kill a rhinoceros with a bow and arrow, and he wanted to do it in the Colosseum. For fourteen days near the end of AD 192, the emperor mounted one of the most lavish gladiatorial games Rome had ever seen. People rushed from all over Italy to witness the spectacle. Why did Roman rulers spend vast resources on such over-the-top displays? Why did the Roman rabble enjoy watching the slaughter of animals and the sight of men fighting to the death? In this book, Jerry Toner set out to answer these questions by describing what it would have been like to attend Commodus' fantastic shows.