DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0675
THE PILLAR OF TRAJAN.
639
architect Apollodorus in 113 A.D., in accordance with a decree of the
Senate and people of Rome, in commemoration of the Emperor. It is
altogether about 100 old Roman feet (106 feet) high, and 12 feet in
diameter below, gradually decreasing to \o\ feet above, and consists of
twenty-three drums of white marble. It was originally surmounted
by a bronze statue of Trajan, for which Sixtus Vr. substituted that of
St. Peter. The rich reliefs with which it is profusely adorned run round
the pillar in a spiral band, 600 feet in length, which becomes broader
as it rises, in order that the figures ma)' be better seen. They repre-
sent the Emperor's campaign against tlie Daeians, the incidents of
which are pourtrayed with marvellous accuracy and fulness of detail.
The pedestal, which is much larger than that of any preceding
monument of the kind, and contained the ashes of the Emperor, is
adorned by well executed reliefs of trophies constructed of Parthian
and Sarmatian weapons. The great height of the Pillar itself with-
draws from our view the greater portion of the very beautiful and
elaborate work with which its entire surface is covered ; and it is only
in casts1 that we can really study or enjoy it. The whole composi-
tion, which is intended to be a complete chronicle of the Dacian war
in stone, consists of more than a hundred different scenes, separated
from one another by trees on either side. It is said to contain alto-
gether about 2,500 human figures, besides many horses, &c, all executed
with great accuracy and finish.
The main purpose of the whole work which forms the pedestal
to his statue is the glorification of the Emperor Trajan. Not
only is almost every warlike ojxration of the campaign, which, as
wc know, he conducted in ]>crson—the engagements of the hostile
armies -the charges of cavalry—the storming of forts—the passage
°f rivers—the plundering and burning of cities—the execution or par-
doning of prisoners — pourtrayed with the most realistic fidelity, but
there are innumerable scenes in which the Emperor himself appears,
encouraging his troops and leading them to the fight—sitting in judg-
ment on captives riviilg audience to envoys—and even protecting
the women of the vanquished.
1 Thu
639
architect Apollodorus in 113 A.D., in accordance with a decree of the
Senate and people of Rome, in commemoration of the Emperor. It is
altogether about 100 old Roman feet (106 feet) high, and 12 feet in
diameter below, gradually decreasing to \o\ feet above, and consists of
twenty-three drums of white marble. It was originally surmounted
by a bronze statue of Trajan, for which Sixtus Vr. substituted that of
St. Peter. The rich reliefs with which it is profusely adorned run round
the pillar in a spiral band, 600 feet in length, which becomes broader
as it rises, in order that the figures ma)' be better seen. They repre-
sent the Emperor's campaign against tlie Daeians, the incidents of
which are pourtrayed with marvellous accuracy and fulness of detail.
The pedestal, which is much larger than that of any preceding
monument of the kind, and contained the ashes of the Emperor, is
adorned by well executed reliefs of trophies constructed of Parthian
and Sarmatian weapons. The great height of the Pillar itself with-
draws from our view the greater portion of the very beautiful and
elaborate work with which its entire surface is covered ; and it is only
in casts1 that we can really study or enjoy it. The whole composi-
tion, which is intended to be a complete chronicle of the Dacian war
in stone, consists of more than a hundred different scenes, separated
from one another by trees on either side. It is said to contain alto-
gether about 2,500 human figures, besides many horses, &c, all executed
with great accuracy and finish.
The main purpose of the whole work which forms the pedestal
to his statue is the glorification of the Emperor Trajan. Not
only is almost every warlike ojxration of the campaign, which, as
wc know, he conducted in ]>crson—the engagements of the hostile
armies -the charges of cavalry—the storming of forts—the passage
°f rivers—the plundering and burning of cities—the execution or par-
doning of prisoners — pourtrayed with the most realistic fidelity, but
there are innumerable scenes in which the Emperor himself appears,
encouraging his troops and leading them to the fight—sitting in judg-
ment on captives riviilg audience to envoys—and even protecting
the women of the vanquished.
1 Thu