add essay

Author: evanwill

_data/peoples-roman-history.csv

@@ -112,3 +112,7 @@ Craig_002,hist3440_10,Voltive of Two Ears,,"A first centry carved marble tablet
 Craig_003,hist3440_10,Capua Limb,,"The image is a replica of the “Capua Limb”, the only artificial limb known to have survived from the ancient Greece and Rome period. A Roman prosthetic right leg found in a tomb in Capua Italy. The original “Capua Limb” was made of wood and bronze.",,,,,,,,,,,,,,,,,,"Science Museum Group, https://collection.sciencemuseumgroup.org.uk/objects/co84549/copy-of-roman-artificial-leg-london-england-1905-1915",https://collection.sciencemuseumgroup.org.uk/objects/co84549/copy-of-roman-artificial-leg-london-england-1905-1915,,,image,/objects/Craig_003.jpg,/objects/small/craig_003_sm.jpg,/objects/thumbs/criag_003_th.jpg
 Craig_004,hist3440_10,Harpocrates Sculpture,,"A sculpture cast in leaded bronze depicting the Roman- Egyptian God Harpocrates.",,,,,,,,,,,,,,,,,,"2012.1.49: Harpocrates Sculpture, Harvard art museum collections",https://harvardartmuseums.org/collections/object/178189,,,image,/objects/Craig_004.jpg,/objects/small/craig_004_sm.jpg,/objects/thumbs/criag_004_th.jpg
 Craig_005,hist3440_10,Tragic Actor,,"A Roman mosaic that depicts an actor with cane or 'rhabdo' that was used for the blind.",,,,,,,,,,,,,,,,,,"Tragic actor, Roman mosaic II-III century BC, Cordoba, Spain, Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Tragic_actor,_Roman_mosaic_II-III_century_AD,_Cordoba,_Spain.jpg","https://commons.wikimedia.org/wiki/File:Tragic_actor,_Roman_mosaic_II-III_century_AD,_Cordoba,_Spain.jpg",https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Tragic_actor%2C_Roman_mosaic_II-III_century_AD%2C_Cordoba%2C_Spain.jpg/500px-Tragic_actor%2C_Roman_mosaic_II-III_century_AD%2C_Cordoba%2C_Spain.jpg,,image,/objects/Craig_005.jpg,/objects/small/craig_005_sm.jpg,/objects/thumbs/criag_005_th.jpg
+Wheatley_001,hist3440_25,Gladiator Figurine,,"Figurine of a thraex gladiator",,,,,,,,,,,,,,,,,,"National Archaeological Museum of Saint-Germain-en-Laye, Wikimedia Commons, https://commons.wikimedia.org/wiki/File:MAN_-_Statuette_de_Gladiateur_-_Thrace.jpg","https://commons.wikimedia.org/wiki/File:MAN_-_Statuette_de_Gladiateur_-_Thrace.jpg",,,image,/objects/Wheatley_001.jpg,/objects/small/wheatley_001_sm.jpg,/objects/thumbs/wheatley_001_th.jpg
+Wheatley_002,hist3440_25,Gladiator Mosaic,,"A gladiator mosaic that shows six gladiators and a referee",,,,,,,,,,,,,,,,,,"National Archaeological Museum of Saint-Germain-en-Laye, Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Gladiators_from_the_Zliten_mosaic.jpg","https://commons.wikimedia.org/wiki/File:Gladiators_from_the_Zliten_mosaic.jpg",,,image,/objects/Wheatley_002.jpg,/objects/small/wheatley_002_sm.jpg,/objects/thumbs/wheatley_002_th.jpg
+Wheatley_003,hist3440_25,Gladiator Types and Common Fighting Pairs,,"Image that shows different gladiator types and common fighting pairs",,,,,,,,,,,,,,,,,,"Gladiatorial types and common fighting pairings (Source: Kanz and Grossschmidt 2006: 208), from 'Beyond the Arena - How can funerary archaeology contribute to a better understanding of the personal lives of gladiators (1st - 3rd centuries AD)?', Hinrich Nolte, https://doi.org/10.13140/RG.2.2.11462.60484",https://doi.org/10.13140/RG.2.2.11462.60484,,,image,/objects/Wheatley_003.png,/objects/small/wheatley_003_sm.jpg,/objects/thumbs/wheatley_003_th.jpg
+Wheatley_004,hist3440_25,Gladiator Starring at Stands,,"An image of a gladiator awaiting determination of the crowd",,,,,,,,,,,,,,,,,,"Pollice Verso (Thumbs Down) (1872) Phoenix Art Museum, Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Jean-Leon_Gerome_Pollice_Verso.jpg",https://commons.wikimedia.org/wiki/File:Jean-Leon_Gerome_Pollice_Verso.jpg,,,image,/objects/Wheatley_004.jpg,/objects/small/wheatley_004_sm.jpg,/objects/thumbs/wheatley_004_th.jpg

_essays/hist3440_25.md

@@ -5,13 +5,13 @@ author: Addee Wheatley
 
 Roman gladiatorial games are often remembered as chaotic spectacles of violence, but in reality, they were carefully controlled performances shaped by figures like the *lanista.*  The lanista’s authority extended over most aspects of a gladiator’s life.  These ideas become clearer when viewed through the life of Gaius Lartius Priscus, a fictional character based on scholarly research. His life reflects what is known about gladiators and *lanista* in the Roman Empire. Through tellings of what is known about the system of power and control that defined Roman spectacle.  
 
-<img src="media/image3.png" style="width:3.44444in;height:2.29167in" />
+{% include essay/image.html objectid="Wheatley_001" %}
 
 Gaius Lartius Priscus, like a few other lanista, was of freedman status.[^1] In his early life, he was believed to have fought as a gladiator at a colosseum in the city of Bovianum. After being freed from servitude through his success as a gladiator, he is believed to have moved to Capua, a city well known for its gladiatorial schools or *ludus*.[^2] The ludus in this area was known as Neronian Training schools, meaning they were created during the Neronian era 54-68 CE. [^3]
 
 ## Infamia and Social Stigma
 
-<img src="media/image4.png" style="width:5.56944in;height:1.81944in" />
+{% include essay/image.html objectid="Wheatley_002" %}
 
 Although viewed better than gladiators, *lanista* was still believed to be *infames.*[^4] * Infamia* was a social status that was associated with people who carried immoral or “un-Roman” professions. Any profession where one would use their body as a tool for their work would fall under *infamia*. Examples of these jobs include pimps, actors, gladiators, *lanista*, etc. *Lanista* are believed to fall under this demographic because they bought and sold people. This status was also given to those that were convicted criminals. Gladiators were also marked as *infamia* because they performed much like actors. In addition, gladiators were often either criminals or slaves.  The term *infamia* shows the importance of status and reputation within Roman society. For Gaius Lartius Priscus, this meant that even after transitioning to a *lanista*, his identity remained socially marked and limited.  
 
@@ -23,13 +23,12 @@ Within the conflicts there were different gladiator types that would appear,
 
 The topic of how classes were assigned is often debated by historians. One belief is that types of gladiators are assigned based on status. The idea that gladiators with heavier armament is given to those that volunteer versus slaves being assigned to lightly armored.[^7] Others believe that it is more of a choice based on what type is preferable to the gladiators' fighting style. 
 
-<img src="media/image2.png" style="width:6.5in;height:3.80556in" />
+{% include essay/image.html objectid="Wheatley_003" %}
 
 ## Hierarchy and Control in the Roman Arena
 
 The transition of gladiator to lanista shows how control was embedded within spectacles performed in the Colosseum. There is a clear hierarchy of those that had power within the colosseum and what the spectacles were transformed to represent. Those that fought within the gladiatorial bouts were at the bottom, most of them being criminals and *infamia*. Even the next layer up, *lanista*, was not viewed much better still being labeled as *infamia*. Although the *lanista* were able to have control over groups of gladiators or familia.[^8] *Lanista* would train and dictate most of the daily life of their familia. For the games to take place, gladiators would be rented out to the *editores*. These individuals were believed to be local elites that were responsible for funding and organizing the games*. *In addition to funding the games, they often would own the *ludus* that the gladiators would train at.* Editores *were also able to determine the outcome of a draw within the bouts.  
-
-<img src="media/image1.png" style="width:3.44444in;height:2.31944in" />
+{% include essay/image.html objectid="Wheatley_004" %}
 
 ## Roman Spectacle as a System of Power