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Relevant bibliographies by topics / Trajan's Column

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Academic literature on the topic 'Trajan's Column'

Author: Grafiati

Published: 10 March 2023

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Journal articles on the topic "Trajan's Column"

1

Gergel, Richard A., Frank Lepper, and Sheppard Frere. "Trajan's Column." Classical World 84, no. 6 (1991): 480. http://dx.doi.org/10.2307/4350928.

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Lancaster, Lynne. "Building Trajan's Column." American Journal of Archaeology 103, no. 3 (July 1999): 419. http://dx.doi.org/10.2307/506969.

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Fox, Andrew. "TRAJANIC TREES: THE DACIAN FOREST ON TRAJAN'S COLUMN." Papers of the British School at Rome 87 (October 26, 2018): 47–69. http://dx.doi.org/10.1017/s006824621800034x.

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Trajan's Column stands in the centre of Rome as a proud monument to Trajan's triumph over Dacia in the early second century. On its 29 m tall shaft, a helical frieze depicts the events of the two wars which won the province for the Roman Empire. There are 224 trees to be found throughout this relief, 222 of which are native to Dacia. These trees have traditionally been treated as scene dividers and background material to the column's action. This article, which begins by exploring the identification of the trees in previous scholarship, argues that they are in fact crucial to the column's narrative of industry and conquest. The discussion of identification is followed by an examination of the numerous tree-felling scenes on the column as a metaphor for conquest. The article closes with a detailed analysis of contrasting representations of the two leaders on the column, Trajan and Decebalus, one an urban emperor, the other a forest king. By directing attention towards the arboreal population of the column, this article argues that trees cannot be dismissed as mere background detail, but play an active and significant role in the communication of ideas about triumph, imperialism and the conquest of nature.

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Beckmann, Martin. "Trajan's Column and Mars Ultor." Journal of Roman Studies 106 (April 28, 2016): 124–46. http://dx.doi.org/10.1017/s0075435816000289.

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AbstractThis paper makes two arguments. The first is that Trajan deliberately orchestrated the dedication of his Column on 12 May, the anniversary of the dedication of the Temple of Mars Ultor, to coincide with the beginning of a new war against Parthia ina.d. 113. The second is that although most modern commentators focus on the function of Mars Ultor as avenger of Caesar, the evidence of his actual invocation from the late first centuryb.c. through the third centurya.d. more strongly supports another interpretation: as agent of vengeance against foreign enemies, and against Parthia/Persia in particular.

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Lightfoot, C. S. "Trajan's Parthian War and the Fourth-Century Perspective." Journal of Roman Studies 80 (November 1990): 115–26. http://dx.doi.org/10.2307/300283.

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No contemporary account of Trajan's Parthian War survives, nor were any monuments set up to commemorate his exploits in the East in the same way that Trajan's Column in Rome and the trophy at Tropaeum Traiani (Adamclisi) do his Dacian Wars. We rely almost entirely on the excerpts of Dio Cassius' History preserved by Xiphilinus, together with a few fragments of Arrian's Parthica, in order to reconstruct the causes, objectives and strategy of the war. Because of the scant nature of the sources, all three aspects remain the subject of much scholarly discussion and dispute. Here, however, an attempt is made to address the problems raised by Trajan's eastern campaigns from a different perspective. References in fourth-century sources shed light not only on the purpose and execution of the war itself, but also on the way Trajan was perceived in late antiquity as a valuable paradigm for contemporary events and figures.

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Poulter, A. G., F. Lepper, S. Frere, S. Settis, A. La Regina, G. Agosti, and V. Farinella. "Trajan's Column and the Dacian Wars." Britannia 23 (1992): 331. http://dx.doi.org/10.2307/526125.

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DEL MONTE, M., P. AUSSET, and R. A. LEFEVRE. "TRACES OF ANCIENT COLOURS ON TRAJAN'S COLUMN." Archaeometry 40, no. 2 (August 1998): 403–12. http://dx.doi.org/10.1111/j.1475-4754.1998.tb00846.x.

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del Monte, M. "Trajan's Column: Lichens don't live here any more." Endeavour 15, no. 2 (January 1991): 86–93. http://dx.doi.org/10.1016/s0160-9327(05)80010-9.

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Jones, Prudence. "Juvenal, the Niphates, and Trajan's Column ("Satire 6.407-412")." Harvard Studies in Classical Philology 100 (2000): 477. http://dx.doi.org/10.2307/3185233.

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Bruno, Matthias, and Fulvia Bianchi. "La Colonna di Traiano alla luce di recenti Indagini." Papers of the British School at Rome 74 (November 2006): 293–322. http://dx.doi.org/10.1017/s0068246200003287.

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RECENT INVESTIGATIONS OF TRAJAN'S COLUMNWhilst some maintenance work was being undertaken in the area of Trajan's Column, the Soprintendenza Archeologica di Roma, and specifically the architect Giangiacomo Martines, asked the authors to undertake new drawings and analysis of the excavations done by Giacomo Boni in 1906 along the northwestern side of the base of the column. The aim of this was to document the situation almost 100 years after the excavation had been carried out. This new work has allowed the identification of the possible construction sequence of the column, which right from the start seems to have been an integral part of the courtyard of the libraries, thus dismissing the hypothesis that the concrete foundations of the courtyard of the libraries were cut for the insertion of the foundations of the column. In addition, it is possible to reconstruct the way in which the travertine blocks of the solea were moved and installed, through an analysis of the holes of various types present in the travertine blocks, which to date have not been studied, even given the clear absence of holes intended for the insertion of the olivella.

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Dissertations / Theses on the topic "Trajan's Column"

1

Atwood, Mark Andrew. "Trajan's column the construction of Trajan's Sepulcher in Urbe /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1163348326.

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ATWOOD, MARK ANDREW. "TRAJAN'S COLUMN: THE CONSTRUCTION OF TRAJAN'S SEPULCHER IN URBE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163348326.

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Coulston, Jonathan Charles Nelson. "Trajan's column : the sculpting and relief content of a Roman propaganda monument." Thesis, University of Newcastle Upon Tyne, 1988. http://hdl.handle.net/10443/174.

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This thesis examines the reliefs of Trajan's Column in Rome (dedicated A. D. 113). It explores sculptural processes and provides a full and critical commentary on the relief content. Section 1 reviews prior work on the column and explains how the present research was conducted whilst taking advantage of scaffolding erected in conjunction with conservation studies. Section 2 examines the role of the column as a propaganda monument, exploring the value of the depictions of Trajan's wars as a source of historical information. This runs parallel to an enquiry into the imperial propaganda functions of the project. These two lines of approach are set against the column's immediate architectural environment which suggests how the reliefs were observed by the public audience. Section 3 is a technical enquiry into the methods by which the column was fabricated, and the sculptures were planned and executed, based on minute observation and computer-assisted recording of the reliefs. Section 4 deals with each of the potential sources of information concerning historical events, warfare, architecture and the Roman army available to, and employed by the sculptors working in Rome. It concludes that input from the war zone on the Danube was minimal in comparison with models and verbal information available in the capital. In Section 5, the sixteen categories of human figures on the spiral frieze ('Figure Types') are dealt with in turn and examined in the light of comparative textual, artefactual and representational evidence with regard to their accuracy. Relationships with other contemporary monuments are also examined. The last Section reviews the place of Trajan's Column in Roman monumental art, examining its innovative features and-its influence on later works.

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Riley, John M. "The representation of Roman armour in sculpture with special reference to Trajan's Column and the Tropaeum Traiani." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336123.

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Wolfram, Elizabeth Truemper Monika. "The glory of Rome depictions of architecture on the Column of Trajan /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1332.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Masters of Arts in the Department of Classics Classical Archaeology." Discipline: Classics; Department/School: Classics.

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LOPEZ, GARCIA ANTONIO. "Las estructuras de la Piazza della Madonna di Loreto (Roma): ¿El Athenaeum de Adriano?" Doctoral thesis, 2014. http://hdl.handle.net/2158/856101.

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Italiano: A partire dal 2007, nell’area di Piazza Venezia a Roma, sono stati realizzati alcuni sondaggi archeologici per la costruzione di una stazione per la Linea C della metropolitana. Nel sondaggio S14, quello realizzato nella Piazza della Madonna di Loreto, sono state trovate una serie di strutture appartenenti a diversi periodi storici:dal periodo tardo-repubblicano all’età moderna. Le strutture, appartenenti all’età adrianea, hanno aperto un intenso dibattito tra gli studiosi poiché i tecnici della Soprintendenza Speciale per i Beni Archeologici di Roma hanno proposto l’identificazione di queste strutture con quelle dell’Athenaeum dell’imperatore Adriano, un’istituzione accademica a noi nota grazie alle fonti letterarie. Purtroppo le scarse fonti a nostra disposizione, relative a questa istituzione, non hanno permesso fino ad ora di proporre un’ubicazione per l’Athenaeum di Adriano. Español: A partir del 2007, en el área de la Piazza Venezia en Roma, se realizaron una serie de sondeos arqueológicos para la construcción de una estación para la Línea C del metro. En el sondeo S14, realizado en la Piazza della Madonna di Loreto, se han encontrado una serie de estructuras pertenecientes a diversos periodos de la historia: desde el periodo tardo-republicano a la Edad Moderna. Las estructuras pertenecientes a la época adrianea han abierto un intenso debate entre los estudiosos, pues los técnicos de la Soprintendenza Speciale per i Beni Archeologici di Roma han propuesto la identificación de estas estructuras con las del Athenaeum del emperador Adriano, una institución académica conocida gracias a las fuentes literarias. Por desgracia, la ausencia de fuentes a nuestra disposición relativas a esta institución, no han permitido hasta ahora proponer una ubicación para el Athenaeum de Adriano. English: Since 2007, in the area of the Piazza Venezia in Rome, a series of archaeological surveys for the construction of a station for Metro Line C were performed. In the survey S14, conducted in the Piazza della Madonna di Loreto, found a number of structures belonging to different periods of history from the late-Republican period to the Modern Age. The structures belonging to the Hadrian era have opened an intense debate among scholars, because technicians from the Soprintendenza Speciale per i Beni Archeologici di Roma have proposed the identification of these structures with the Athenaeum of Emperor Hadrian, an academic institution known through literary sources. Unfortunately, the absence of sources at our disposal concerning this institution have not allowed yet to propose a location for Hadrian's Athenaeum.

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Books on the topic "Trajan's Column"

1

Vulpe, Radu. Columna lui Traian: Trajan's Column. 2nd ed. București: CIMEC, 2002.

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Coarelli, Filippo. The Column of Trajan. Rome: Colombo, 2000.

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The art of building a masterpiece: Trajan's column. Firenze: Giunti, 2019.

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Touati, Anne-Marie Leander. The great Trajanic frieze: The study of a monument and of the mechanisms of message transmission in Roman art. Stockholm: Svenska Institutet i Rom, 1987.

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Taranu, Luminita. Luminita Taranu: Columna mutãtio - la spirale. Rome]: Palombi editori, 2018.

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A, Lepper F., and Frere Sheppard Sunderland, eds. Trajan's Column: A new edition of the Cichorius plates. Gloucester, UK: Alan Sutton, 1988.

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Giuliana, Calcani, ed. Apollodorus of Damascus and Trajan's column: From tradition to project. Roma: L'Erma di Bretschneider, 2003.

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M, Abdulkarim, and Calcani Giuliana, eds. Apollodorus of Damascus and Trajan's column: From tradition to project. Roma: L'Erma di Bretschneider, 2003.

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Bandinelli, Ranuccio Bianchi. Il maestro delle imprese di Traiano. Milano: Electa, 2003.

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Ancient Germanic warriors: Warrior styles from Trajan's column to Icelandic sagas. New York: Routledge, 2004.

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Book chapters on the topic "Trajan's Column"

1

Torelli, Mario. "Landscape as Itinerary: The Story of Trajan’s Dacian Wars on Trajan’s Column." In Lecture Notes in Civil Engineering, 669–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-59743-6_31.

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"13 History Made Visible and Readable: On Drawings of Trajan's Column." In On Representation, 219–35. Stanford University Press, 2002. http://dx.doi.org/10.1515/9781503619401-014.

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"Trajan’s Column." In Encyclopedic Dictionary of Archaeology, 1405–6. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_200574.

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Kalas, Gregor. "Portraits of Poets and the Lecture Halls in the Forum of Trajan : Masking Cultural Tensions in Late Antique Rome." In Urban Developments in Late Antique and Medieval Rome. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989085_ch03.

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The Forum of Trajan featured late antique statues of the poets Claudian, Flavius Merobaudes, Sidonius Apollinaris, and probably others in an outdoor exhibition honoring those authors whose works eased harsh political rivalries. This essay considers the statues as displayed in close proximity to the sculptural reliefs on the Column of Trajan. Its visual narratives depicting military campaigns in Dacia corresponded to Claudian’s descriptions of battles, Merobaudes’s narratives of war, and Sidonius’s tales of military prowess. The chapter also analyzes the performance venues in Trajan’s Forum, built during the reign of Hadrian, where poets performed before elite audiences. The portraits communicated messages in keeping with the poets’ verses, which upheld the long-lasting image of Rome’s resilience.

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Beckmann, Martin. "Epilogue The Columns of Trajan, Marcus Aurelius, & Arcadius." In The Column of Marcus Aurelius, 207–14. University of North Carolina Press, 2011. http://dx.doi.org/10.5149/9780807877777_beckmann.14.

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Solymar, Laszlo. "The Beginnings of Communications." In Getting the Message, 7–20. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863007.003.0002.

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The significance of communications was recognized as early as 2000 bc mainly in the military context. The most important information to be obtained was whether hostile forces were approaching. The solution was to use fire signals by watchmen positioned on carefully chosen mountains. There is evidence that in a city state inspectors were hired to look at the state of the early warning system and request maintenance if needed. An example of a link between Troy and Greece is mentioned in a play at the time. An early coding system that could code any message is discussed. Communications in the Roman Empire is shown in the form of a relief on Trajan’s column. The chapter ends with a poem by Macaulay that describes the fire signals in England indicating the arrival of the Spanish Armada.

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Hölscher, Tonio. "Decor." In Visual Power in Ancient Greece and Rome, 299–334. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520294936.003.0007.

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The category of decor concerns a highly controversial aspect of the visual arts that has provoked much perplexity among scholars. Works of “applied art” of very different character—such as the column of Trajan, statue decoration of public architecture, Pompeian wall decoration, or Roman coin series—are designed with elaborate image programs but present themselves with a very reduced visibility. A solution to this paradox is offered in the notion of decor: not in the debased modern sense of meaningless decoration, but in the ancient meaning of adequate form. Decor serves the fundamental purpose of conveying visible value to objects of major cultural significance. As such, it has a certain autonomy as a visual order that creates distinction without close inspection.

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CAMUFFO, D., and A. BERNARDI. "INDOOR AND OUTDOOR MICROCLIMATE CASE STUDIES: THE TRAJAN COLUMN AND SISTINE CHAPEL." In Science, Technology and European Cultural Heritage, 295–305. Elsevier, 1991. http://dx.doi.org/10.1016/b978-0-7506-0237-2.50034-4.

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Reitz-Joosse, Bettina. "Making Memories." In Building in Words, 13–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197610688.003.0002.

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This chapter deals with Roman representations of construction in three different media (epigraphic, visual, and literary) and explores which representational strategies are distinctive to one medium or common to different media. The first section deals with a range of building inscriptions, from plain to extremely elaborate, and analyses how they create a heavily stylized image of the construction process, drawing attention to the ‘madeness’ of the structure they adorn as a means of adding to its impact on the viewer. The second section deals with the representational strategies of Roman artworks which depict the process of construction (including the base of the Theodosian obelisk, the Haterii relief, the basilica Aemilia frieze, and the frieze of the Column of Trajan). The final section (‘Literary Memories’) is an analysis of literary accounts of construction: Caesar’s construction of the Rhine bridge as well as Pliny the Elder’s and Ammianus Marcellinus’s depictions of the transportation and raising of obelisks. A number of representational strategies are identified as typical of literary descriptions of construction.

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Brittenham, Claudia. "What Lies Beneath: Carving on the Underside of Aztec Sculpture." In Conditions of Visibility. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198845560.003.0008.

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Not all ancient art was made to be seen. Consider, for example, a sculpture of a rattlesnake, today in the British Museum. Its visible body is smooth and simple, coiled into three highly polished circuits. The mouth is daubed with red paint, open to reveal fierce fangs and an elongated forked tongue; the body terminates in thirteen rounded rattles. In between, the only decoration is the varied coloration of the gleaming stone. On the underside, the carving is far more elaborate. The rattles and then the ventral scales of the serpent are lavishly detailed as they spiral upwards. At regular intervals, dots of red pigment have been added to these hidden coils, ornamenting the rattlesnake’s belly. The three-dimensionality of this sculpture challenges display; photographs, casts, or ingeniously rigged mirrors can simultaneously make both the top and bottom of the sculpture visible for modern audiences, but it is likely that in Aztec times the serpent’s coils were invisible, only hinted at by the rounded forms at the base of the sculpture. One of over one hundred Aztec sculptures with documented carving on its underside, this coiled serpent was not an isolated caprice but part of a coherent and meaningful practice. Much ancient art was difficult to see in its original context. From the dedicatory inscription on the back of a Neo-Assyrian sculpture such as the Lamassu in Chicago’s Oriental Institute to the surface of the Column of Trajan spiraling out of sight or the gargoyles on medieval cathedrals, ancient art frequently thwarted the gaze. Many objects alternated between moments of visibility and concealment: displayed briefly, but crucially, at a funeral ceremony before being sealed within a tomb, for example; or stored in darkness between moments of exposure in procession or performance. Other images ended up hidden after complex histories of reuse and recycling. Still other examples hovered at the edge of a gradient of diminishing visibility—possible to see, perhaps, if only one’s gaze were powerful enough.

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