DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0721
RELIEFS OF TRAJAN'S COLUMN.
683
Museum, and, no doubt, the models for that style of sculpture which came to
be so widely prevalent among the Romans.
In the spiral reliefs, winding like painting on canvas around the column,
are twenty-five hundred figures, executed with various degrees of excellence,
the scenes represented (one hundred and fourteen in number) being from Tra-.
jan's Dacian campaigns. We see the soldiery crossing the Danube, while the
river-god, whose breast is washed by the waves, looks out of his cave with
astonished mien, as though called up from the depths by the tread of the
intruding legions. Infantry and cavalry surround the emperor, who seems to
point the way. We see the council of war, and the sending of ambassadors
to the Dacian king. In accordance with the Roman custom, Trajan appears
sacrificing before well-nigh every encounter. Once the scene is in front of
Fig. 2116. Portion of Relief on Trajan's Column. Trajan Sacrificing.
the imperial tent, the prcetorium (Fig. 286), near which are planted the stand-
ards of the cohorts. These standards are medallions of the emperor, with an
eagle, a mural crown, and plaques for the images of the protecting deities of
the corps. Other standards appear crowned by an eagle, or composed of rows
of patera: besides, there is one equestrian banner. Before this camp Trajan,
clad in the sacerdotal robes of the Pontifex Maximus, with toga over his head,
and right arm bared, pours into the flames a libation from his patera, while in
the other hand he holds the lituus. A long-haired camillus, standing with
tunic girded short about the waist, and holding ready the vase of wine, looks
up at the emperor-priest. The remaining participants are wreathed. One,
with cheeks inflated, blows the double flute ; and four, probably the haruspiccs,
or inspectors of the entrails, stand within. To the right are a strong-chested
victimarius, with two knives in his pouch, a camillus with holy water, ami
another (not in the engraving) with incense ; while beyond are quiet partici-
pants in the rites. On the opposite side, six musicians, bucinatores, and tubi-
683
Museum, and, no doubt, the models for that style of sculpture which came to
be so widely prevalent among the Romans.
In the spiral reliefs, winding like painting on canvas around the column,
are twenty-five hundred figures, executed with various degrees of excellence,
the scenes represented (one hundred and fourteen in number) being from Tra-.
jan's Dacian campaigns. We see the soldiery crossing the Danube, while the
river-god, whose breast is washed by the waves, looks out of his cave with
astonished mien, as though called up from the depths by the tread of the
intruding legions. Infantry and cavalry surround the emperor, who seems to
point the way. We see the council of war, and the sending of ambassadors
to the Dacian king. In accordance with the Roman custom, Trajan appears
sacrificing before well-nigh every encounter. Once the scene is in front of
Fig. 2116. Portion of Relief on Trajan's Column. Trajan Sacrificing.
the imperial tent, the prcetorium (Fig. 286), near which are planted the stand-
ards of the cohorts. These standards are medallions of the emperor, with an
eagle, a mural crown, and plaques for the images of the protecting deities of
the corps. Other standards appear crowned by an eagle, or composed of rows
of patera: besides, there is one equestrian banner. Before this camp Trajan,
clad in the sacerdotal robes of the Pontifex Maximus, with toga over his head,
and right arm bared, pours into the flames a libation from his patera, while in
the other hand he holds the lituus. A long-haired camillus, standing with
tunic girded short about the waist, and holding ready the vase of wine, looks
up at the emperor-priest. The remaining participants are wreathed. One,
with cheeks inflated, blows the double flute ; and four, probably the haruspiccs,
or inspectors of the entrails, stand within. To the right are a strong-chested
victimarius, with two knives in his pouch, a camillus with holy water, ami
another (not in the engraving) with incense ; while beyond are quiet partici-
pants in the rites. On the opposite side, six musicians, bucinatores, and tubi-