Dio's Rome, Volume 2: An Historical Narrative Originally Composed in Greek During the Reigns of Septimius Severus, Geta and Caracalla, Macrinus, Elagabalus and Alexander Severus: and Now Presented in English FormCassius Dio Cocceianus
History
Dio's Rome, Volume 2: An Historical Narrative Originally Composed in Greek During the Reigns of Septimius Severus, Geta and Caracalla, Macrinus, Elagabalus and Alexander Severus: and Now Presented in English Form
Cassius Dio Cocceianus
Rome -- History
[-48-] Not only were those measures carried out that year, but two of
the aediles took charge of the municipal government, since no quaestor had
been elected. For just as once formerly, so now in the absence of Caesar,
the aediles managed all the city affairs, in conjunction with Lepidus as
master of the horse. Although they were censured for employing lictors
and magisterial garb and chair precisely like the master of the horse,
they got off by citing a certain law, which allowed all those receiving
any office from a dictator to make use of such things. The business of
administration, changed from that time for the reasons I have mentioned,
was no longer invariably laid upon the quaestors, but was finally
assigned to ex-praetors. Two of the aediles managed at that time the
public treasures, and one of them, by provision of Caesar, superintended
the Ludi Apollinares. The aediles of the populace directed the Megalesia,
by decree. A certain prefect, appointed during the Feriae, himself chose
a successor on the last day, and the latter another: this had never
happened before, nor did it happen again.
[B.C. 44 (_a.u._ 710)]
[-49-] The next year after these events during which Caesar was at once
dictator for the fifth time, taking Lepidus as master of the horse, and
consul for the fifth time, choosing Antony as colleague, sixteen praetors
were in power--this custom indeed has remained[108] for many years--and
the rostra, which was formerly in the center of the Forum, was moved
back to its present position: also the images of Sulla and of Pompey
were restored to it. For this Caesar received praise, and again because
he put upon Antony both the glory of the deed and credit for the
inscription on the image. Being anxious to build a theatre, as Pompey
had done, he laid the first foundations, but did not finish it. Augustus
later completed it and named it for his nephew, Marcus Marcellus. But
Caesar was blamed for tearing down the dwellings and temples on the site,
and likewise because he burned up the statues,--all of wood, save a
few,--and because on finding considerable treasures of money he
appropriated them all.
Public-domain text, read in full here on John Shaqi.
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