DOI Artikel:
Krierer, Karl R.: Barbarian enemies from beyond the frontiers: representations of war, defeat, submission, captivity, death
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.41276#0213
Karl Reinhard Krierer
Wien1
B ARB ARIAN ENEMIE S FROM BEYOND THE FRONTIERS.
REPRESENTATIONS OF WAR, DEFEAT, SUBMISSION,
CAPTIYITY, DEATH2
In my contribution to this conference I want to present sonie examples of Roman
(imperial) sculpture in order to give an idea of the way the Roman armies treated
their barbarian enemies.3
I don't want to lay claim to any distinctive analysis but I do intend to demon-
strate a variety of motives. Therefore, the objects of my selection may be regarded
as representative examples for my conclusion.
In generał, triumphal images come into being as a result of warfare.4 As the
virtues of Roman combatants were expected to be the underlying theme of the re-
presentations, the monuments illustrate the barbarian enemy who always is defeated
in the end.
Most of the scenes I am going to show illustrate battles; all of which datę back
to the times sińce the birth of Christ.
A smali group of about 30 sarcophagi depicts combats in the front linę. This
theme was developed during the Marcomannic wars.5
The uniąue examples which I show here are to be found in various museums in
Romę.
An early one frorn 160/170 is the so-called Battle-Sarcophagus Ammendola in
the Museo Capitolino.6 It is still a composition of various single combats.
On the sarcophagus from Portonaccio in the Museo Nazionale delle Ternie, from
180/200, the compact scenes of struggle are flanked by pairs of barbarians.7
The latest battle-sarcophagus known is the example of the Great Ludovisi from
250/260 in the Museo Nazionale Romano.8 In the centre, the generał appears
triumphing over the defeated. Even the comparison of the facial expressions of
Roman soldiers with those of the barbarians makes the victory evident (Fig. I).9 On
the lid, which is in the RGZM (Róinisch-Germanisches Zentralmuseum) at Mainz,
tliere is also a smali scene with sorrowful barbarians.10 The sides of battle-sarco-
phagi usually show scenes of combat as well as submission and captivity. The left
side of the Via Tiburtina sarcophagus in the Museo Nazionale delle Ternie, from
around 170/180, shows a cavalryman fighting against two naked barbarians.11
Wien1
B ARB ARIAN ENEMIE S FROM BEYOND THE FRONTIERS.
REPRESENTATIONS OF WAR, DEFEAT, SUBMISSION,
CAPTIYITY, DEATH2
In my contribution to this conference I want to present sonie examples of Roman
(imperial) sculpture in order to give an idea of the way the Roman armies treated
their barbarian enemies.3
I don't want to lay claim to any distinctive analysis but I do intend to demon-
strate a variety of motives. Therefore, the objects of my selection may be regarded
as representative examples for my conclusion.
In generał, triumphal images come into being as a result of warfare.4 As the
virtues of Roman combatants were expected to be the underlying theme of the re-
presentations, the monuments illustrate the barbarian enemy who always is defeated
in the end.
Most of the scenes I am going to show illustrate battles; all of which datę back
to the times sińce the birth of Christ.
A smali group of about 30 sarcophagi depicts combats in the front linę. This
theme was developed during the Marcomannic wars.5
The uniąue examples which I show here are to be found in various museums in
Romę.
An early one frorn 160/170 is the so-called Battle-Sarcophagus Ammendola in
the Museo Capitolino.6 It is still a composition of various single combats.
On the sarcophagus from Portonaccio in the Museo Nazionale delle Ternie, from
180/200, the compact scenes of struggle are flanked by pairs of barbarians.7
The latest battle-sarcophagus known is the example of the Great Ludovisi from
250/260 in the Museo Nazionale Romano.8 In the centre, the generał appears
triumphing over the defeated. Even the comparison of the facial expressions of
Roman soldiers with those of the barbarians makes the victory evident (Fig. I).9 On
the lid, which is in the RGZM (Róinisch-Germanisches Zentralmuseum) at Mainz,
tliere is also a smali scene with sorrowful barbarians.10 The sides of battle-sarco-
phagi usually show scenes of combat as well as submission and captivity. The left
side of the Via Tiburtina sarcophagus in the Museo Nazionale delle Ternie, from
around 170/180, shows a cavalryman fighting against two naked barbarians.11