Trajan's Column (Italian: Colonna Traiana, Latin: Columna Traiani) is a Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. It is located in Trajan's Forum, north of the Roman Forum. Completed and dedicated on 12 May 113 AD, the freestanding column is most famous for its spiral bas relief, which depicts the wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern.
The structure is about 30 metres (98 feet) in height, 35 metres (115 feet) including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble drums, each weighing about 32 tons, with a diameter of 3.7 metres (12.1 feet). The 190-metre (620-foot) frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides access to a viewing deck at the top. The capital block of the column weighs 53.3 tons and had to be lifted to a height of about 34 metres (112 feet). Ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle. After construction, a statue of Trajan was put in place; this disappeared in the Middle Ages. On December 4, 1587, the top was crowned by Pope Sixtus V with a bronze figure of Saint Peter.
Trajan's Column was originally flanked by two sections of the Ulpian Library, a Greek chamber and a Latin chamber, which faced each other and had walls lined with niches and wooden bookcases for scrolls. The Latin chamber likely contained Trajan's lost commentary on the Dacian Wars, the Dacica, which most scholars agree was intended to be echoed in the spiralling, sculpted narrative design of the column.
Frieze
Design
The column shows 2,662 figures and 155 scenes; Trajan himself appears on the column 58 times.
The continuous helical frieze winds 23 times from base to capital and was an architectural innovation in its time. The design was adopted by later emperors such as Marcus Aurelius. The narrative band expands from about 1 metre (3.3 feet) at the base of the column to 1.2 metres (3.9 feet) at the top. The scenes unfold continuously. Often a variety of different perspectives are used in the same scene, so that more can be revealed (e.g., a different angle is used to show men working behind a wall).
Historical content portrayed
The relief portrays Trajan's two victorious military campaigns against the Dacians; the lower half illustrating the first (101–102), and the top half illustrating the second (105–106). These campaigns were contemporary to the time of the column's construction. The frieze repeats standardized scenes of imperial address (adlocutio), sacrifice (lustratio), and the army setting out on campaign (profectio). Scenes of battle are very much a minority on the column; instead it emphasizes images of orderly soldiers carrying out ceremony and construction. The aim of the Dacian campaigns was to incorporate and integrate Dacia into the Roman Empire as a province. On Trajan's Column, imagery related to wartime violence in general seems to have been downplayed and depictions of violent action towards foreign women and children are nonexistent. Some scholars suggest the lack of battle scenes and large number of construction scenes was meant to speak to the urban population of Rome (the primary audience), addressing their fear and distrust of the army by depicting its warfare as one with little collateral damage. The portrayal of the Roman army as relatively gentle may have been designed to support Trajan's image as a man of "justice, clemency, moderation, and restraint". Others have argued that the number of tree-felling scenes on the Column (48 of the 224 trees on the Column are being felled) work alongside the bridging of the Danube at the base, and are meant to speak to a more total conquest of the province than had previously been achieved. Key specific events portrayed are the first crossing of the Danube by the Roman legion, Trajan's voyage up the Danube, the surrender of the Dacians at the close of the first war, the great sacrifice by the Danube bridge during the second war, the assault on the Dacian capital, and the death of the Dacian king Decebalus. The two sections are separated by a personification of victory writing on a shield flanked on either side by trophies.
Great care was taken to distinguish the men and women from both sides of the campaign as well as the ranks within these distinct groups. The scenes are crowded with sailors, soldiers, statesmen and priests, showing about 2,500 figures in all. It also exists as a valuable source of information on Roman and barbarian arms and methods of warfare (such as forts, ships, weapons, etc.) and costume. The relief shows details such as a ballista or catapult. This detail is evident in the variety of trees on the Column, each individually stylised following 37 types, which has led some scholars to identify particular species. The precise details create a strong effect of verisimilitude; the designer presents the images as objective historical truth. The emperor Trajan is depicted realistically in the veristic style, making 58 appearances as the central hero among his troops.
Women for the most part occupy and define the margins of the scenes. However, mortal females in Roman state art are so rare it is remarkable that they are included at all in a war monument. In the male discourse of warfare, women are a visual trope that develops further the idea of subjugation by feminizing the foreign conquered. However, on the column is "one of the most unusual, disturbing, and violent depictions of women in Roman art, the torture scene." In this unusual scene, four Dacian women are depicted torturing two naked men.
Setting
Trajan's Column is the most prominent architectural feature of Trajan's Forum, left nearly intact but now isolated from its original setting. The column was placed toward the northernmost point of the forum, acting as the focal point of the entire forum complex. It was surrounded on three sides by two flanking libraries and the Basilica Ulpia. The two libraries to the northeast and southwest of the column were for the study of scrolls written in Latin and in Greek. These libraries were built in tandem with the column. They apparently included upper level viewing platforms for two sides of the column. By having an elevated vantage point, the figures of the scenes, carved in shallow relief and detailed with paint and metal fittings, could be seen more closely (nevertheless it remained impossible for the ancient viewer to follow sequentially the continuous spiral of the reliefs). The problem with visibility of the upper areas is further apparent when we compare Trajan's Column to the Column of Marcus Aurelius. The figures in the later Column of Marcus Aurelius are more deeply cut and even simplified over the height of the shaft because there were no surrounding buildings to serve as viewing platforms. The different carving style seems to have been adopted to enhance visibility.
The two libraries flanking the column helped to further the emperor's program of propaganda. In addition to serving as viewing platforms for the column, they housed valuable works of literature for the people of Rome. Surely one important text kept here was Trajan's own account of the Dacian Wars, now lost. The reliefs on the column documenting the Dacian campaigns would have provided a vivid complement to Trajan's account of the wars. The people of Rome were reminded of his victories every time they enjoyed the open space and amenities of the forum. The combination of the column and the magnificent buildings that surrounded it would have created an awe-inspiring spectacle.
Purpose
It is unclear whether the column was meant to serve a commemorative function, as political propaganda, or both. Traditional scholarship held that the column was a glorifying monument, upholding Trajan as Rome's great emperor. However, recent reconstructions of Trajan's Forum have determined that any wide view of the column would have been mostly obstructed by two libraries in the forum which tightly bookended it. Also, because it would have been difficult to follow the spiral frieze from end to end (walking in circles with head inclined), the column's narrative power would have been fairly limited.
On the other hand, as French archaeologist Paul Veyne notes, the relief could be read "vertically" from below, with the figure of the emperor recognizable across the bands of images—just as, on the Colonne Vendôme, Napoleon's figure can be picked up, scene after scene. Additionally, the two libraries surrounding it provided platforms from which to observe the column if the viewer stood on the top floors, making the complete view of frieze much more visible.
While there is certainly evidence that the Trajan's Column was not put in an ideal spot for visibility, it is impossible to reject the column as some form of a glorification structure. There is the significant point that the column was extremely challenging to construct, so it is unlikely that it would have been placed in the forum with the intentions of being hidden or out of plain sight.
There is also the idea of the column as a symbol for Trajan. Although ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle, a statue of Trajan was put in place after the column was constructed. Additionally, Trajan's ashes were buried at the ground level of the forum, which is a center of life for Romans. The narrative on Trajan's Column unfurls from the base going up, taking a viewer through Trajan's triumph in the Dacian wars and (as originally constructed) finished with a statue of Trajan above the forum. Considering the practice of deification of emperors which was expected during this time period, especially of glorious Trajan, the symbolism may be interpreted as Trajan's earthly remains staying in the forum with the Roman people while his conquests ascend him up into the heavens.
After Trajan's death in 117, the Roman Senate voted to have Trajan's ashes buried in a chamber at the column's square base, which is decorated with captured Dacian arms and armor. His ashes and those of his wife, Plotina, were set inside the base in golden urns (which later disappeared from the monument). One reading of this is that Trajan may have intended the column to be his final resting place from the project's inception, and that the similarities in design to other funerary structures made it a natural choice for the Roman Senate. In particular, the circumambulation demanded of onlookers of the column's frieze is evocative of Roman funerary practice, drawing attention toward the center – and consequently, the finial of Trajan.
The statue of Trajan disappeared in the Middle Ages. On December 4, 1587, the top was crowned by Pope Sixtus V with a bronze figure of Saint Peter, which remains.
Inscription
The inscription at the base of the column reads:
SENATVS⸱POPVLVS⸱QVE⸱ROMANVS
IMP⸱CAESARI⸱DIVI⸱NERVAE⸱F⸱NERVAE
TRAIANO⸱AVG⸱GERM⸱DACICO⸱PONTIF
MAXIMO⸱TRIB⸱POT⸱XVII⸱IMP⸱VI⸱COS⸱VI⸱P⸱P
AD⸱DECLARANDVM⸱QVANTAE⸱ALTITVDINIS
MONS⸱ET⸱LOCVS⸱TANT[IS⸱OPER]IBVS⸱SIT⸱EGESTVS
Translated to English:
The Senate and People of Rome, to the Divine Emperor Caesar Nerva Trajan, son of Nerva, High Priest, [conqueror of] Germany and Dacia, [vested] with the power of the tribune 17 [times], imperator 6 [times], consul 6 [times], father of the nation, for demonstrating [that] a mountain and a place of such height were excavated for such works.
According to British historian Edward Gibbon, the height of the column indicated the original elevation of the hill excavated for the forum. It was believed that the column was supposed to stand where the saddle between the Capitoline and Quirinal Hills used to be, having been excavated by Trajan, but excavation has revealed that this is not the case. The saddle was where Trajan's Forum and Trajan's Market stood. Hence, the inscription refers to the Trajan's entire building project in the area of the Imperial fora.
This is perhaps the most famous example of Roman square capitals, a script often used for stone monuments and, less often, for manuscript writing. As it was meant to be read from below, the bottom letters are slightly smaller than the top letters, to give proper perspective. Some, but not all, word divisions are marked with a dot, and many of the words, especially the titles, are abbreviated. In the inscription, numerals are marked with a titulus, a bar across the top of the letters. A small piece at the bottom of the inscription has been lost.
The typeface Trajan, designed in 1989 by Carol Twombly, uses letter forms based on this inscription, working from the research of Edward Catich. There have been many other typefaces based on the inscription from such designers as Frederic Goudy and Warren Chappell.
Spiral stair
The interior of Trajan's Column is hollow: entered by a small doorway at one side of the base, a spiral stair of 185 steps gives access to the platform above, having offered the visitor in antiquity a view over the surrounding Trajan's Forum; 43 window slits illuminate the ascent.