Janssen 1957 Translated

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ANDREAS JOZEF JANSSEN
THE ANTIQUE TROPAION
1957
NV PRINTING ERASMUS — LEDEBERG/GENT
Page 3
Page 4
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PROMOTER .· Prof. dr. dr. FJ DE WAELE
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(with a Summary in English)
ACADEMIC THESIS AVAILABLE

OF THE DEGREE OF DOCTOR OF LETTERS
AND PHILOSOPHY AT THE ROYAL UNIVERSITY
IN NIJMEGEN, BY THE AUTHORITY OF THE RECTOR MAG-
NIFICUS DR. WKM GROSSOü W, PROFESSOR IN
THE FACULTY OF THE DOCTORY, ACCORDING TO
DECISION OF THE UNIVERSITY SENATE
PUBLIC TO DEFEND ON FRIDAY
NOVEMBER 8, 1957, IN THE AFTERNOON AT 4 PM
BY MEANS OF
ANDREAS JOZEF JANSSEN

BORN TO FIELD
I 957
NV PRINTING ERASMUS — LEDEBERG/GENT
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7
CONTENTS
GUIDE iv
LIST OF IMAGES χ
ABBREVIATIONS xiv
LIST OF READINGS xv
LIST OF TEXT EDITIONS OF TENDER AND AUTHORS . . xxvni
PREFACE ι
CHAPTER I
THE TROPAION IN GREEK AND ROMAN

LITERATURE 6
i. Derivation, meaning and spelling of the word. . 6
§ 2. Accent 8
§ 3. Grammatical and Stylistic Use 9
I. In conjunction with a verb A. Greek . . 9
B. Latin . . . 14
II. In conjunction with a case A. Greek . . 16
B. Latin . . . 17
. In connection with a preposition A. Greek . . 17
B. Latin . . . 18
IV. Literal and figurative usage A. Greek . . 19
B. Latin . . . 21
§ 4. Its occurrence in literature 22
§ 5. Word Family 24
CHAPTER
THE HISTORICAL DEVELOPMENT OF TRO

PAION 27
§ 1. Time and Place of Origin 27
§ 2. Distribution among Greeks, Romans and other nations 33
§ 3. The meaning of the tropaion 39
Page 9
CHAPTER
THE TROPAION IN ANCIENT ART. SPREAD

AND FORM 51
§ 1. Chronological overview of the tropaion in the ancient

art 51
§ ψ. The typology of the tropaion 60
CHAPTER IV
THE TROPAION AND ITS ACCOMPANYING FIGURES . 81
§ 1. The tropaion in a human environment 81

L The tropaion in the midst of battlefields . . . . 81
II. The victor at a tropaion 82
A. The victor erects a tropaion . . . . 82
1. The victor attaches arms to a

tropee 82
2. The victor sacrifices at a tropaion . . 84
3. The victor crowns his tropaion . . . 85
4. The victor writes on the shield of a
tropaion 86
B. The victor with his completed tropaion . . 86
1. The victor considers his tropaion . . 87
2. The victor rests his hand on a
tropaion 90
3. Victoria crowns the victor at his
tropaion 91
С The tropaiophore conqueror 92
1. The tropaiophore victor in general 92
2. The tropaiophore Romulus type 94
3. The Tropaiophore Emperor and His Prisoners . 95
D. Less widespread performances 96
1. Some Standalone Images . . 96
2. The tropaion during the triumphal procession . . . 97
. The vanquished at a tropaion 99
A. The tropaion with one prisoner 99
1. A kneeling prisoner under a tropaion 100
2. A seated prisoner under a tropaion. 101
VI
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3· The tropaion with a standing prisoner . . 104

4. The crouching and lying prisoner under
a tropaion 105
B. The tropaion with two prisoners 105
1. A seated and a kneeling prisoner. . 106
2. Two Sitting Prisoners 106
3. A seated and a standing prisoner . . 108
4. Two Standing Prisoners 109
5. Two crouching prisoners 110
6. Two Kneeling Prisoners in
C. The tropaion with more than two prisoners . in
D. Some special groups 112
§ 2. The tropaion in association with a deity 113
I. Nike-Victoria 113
A. Nike establishes a tropaion 113
1. Nike attaches weapons to a tropee. . . 113
2. Nike crowns a tropaion 121
3. Nike describes the shield of a tropaion . 125

4. Nike sacrifices a bull at a tropaion. . . . 126
B. The tropaiophore Nike 126
1. Nike-Victoria with Wreath and Tropaion. . . . 127
2. Nike-Victoria with palm branch and tropaion. . . 128
3. The tropaiophore Nike without further attri
buten 129
4. The tropaiophore goddess of victory with various
attributes 134
a) caduceus 134
b) shield 134
0 globe 13J
d) cornucopia 135
e) helmet 135
f) flower garland 136
g) spear 136
h) sacrificial bowl . 136
i) two tropaia 136
j) wreath and shield 137
k) wreath and palm of victory 137
1) prisoner 137
C. Nike-Victoria at a completed tropaion. . . . 137
. Heracles-Hercules 141
. Pan 144
IV. Mars 144
VII
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V. Athena-Minerva-Roma 152
VI. Eros-Amor 154
VII. Aphrodite-Venus 157
VIII. Dionusos-Bacchus 158
IX. astarte 160
X. Sol 161
XI. lupper 161
XII. Personalization 162
a) Country and city personifications 162
b) Personifications of abstract concepts . . . . 163
§ 3. Animals at a tropaion 165
§ 4. Symbolic signs around a tropee 167
CHAPTER V
THE LONE TROPAION 170

§ 1. Tropaia in round sculpture 170
§ 2. Embossed Tropaia 173
§ 3. The single tropaion on coins and in the rest
cabaret 175
CHAPTER VI
SPECIAL FUNCTIONS OF THE TROPAION 179

§ 1. The tropaion as a small background figure 179
§ 2. The tropaion in a compositional function 180
§ 3. The Tropaion in Architecture 183
1. Tropaiophore triumphed 184
2. Tropaion Buildings 186
3. Temples 188
4. Other constructions 189
CHAPTER
THE SHIP STROPE 191

§ 1. The tropaion next to a ship or prow 192
§ 2. The tropaion on a ship or prow 194
fin
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§ 3· The tropaiophore figure on prora or ship 196

§ 4. The tropaion with ship parts 197
§ 5. Some Special Types 199
SCHEMATIC OVERVIEWS 201
INDICES
LITERARY INDEX 210
INDEX GRAECUS 211
INDEX LATINUS 213

GENERAL INDEX 214
SUMMARY 240
IX
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LIST OF IMAGES
. "Tropaion" on a mitra from Rethymno 28
2. "Tropaion" on a Mukene pinax 29
3. Relief of the funerary temple at Termessos 35
4. Roman gem from the 1 0 century BC 35
5. Gemme in Berlin 36
6. Victoriatus 53
7. Vase Shard from Thebai 61
8. Coin of the Boiotian Bond 61
9. Relief of the heroön at Gjólbashi-Trusa 62
10. Attic pelike from the time of Pericles 63
11. Athenian base, found at 2. w. of the Parthenoon, with tropaion type IA 64
12. Pelike from Megara with tropaion type IB 65
13. Coin of Syracuse 65
14. Mint of Capua 66
15. Coin of Lusimachos of Thrakia with tropaion type II 66
16. Etrurian vase with tropaion type III 67
17. Gemme 67
18. Gemme 67
19. Syracusan Coin of Purrhos 68
20. Mint of Pergamos 68
ii. Coin of M. Fourius Philus with tropaion type IVA 69
22. Coin of C. Fundanius 69
23. Coin of Faustus Cornelius Sulla 70
24. Athenian coin of Sulla with tropaion type 1С 70
25. Coin of Sulla 70
26. Coin of Caesar 70
31. Coin of Q. Caepio Brutus 72
32. Trofei di Mario; classic tropaion of type IVC 74
33. Trofei di Mario; barbarian tropaion 75
34. Relief of the triumphal arch in Toulouse with tropaion with human face 76
3 5. Relief of the triumphal arch in Orange with tropaion type IVB 77
36. Relief of a sarcophagus in the Borghese verzameling collection 78
37. Agate from the i e c. BC 79
38. Gemme 83
39. Coin of Constantine I 83
40. Coin of Constantius II 83
41. Arching Relief 85
42. Chalice from Orbetello 88
43. Coin of M. Aurelius 89
44. Statue of M. Aurelius from Moutali 90
45. Coin of L. Verus 90
Page 14
46. Coin of Alexander Severus 92

47. Coin of M. Aemilius Lepidus 92
49. Fresco from Pompeii 94
50. Coin of Theodosius II 9^
53. Coin of P. Cornelius Lentulus Marcellinus 96
54. Gemme 96
57. Coin of Augustus 100
58. Coin of T. Cloulius 101
59. Relief of the tomb of Caecilia Metella in Rome 101

60. Coin of Vespasian ιοί
6i. Coin of Domitian 101
62. Relief of the statue of Traian in Turin 102
63. Coin of Traianus 102
65. Bronze group from Bern 104
67. Coin of Claudius Gothicus 108
68. Relief of the burial monument of Clodius Quirinalis 109
70. Relief of the Triumphal Arch of Carpentras 110
71. Coin of Lampsakos 114
72. Mint of Taranto 115
73. Gemme with "philosopher" 115
75. Coin of Antoninus Pius 116
76. Commodus Coin 116
77. Relief from the Giardino Boboli in Florence 117
78. Mint of Geta 117
79. Torso from Amasra 119
80. Relief of a statue in the Oppermann . collection 119
81. Capital in the Tabularium in Rome 120
82. Incense altar cake 121
83. Mint of Taranto 122
84. Coin of P. Vettius Sabinus 122
85. Coin of Cn. Cornelius Biasio 123
86. Gemme from Ashik 123
87. Coin of Q. Caepio Brutus 123
89. Coin of C. Egnatuleius 125
90. Medallion from Aboukir 125
91. Coin of Traianus from Amisos 127
92. Coin of Septimius Severus 127
93. Gemme from the i e century BC 128
94. Terracotta figurine from Bonn 128
95. Coin of Constantine II 129
XI
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97- Hellenistic vase from Malta or Todi 130

98. Victoria of Apollonia 130
99. Coin of Claudius from Smurna 130
00. Relief from Istanbul 132
02. Coin of Antoninus Pius 133
03. Terracotta roof tile 133
04. Diocletian's Coin 134
05. Coin of L. Hostilius Saserna 135
06. Gemme 135
07. Valerian's Coin 135
08. Coin of Caracalla 136
09. Medallion of M. Aurelius 136
10. Coin of Constans I 136
12. Coin of Decentius 139
13. Commodus Coin 140
14. Coin of Herakleia (Bithunia) 141
15. Coin of Herakleia (Bithunia, of King Dionusios) 142
16. Roman Coin 142
17. Coin of C. Antius Restio 142
19. Coin of luliopolis 143
20. Coin of Tacitus 144
21. Coin of Maximianus Herculius 144
22. Medallion of Antigonus Gonatas 144
23. Coin of L. Postumius Albinus 145
24. Coin of L. Valerius Flaccus 145
25. Gemme 145
26. Gemme 146
27. Gemme 146
28. Relief from Mainz 147
29. Figurine from the factory of Vindex 148
30. Coin of Vitellius 148
31. Coin of Vespasian 149
:32. Coin of Domitian from Nikomedeia 149
:34. Coin of Caracalla 150
:35. Coin of Commodus 153
:зб. Coin of Hadrian 153
:37. Coin of Commodus 154
:38. Coin of . Vibius Pansa 154
[39. Coin of . Clovius 154
:4o· Frisian from Pompeii 155
[41. gemme 156
[42. gemme 156
[43. gemme 156
[44. Vase from Orange 156
145. Relief of an ointment bottle in Berlin 158
[46. Fresco from Pompeii 159
147. Coin of L. Statius Murcus 162
XII
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48. Gemme 164

49. Medallion from the i e century η. Chris 164
50. Gemme of Sertorius 1 66
5i. Pan from Chietia 167
53. Gnostic Gemme 168
54. Tropaion statue in Berlin 171
55. Tropaion statue of the eastern city gate of Adamklissi 172
56. Relief from Kuzikos 173
57. Relief from the time of M. Aurelius 174
58. Coin of Lusimachos of Thrakia 175
59. Mint of Heraclea in Lucania 175
:6o. Coin of M. lunius Brutus 176
:6i. Coin of Q. Cacpio Brutus 176
.62. Coin of M. Antonius 176
:бз. Coin of M. Antonius 176
.64. Coin of Augustus 176
66. Coin of Tomis 177
68. Gemme 178
[69. gemme 178
:7ο. gemme 178
-ji. gemme 178
:72. Coin of Lokris Opountia 179
:73. Coin of Athens 180
:74. Coin of L. Papius Celsus 180
[75. Part of a vase in Bologna 180
[76. Corner tropaia of a sarco hedge in Pisa 181
[77. Urn of the Colle di Concervino 182
178. Decades base of Galerius and Constantius Chlorus 183
[79. Coin of Augustus 184
[80. Coin of Claudius 185
[81. Coin of Claudius 185
[82. Tropaion of the Tropaeum Traiani in Adamklissi 187
[83. gemme 189
[84. Coin of M. lunius Brutus 193
[85. Coin of M. Antonius 193
[86. gemme 194
[87. gemme 195
[88. gemme 195
[89. Coin of Cn. Domitius Ahenobarbus 195
[92. Roof tile from San Marino 196
[93. Coin of Athens 196
[94. gemme 197
195. Coin of Ser. Sulpicius Galba 197
[96. Coin of Sex. Pompey 198
[97. Coin of Chalkedony 199
[98. Coin of Cossus Cn. f. Lentulus 199
XIII
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ABBREVIATIONS
The list below explains the designations used for magazines and
some very common titles, for which the economics of place the use of
made abbreviations desirable.
AA Archaeological Anzeiger. Beiblatt zum Jahrbuch des deutschen archäolo-
gischen Instituts.
AEM Archaeological-epigraphical Mittheilungen aus Oesterreich-Ungarn.
AJA American Journal of Archaeology.
AM Athenische Mitteilungen = Mitt(h)eilungen des (kais.) deutschen archäolo-
gischen Instituts, Athenische Abt(h)eilung.
AZ Archaeological Zeitung.
BCH Bulletin de Correspondance Hellenique.
BJ Bonner Jahrbucher.
bull. com. Bullettino della Commissione Archeologica Comunale di Roma.
САН Cambridge Ancient History.
C.I.A Corpus Inscriptionum Atticarum.
CIG Corpus Inscriptionum Graecarum.
CIL Corpus Inscriptionum Latinarum.
CMI COHEN, Medailles Imperiales.
CRAIA Comptes rendus de l'Academie des Inscriptions et Belles Lettres.
DS DAREMBERG-SAGLIO, Dictionnaire des antiquités: AJREiNACH, Tropaeum.
EPA Encyclopedia Photographique de l'Art.
Eph. Arch. 'Αρχαιολογική.
FATF FURTWÄNGLER, Antike Gemmen.
FGS FURTWÄNGLER, Geschnittene Steine.
FW FRIEDERICHS-WOLTERS, Gipsabgüsse.
IG Inscriptions Graecae.
JAI Jahrbuch of the German Archaeological Institutes.
JHS Journal of Hellenic Studies.
JIAN Journal international d'archéologie numismatique.
JOAI Jahreshefte des österreichischen archäologischun Institutes in Wien.
KIB WINTER, Art history in Bildern.
MAHEFR Blends d'archéologie et d'histoire de l'Ecole Française de Rome.
MDAI Mitteilungen of the German Archaeological Institutes.
MUHO DE WAELE, Coinage and Coinage of Hellenic Antiquity.
RA Revue archeologique.
REA Revue des études anciennes.
REG Revue des études grecques.
RM Römische Mitteilungen = Mitt(h)eilungen des (kais.) deutschen archäolo-
gischen Instituts, Römische Abt(h)eilung.
RRP S. REINACH, Repertoire de peintures.
RRR S. REINACH, Repertoire de reliefs.
RRS S. REINACH, Répertoire de la statuaire.
RRV S. REINACH, Repertoire des vases peints.
TEBO DE WAELE, Twelve Centuries of Building Antiquity.
WBR WADDINGTON-BABELON-REINACH, Recueil General.
XIV
Page 18
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indicates
When that
only onethework
relevant work could
is mentioned by not be consulted.
the author, this is When
quotedfrom
in thea notes with the
author name only. In other cases, the quote additionally includes one or more
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ALTMANN, W., Architektur und Ornamentik der antiken Sarkophage, Berlin 1902.
AMELUNG, W.,Führer durch die Antiken in Florenz, Munich, 1897.
AMELUNG, W., G. LIPPOLD, The Sculptures of the Vatican Museums, I-III,
Munich 1903-36.
ANDERSON, WJ, R. PH. SPIERS, WB DINSMOOR, The Architecture of Ancient Greece,
London 1927.
ANTONESCO, T., Le trophee d'Adamclissi, Etude archeologique, Jassy 1905.
ARNDT, P., G. LIPPOLD, W. AMELUNG, Photographische Einzelaufnahmcn antiker
Sculptures, I-XVI and 2 din. index, Munich 1894-1940.
AZZURRI, F., Osservazioni sul fregio marmoreo del sepolcro di Cecilia Metella, Bull.
Com., XXIII, 1895, p. 14-25.
BABELON, E., Catalog des camées antiques et modernes de la Bibliothèque Nationale,
I-II, Paris 1897.
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XXX
Page 34
PREFACE
Πολλά δε καί κοίλα και πεξη καί ναυ-

έστησαν τρόπαια, ' οΐς έτι
νυν φιλοτιμούμεθα.
(DEMOSTHENES, Περί συντάξεως (ХШ), ζ6).
Only a little younger than the race of men themselves are their subordinates
battle and with it the victory. Very old also is the desire
of the victor to express in any way his gratitude for the
to declare victory to the deity or glory, with his action
achieved, to be remembered by contemporaries and posterity. Like this
were — the countries on the Nile and Euphrates already testify — with
stylus and chisel immortalized countless victories.
National and personal fame was also spread in Hellas and Rome
poets and prose writers glorified and numerous are the triumphs of
many kinds that were established. The largest in number are the memorials
signs commemorating a battle with arms; besides this one though
are found, mainly in important centers of religion and culture
as Athena, Olumpia and Delphoi, monuments to victories
with the mind or the forces of the body. After all, not only about
winners in battle, but also choreographers who carried away the prize, win
ill at play, yea, sometimes even those who win in love or drink
had fought, left this, as the pictures prove, a
more or less monumental sign behind, that one could "sign of victory"
to call.
Although an all-encompassing treatment of the ancient triumph
memorials to date are missing, as appears from the bibliography,
that this subject has been able to occupy a centuries-long interest
rejoice. This interest, which is undoubtedly for a considerable part
due to the multifaceted importance of the theme, went for
for those triumphant signs, which were set up on account of
of a military victory. To a lesser extent, it concerned the choregic
and agonistic victory monuments, which are also numbered in the first group
far behind.
Flavio Biondo (ι388-1463) already treated De Roma . in his work
triumphante round the tropaion and gathered the oldest on it
drawings by ancient writers. Panvinius did the same in 1575.
It was not possible to determine to what extent the work of Nicolai (1696) is important
checked. Do the titles of their works indicate a general sense,
Page 35
yet were already in the 17 e century individual victory monuments

chosen as the subject of a more extensive study. treated like this
in 1672 Bartoli, Ciaccone and Bellori the column of Traian, while some
years later a monograph by Bartoli and Bellori appeared
about the Columna Antoninìana. The same Bellori subdued 15 years later,
now in association with De Rubeis, the Veteres anus Augustorum on a
further investigation.
An extensive article with mainly literary data De tropaeis
appeared in 1701 in the XI th volume of the Thesaurus Gronovianus of the
hand of Boulenger (Julius Caesar Bulengerus), just a century after his
first appear in Paris. Two times were in the 18 e century tropaia
treated in a separate work : it is without much importance in 1738
book published in Leipzig by Steger and Boesner, Antiquissima tropaea
populi Romani, while also the work of P. Ekerman, De tropaeis, in
Published in Upsala in 1743, no more than a worthless collection
of quotes is called (1). This also seems to be said
from the book by Stanislaus Knolle a Knoll, published in Leipzig in 1809,
De tropaeis quaestio. "Geradezu töricht" calls Woelcke, /. с, further that
gene, what JH Zedier in his Grosses vollständiges Universallexikon (1745)
about the tropaion. Through disorder and confusion, the
collection of numismatic material about the tropaion, which is
Rasche is collected in the V th part of his published in 1793
Lexicon universals rei numariae (2).
While the first half of the 19 e century, in addition to repeats of
Boulenger (3), the article „τρόπαιον" in Stephanus' Thesaurus Graecae
linguae adapted by Hase and the Dindorf brothers (4) and some
Ritschl's comments on Aischulos' Seven to Τ hebe, 254-261 (5),
also brings a work by Rossini on triumphal arches, we see in the
second half of the same and especially in the twentieth century a crowd
articles appear, which commemorate victory or related to it
address issues, as well as new discoveries in this field

to make. The first of the archaeology, which has become so numerous in this time,
gic material used is Adler; he did this in a lecture
on the occasion of the Winckelmannsfest.
It would be impossible to go into detail on all
publications on trophies that have appeared in recent decades.
Only a few works may be pointed out.
(1) WOELCKE, . 127.
(2) V, 2, . 202 w., sv tropea.

(3) PAULY-WISSOWA, VI, Col. 2165; WACHSMUTH, , p. 337.
(4) VII, 1848-1854, Col. 2494.

(5) Opusculo, I, Ы. 371.
Page 36
In his work on the Tropaeum Traiani at Adamklissi, Otto . gives

Benndorf a very creditable sketch of the history of the
tropaion, without, however, striving for completeness (i).
The triumphal arches are, except in a now very outdated article
van Graef at Baumeister, mainly treated by Frothingham.
Homolle described several Delphic triumphal monuments;
Hyde treated those of Olumpia and Schober the Pergamene. Eugen
Petersen did several articles on commemorative monuments the light
as well as the multi-writer Adolphe Reinach, whose hand о. а.
a summary article about the tropaion appeared in the Dictionnaire
van Daremberg and Saglio (2).
Of great interest is the study of F. Studniczka, Die Siegesgöttin;
the same goes for K. Woelcke's Beiträge %ur Geschichte des Tropaions.
This latter work deals with several issues in a first section
with regard to the tropaion, to in a second chapter the tropees
from the time of Augustus to further investigation. By
linguistic, literary and archaeological data becomes a grateful
made use of. By its very nature, this work as a Beiträge does not want to
being complete; it contains a very rich collection of material, which
through a clearer grouping and the addition of an index ten
would have gained a lot of usability.
Macrea's article, Contributi allo studio del trofeo nell'arte romana
(1933-34) (3) deals with the so-called Trofei di Mario in the first chapter;
then the writer discusses the marble fragments in the Museo Civico
at Bologna, which would come from a triumphal arch from 3 BC. ter
memory of the success achieved in the Parthians.
Reference should also be made to the article by F. Lammert at Pauly-
Wisconsin s. . Τρόπαιον, in which, however, little attention is paid to
the tropaion in art, on the article Triumphbogen and on other out
associations under the respective keywords in the same work.

Finally, the Polish work published in 1955 is also important
by Zofia Gansiniec on the origin of the tropaion.
After giving a historical overview of the different
theories regarding the origin of the tropee, the writer points in a
second and third chapters on the special significance of the panhoplie
and in connection therewith on a parallel between tropaion and palladion. Far-
according to it she gives an explanation about the different aspects of
the Greek and Roman tropaion.
When browsing through the bibliography, the reader must, except
(1) TOCILESCO-BENNDORF-NIEMANN, The Monument von Adamklissi, . 128 w .

(2) V, 1, . 497-518
(3) The Bull gives a brief summary of this . Com., IX, 1938, . 158.
Page 37
the lack of a comprehensive work on the memorials of victory,

especially note the large size of this area. After all, numerous
are not only the triumphal monuments themselves, but also various their
types. This is how one distinguishes:
i. memorials to a military victory;
2. agonistic monuments erected for a victory
at play (Olumpia, Delphoi);
3. choregic trophies (in Athens, for example, the monuments of
Lusikrates, Niklas and Thrasullos).
Even one could still sign of erotic and bakchic victories
speak; however, this category is small, their shape is no more than a
imitation of the war trope.
The vastness of the terrain of the aforementioned victories
memorial makes a restriction in view of the intended
cutlery inevitable. Even when one considers the broad conceptual content of
would like to limit the word tropaion to military trophies, then
the desirability of further downsizing still remains, such as only
already from the multitude of problems in the field of triumphal arches
turns out.
Thus, by tropaion we only want to understand
mentioned triumphant sign of anthropomorphic construction that, as will be
turn out (1), in a narrow sense also only deserves that name. Excluded
therefore all other monuments of victory, including military ones, are considered
lions, triumphal arches, statues and triumphal columns, which are
mentioned limitation.
One may wonder, why a separate study on the tropaion
is still being motivated. The motive lies mainly in the fact,

that the earlier writers were mainly literary minded and not
or made little use of the archaeological material.
To the extent that they did this, they did not have that multitude by far
of data currently available to us. It's Zofia Gansiniec,
which points to the lack of a history of the tropaion, of
a chronology of the different types and of a systematic of
facts and forms. This work tries to some extent to fill this void
provided.
In this way an attempt will be made, based on literary and archaeolo-
gic sources, to outline the origin and development
of the tropaion in Greek and Roman times, as well as its actual
Earth. Several ancient grammarians share something about the origin,
the form and meaning of the word tropaion; historians especially
(1) BI. I9 .
Page 38
stories of historical tropes; Pausanias is a rich source for the

time of saga; numerous other authors provide further special
present, while especially poets and later authors in a metaphorical sense
talk about tropaia. In addition to some monumental tropaia that have been preserved
remained, we mainly know the tropaion from images on ancient
reliefs of the most diverse provenance; however, it is mainly the
coins, which are an almost inexhaustible source of our knowledge
of this subject, also from a historical point of view. This last one would
form a separate study. Remarkably little does the tropaion occur
antique painted vases. However, it is a popular theme for the
gem cutters and other cabaret artists. Last
source can still be mentioned the Inscriptions and papyri, in which
a tropee is reported several times.
Without a doubt, the picture of the tropaion to be sketched today will
may be supplemented and completed with further material, which
here will turn out to be missing. However, that this does not or closely
will change, does not appear to be serious on the basis of what is on offer
doubtful.
Page 39
CHAPTER I
THE TROPAION IN GREEK AND ROMAN LITERATURE
ι. DIRECTION, MEANING AND WRITTEN WORDS
The word τροπαΐον — actually the neuter singular of the

adjective τροπαΐος — is derived from τροπή, which in turn means
associated with the verb τρέπειν. It was made using the
indo-european suffix -io- formed from the locative singularis τροπαι,
to which the suffix -m was added for the nominative singularis
neutri: Tpouai-io-m > τροπαΐον (ι).
This derivation has already been suggested by several authors
long before grammarians expressly confirm it. Some authors
namely, use the word in a striking connection with τροπή (2),
while others employ it in conjunction with τρέπειν (з).
We find the oldest confirmation of the above derivation
in a quote from Vatro (116-27 · Chr.) quoted by Nonius : „Tropel
ν
significantiam propriam Varrò Bimarco ostendit (61) : „ideo fugue hostium

graece vocatur τροπή : hinc spolia capta, fixa in stipitibus, appellantur
tropea" (4).
Also Herodianos (2 century AD.). This view was concurred:
E
„αρχή, αρχαίος,
σπουδαίος, κορυφή,
τροπή, τροπαΐος, κορυφαίος,
εύνή, εύναΐος" (j). πηγή, πηγαίος, αμοιβή, αμοιβαίος, σπουδή,
Servius (4 century п. Chr.) Agrees with this when he says: "Tropaeum
е
dictum est άπο τοϋ τρέπεσθαι, id est ab hostium conversione : unde qui
hostem fugasset merebatur tropaeum, qui autem occidisset triumphum,
τοϋ θριαμβεύειν, id est ab exultatione" (6).
The same view gives different in very few of these
(1) BRUGMANN-THUMB, § 175, Ы. 212. Cf. BRUGMANN-DELBRÜCK, II, i,
. 194.
(2) THOUK., II, 22, 2; 92.5; VII, 54; cash. DIO, XLII, 40, 5.
(3) Тноик., IV, 101, 4; PLOUT., Perikks, 163 D. Cf. VERG., Aen., XI, 790.
(4) NONIUS MARCELLUS, De compendiosa doctrina, I, Ы. 77 (= The proprietary ser-
опит, 55). cf. Grammaticae Komanae fragmenta, I, no. 98, Ы. 224; VARRÒ, Bimarcus,
fragment. 17 at PETRONY.
(5) HERODIANUS, Περί καθολικής προσωδίας, Ι, Ы. 129, 4
(6) SERVIUS, VERG., Aen., Χ, 775. Cf. XI, 790.
Page 40
words Isidore of Sevilla (6 -7 Century n. Chr.), and he adds

e e
to it : „Plenae enim victoriae triumphus debetur, semiplenae trophae-

um, quia nondum plenam est consecutus victoriam. Non enim obtinuit,
sed fugavit hostem. Haec tarnen nomina scriptores confundunt" (i).
The Htymologicum Magnum (9 century. N. Chr.) The word also leads
e
from the same Tribe, when it says : „(τροπαΐον) είρηται Sè από του τρέψαι
και δι,ώξαι τους πολεμίους τα ιστάμενα σύμβολα της νίκης" (г).
So do Gregorios of Corinth (12 century): "ώς γαρ άπο τοϋ
е
το τριταΐον, . του ούρα το ούραΐον, οΰτω καί άπο τοϋ τροπή το

τροπαΐον" (3), the scholion On Euripides, Phoinissai, 572 : „τρόπαια, νικητήρια,
άπο τοϋ τρέψαι καί διώξαι τους πολεμίους", and that On Aristophanes, Ploutos,
453 : "εκαλεΐτο δε τρόπαιον δια το επί τη τροπή των εχθρών γεγενήσθαι".
In Stephanus' Thesaurus Graecae linguae Reland takes the same
theory about, if he s. . νίγλα says : „Niclon, Omne quo quis repellitur
auto coercetur; atque ita a τρέπειν dici tur".
We still hear an echo of this same sound in the Thesaurus of
Gesner under the word tropaeum : „sic enim scribendum est, et non ut
vulgo trophaeum; ut ipsa ostendit vocis etymologia, signum s. monu-
mentum fugati hostis, Deo, Marti, loui, Apollini etc. sacrum".
Thus, throughout the ages, the word tropaion has been misused
associated with τροπή and τρέπειν and regarded as a sign that on
was judged for withdrawing the enemy, a victory
so sign.
The Latinized form "tropaeum" is mainly used in the Imperial period
often simplified to "tropeum", which spelling in
Greek is rarely encountered (4). The knowledge of etymology
and the numerous analogously formed words practiced here a
inhibitory influence.
Another phenomenon is the occurrence of adspiration, whereby
„trophaeum" arises (5). This version underlies the modern
(1) ISIDORUS, Origines, XVIII, г, 3.

(г) Etjm. Magnum, Col. 697, p. 769, s. . .
(3) GREGORIOS OF CORINTHIANS, Περί 'Ατθίδος, III, 20.
(4) Coins of Septimius Severus: CMI,\ 4,235 (see p. 177)¡NONIUS MARCELLUS,

/. с, (Ы. 6, note 4); inscription from Tabaika (Tunis, 4 Century): Année Epigraphique, Series 4
0
VIII, 1906, no. 46, . 209; FIRMICUSMATERNUS, XX, p. 54, r. 11 (cod.P). cf. τροπεοΰχος
at DITTENBERGER, Sjlloge, II, 906 B.
(5) SOMMER, Handbuch, § 117, p. 199-202; ID., Kritische Erläuterungen, § 61, bl.
72-74. Trophaeum occurs : COMMODIANUS, Carmen apologeticum, 767 and Instructionss,
II, 9, 2; history. Apollonii Kegis Tyri, XII, p. 22; ISIDORUS, Origines, XVIII, 2, 3; IUVENCUS,
III, 640; De tribuspuellis, 110; IUL. VAL., , 38, 61 and 46, 74; SIDONIUS, Carmen, V,
3 2 ; coins of Pescennius Niger : CMI, III, 3 7 ; SYMMACHUS, Epistulae, IX; hymn :
Ad reg'as Agni, 22 (from the Vespers of Beloken Easter); hymn : Ad Laudes (Breviary,
Pars aestiva, Commune plurimorum Martyrum).
Page 41
trofeo, trophée, Trophäe, trophy and the Dutch trophy, which is the etymo-
seems to have often supplanted the more logically correct tropee. Gesner points in
his Thesaurus, l. c, emphatically on the error of this spelling (i).
A combination of both phenomena can be found in "tropheum",
which form, however, occurs extremely rarely (2).
§ 2. — ACCENT
The word τροπαιον has two different accents : ear

originally it occurred as properispomenon, in later times as pro-
paroxutonon. Herodianos has the following to say about this:
„τροπαιον και τροπαιον Άττικώς — Παν εις ος καθαρον ύπερ δύο συλλαβάς τη
διφθόγγω παραληγόμενον, ει άπο όξυτονουμένου θηλυκού γένοιτο, προπερισπϊται,
αρχή, αρχαίος, κορυφή, κορυφαίος, πηγή, πηγαίος, αμοιβή, αμοιβαίος, σπουδή,
σπουδαίος, τροπή, τροπαΐος, εύνή, εύναϊος" (3). And further on it reads: „Τα δια
αιον μονογενή υπέρ δύο συλλαβάς προπαροξύνεται "Ηραιον το τέμενος και
Θράκης. 'Ηρόδοτος τετάρτη το δέ Ήραΐον τείχος, , Δίρκαιον, Κίρκαιον
δρος, τροπαιον και τροπαιον 'Αττικώς, νόμαιον το μονογενές, ουραιον, σκυλαιον
άκρα, περί ής 'Εκαταίος εν Ευρώπη φησίν" (4).
A note of Arkadios of Antioch (end 4 e cent. AD).
about this phenomenon is of a similar nature and applies to Herodianos
back (5), as well as the ULtymologicum Magnum, which, however, adds
that the ancient Attic writers used the word as properispomenon
use (6). According to Souïdas, these include Eupolis, Kratinos, Aristo-
phanes and Thoukudides, while Menandros and other New Attic
writers know it as proparoxutonone (7).
Herodianos is closest to the truth, because he goes out
of the adjectives on -αιος, which are properispomena, when derived
being of a female oxutonone, b. . , . When such a
adiective takes the neuter form, it retains the accent that
had the masculine form. This is the accentuation used in the older Attic
writers, even if the word, after omission of the accompanying
noun (b. ν. σήμα), itself used as a noun : τροπαιον.
In general, however, neuter nouns are anaclitic and
shift the accent as far forward as possible. Thus, the
new accentuation in τροπαιον not surprising, the more so,
(1) Cf. BOULENGER, . 867.

(2) Adnotationes super апит, I, io; GREGORIOS OF TOURS, Glor. Mart., 27.
(3) HERODIANOS, Περί καθολικής προσωδίας, I, p. 129, 4.
(4) Ib., . 369. Cf. HERODIANOS, Περί ορθογραφίας, II, p. 583, 13.
(5) ARKADIOS OF ANTIOCHIA, Περί τόνων, bl. 120, 22.
(6) . Magic, Col. 697, p. 769, s. . .
(y) SOUÏDAS, s. . .
Page 42
as it finds confirmation in other substantiated adjectives such as

and . In any case, this is not the law of Vendryès
applicable, to which Bally wants to trace the phenomenon back; she says :
„A three-syllable properispomenon with short antepaenultima becomes
in Attic proparoxutonone". It could apply to τρόπαιον;
in other cases, however, analogy should be remembered (i).
The importance of analogy is also apparent from various
lyrics. Thus a scholion on a passage by Dionusios Thrax says:
,,οί δέ 'Αττικοί όμοιος λέγουσι . ήμεϊς μεν αναλόγως τρόπαιον λέγομεν ώς
, . ó δε Θουκυδίδης τρόπαιον Αττικώς" (ι). On the other hand
Gregorios of Corinth (3) and a scholion point to Aristophanes (4)

on analogous cases as τρόπαιον. A further explanation of the new
however, neither they nor other authors give emphasis (5).
That Latin also had a pronunciation problem with regard to
the word tropaeum, appears from a statement from Servius : „tropaeum
declinatio latina est, unde paenultima habebit accentum; in numero vero
plurali quia tropaea dicimus, sicut Graeci no aliquid in the mutilamus,
erit in antepaenultima accentus, sicut apud Graecos" (6).
§ 3. — GRAMMAR AND STYLISTIC USE
After thus the formation, the meaning, the spelling and the accent
tation of the word τρόπαιον-tropaeum has been checked, should now be
are examined with which verbs, cases and preposi-
ties it gets connected and what shifts there are in its meaning
have place.
I. — In conjunction with a verb
A. — Greek
The oldest work, in which a tropaion is mentioned by name,

is the Batrachomnomachia, which is attributed to Pigres of Halikarnassos
wrote and around 500 BC. would have arisen. In verse 159 the poet says:
"στήσομεν εύθύμως μυόκτονον ώδε τρόπαιον."
(ι) BALLY, § 34. p. 24-25 and 64, . 43·

(2) BEKKER, Anecdota Graeca, II, p. 678, 20.
(3) GREGORIOS OF CORINTHI, /. . (Ы. у, орт. )·
(4) laus, 453

(5) SOPHRONIOS OF ALEXANDRIE, in: Grammatici Graeci, IV, Ы. 378; plaice.
ARISTOPH., Thesmophoriaôusai, 697, EUR., Andromache, 694 and Phoinissai, 572, and
THOUK., I, 30.
(6) SERVIUS, COMP., Aen., X, 542.
Page 43
Throughout the ages, the expression used here for the

erecting a tropee : τρόπαιον ίστάναι, in Greek literature no
only common, but even remained the most common (i).
(i) 5 century BC. : Batrachomuomachia, 159; GORGIAS, Epiiaphios, Frag . 6, 21

C
(DIELS, Vursokr., 11, . 248); TiMOTHEOS, Persai, 210; AISHULOS, 'Επτά επί Θήβας,
938; SOPH., Trachiniai, 1102; EUR., Andromache, 694 and 763, Hiketìdes, 647, Orestes,
713 (cf. Phoinissai, 1472); ARISTOPH., Ploutos, 453, Hippels, 521, Thesmophoria^pusai,
697; THOUK., ], 30; 54 (3x); 63, 3; 105.5; II, 22,3; 79, 7; 82; 84.4; 92.4; 92.5;
III,9i, 5; 109.2; 112, 8; IV, 12, 1; 14.5; 25, 11; 38.4:44, 3; 56, 1572, 4; 97, 1; 101.4;
124, 4; Ь ; 134. 1; 134, 2; V, 3, 4; 10, 6; 10, 12; 74, 2; VI, 70, 3; 94, 2; 97.5;
2
98.4; 100, 3; 103.1; VII, 5, 3; 23.4; 24, 1; 34, 7(2 ); 41, 4; 45; 54; 72, 1; VIII, 24;
25.5; 42.5; 95.7; 106, 4; LUSIAS, Epitaphios (II), 25 ; 5 3 ; 63 ; δημεύσεως (XVIII),
; της πολιτείας (XXXIV), ίο.
4 е century ν. ch. : XEN., Agesilaos, 2, 26; Anabasis, IV, 6, 27; VI, 5.32; VII, 6, 36;
Hellenika, I, 2, 3; 2, 10; 4, 23; 5, 14; 6.35; II, 4, 7; 4, 14; 4.35; III, 5, 19; IV, 2, 23;
3, 9; 3, 21; 4, 8; 6, 12; V, 2.43; 4.53; 4.65; 4.66; VI, 2, 24; 4, 14; 4, 15; VII, 1,
19; 1, 32; 2, 4; 2, 15; 4, 14; 4.25; 5, 13; 5, 26; AiscHINEs, , 156;
DEM., Third Olunthische Rede (III), 24; Περί συντάξεως (XIII), ι6 (2 χ ); της παρα-
(XIX), 148 and 320; Προς Λεπτίνην (XX), j6, 80 and 83 (2 χ ) ; Κατά Μειδίου
(XXI), 169; IsoKR., Archidamos, io; 99; ; Helene, 67; Panegurikos, 87; 150; 180;
Ι1
Plataiikos, 59; του ζεύγους, 21 ; Philippos, 148 ; KR ATES, fragment. 7 (DIELS, Poet. phil.
fragment. and p. 219); LUKOURGOS, Κατά Λεωκράτους, 73 ; Λυσικλέους, fragment. 77 (cf.
DioDOROS, XVI, 88); PLAT., Kritias, 108 BC; Menexenos, 240 D and 242 E; timaios,
25 .
3 е century ν. ch. : inscriptions : DITTENBERGER, Sjlloge, I, 496 = CIA, IV, 2, no.
385 b, p. 100; KAIBEL, Epigr. Gr., 25, 4; 6z, 1; 768, 11 = BCH, I, 1877, bl. 351 —
CIG, 4269 (cf. IG, 2, 2717).

2 е century ν. BC: BABRIOS, Muthiamboi, 31, 21 ; title of the περί 'Αλεξάνδρου
(BOISSONADE, Anecdota, I, 172 = KÖCHLY-RÜSTOW, Gr. Krieg's script writer , II, Ы. 213).
ie century ν. ch. : CASS. DIO, XL!, 24, 3; XLII, 40.5; L, 8, 3; LV, 1, 3; DIOD.,
1П, 24,5; XV, 87; XVI, 4; 86; 88; XVIII, 15; 32; LESBONAX, Politikos, 4; PLOUT.,
Agesilaos, 605 A (cf. 'Αποφθέγματα Λακωνικά, 2ii F); 606 AB; 613 F; 615D; Alki-
biases, 206E ; 211 C; 'Αποφθέγματα βασιλέων, 193 F; Aristeides, 324А;ззі A; 331 C;
Eumenes, 594 A; kimono, 480 B; Eucullus, 517 A; Nikjas, 527 B; Pelopidas, 287 A; Περί
, 457 D; Pericles, 163 D; 175 ; της 'Αλεξάνδρου τύχης ή αρετής, 336
C; Pompcius, 664 ; T. Quinctius Flamininus, 375 D; Sulla, 464 E; 478A; Timoleon,
250D; Συναγωγή 'ιστοριών παραλλήλων, 306 and С; Αίτια 'Ρωμαϊκά, 273 D;
STRABOON, IV, 185.
2 e century AD ch. : LOUKIANOS, 'Αληθείς Ίστορίαι, I, 18; 38; 42; POPE., I, 36, ;
III, 14, 7; IV, 8, 13; 32.5; VI, 21, 2; IX, 2, 6; 40, 7; 40, 8; 40.9; PHILOSTRATOS,
τον Τυανέα Άπολλώνιον, VTI, 13.

3 е century п. ch. : TELES, αυτάρκειας, . , ·
4е century п. ch. : ARISTAINETOS, Ι, Έπιστολαί, XVII, p. 82; HIMERIOS SOPH.,
, II, ; 19; XXIII, -j; THEMISTIOS, lo rede, 136 D-139 A.
Later still: IOANNES STOBAIOS, Περί άρετης, ι, 98; ανδρείας, VII,
8 (ed. HENSE, . 45 and 333-334); Eustathios, HOM. IL, Χ, 465 (i 2 century); Etym. e
magnum. Finally, in a number of inscriptions without date: AJA, XVIII, 1914, bl. 216
(Delphoi); DS, p. 506 (Athens); KAIBEL, Epigr. Gr., 24.1, 2 (Attika); anth. pal. Gr.,
VII, No. 135, 3; CIG, IX, 2, 249, 7, and plaice. EUR., Phoinissai, 572.
10
Page 44
Of the compositions one finds άνιστάναι the most, namely from

5 c. BC. well into our era (i). In addition, come
e
άνθιστάναι (г), άντανιστάναι (з), έπανιστάναι (4) and καθιστάναι (5) only spora
dish for.
Also τιΟέναι is used, but only by writers from
5 c. BC. (6). Parallel to άνιστάναι are άνα-αθέναι (j) and άνα-
e
κείσθαι (8), in which, however, the thought of a ανάθημα and

imposes a religious intent on the act.
In addition to these two word groups, one also finds a few verbs
dens, which are only exceptionally used to establish
to express a tropaion; they are όρθοϋν (9), ίδρύειν (io) and πηγνύναι. (ιι).
In later times especially έγείρειν found a wide distribution (12). The
the above parallel is hereby continued by the form άνε-
(13).
Opposite all these verbs which, given their meaning, denote
on erecting a tropaion pole and difficult to relate

have on a tumuliform tropee, the verbs are ποιεΐν (14),
(ι) THOUK., I, 54; EUR., Phoinissai, 572; PLOUT., Alkibiades, 207 D and Eumenes,
594 A (cf. Marcellus, 302 ); CORNUTUS, 'Επιδρομή, го (ed. LANG, Ы. 39, 8); POPE.,
II, 20, 1; III, 2, 6; 10, 6; 14, 7; V, 27, 11; VI, 3, 2; ATHENAIOS, Deipnosophistai, VIII,
350 AB; EUDOKIA, p. 9; THEMISTIOS, lo rede, 136 D-139 A; EUSEBIOS, Κωνσταντι-
νον τον βασιλέα τριακονταετηρικός, XVII, 66 (MIGNE, XX, ΐ4 9 ^•" 43 Β); plaice.2 Ι 2
ARISTOPH., Ploutos, 45 3! inscription: DITTENBERGER, Sylloge, II, 709. Cf. PLOUT.,

Περί της 'Ηροδότου κακοηθείας, 873 -B (άνάστασις τροπαίου) and CASS. DIO, XL!!,
48.2 (παράστασις τροπαίου).
(г) Тноик., 1, 105, 5; IV, 134, 2; VII, 45.
(3) CASS. DIO, XL!!, 48, 2.
(4) PLOUT., της των 'Ρωμαίων τύχης ή άρετης, 323 F.

(5) PLOUT., Timokoon, 254 ; KRITIAS, Frag. 2, 15 (DIELS, Vorsokr., II, p. 314).
(6) AISHULOS, 'Επτά έπί Θήβας, 264; ARISTOPH., Lusistrate, 318; EUR., Helene,
1380.
(7) ATHENAIOS, Deipnosophistai, VIII, 351 -F ; DEM., συντάξεως (XIII),
; DION. HAL., ρητορική, p. 7, 2; PAUS., IX, 2, 6; 40, 7; , ι8, 7; plaice. LUKO-
PHRONE, 1328; Etym. Magnum, Col. 697, . 768, no. 51.
(8) PLOUT., του μη χραν έμμετρα νυν την Πυθίαν, 401 Α.
(9) EUR., Phoinissai, 1251,
(io) EUR., Herakleidai, 786.
(11) THEMISTIOS, lo reason, 136 D-139 Α.
(ιг) AELIANUS, ιστορία, XII, 23; ALKIPHRONE, Έπιστολαί, III, 25, 3;
Λόγος περί 'Αλεξάνδρου, § г (Ы. ίο, note. ι); cash. DIO, XL!!, 48, 2; HERODIANUS,
μετά Μάρκον βασιλείας 'ιστορία, Π, ι, 4; 9» 95 > > 7! 7.7; 9. ; ΐ4. *; 4 . 3 ; VI, 3,
Ι 6
6; HIMERIOS SOPH., Μελέται, Х ПІ, г; HIPPOLUTOS, Φιλοσοφούμενον, 24, 6; IULIANUS,
, 320 ; LOUK., 'Οένουσ έγκώμιον, 40; plaice. ARISTOPH., Ploutos, 453.

(13) ANONYMUS BYZANTINUS, XVI, Ы. 27, 16.
(14) POPE., I, 32.5; II, 21, 8; VI, 2, 8; VIII, 10,5; 10, 8; X, 18, 7; THEMISTIOS,
ioe speech, 136 D-139 A; plaice. ARISTOPH., Ploutos, 453.
11
Page 45
γίγνεσθαι ( ι ) , είναι ( ζ ) , πάρα ( 3 ) , επεστι ( 4 ) and ενδιαιτασθαι ( j ) perfectly
neutral.
In view of the ornamentation of the tropaion, only κοσμεΐν
used (6).
A consecration of the tropee is — except in the case already
mentioned άνατιθέναι and άνακεΐσΟαι — referred to the words Ίεροϋν (y) and
(8).
The inscription of a tropaion is expressed

by the verbs γράφειν (έν) (g), έγγράφειν (ίο), άναγράφειν (έν) (ι ι) and
especially έπιγράφειν (ΐζ). In addition, έγγλύπτειν (13) and έγκολάπ-
τειν (14) for.
The words enumerated thus far have all
draw on building a tropee; they show that one
place
sign isthe paion
then pole upright,
inscribed fix it in the
and consecrated to ground
a deity. and decorate it. the victory
Sometimes this apparently happens against the same action of the enemy.
Some verbs are general, others late, some closer
corpse, some rhetorical.
Sometimes mention is made of the destruction of a tropaion.
For this, the verbs become άναιρεΐν (ι 5), άνασπαν (ι6), άνατρέπειν(ΐ7).
(ι) ISOKR., Archidamos, 10; Panegurikos, 180; P/tf/a/V/eoc-, 59; ARISTOT., Τέχνη ρητο
, 14II b, 16; cash. DIO, LH, 35, 6; plaice. ARISTOPH., Pkutos, 453.
(2) THOUK., IV, 67.5; ARISTOPH., husistrate, 285; DF.M., Προς Λεπτίνην (XX),
78; ISOKR., Panegurikos, 180; PAUS., III, 24, 6; V, 27, 11; VIII, 10,5; IX, 40, 7; STRA-
BOOFs, IV, 178 (cap. 3); PLOUT., Pericles, 173 b.

(3) EUR . , Orestes, 713.
(4) POPE., I, 15, 1.
(5) THEMISTIOS, io speech, 136 D-139 A.

(6) CAS. DIO, XXXVII, 21, 2 (2=); PAUS., IV, 32, 6; PLOUT., Agesilaus, об В.
(7) CAS. DIO, XU!, 48, 2.
(8) PLOUT., Marcellus, 302 A.

(9) Plaice. ARISTOPH., Ploutos, 453. Cf. cash. DIO , XXXVII , 21, 2 :
έχον.
(ίο) PLOUT., Περί της 'Ηροδότου κακοηθείας, 873 -Β.
(ιι) PLOUT., Sulla, 473 . cf. HIMERIOS SOPH., Μελέται, XV, 5.
(i2) PLOUT., Περί της 'Ρωμαίων τύχης ή αρετής, 3 1 8 D; 'ιστο

ριών παραλλήλων, 306 and С; Sulla, 464 ; της 'Ηροδότου κακοηθείας, 873 D;
loANTNES STOBAIOS, ανδρείας, VII, 8; LOUK., Charoon, 24; ATHENAIOS, Deipno
sophistai, VIII, 350 Α-B and 351 EF.
(13) CAS. DIO, XLII, 18, 3.
(14) LOUK., Zeuxis, 11; EUSTATHIOS, HOM., IL, X, 465.
(15) THOUK., VIII, 14.

(16) LOUK., Charoon, 24.
(17) POPE., IX, 40, 8.
IZ
Page 46
άφανίζειν (ι), καΟαφεΐν (ι), καταβάλλειν (j), καταστρέφειν (4) СП πίπτειν (j)
busy. Most of these can be difficult on a tumuliform

victory monument.
Ploutarchos has a damnatio memoriae: έκχαράττειν
(πόλεις) (6).
That especially in later times the tropaion no longer exclusively at the

battlefield was bound, but could be transferred elsewhere,
is apparent from a number of verbs that indicate a transport of the
Triumphal sign : πέμπειν (y), προπέμπειν (8), πομπεύειν (5), φέρειν (ίο), διαφέρειν (il),
άγειν (i 2), ύπολαμβάνειν (13), έπιφέρειν (74) and φερετρεύειν (ij)·
The phrases mentioned so far refer to

a particular act associated with the creation of a tropaion.
In addition, we find a multitude of verbs in a mostly

purely incidental connection with the word : αίσχύνεσθαι (ι6) άποδεικνύ-
ναι (ιy), άρνυσθαι (ι 8), βαίνειν (ifjjj βλέπειν (Sun), δεικνύναι (21), διασώζειν (22),
(ι) ISOKR., Plataiikos, 59; POPE., IX, 40. 8.
(2) CASES. DIO, XU!, 48, 2.
(3) XEN., Hell., IV, 5, 10.

(4) CASES. DIO, XLII, 48, 2.
(5) CAS. DIO, L, 8, 3.
(6) PLOUT., Περί της 'Ηροδότου κακοηθείας, 873 E.
(7) CAS. DIO, XXXVII, 21, 2.
(8) CAS. DIO, VII, 21, io.
(9) PLOUT., Pompey, 643 A.

(io) CIG, VII, 2462 (Thebai); IULIANUS, , 311 ; HIMERIOS SOPH.,
, , 19; PLOUT., Romulus, 27 D ; KAIBEL, lipigr. Gr., 786, 11 = BCH, I, 1877,
p. 351.
(11) PLOUT., Sertorius, 579 E.
(12) SOPH., Tracbiniai, 751.
(13) PLOUT., Romulus, 27 C; Pompe'us, 643 A.
(14) PLOUT., Pelopidas, 296.
(15) PLOUT., Marcellus, 302 . cf. Ζευς Φερέτριος and luppiter Feretrius (PLOUT.,
Marcellus, 301-302; Romulus, 27 ; DION. HAL., , 34, 4; Liv., I, 33, 9). To him
the spolia opima were dedicated (Liv., I, 10; PLOUT., /. с), including a tropee
the temple of the god was set up (images). PLOUTARCHOS leads the way
af "άπο του φερετρευομένου τροπαίου", others of ferire (FESTUS, Ы. 8I, cap. 92, sv
Feretrius lupiter). PROPERTIUS also leaves out the possibility of a relationship with
ferre open (IV, 10, 45-48). See also WISSOWA, p. 103-105; 112; 477.
(16) PLAT., Menexenos, 245 A.
(17) ANDOKIDES, Περί των μυστηρίων (I), 147.
(18) ALKIPHRONE, Έπιστολαί, I, 5, 1.
(19) PLOUT., Sulla, 464 E.
(20) POLUB., IV, 8, 6.
(21) EUSEBIOS, 'Εκκλησιαστική 'ιστορία, II, 25, -j (fragment. from CAIUS ROMANUS
PRESBYTER: MIGNE, X, 25 A).
(22) ISOKR., Plataiikos, 59.
1З
Page 47
διεξέρχεσθαι (ι), έπονομάζειν (ζ), εύρίσκειν (3), εχειν (4), καρύσσειν (5),
καταγελαν (6), καταλείπειν (y), κτασθαι (8), λέγειν (9) and συνσκιάζειν (ίο).
. — аіі]п
The Expressions Used in Latin for Op

aiming a tropee, almost all translations are from Greek.
To τρόπαιον ίστάναι corresponds here : tropaeum statuere, that however
was not nearly as widespread as its Greek equivalent (11). By
his compositions are quite often found constituere (12); next door becomes
refundable
Oncefound only
too we findonce (13).
sistere (14), as well as his composition
consistent (15).
A translation of τιΟέναι is poneré (16). On ópOoGv and ίδρύειν
answers erer (17). Figere (18) corresponds to πηγνύναι, as does
the late pangere (19).
Έγείρειν is translated with excitare (20). In addition to stare (21), that one
in this context can be interpreted as a passivum in statuere, must conclude
of this group can still be called exstruere (22).
(I) DIM., Περί της παραπρεσβείας (XIX), 311.

(г) PLOUT., Romulus, 27 .
(3) EusEBios, /. .
(4) CASES. DIO, VII, 21, io.
(5) CIG, VII, 2462.

(6) PLOUT., 'Αποφθέγματα βασιλέων, 193 F.
(7) DEM., Eroikos (LXI), 49; DroD., XIII, 29; LUSIAS, Epitapbios (II), 20.
(8) FLAV. loose., 'Ιουδαϊκή αρχαιολογία, XV, 8, ι.
(9) DKM., 'Υπέρ της 'Ροδίων ελευθερίας (XV), 35! του στεφάνου (XVIII),
209; της παραπρεσβείας (XIX), ι6; 307; 3 · 11
(io) CASS. DIO, XL!!, 48, 2

(II) Cíe, De invention?, II, 23, 69 (2 χ); PLIN., Nat. Hist., III, 18; VI, 152; FALL.
MAX., II, 7, 9; CURT. RUFUS, VII, 7, 14.
(12) O c , The domo, 37, 100; In Vtsonem, 38, 92; SALL., Hist., Ill, fragment. 89
and fragment. by SERVIUS, VERG., Aen., XI, 6 (Hist., IV , 29 D , 53 K r . ) ; VERG . ,
Aen., XI, 6; ViTR., II, 8, 51.

(13) SUET., Div. Julius, 11.
(14) TAC, Ann., XV, 18.

(15) luL. VAL., III, 46, 74 (ed. KÜBLER, Ы. 154, 9).
(іб) Cíe, In Pisonem, 38, 92; CORN. NEPOS, XIV, Datames, VIII; OVID., Heroides,
4.66.
(17) FLORUS, I, 20, 4.
(18) FLORUS, I, 33, 16; 37, 6; SALL., fragment. SERVIUS, /. с ;SERVIUS, COMP., Aen.,
XI, and XI, 790.
(19) Hymn : Ad Laudes (Brevier, Pars aestiva, Commune plurimorum Martyrum).
(20) PLIN., N0/. hist., VII, 96.
(21) OVID., Epist. ex Ponto, III, 4, 104.

(22) SUET., Div. Julius, 84; SIDONIUS, Carmen, V, 33.
Page 48
Of the verbs with a neutral meaning, one finds in the

Latin only faceré (ι), which corresponds to ποιεΐν, sumere (cf. άρ-
νυσΟαι) (ζ) and habere (εχειν) (3).
To decorate a tropee one uses exornare (4) and
induere (5). Vovere (6) and dedicare (7) point to its consecration.
Latin writers also mention the destruction of a tropaion
and use the expressions tollere (8), consumere (9),
removere (io), disicere (11) and rapere (12).
Carrying a tropaion is called, with certain nuances: ferre (13),

referre (14), differre (15), vehere (16), portare (17) and reportare (18).
Finally, the word tropaeum is found in conjunction with
adsuescere (19), cantare (20), debere (21), explicare (22), inrigare (23) and
mere (24). That this does not always depend on a literal meaning of the
word needs to be thought, will be explained in more detail.
Let us now briefly summarize the foregoing. Of the numerous
verbs, which are used in Greek and Latin to
(1) COMMODIANUS, Carmen Apologeticum, 767; IUL. VAL., III, 38, 61 (ed. KÜBLER,
. 146, 10).
(2) DAMASUS, Epìgr., zi, j .
(3) OVID., Heroides, XVII, 242.
(4) Cic, De itwentione, I, 38, 69; FLORUS, I, 37, 6.
(5) MANILIUS, Astronomics, V, 514.
(6) COM . , Aen., X, 775.
(7) VITR . , II , 8, 52.
(8) SENECA, Suasoriae, V (4X); VITR., /. с
(с,) SENECA, /. .
(io) VITR., /. .
(ii) SUET., Div. julius, 11.
(12) COM . , George, 3, 32.
(13) OVID . , Heroides, IX, 104; VERG., Aen., XI, 172 (cf. XI, 84); PROBA, Cento,
5 (see DAMASUS, Epigr., remark p. 19 and Rheinisches Museum, L, 1895, . 195); DAMASUS,
Ep'£r-> ь і 6 ; M, 4; ?. 8.
(14) CLAUDIANUS, In nuptiis Honorii et Alariae, 117; OVID., Kern. Amoris, 158;
IUVENCUS, III, 341 (cf. VERG., Aen., X, 542. For registration based on a tropaion, see:
Cíe., in Pisonem, 38, 92); de tribus puellis, о; THIOFRIDUS, Ы, 669, cap. 22.
(15) PROP., IV, 6, 82.
(16) PROP . , III , 3, 8.
(17) DAMASUS, Epigr., 12, 4; inscr. from Tabaika (Tunis, 4 е century: Annee epigr.,
series 4, Vili, 1906, no. 46, p. 209).
(18) IUVENCUS, III, 340.
(19) PROP., , 4, 6.
(го) HOR . , carmina, , f), 19.

(21) ISIDORUS, Origines, XVIII, 2, 3.
(22) Hymn : Ad regias Agni, 22 (from Beloken Easter vespers).
(23) COMMODIAN, Instructiones, II, 9, 2.
(24) ISIDORUS, с; SERVIUS, VERG., A£n., X, 775.
Page 49
aiming a tropee, come ίστάναι en statuere with their

composita most common; by the way, the diversity in both languages
very great in expression, which is partly due to poetic and
rhetorical influences.
Apart from the creation of a tropaion, the verbs speak
furthermore of a decoration and a consecration thereof. Later writers
especially speaking of a transport of the victory sign. Sometimes also
its destruction.
The expressions used indicate that under tropaion
not so much the tumuliform as the anthropomorphic tropee
understand.
If we compare the Latin usage with the Greek, then
immediately falls the dependence and lack of originality
in Latin, since almost every verb associated with
tropaeum is an imitation of the Greek speech
use. This fact is a further indication that the establishment of a
tropee is a custom passed down from the Greeks by the Romans
taken.
II. — In conjunction with a case
A. — Greek
Often in Greek the expression "to erect a tropaion" is used

associated with a genetic. Usually this gives the vanquished
to, after whose defeat the victory sign was drawn : it is the genetivus
objective (i).
Much rarer is the use of the genetics to denote
the victor, the genetivus subiective (2).
(1) ANDOKIDES, Περί των μυστηρίων (I), 147; ARISTOPH., busistrate, 318 ; ilippeis,
521; Ploutos, 453; DIOD., XIII, 29; EUR., Andromache, 694; 763; Helene, 1380; Hera-
claydai, 786; Orestes, 713; ISOKR., Arcbidamos, 10; 99; in ; Helene, 67; Panegurikos, 87;
150; του ζεύγους, zi; Philip, 112; CRATES, Frag. 7 (DIELS, Poet. phil. fragm.,
p. 219); SOPH., Trachiniai, 1102; cash. DIO, XXXVII, 21, 3; XLII, 40.5; LII, 35, 6;
GoRGiAs, Epitaphios, fragm. 6, 22 (DIELS, Vorsokr., II, . 248); FLAV. IOS., 'Ιουδαϊκή
, XV, 8, ; LusiAS, Hpitaphios (II), 25; 63; της πολιτείας (XXXIV),
io; PLAT., Menexenos, 240 D ; Timais, 25 C; PLOUT., Περί του μη χραν έμμετρα νυν
Πυθίαν, 401 ; της 'Αλεξάνδρου τύχης ή άρετης, зЗ^ С; T. Quinctius Flamininus,
375D; Тноик., VII, 24, ι; 4 ) 4! XEN., Agesilaus, 2, 26; Anabasis, VII, 6, 36; inscr. :
1
AJA, XVIII, 1914, . 2i6; CIG, IX, 2, 249, 7; anth. pal. Gr., VII, 135, 3; plaice.
ARISTOPH., Ploutos, 453.
(2) AiscHULOs, Επτά επί Θήβας, 938 ; POPE., I, 15, ι ; EUSEBIOS, 'Εκκλησιαστική
, II, 25.7 (fragments of CAIUS ROMANUS PRESBYTER: MIGNE, X, 25 A); PHILO-
DEMOS, ρητορικής. Col. III, 31-32 (II, Ы. 205); inscr. : KAIBEL, Epigr. Gr., 62, 1.
16
Page 50
As a genetivus causae, he finally gives victory or battle

itself, which gave rise to the creation of the tropee (ι).
A rare appearance is the dative commodi ter
designation of the person for whom the creation of the tropee was
passed (2).
B. — Latin
From Latin there are only a few instances of a connection with

a known genetic (3).
. — Connecting to a pre-position
A. — Greek
However frequent the genetics may be, it has

cannot fully maintain its territory, but partly place
had to make for prepositions, which took over his functions.
Of these prepositions, κατά(4) expresses, about which opponent
the sign of victory was erected; it is most common and becomes
linked to the genet with the exception of one case, where the
is used accusatively (5). This is not related by the way
on a vanquished foe, but on victory itself.
(1) Inscr. : KAIBEL, B. pigr. Gr., 25, 4; LOUK., 'Αληθείς ΐστορίαι, I, 18; 42; LUSIAS,
Epìtapbios (II), 53; PAUS., IX, 2, 6; PLOUT., IMCUHUS, 521 F; Timoleon, 254 B; sulla,
464E; THEMISTIOS, io speech, 136 D-139 А; оию, II, 82; 92, , IV, , 1; VI, 98, 4;
VII, 54 (cf. HERODIANUS, Της μετά Μαρκον βασιλείας ιστορία. III, 4, 3)·
(2) IsoKR., Plataiikos, 59; PLOUT., Timoleon, 254 ; inscr. : KAIBEL, Epigr. Gr.,
768; DS, . об.
(3) . , In Verrem, II, г, 47 (necessitudinis atque landlady); history. Apolloncic
Regis Tyri, XII (calamitatis meae); VERG., Aen., XI, 790 (pulsae virginis); VITR., II,
8.51 (victoriae); FALL. MAX., XIV, ext. 1 (Miltiadis).
(4) ALKIPHOON, , I, 5, 1; ARISTAINETOS, Ι, , XVII, p. 82;
ATHENAIOS, Deipnosophistai, VIII, 350 -B ; DIOD., XVI, 88; HERODIANOS, μετά
βασιλείας ιστορία. , , 4; 9> 9! » 9, ; ΐ4> \ 5 . 3! VI, з, 6; HIMERIOS

ί Ι
SOPH., , Π, іг; XXIII, 7; HIPPOLUTOS, Φιλοσοφούμενον, 24, 6; ISOKR., Archi-
damos, io; Panegurikos, 180; Philip, 148; IULIANUS, , 320 ; LOUK.,

έγκώμιον, 40; CRATES, Frag. 7 (DIELS, Poet. phil. fragm., p. 219); LUSIAS,
δημεύσεως (Х Ш), з ; LUKOURGOS, Κατά Λυσικλέους, fragment. 77 ( gl · DIOD., v
XVI, 88); PAUS., II, 21, 8; VI, 21, 2; PHILOSTRATOS, Τα ές τον Τυανέα 'Απολλώνιον,
VII, 13, . 291; ID., Βίοι σοφιστών, Ι, 9, 5 (DIELS, Vorsokr., Π, Ы. 235); PLOUT.,
άοργησίας, 457 D; της 'Ρωμαίων τύχης ή άρετης, 318 D; Eumenes, 594 ;
Pompey, 664 ; ιστοριών παραλλήλων, 306 C; IOANNES STOBAIOS,
, , 98; TELES, αυτάρκειας, p. 10, 3.
(5) CAS. DIO, XXXVII, 21, 2.
!?
Page 51
To a considerably lesser extent άπό is used, which also means

usually denotes the vanquished (i). In two cases
the components are indicated by this preposition,
of
thewhich the tropee
combination άπόisτης
composed
νίκης (з)(2).
onceAtmore.
Pausanias you will also find
Next to άπό, although somewhat less often, έπί occurs with the dative
to designate the slain (4). In addition, in a few
attack the victory, which gave rise to the creation of the
tropion (5).
προς is used only to indicate the enemy (6);
however, it occurs only rarely.
Finally, υπέρ, which is used for broader purposes.
First of all, it denotes victory (7) and stands in
in this respect on a par with άπό and έπί. Usually, however, one will find it
for the name of the country, person or thing for which the victory was
fought; in this position it can be considered as the replacement for
the dative commodi (8).
. — Latin
Classical Latin stands out regarding the use of for

the word tropaeum sharply contrasts with the Greek, because in this case
only one preposition is used, which, moreover, is only used in a few
cases. By the way, the genetics was also compared to
Greek is only sparsely represented. The preposition used
is "the" (9).
(1) AischinES, Κτησιφώντος, 156; ATHENAIOS, Deipnosophistai, Ш, 351

EF; DEM., τ?ίς παραπρεσβείας (XIX), 320; (XX), 78; cash. DIO,
XLII, 48, 2; HiMERios SOPH., , III, 17; , XV, 5; PAUS., III, 24, 6;
V, 27, 11; Vili, io, 5; XEN., Agesilaus, 2, 26; inscr. : DITTENBERGER, Sylloge, II, 709;
KAIBEL, Hpìgr. Gr., 768, 11 = C7G, 4269; ARISTEIDES (BOULENGER, Col. 870).
(2) DION. HAL., ρητορική, p. , ; POPE., IV, 32, 6.
(3) POPE., I, 36, .
(4) BABRIOS, Muthiamboì, 31, 21; cash. DIO, XL!, 24, 3; LOUK., 'Αληθείς ίστορίαι,
I, 18; POPE., Π, Sun, ι; zi, 4; III, 2, 6; 14, 7; IX, 40, 9; PHILOSTRATOS, Εικόνες, 346,
; THEMISTIOS, lo rede, 136 D-139 Α.
(5) POPE., VI, 2, 8; IX, 40, 8 and 9; Ршит., Sulla, 464 E.

(6) DEM., Erotìkos (LXI), 49; ISOKR., Plataìikos, 59.
(7) ARISTOT., Τέχνη ρητορική, 1411 b, 16; ISOKR., Panegurikos, 180.
(8) DEM., Προς Λεπτίνην (XX), 83 ; Μειδίου (XXI), 169; ISOKR., Plataìikos,
59; LusiAS, Epitapbios (II), 25; PLAT., Menexenos, 242 E; PLOUT., Pericles, 173 B;
Sulla, 478 A.
(9) Cic, De domo, 37, 100; Liv., XXV, 29, 6; TAC, Ann., XV, 18; FALL. MAX.,
, 7, 9; SALL., Hist., Ill, fragment. 89; SERVIUS, VERG., Aen., XI, 790; SUET., Div. lulius,
11; IUVENCUS, III, 341.
18
Page 52
In Christian times we also find "ex" (i), which is exclusively

occurs in a certain combination with Damasus, which uses
made of the Cento of his contemporary Proba (2).

Late is also 'ab', which was found exclusively in Thiofridus (3).
In summary, we can therefore establish this development: the
Greek writers of the 5 c. BC. connected the expression
e
"establish a tropaion" or related sayings preferably

with the genetics. This case also persisted in later times
despite the fact that soon another expression arose with ge
making use of a preposition, which, like the genetiv, served to denote the
vanquished, to indicate the victor or victory, or, in a
single case, also the constituents of a tropee.
In Latin one usually suffices with the mere mention of the
triumph without further ado. Only in four cases does a genetics follow.
There is similarity with the Greek in that way, that also in Latin the
considering the use of a preposition, although there are classical Latin
writers know of only eight examples of this. Opposite the Greek
prepositions κατά, άπό, έπί, προς and υπέρ here is only 'the', next to
"ex" and "ab" still occur among Christian authors.
IV. — Literal and figurative usage
From the word derivation and from various literary data,

it is understood that a tropaion is a sign that was erected because of
to dislodge the enemy. The verbs, which become
used to express this act, clearly show
indicate that this is an upright position. This can be done in
strictly speaking only refer to the so-called anthropomorphe
tropaion, which, as the pictures show, has a certain structure
ma had, with the weapons of the defeated enemy around an upright
standing trunk were arranged in the same way as the soldier this one
wore on his body.
This is a tropaion in the proper sense, which must be distinguished
of other monuments and armorial arrangements, which in a more or less
derived meaning can also be called tropee and where in the
In particular, a tumuliform tropaion is distinguished, which consists of
captured weapons, piled up in a tumulus. the antique
(1) DAMASUS, Epigr., 1, 16; 12, 4; 14, 4; 17, 8; 2.1, 7; PROBA, Cento, 5 (IHM,
. 195)·
(ζ) DAMASUS, Epigr., remark . 19.
(3) THIOPHIDUS, IV, 214, cap. 35.
τ 9
J. 4
Page 53
common usage does not know this form, all the more reason why we
piles to the tropaia of anthropomorphic build as being the actual
tropes.
A — Greek
Already in older literature the word tropaion does not appear alone
in a literal as well as a figurative sense. While the actual
word meaning remained in use through all ages, occurred early
an expansion of meaning. First of all in an abstract direction.
Not infrequently, one encounters the phenomenon that in a text the
original, literal meaning of tropaion irresistibly to
imposes on the reader, yet the whole expression in connection with
the verb should be taken figuratively. Or, as Wecklein put it
expresses: „Der Ausdruck ist bildlich, die Bilder aber haben besondere
Beziehung zur Wirklichkeit" (i). With the expression „a tropaion
raising" is then meant : achieving a victory (2). Noted
It must be noted, however, that in by no means all cases it was possible to
decided whether the phrase should be literal or figurative
understood. Thus doubt often remains, especially when the context is not
gives further indication, as is repeatedly the case with Demosthenes
is. The list below can therefore in no way claim
completeness (3).
(1) WECKLEIN, comm. on AISHULOS, 'Επτά έπί Θήβας, 938. Examples of

such usage : AISCHINES, Κατά Κτησιφώντος, 156; AISHULOS, /. .; ANONYMUS
BYZANTINUS, XVI, p. 27, 16; EUR., Andromache, 763; Helene, 1380; DIOD., XIII, 29;
Λόγος περί 'Αλεξάνδρου, title and § 2 (see Ы. io, note ι); PHILOSTRATOS, ές τον
Άπολλώνιον, VII, 13; PLOUT., Περί της 'Αλεξάνδρου τύχης ή άρετης, 336
(2) Plaice. ARISTOPH., Plantos, 453 : τρόπαιον .
(3) ALKIPHROONE, Έπι,στολαί, 1,5, ι ; , 25.3; ANDOKIDES, των μυστηρίων
(Ι), 147; ARISTAINETOS, Ι, , XVII, . 82; ARISTOPH., husistrate, 318; hipples,
521; Ploutos, 453; Thesmophoriaôusai, 697; ARISTOT., Τέχνη ρητορική, 1411 b, 16;
DEM., Λεπτίνην (XX), 76; 8o; 83; Μειδίου (XXI), 169; EUR., Andromache,
763; Orestes, 713; HERODIANOS, Της μετά Μαρκον βασιλείας 'ιστορία. , , 4; 9> %
III, 6, 7; 1, 1\ 9. ; ΐ4> 2 ; Ι 5> З; VI, 3.6; HIMERIOS SOPH., , III, 17; ,
II, ; XVIII, ; XXIII, ; HIPPOLUTOS, , 24, 6; IOANNES STOBAIOS,
άρετης, , 98; ISOKR., Archidamos, io; Helene, 67; Philip, 148; Plataiikos, 59;
luLiANus, , 320 ; CRATES, Frag. 7 (DIELS, Poet. phil. fragm., p. 219;
cf. TELES, Περί αυτάρκειας, Ы. io, 3 and PLOUT., Περί του μη χράν έμμετρα νυν την
, 40Ι Α); Λόγος περί 'Αλεξάνδρου, title and § 2 (p. io, note 1); LOUK.,
έγκώμιον, 40; PLOUT., άοργησίας, 457 D; Aristcides, 328 ; 334 ; eumenes,
594A; Lucullus, 521 F; Themistocles, 113 ; SOPH., Trachiniai, 1102; The Semiramid
et Nino, A, v. 18 (p. 9); inscr. : DITTENBERGER, Sylloge, I, 496 = CIA, IV, 2, 385 b,
p. 100; ib., II, 709; KAIBEL, Epigr. Gr., 25, 4; AJA, ПІ, 1914, p. 216; anth. pal.
Gr., VII, 135, 3.
20
Page 54
Often other, named terms are used with

tropaion assimilated. It is a reminder, μνήμα (ι), μνημεΐον (2),
υπόμνημα (3) or simply a character, σημεΐον (4). Then again it's a
victory symbol, σύμβολον της νίκης (5), a victory sign, νικητήριον (6)
or a votive offering, ανάθημα (у).
Let some of these words leave room for an opinion in
abstract sense, pronounced concrete is the meaning of tropaion, when
it is equated with an image, άγαλμα (8), a Hekatesion (9),
d city of Alexandria (10) or a témenos (11). That with tropaion an image or
a building is indicated is by no means uncommon (12).
B. — Latin
The uncertainty about whether tropaeum literally or figuratively

should be understood, also exists in Latin (13). Also find here
one uses the word in an improper sense (14).
Sometimes tropaeum means "sign of victory" in general (15).
as in Greek it often occurs in the meaning of victory (16).
(1) LUSIAS, Epitaphios (II), 6}.

(2) ISOKR., Plataiikos, 59.
(3) AELIANUS, Ποικίλη ιστορία, XII, 23.
(4) ISOKR., Phiuppos, 148; Plataiikos, 58; 59; ARISTOT., ρητορική , 1411 b, 16.
(5) E.tym. Magnum, Col. 697, . 769; HESUCHIOS, S. ν. ; IUSTINE,
'Απολογίαι υπέρ Χριστιανών, I, 150 С; 152E; plaice. EUR., Phoinissai, 572.
(6) Etym. Magnum, I. c.\ HESUCHIOS, /. е.; SOUIDAS, SV τρόπαιον; plaice.
EUR., Phoinissai, 572 and 1251; EUSEBIOS, Κωνσταντϊνον βασιλέα τριακονταετηρικός,
XVII, 66 (MiGNE, XX, 1429 C-1432 ).
(7) GORGIAS, Epitaphios, ph. 6, 23 (DIELS, Vorsokr., II, p. 248); POPE., IV,
32, 6; VIII, 10, 8; ATHENAIOS, Deipnosophistai, XIII, 591 B; plaice. EUR., Phoinissai, 572.
(8) GORGIAS, /. c; HERODIANOS, Της μετά Μαρκον βασιλείας 'ιστορία. III, 4, 3
(9) PLOUT., 'Αποφθέγματα βασιλέων, 193 F.
(ίο) HERODIANOS, Ι. с
(ι ι) TIMOTHEOS, Persai, 210.

(12) EUSEBIOS, 'Εκκλησιαστική ιστορία, II, 25, η (fragments of CAIUS ROMANUS
PRESBYTER : MIGNE, X, 25 , on the tomb of St. Peter); FLAV. IOS., 'Ιουδαϊκή αρ

, XV, 8, ; inscr. on altar from Athens and Puteoli (DS, bl. 506; DITTENBERGER,
Syllogi, I, 717 = С1Л, II, 467, 27 = IG 2, 1028, 27); ISOKR., Panegurikos, 180;
Philippos, iiz; KRATES, fragment.7 (image of Phrune); LOVK., Zeuxis, II;PAUS.,I,32.5; 33,
2; II, 2T, 4 (building); X, 18, 7 (image); PLOUT., Ιίερί τοϋ μή χραν έμμετρα νυν τήν Πυ-
,4οι Α; Περί της 'Αλεξάνδρου τύχης ή άρετης.336 C; plaice. ARISTOPH., Ploutos,4ï}·
(13) HOR., Carmina, Π, 9, ΐ9·
(ΐ4) Hist. Apollonii Bjgis Tjri, XII, bl. 22.
(15) MANILIUS, Astronomica, IV, 622; IUL. VAL., III, 46, 74.
(16) Cic., the prov. cons., II, 4; Tuse, disp., I, no ; LUCANUS, Bellum civile, II, 584;
IUVENCUS, III, 341; 640; PROP., IV, 6, 82; 11, 29; FALL. MAX., II, 7, 9; de tribus puellis,
no ; DAMASUS, Epigr., 1, 16; 12, 4; 14, 4; 17, 8; 21, 7; THIOFRIDUS, II, 669 (cap. 22);
IV, 214 (cap. 35).
21
Page 55
It is only sporadically encountered in the sense of image (i).

Sometimes the loot pieces or the loot are called tropaeum (2). An
sometimes the field signs are indicated by them (3). as "price"
the word could be taken with Claudianus (4). Elsewhere weather
With tropaeum one denotes the triumphal flag (5) or the Oriens (6).
The summary can be short. Besides the literal meaning of
τρόπαιον-tropaeum as a victory sign comes from the above-mentioned form
had a figurative meaning for it at an early stage. The word undergoes
an expansion of meaning in that, in addition to anthropomorphic victory sign,
also statue, building in memory of a victory and maybe
will even mean a victory. Besides in concrete it also comes in
abstract phrase for like victory. Often, however, it is not possible with certainty
be decided how the word should be understood; which
was noted about this for the Greek, applies equally to the
Latin.
§ 4. — HIS APPEARANCE IN THE LITERATURE
Since his first appearance in the ЪаігасЬотиотасЫа did, as

From the above it appears, the word tropaion made its appearance on almost all
areas of Greek literature. It is striking that Horneros
and the Homeric Hymns, the Aiolian Lyrics, Pindaros, Bacchulides
nor Herodotus use the word.
However, all the great Greek tragedians know it. Aischulos and Sophocles
do not, however, mention any real, historical tropaia. With one exception
this also applies to Euripides and Aristophanes, although with them
is more often referred to as a tropee. Aristophanes speaks for the
first time of the tropaion of Marathon (7). They all know it
word already in a metaphorical sense. One could ask the question
whether the older writers had a particular motive to
to be helpful with announcements about tropaia. The answer to this
is related to the question of the time of origin of the tropee, which
will be discussed in more detail below (8). For the rest
(1) Cic, In Verrent, II, 115.

(2) FALL. FLACO, IV, 739; POTTERUS, Col. 502.
(3) LUCANUS, Bellum civile, I, 10 (cf. Adnotationes super L·ucanum, ib.).

(4) CLAUDIANUS, In nuptiis Honorii et Mariae, 117.
(5) Hymn : Ad regias Agni, 22.
(6) IUL. VAL., Ill, 38, 61. For the meanings of tropaeum in Christian
In Latin, consult the article by CHRISTINE MOHRMANN, whose important data
could no longer be processed here.
(7) ARISTOPH., Hippeis, 1334; Sphekes, 711.
(8) BI. 27 etc.
22
Page 56
can the silentium be explained as the silence about a general

well-known fact about which one hardly speaks. If there is a kind
taboo existed that forbade the use of the word or
undesirable, then with Euripides and Aristophanes in any case
broken the spell.
The flawed tradition of the new comedy is
matter of the fact that more detailed data on the occurrence of the
tropaion are missing.
Of the historians, Thuukudides mentions — and this on the contrary —
theorem with the complete silence of Herodotus — the existence of
a very large number of tropes. The word does not come to him other than
literally for. However, like Xenophone, he does not give much more detailed information
particularities. This is only done at a much later time by Ploutarchos;
it is then possible that it is already a more or less obsolete institution, which
generates interest. Cassius Dio shows that also the Romans,
certainly in the early days of the empire, founded tropaia. At Polubios
and Diodoros we find the word tropaion curiously (in
imitation of Herodotos?) only rarely. Herodianus on the other hand
uses it frequently, especially, however, in the sense of over-
winning.
Of course, with philosophical writers one cannot
place announcements about the tropee expect. This one is made by them
therefore mentioned sporadically; usually they use the word in over-
pregnant sense.
The latter also applies to the rhetors, whose numerous mentions
of the tropaion contribute little to the knowledge thereof. She
speak of it often and with great pride and in, as it were, calibrated
people, who can be regarded as an integral part of their
rhetorical arsenal. This is found in Lusias, Demosthenes and Isokrates
most.
Some details about the tropee provide the Inscriptions,
the grammarians and the scholia. A rich source of announcements appears
Pausanias' travel guide.
In Latin literature, the tropaeum takes a much smaller
place in then in Greek; the custom to erect such a sign of victory
ten was not native to Italy and was never to the same extent with the Romans
fused as was the case with the Greeks. There is therefore hardly
to designate a Latin writer who contributes significantly
to our knowledge of the tropee. In general it can be established,
that the word is untraceable in older Latin literature, that especially
Cicero mentions it and that it is known to the writers of the first
century before and after Christ, among whom, incidentally, it was only very widespread
is found, and by several Christian authors.
¿3
Page 57
§5- — WORD FAMILY
There are a number of words in both Greek and Latin,

related to or derived from -tropaeum.
The role played by the adjective τροπαΐος in the formation of τρόπαιον,
was already described above. Its meaning is not always related
with the tropaion (i). This seems to be the case in the expressions
τροπαΐον βρέτας (ζ) and τροπαϊον εδος (3), which can be considered
as descriptions of tropaion.
Most important to us, however, is the word τροπαΐος as an epithet
with some gods. It then means: the one who turns the enemy away
brings; to this one can add the afterthought : and that therefore for a
tropaion is eligible. It is above all Z eus, who becomes Tropaios
named and to whom tropaia were indeed dedicated (4). Also
as epithet of Hera the word occurs (5). From the rest
gods, who are generally called τροπαϊοι (6),
in particular Poseidon is still under this title
divorce (7).
The nouns τρόπαια and τροπαίαι derived from τροπαΐος become
mentioned only for the sake of completeness, as well as the Latin tropaeus, but
have no connection with the victory sign as such (8).
A commonly used epithet in Greek is τροπαιούχος, where
especially Zeus is called (9). In Roman times it is
often used for the emperor, who is often worn with a tropee in the
(1) EUR., Elektra, 469; 1174; SOPH., Trachiniai, 303; POLUDEUKES, Qnomastikon,
I, 24; plaice. Aischulos, Versai, 302; inscr. : CIG, I, 1295.
(2) EUR., Phoinissai, 1251; 1472.
(3) CAIBEL, Epigr. Gr., 24, I, 2; IG, г, ζη\η.
(4) SOPH., Antigone, 143; Trachiniai, 303; EUR., Elektra, 671; Herakleidai, 867;
937; POPE., Ill, 12, 9 (temple of Zeus Tropaios); inscr. : DITTENBERGER, Sylloge, I,
717 = CIA, II, 467, 27 = IG, , 1028, 27; FRÄNKEL, Inschr. Pergamon, I, Nos. 237
and 247; IG, 2, 2717.
(5) Plaice. LUKOPHRON, Kassandra, 1328; Etym. Magnum, Col. 697, . 768, 51.
(6) POLUDEUKES, Onomastikon, I, 24.
(7) ATHENAIOS, Deipnosopbistai, VIII, 333 D; cf. PAUS., VIII, 10, 8 and PUN.,
Wet. Hist., VI, 152.
(8) Τρόπαια, change : AISHULOS, Επτά επί Θήβας, 693 ; Agamemnon, 209;
Choephoroi, ηηι.
Τροπαίαι (sc. πνοαί), alternating winds: ARISTOT., Προβλήματα, 940 b 22;
945 to 6; THEOPHRASTOS, Περί άνεμων, 31, 53 Venti tropaei, alternating winds:
PLIN., Nat. Hist., II, 114.
(9) ARISTOT., Περί κόσμου είς Άλέξανδρον, 401 a 23 ; PLOUT., ιστοριών
παραλλήλων, 306 C; CORNUTUS, 'Επιδρομή, 9, ι6; EUDOKIA, ρ. 198; DION. HAL., II,
34, 4; inscr. : CIG, 4340 f, g (Pamphuli).
24
Page 58
hand depicted (ι). Furthermore, it is Datis, who thus becomes

mentioned (2).
The verb derived from τροπαιούχος occurs, before
as far as known, only once for (3).
also found wide distribution. Cassius Dio serves
himself to indicate that triumphal arches with tropaia were
decorated (4), which is confirmed by pictures. Further it comes
word for the names of various deities: Zeus (5),
N ike (6), К u ρ ris (7) and Pan (8). Only rarely is a
human being so called (9). That tropaia were taken along in triumphal journeys
In addition to the illustrations, it is also apparent from the connection πομπή
(io). There are also tropaiophore images (11) and
coins (12).
The associated noun τροπαιοφορία occurs only sporadically
for (13); the same goes for the verb τροπαιοφορεΐν (14).
Opposite the Greek abundance there is also a relative
poverty in Latin. Next to tropaeophorus, which we found once
and this as the epithet of luppiter (15), there is also the participiale
form tropaeatus (16) for, which in meaning is aligned
can be with τροπαιούχος, but is much rarer than its Greek
equivalent.
Several place names are known, those associated with tropaion
(1) THEMISTIOS, 15th speech, Ы. 216.4; POLUDEUKES, Onomastikon, I, 24; inscr. :
CIG, 3992 (Iconium); 4350 (Pamphuli); C1G, VII, 24; DITTENBERGER, Sylloge, II,
906 (τροπεοΰχος); 908; DITTENBERGER, Orientis Gr. inscr., 723, 2 (Antinoopolis, 4°
century AD BC); papyrus (PREISIGKE, SV τροπαιούχος). In an Orphic hymn ,
spoken of τροπαιούχα έργα (ХХХШ, 4 by HERMANN, Ы. 294)·
(2) POLEMON SOPH., Εις Κυναίγειρον, 41·
(3) Plaice. оик., VII, 66, 2.

(4) CASES. DIO , XLIX , 15, ; LI, 19, ; LUI, 26.5; LIV, 8, 3; LVI, 17, 1; lx,
22, 1; LXVI, 7, 2; LXVIII, 29, 3.

(5) Monumenti Ancjrani versio Graeca, io, 9.
(6) DiOD., XVIII, 26, 6; PLOUT., Caesar, 710; Marius, 424.
(7) Anth. pal. Gr., V, 293, 24; WALTZ-GUILLON, II, p. 136; STADTMÜLLER, I,
. 215; anth. Plan. App., XLII, p. 73-74.

(8) Anth. pal. Gr., XVI, 259, 2.
(9) M. AURELIOS, εις εαυτόν. , 31.
(ίο) DION. HAL., II, 34. З; HI, 31; THEMISTIOS, 14th speech, . 223, 27.
(ιι) PLOUT., Marcellus, 302 A; Romulus, 27 D .
(12) IG, XI, 3, 1439 , b, ; 1443 A, i, 141 (2 century ν. BC.).
е
(13) PLOUT., Πελοπίδου και Μαρκέλλου σύγκρισις, з·

(14) PHILOON OF BUZANTION, Μηχανική σύνταξις, Π, 34 ( ± 2 0 0 . BC).
(15) APULEIUS, De mundo, XXXVII, p. 75, 11.

(16) AMMIANUS, XXIII, 5; 14; AUGUSTINE, De participio, 2012.
25
Page 59
to stand. According to an inscription (i), Tropaion is a place on Salamis, which

probably takes its name from the naval battle of 480.
Pausanias knows another place Tropaia, which was located in Arcadia. Also
nowadays, to the north of Langadia, there is still a large village of
this name (2).
Tropaios is the name of a place in Musia (3); also in skuthia
mentions a settlement called Tropeos or Tropaios (4).
After all, Tropaeenses is the name given to the inhabitants of the city
in the vicinity of the Tropaeum Traiani is given (5), which is also
sometimes called Municipium Tropaei (6).
As a plant name, Tropaion occurs with Cassianus Bassus (7).
A diminutive of its Latin version, Tropaeolum, is in modern
plant terminology the name л^оог the nasturtium (8).
Also in numismatics there is another name that is related
with tropion. It is τροπαϊκόν or in Latin version tropaicum, another
name for the victoriatus, a Roman coin depicting a
Victoria crowning a tropee (9).
(1) CIA, II, 467, 26 = DITTENBERGER, Sjl/oge, I, 717 (cf. plaice. AISHULOS,
Ρ er sai, 305).
(2) POPE., , 25, 1; Guides Bleus, Grece, . 408.
(ì) HEREOKLES, fragm. at KOONSTANTINOS PORPHUROGENNETOS, 47, 15a.
(4) Ib., 637, 8.
(5) BI. 187.
(6) AEM, 1894, . in, 55.
(7) De re rustica, IX, 11, 7.
(8) The librarian of the Agricultural College in Wageningen was so well
willing to furnish the following information in this regard: "PRAHN, Ïjlatrênnamen,
pg. 57 : Tropaeolum, Greek Tropaion; das fast kreisrunde Blatt gleicht einem
Shield.
BACKER, Explanatory Dictionary of Science. plant names, pg. 600 : Tropaeolum,
diminutive from lath. tropaeum (gr. tropaion), tropee, victory memorial, be-
standing from the piled up captured weapons, helmets, shields and the like. Lin-
naeus (see Linnaea) the author of the sl. says (Hortus Cliffortianus, p. 143): ,,I have
called the plant Tropaeolum because the gardeners tend to train it against a
pyramid of network. This can be eminently compared to a tropee; the bla-
the others represent the shields, the flowers the bloodstained and dented gold
helmets".
(9) Metrologicorum scriptorum reliquiae, I, bl. 302, 4; II, p. 144, 9; explanatory
index, s. . .
2б
Page 60
CHAPTER
THE HISTORICAL DEVELOPMENT OF THE TROPAION
ι. — TIMES PLACE FROM ORIGINATE
While searching for the place of origin of the tropaion,

men in ancient Egypt and in the east in vain. First in Roman
time we hear of the establishment of a tropee by the Egyptians,
who had driven back Caesar (i). Of course this proves nothing
see whether the ancient Egyptians knew the tropaion.
The only ancient writer to establish a connection between the tropaion and
east, is Hesuchios, who s. . νίγλα notes : „τρόπαια παρά Πέρσαις".
The value of this communication, given that in the East
Tropaia are not found anywhere, very doubtful. In addition, can
one wonders, at what time his comment, which is from the 5 th century AD
ch. dates, pertains. In any case, there is no intermediate link
with an earlier period known. The notion that "nigla" is a bar
perch form for νικητήρια, turns out to be untenable (2). According to Schaeder
is it one of the so-called Persian glosses of Hesuchios, which
be traceable. According to him, Reland's remark (3) does not hold any
stitch, who says: “Pers. Niclon, Omne quo quis repellitur aut coercetur;
atque ita τροπαΐον a τρέπειν dicitur". The New Persian word "nikl"
after all, means footcuff or chain and therefore does not fit for this reason alone
at tropion. Moreover, it is borrowed from Arabic, so that Hesuchios
could not have known this word. An old or middle Iranian word
for trophies memorial is unknown.
Kramer hypothesizes that the correct Iranian form must be ΝΙΓΝΛ,
which would mean "defeat" or "things falling down." There is
however, no word is known in Avestan or Old Persian, which exactly
corresponds to the one mentioned by Hesuchios. Also the note of
He finds Reland inexplicable, as there is not a word in Persian
exists as he calls it. Moreover, it almost never happens that
(1) CASS. DIO, XLII, 40, 5. Cf. eg HERODOTOS, II, 104, who do triumph
mentions.
(2) According to communications from : AJ Carnoy, Leuven; A. Ghilain, La Louviere;
Kurt Erdmann, Berlin; . . Schaeder, Berlin; JH Kramer, Oegstgeest; WB
Henning, London.
(3) Thesaurus Graecae linguae, s. . .
2 7
Page 61
an old Persian word is derived from the Greek and Hesuchios gives
usually real Persian words.
Henning can't resolve the issue conclusively either, but still wants to
admit that "nigla-nigna"—that is, after all, means to fall, whence
it's only one step to "victory" — might qualify
as a translation for tropaion; this would have happened in the time of the Seleucids.
However, he does not provide a certain solution.
It appears from the foregoing that it is not yet necessary
To reject Hesuchios' comment as long as this matter is not further clarified
examined. Knowledge of the source of Hesuchios would be of great importance
may prove important. For the time being, a "non liquet" is appropriate here.
Two writers still mention Persian tropaia: Pausanias (i) says,
that the Persians had the intention after the battle of Marathon to have a
marble tropee. There is, however, no indication that the author
here means an anthropomorphic victory sign. The thought of an image
is more obvious, both because of the nature of the material and because of the
the fact that after their victory over the Persians the Greeks put the marble
placed at the disposal of Pheidias, who made of it a statue of Nemesis.
There is also a passage in Isocrates (2); however, this can
properly construed metaphorically, so that no
change can be found for the existence of tropaia among the Persians.
The tropaion does not occur in Crete either, a view which, however,
is not shared by Poulsen (3). He sees the oldest
Paion which consists, in an image on a stomach belt from the 7 e cent.
ch. and from Rethymno (4) (Fig. 1). However, this opinion must be
be too fantastically rejected. On a trunk that ends in a graceful
floral motif, a "chest harness" is fitted, which is secured by two thin
lines with the curved leaves of the floral pattern
is connected. There is no second of such a "tropaion"
example to find. Instead of a tree trunk or a
pole we find a complete palm tree here. It
"chest harness" looks unusual : the shoulder plates
are comparatively much too long and compared to
the palm tree is the sign of victory again much too small. How
has it been confirmed? Poulsen himself notes that
a helmet is missing, although there was room enough to
to depict one. Shield and spear missing more often
to a tropaion, the helmet, however, quite rarely. what it
Fig. 1 to crown this „tropaion" concerns : to place a wreath
(1) POPE., I, 33, 2; SITTL, . 389.
(2) ISOKR., Philippos, 148.
(3) AM, XXXI, 1906, p. 374 w.
(4) LAMB, fig. 3, . 61.
28
Page 62
one on the head or on the headgear, but not on the armor. apart
still of the question whether the representation of the crowning of a tropee
in the 7 e fits century tropaion this is clearly completely outside
the line of development of its form, as more closely below
will show. The conclusion can therefore be no other than that it is here
both object is not a tropaion (i) and with that also the
any representation thereof from the 7 e century and from ancient Crete.
The origin of the tropaion should rather be in Greece itself
be searched. A strong indication in this direction is already his
real Greek name, while there is no indication that it was borrowed elsewhere.
The 5 e c. BC. it appears for the first time in literature and art.
So we may well believe in Aelianus, who wrote these Greek ear-
jump confirms when he says that the Celts erect tropaia „on Greek
wise" (2). From Diodoros we learn that the ancestors of all
Greeks knew this custom (3). After all, no one speaks less
then Cicero of a Greek custom (4). While thus the origin of the
tropaion is not subject to serious doubt, still remains the
open question, whether the place of origin can be further specified
and its time can be determined.
A. Reinach speaks of Mukeense tropaia and knows that
they consist of a beam fitted with the head and arms of a man,
and covered with a figure-eight shield (5).
He is referring to a pinax of lime, ///////
on which from the left and from the right a woman //''//¿\
approaches a central figure, to which
mainly the frontally depicted eight-
shaped shield stands out. The neck with a rest
of the face and of the two arms, which
sticking out wide to both sides, are still too
distinguish (Fig. 2). The white color of
the body parts could indicate,
that we see a woman here before us.
Rodenwaldt therefore speaks of a woman
true deity, to whom the other two
bring votive offerings to women (6). the on- Fig.
(1) Rather it can be assumed with Cook (LAMB, remark 2, Ы. 61) that this „tro
paion" is a phallic symbol. Cf. DEONNA, Questions, which is also an identifier
with a tropaion, DS, Ы. 498 and AJA, XI, 1907, . 351.
(2) AELIANUS, ιστορία, XII, 23.
(3) DioD., , 24, ,.
(4) Cíe, De imentione, II, 23, 69.
(5) DS, . 498; cf. Α. REINACH, Itanos et l'inventio scuti.
(6) RODENWALDT, p. 133-134.
29
Page 63
presence of a human body, which, moreover, is most likely

that of a woman, and lead the exceptional form of the "sign of victory"
to the conclusion that the middle figure on the pinax is not a tropaion.
This means that the only performance from Mukeen time, which as such
might hold, and nothing remains but with the aid of litera-
ture and images to try to trace the origin of the tropee in historical
time with the Greeks.
The first source is Horneros; this one knows though
only a consecration of arms, without taking the form of a tro-
take pay (i). The scene in which Odusseus bears the arms of a
hangs defeated enemy on a tamarisk, could be on a tropee
make you think, were it not, that the intention here is to be a memorial
to be established is completely absent (2).
While there is more often talk of consecration of arms and the
use to display captured weapons in temples until in
Roman times remained in vogue (3), one searches the older literature for
give to a tropaion. While even Herodotus is still utterly
remains silent, it comes to Thoukudides and Xenophone on the other hand
in an overwhelming number.
Coinciding with its first appearance in literature in the Batracho-
muomachia , the tropaion first emerges in art and well
on a shard of vase, from the sanctuary of the Kabeiren at Thebai (4).
Both data are not far apart: it is the first half of the 5 e century BC..
However, some writers mention tropaia from much older times.
Thus Pausanias (5) tells of a Peloponnesian tropaion, that Herakles
because of his victory over Hippokooon and his sons.
A little further on (6) he tells of a tropee of Poludeukes because of
his victory over Lunkeus.
That here a later use was transferred to the time of the legend
finds confirmation in a scholion, which, following an analogous
case of Aischulos Says: ,,Παρατηρητέον, οτιούδέπωήνή των τροπαίων ονομασία
κατά τον Έτεοκλέα, ώστε άνεβίβασε τα κατά τον χρόνον ó Αισχύλος" (y). Of course.
(ι) HOM., IL, VII, 82-83; Χ, 460 f.; X, îyo-J? 1 and elsewhere. cf. HERODOTS,
III, 59; AISHULOS, Agamemnon, 560 w.; EUR., Wiesos, 180 and Bacchai, 1212 ff.;
Liv., I, 10, 5.
(2) HOM., /., , 465 w.; Scholia Townkyana ad Iliadem, X, 466; EUSTATHIOS,
HOM., IL, X, 465.
(3) AJA, XL, 1936, p. 189-190; XLIII, 1939, . 338 and 483; JAI, LUI, 1938,
II, p. 11 and elsewhere.
(4) WOELCKE, fig. 2, p. 149.
(5) POPE., III, 10, 6.
(6) POPE., III, 14, 7.
(7) Plaice. AISHULOS, επί Θήβας, 259.
3°
Page 64
do not allow statements about this period to draw conclusions

with regard to the time and place of origin of the tropaion; felt about this
even the scholar is in the dark.
From the time of the invasion of the Dorians — and with that we are on more
historical site — stems the tropaion, which these erected after their
mining at Amuklai (i). Although Pausanias does not provide further details
gives about the nature of this sign of victory, Woelcke is of the opinion that here
the temple of Zeus Tropaios in Sparta is intended, which in response to
of the same feat of arms was founded (2). Although a proof here-
will be hard to find for, is the possibility of it anyway
excluded given the broad meaning of the word tropaion.
A tropee of Soloon from the beginning of the 6 e c. BC. is becoming
mentioned by Demosthenes (3); it would have been established because of his over-
extraction on Megara and the capture of Salamis. Ploutarchos knows
but nothing of this tropaion ; he does report a temple of Enualios
on Salamis, whom Soloon had taken for his victory over Megara.
built (4). It cannot be ruled out that it is made by Demosthenes
meant. One must also take into account the possibility that the
writer, like Pausanias, a use of his time in a long
flew period has projected. Most likely, however,
that the statement of Demosthenes is nothing but rhetorical
metaphor.
Platoon also relates (5) that Athena's enemies in Soloon's time
overwhelmed and erected a tropaion; however, there is little doubt
like that this expression should be taken in a figurative sense.
A certain conclusion regarding the existence of tropaia in time
from Soloon is therefore not possible; from the silence of the other writers
however, it may be concluded with high probability that
they were unknown at the time.
The same uncertainty remains with the tropaion about Laphaës te
Argos (6). It was founded by the Argives after their victory over
the Spartans, who wished to restore Laphaes in his tyranny; it was from
stone and stood in the city. These last two elements, however, make it,
certainly for the 6 e century, in which the tropaion about Laphaës be
dated, impossible to regard the tropee in question as an anthro-
pomorph victory sign, as this would have been erected on the battlefield at the time
(1) POPE., III, 2, 6.
(2) WOELCKE, . 134 f.; POPE., III, 12, 9.
(3) DEM., Erotikos (LXI), 49.

(4) PLOUT., Soloon, 83.
(5) PLAT., Timaios, 25 C.
(6) POPE., II, 21, 8.
ЗІ
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and of perishable material. For this reason, it must be concluded that

assumed that the battle between the Argives and the Spartans was a historical
fact is, this tropaion is either of a later date or should be considered
like a sculpture or a building, through which place and material would
have been declared.
Another possibility to determine the time and place of origin of the
tropaion could offer Zeus Tropaios. Also this name
However, in the first 5 e c. BC. found.
The lack of certain data about the earlier time added
by the fact that the tropaion pass to the first half of the 5 e is afge- century
image and mentioned, thus leads to the conclusion that the use to
crafted weapons in an anthropomorphic arrangement on the battlefield
to consecrate the gods may have originated earlier, but first around
j 00 can be demonstrated. The first, certainly historical tropaia come
at least not before this time.
One issue deserves special attention: it is tradition,
that the tropaion was especially of Doric origin. This con-
conclusion was drawn by Benndorf (1) and Dümmler (2) from the fact,
that so many of the tropaia mentioned by Pausanias are in the Peloponnese
found nesos. Woelcke (3), however, does not dare to draw this conclusion,
nor does Gansiniec (4), who — incidentally, in an unconvincing way —
grounds — advocates Attica as the cradle of the tropee. Miltiades would
viz. after the battle of Marathon, when Athens was threatened by the Persians,
have not been able to take the loot anymore and quickly in his time shortage
have attached a panhoplie to a tree in honor of the deity.
The author considers this to be the origin of the tropaion and wants to
admit that there was a memory at the time of Pausanias
of ancient Doric tropaia.
The question is whether one should not go further. The origin of the
tropee is Greek. The epic and the Aiolian lyricism do not know her. In
Attica are quite rare tropaia and those that occur are mainly
from later time (5). In contrast, the strong memory of old,
Doric tropaia. Although one draws the historicity of the stories here-
left in doubt, the question still remains: how is it that popular speech
and the tradition at Pausanias this tropaia apparently mainly on Doric
localize area ? Moreover, Zeus Tropaios is with Pausanias (6) the

warrior god of the Dorians, who was the last of the Greek tribes to join
(1) TOCILESCO-BENNDORF-NIEMANN, p. 130.

(2) DUMMLER, II, . 223.
(3) WOELCKE, p. 136.
(4) GANSINIEC, . 140-141.

(6) POPE., III, 12, 9.
32
Page 66
made their way to their new homes and afterwards the most
aunt of the Greeks. They would also be the most
tropaion can expect.
In connection with this is the following communication from Pausanias
important : „ó μέν τρόπαιον ó Κάρανος κατά νόμους τους Άργείων εστησεν επί τη
νίκη" (ι). Karanos was a Dorian from Argos. This testimony, according to
Woelcke (2) are decisive, as Karanos, who at the beginning of the
8 E century would have lived as a historical figure could be considered.
However, this view does not hold water. Pausanias expressly shares
note that the erection of a tropaion took place according to Argive
usage, and this is completely unrelated to whether Karanos is historical or not.
The data pointing to a Doric origin is strong
and if not point to an indisputable certainty, then at least to a
high probability of this view. The Conservative Spartans
also adhered the longest to traditional customs related to
to the trope. After all, even in the 4 e c. BC. they complain to the
Amphiktuons about the fact that the Thebans after the battle of Leuktra
bronze tropaion (3). At that time, when visual arts, they must
art and literature had accumulated sustainable tropaia for a century
point, still felt deeply offended at the neglect
of an ancient custom, very peculiarly theirs, and to which they
still wanted to hold fast in their conservative mindedness. Even
although the said incident is regarded as a fictitious theme from a
rhetoric school (4), even then the question remains open, why the
Spartans have devised such a part in this.
The conclusion of Gansiniec (5), that the tropaion is not from Spartan
origin may be because its creation would conflict with a
rhetra of Lukourgos who forbade robbing the slain, seems
therefore very exaggerated. After all, it can safely be assumed that these
determination could not possibly have led to withholding from the gods
of a gift we are due to them.
§ 2. — DISTRIBUTION WITH GREEKS, ROMANS

AND OTHER PEOPLES
Having thus established the Greek origin of the tropee

shall we find out whether the erection of such a triumphal sign is commonplace?
has been in Greece or only to certain regions and tribes
(1) POPE., IX, 40, 8.

(3) Cic, De inventione. II, 23, 69.

(4) SCHÖMANN-LIPSIUS, , p. 12.
(5) GANSINIEC, p. 140.
33
Page 67
was limited, to see afterwards to what extent it has spread beyond Hellas
spread.
Obviously, one can place a tropaion mainly there
waiting, where there has been struggled and victories have been won. So it's allowed
don't be surprised if it is hardly known in peaceful regions
turns out. On the other hand, one can expect it all the more, the more
city or a nation has devoted itself more to military affairs.
From literary data and finds it now appears that the tropaion
spread almost all over Greece. About Athenians (ι) and Dorians (2)
has already been discussed.
What is striking, however, is the position of the λlakedonians who, although they
especially in the time of Philippos and Alexandros had plenty of reasons to
tropaia, have always kept far away from it.
This is communicated to us by Pausanias (3) and, moreover, the
facts there to confirm this.
According to Pausanias, the fact that the Macedonians do not have a tropaia
founded, related to an event at the time of Karanos. This one would
erected a tropaion after his victory over Kisseus, that
however, was overthrown by a lion that came from the Olumpos.
Neither by Karanos, nor by his successors on the Macedonian
throne, for a tropee may be established, and Philippos has
as indeed his son Alexandros, faithful to this provision
Pine tree. Karanos' deviant behavior could be explained by the
fact that he came from Argos, where the custom of tropaia on
was indigenous to target. Another motive why no tropee was allowed
be erected, could be located in the words : „d ές ευνοιάν
τους προσχώρους ύπάξονται" (4).
A statement from Diodoros (5), as if Philippos would after a battle
to have erected a tropaion against the Illurians seems contradictory
to be with the above express statement of Pausanias. A.
Reinach (6) is of the opinion that Diodoros without realizing
give the rules applicable to the Macedonians here a traditional

expression used.
That Philippos, after the battle of Chaironeia, out of self-control or humility
the creation of a tropee is omitted, as one from a
passage in Aelianus (7) is a view which is difficult
(1) See also: TOCILESCO-BENNDORF-NIEMANN, . 130, note. 3.
(2) Ib., . 130, note. 4. Cf. the schematic overviews (Ы. 206-209).
(3) POPE., IX, 40, 7-9.
(4) Cf. . 41.

(5) DiOD., XVI, 4, 7
(6) A. REINACH, Trophées macédoniens, Ы. 363.
(j) AELIANUS, Ποικίλη ιστορία, Vili, 15.
34
Page 68
can be proven; it's just a personal opinion

from the writer.
Just as the above quotes do not prove the text of the Λόγος
περί 'Αλεξάνδρου the existence of Macedonian tropaia, since here
there is plenty of room for a metaphorical view (i).
A. Reinach seeks the explanation why the Macedonians do not have a tropaia
founded, in the field of religion: according to him, religion demanded that people
let the weapons of the enemy perish peacefully; provides evidence for this
he does not, however, (2). Moreover, Diodoros (3) reports that it is precisely the tropaia
were to be composed of perishable material, that through
the ravages of time could be destroyed; they too went peacefully and
Reinach's motivation therefore lacks any convincing power.
Diodoros' comment on Philippos's tropaion shows
such a close resemblance to similar statements of Thoukudides
and other authors, that it may be regarded as a formula (4).
In other cases, where there is also Macedonian tropaia,
a metaphorical meaning is obvious (5). Recognized here as elsewhere
one is moreover easily the orator.
If no evidence can be drawn from all these statements
for the existence of Macedonian tropaia, how then must Pausanias'
story explained? Woelcke (6) sees in the history of
Karanos an aitiological saga, which is said to have arisen in connection with a
statutory group representing a lion next to a tropaion. The existance
of this he concludes from two images:
/~~"
^
'Ì 1 (?-\.
-J
^
'<
••%
"·-··
'". ß/
e;'"""!
^ч '
4
i/J' \
Fig. 3 Fig. 4
(ι) „εκ του λόγου του φάσκοντος, δτι έκ των έπινοιών 'Αριστοτέλους ó βασιλεύς
τρόπαια ίστα και τάς πόλεις ελάμβανε. § 2. Και ó Μακεδών εφ' έκαστης ημέρας
τροπαίων αύτω έγειρομένων, τω Άριστοτέλει συνεΐναι μάλλον ή έκείνοις έκαλλω-
πίζετο, και έκείνοις δε συνήδετο, δτι κατά λόγον αύτω προσεγένετο το νικαν".
See . 10, remark. ; cf. CROPHIUS, col. 29З 8 AD.
(2) . REINACH , curb Gaulois and Egypt, . 42-44; cf. PLOUT., Αΐτια'Ρωμαϊκά, 273 E.
(3) DiOD., , 24, 5.
(4) See P. WESSELING in his edition of DIODOROS, VII, pp. 511 and are up
labeling at DiOD., XVI, 4, bl. 22. Cf. DiOD., XVI, 86.
(5) DiOD., XVI, 88 = LUKOURGOS, Frag. 77, 75 (BLASS, . 75); Q. CURTIUS
RuFus, VII, 7, 14; Cíe, De prov. cons.. , 4.

35
Js
Page 69
. a relief of the funerary temple at Termessos from the first half of

the 2 century η. BC, showing a lion fighting against a tropaion
Θ
springs up (i) (fig. 3);

2. a Roman gem from the second half of the i e century BC.
depicting a lion "raising a tropaion" (2) (fig. 4).
The lion now would be Phobos. This was usually represented by
a lion's head and came in the form of a lion also as a shield-
sign for. He is the god of terror in battle and the helper in the
war. As such, he is already found in the 5 th century BC. at.
Woelcke is of the opinion that this lion does not overthrow the tropaion
nor builds up, but leaps against the token like a faithful dog
against his master. It would be dedicated to Phobos (3). This means
does not respond, however, to the statement of Pausanias, who plainly says,
that the lion overthrew the tropee.
The matter has been extensively studied by A. Reinach (4). According to
to him the lion represents a god of war and the god of death, in which
quality it occurs at the foot of a tropaion and on
poluandreia. He guards the corpses or the weapons there
of the fallen. On overthrowing the tropaion
he speaks no further; nothing of this is apparent either
Berlin gem with the representation of a lion, which a
tropaion turns his back (5) (fig. 5).
Taken together, it seems very doubtful whether
the performances mentioned may be associated with the
get from Pausanias. This can indeed become like an aitiological saga
understood, but one should not search for more than is necessary.
A lion — and of these animals, according to Herodotus, the Persians had
still troubled when they passed through Thrakia to Greece in 480 — cast
overthrow the tropaion of Karanos; this and his successors saw in this a
sign of the gods, so that henceforth they considered it unlawful
to set up a trope.
Apart from this, the performances mentioned above, in which
there is no sign of an overthrow. Woelcke's theory about this
gains even more probability when one enters the Berlin gem
takes into account; the lion on this may represent Phobos; this one throws
however, no more than Pän overthrows a tropaion, but grants a tropee,
ie the victory.
(1) JOAI, Ш, 1900, fig. 59, Ы. 184.

(2) FGS, No. 5983.
(}) WOELCKE, . 146.
(4) A. REINACH, Trophées macédoniens ; . 350w. special attention is paid to the

major role played by the animal cult.
(5) FGS, 8636.
36
Page 70
Alexander's successors have left the Macedonian point of view

sail; except for the kings of Macedonia proper,
who, at least on Macedonian soil, did not erect tropaia, they have
the use of the rest of Greece followed (i).
Remarkably few tropaia are found in Egypt, as has already been shown
on (2). Even on coins, which were often used by other Hellenistic monarchs
bearing the image of a tropee, it does not occur among the Lagids.
In the archaeological section, the
tropaia, which appear on coins of Seleukos and Purrhos.
According to Reinach (3), we last encountered a tropaion in the east
to coins of Ariarathes X of Cappadocia in 37-36 BC; there-
with that, according to him, the end of Hellenism has been reached.
In the meantime, however, the Romans had taken over the tropaion.
That its creation was not an original Roman custom,
is abundantly clear from Cicero (4) and Florus (5). This last message,
that Q. Fabius Maximus and Domitius Ahenobarbus after their victory
on the Allobrogen in 121 BC. stone towers left on the battlefield
establish „et desuper exornata armis hostilibus tropaea fixerunt". Dit
does not mean, however, that there are no older tropaia in Italy
came. On the contrary, Ploutarchos (6) already mentions a tro-
paion about the Samnites; moreover, the picture of it already came
more than a century earlier for Italian coins. Before 269 was
it, with or without Victoria, applied to coins of Atella, Bruttium,
Caelia, Capua, Heraclea, Messana, Rhegium and Taranto. The oldest off-
images, however, can be found on the Roman-Campanian coins, which in
show a wonderful uniformity a Victoria wearing a tropaion
crowned
origin andand called
occurs in victoriati (7). However,
large numbers this type
on Megarian bowlsis and
from Greek
terracotta altars. Also on coins of Purrhos and Agathokles
repeatedly occurs a Victoria at a tropaion. It turns out here
the more the Italic dependence on Greek examples.
The tropaion type of the Roman Campanian coins is
the end of the 3 e c. BC. by the gentes Baebia, Caecilia, Maecilia,
Matiena and Vibia on their coins. While the two E century us
(1) A. REINACH, О. , . 377 w.
(2) See Ы. 27 (trope about Caesar); DS, . 501, mentions two cases, where
however, no anthropomorph tropaion has been found. cf. A. REINACH, Gaulois and Egvpte,
. 44-45·
(3) A. REINACH, Trophées macédoniens, Ы. 385.
(4) Cíe, In Pisonem, 38, 92.
(5) FLORUS, I, 37, 6.
(6) PLOUT., ιστοριών παραλλήλων, 306 CD.

(7) DS, . 509 and Fig. 7116.
37
Page 71
only pays little tropaia, their numbers in the i e c. BC.

with the revival of military activity and an increasing
cultural orientation towards Greece, to become a true one in the imperial period.
flood to swell.
Meanwhile, in addition to the image, the Romans also had the Greek
custom itself, as well as Greek usage
regarding. Caesar (i), Pompey (2), Sulla (3), Aletellus (4) and Drusus (5)
founded tropaia. See you in the middle of Rome, on the Aventinus (6) and the
Capitol (7), they were lined up. They were carried in triumph
tours (8) and served as decoration of triumphal arches. The use to
to erect a tropee after a victory was thus with the Romans,
certainly in the 1st century BC, known.
However, we have no such fixed data for the Imperial period (9).
Tacitus (10) does speak of an agger or congeries armorum and
Claudianus (11) hints at the traditional custom when he has Mars say:
„meus ecce paratur
Ad bellum Stilico, qui me de more tropaeis
Di tat et hostiles suspendit in arbore cristas".
However, the lack of further data makes it likely,
that the tropaion as a token of victory on the battlefield in the imperial period was out of use
has been hit. The emperors had more powerful means of achieving fame
give to their achievements and the element of impressive flamboyance
supplanted the simple tropaion (12). However, it persisted
as a symbol of victory and maintained itself for many centuries
as a sign of victory in the hand of a deity or of the princeps.

Moreover, it became an appropriate ornamental motif for many buildings.
It acquired its most important place, however, as the crowning achievement of
colossal triumphal monuments such as the Tropaeum Augusti in La Turbie
and the Tropaeum Traiani at AdamkHssi.
(1) CASS. DIO, XLII, 48, 2; cf. SUET., Div. lolius, 11.
(2) CASES. DIO, XXXVII, 21, 2; SALL., fragment. in SERVIUS, VERG., Aen., XI, 6.
(3) PLOUT., Sulla, 464 E; της 'Ρωμαίων τύχης ή άρετης, 318 D.

(4) PLOUT., Sertorius, 579 E.
(5) CAS. DIO, LV, I, 3 (cf., however, FLORUS, II, 30, 23); Festschrift, . 115;
FRANKE.
(6) CAS. DIO, L, 8, 3 (32-31 BC).

(7) From Germanicus and Nero {CIL·, III, p. 917, XIII, 86 and XIV, 86; TAC, Am.,
XV, 18; JORDAN, I, г, bl. 56, note. 59 and p. 117).
(8) PLOUT., Marcellus, 302.
(9) HERODIANUS, Της μετά Μαρκον βασιλείας ιστορία. III, 7. 75 9> '5 4 . > Ι г
, ; VI, 3, 6.
(10) TAC , Ann., , ι8; 22 (Germanicus).
(11) CLAUDIANUS, In Rufinum, I, 344-346.
(12) Cf. OVID., Epist. ex Ponto, II, i, 37-42.
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Finally, a word about tropaia in other peoples.

They hardly play a part with the Etrurians; meet a tropaion
we only mention it on a sarcoh hedge and on a vase (i).
We learn from Aelianus that the Celts sometimes founded tropaia
(2). There is no indication that the Germans knew of the use.
In conclusion, it can therefore be concluded that the establishment of
tropaia was native to Greece and was only invented by the Romans
has been adopted on a larger scale. However, when a use no longer
lives among a people, it is doomed to disappear sooner or later.
Even though the tropaion managed to maintain itself as a symbol for a long time,
yet, first in Latin literature and later in the visual arts,
detect a clear decline over time.
The Christian writers quite often speak of tropaia, but
meaning monuments of victory in a Christian sense, such as from Eusebios
turns out (3). Tertullian links the tropaion to the cross of
Christ (4). Other Christian authors use the word in over-
pregnant sense (5).
In Christian art, however, the tropaion no longer lives. However,
the type of the Victoria adopted as angel; this acquisition has
not so much due to a change in pregnancy as due to a change
of the symbols (6). In the place of the tropaion, the cross and
thus the tropee has disappeared from ancient art. Only once
we still hear about it, as in 727 during the battle against the Saracens (7). This
is, however, no more than a late echo of a sound that has long been muted (8).
§ 3. — THE MEANING OF THE TROPAION
Since the creation of a tropaion was closely related to

the turning away of the enemy, it was originally
(1) Sarkophaag : AMELUNG, Führer, no. 211, bl. 187; DS, note. 6, p. 515. Vase :
KNAPP, p. 60, 2; WOELCKE, remark. 78. Cf. COUISSIN, Armes Gauloises, KA, XXIX,
1929, p. 235, who claims that the Etrurians left not a single tropaion.
(2) AELIANUS, ιστορία, XII, 23.
(3) EUSEBIOS, 'Εκκλησιαστική ιστορία, Π, 25, 7 : δε τα τρόπαια των
'χω δεΐξαι. γαρ θέλησης άπελθεϊν έπί τον Βατικανόν, ή επί την
όδόν τήν Ώστίαν, εύρήσεις τα τρόπαια των ταύτην ίδρυσαμένων έκκλησίαν (see also
KRAUS, S. . and MOHRMANN).
(4) TERTULL., Adv. Marcionem, IV, 20; Apologist, XVI, 7 BC

(5) DAMASUS, Epigr. 1, 16; 12, 4; 14.4; 17, 8; 21, 7; PRODA, Cento, 5; IUVENCUS,
III, 341 and 640; hymn : Ad regias Agni, 22.

(6) BECK, p. I, 17 and 40.
(7) DS, p. 514 (CTG, 8664).

(8) Tropaia occasionally appear on monuments from a younger time, eg
in Paris at the Porte St. Denis, the Arc de Triomphe du Caroussel and the Colonne de la
Grande Armée (Nouveau Larousse Illustré, sv Trophée).
39
Page 73
there, where the flight of the enemy had begun, ie on the battlefield
yourself. Eustathios (i) says this clearly : „τρόπαια μετά τάς νίκας ίστώντες
των πολεμίων περιγένοιντο, ένεκόλαπτον".
That one would gladly choose a conspicuous place for it,

speaks for itself (2). When the tropaion is no longer on stage
was bound from battle, it was transferred to the city (3),
where it was placed in or near a temple (4) or near or on the city
gate (5). It is also said that it was built on the borders of the land
directed (6).
It was not always absolutely necessary, however, to tell his enemy
to have hunted to erect a tropaion. Nicolochos does
this, if Timotheos refuses a fight with him (7). also Himerios
constructs a case in which a tropee is erected, without
a battle has been fought (8). In cases of a doubtful victory
ning, a tropaion was also often established (9J.
As images and literary data show, the tropaion
composed of weapons captured from the enemy (10).
If he did not wear armor or helmet, his clothes and his
hat (11).
Why, however, was the tropaion de anthropomorphe chosen?
shape ? Since a consecration of captured arms is not uncommon
(1) EUSTATHIOS, HOM., IL, X, 465; cf. Тноик., I, 63, 3; 105.5; XEN., Hell.,
IV, 2, 23; , 4, 25; 5, 13 ; PLOUT., Sulla, 464 E; CORN. NEPOS, XIV, Datames, Vili;
FLORUS, Ι, 37, 6.
(2) Тноик., I, 30; Q, 3, 4! . 6; VIH, 106, 4; XEN., Anab., IV, 6, 27; PLOUT.,
10
Agesilaus, 606 Α-B; Pompey, 664 B; Sulla, 464 E; FLORUS, I, 33, 16; PLIN., Nat. Hist.,
III, 18; 136; VII, 96; SALL., Hist., Ill, fragment. 89; ID., fragment. by SERVIUS, COMP., Лея.,
XI, 6.
(3) CASS. DIO, L, 8, 3; PAUS., VI, 21.2; Тноик., VII, 72, ι ; AUTOR AD MEN-
NIUM, 4.53 ; O c , The domo, 37, 100; SUET., DÌV. lulius, 84; TAC, Ann., XV, 18; FALL.
FLACC, IV, 739; FALL. MAX., VI, 9, 14; VITR., II, 8, 51.
(4) AISHULOS, Ε π τ ά επί Θήβας, 265 ; coin of Augustus (Ы. 195). According to the
Cockerell's reconstruction would also include the intercolumnia of the temple at Bassai
tropaia (ANDERSON-SPIERS-DINSMOOR, pi. XXXI).
(5) POPE., I, 15, 1; XEN., Heil., III, 5, 19; IV, 4, 8.
(6) LUSIAS, Epitapbios (II), 25; Cic, De inventione. II, 23, 69.
(7) XEN., Heil., V, 4, 66.
(8) HIMERIOS SOPH., she spoke , 19.
(9) Тноик., VII, 34, 7; Vili, 24; XEN., Hell., V, 4, 53! VII, 2, 4.
(io) PLOUT., Marcellus, 301 F-302 A; Komulus, 27 -D; Тноик., IV, іг, ι;
EUR., Herakleidai, 786; FLORUS, 1, 37, 6; II, 30, 23; IUVENALIS, Sat., IV, 10, 133 w.;
NONIUS MARCELLUS, De compendiosa doctrina. I, p. 77 ( = De proprie tate sermonum, 55);
VEG., Aen., X, 542; 775; cf. XI, 5 ff. and 81 etc.
(11) CASS. DIO, XLII, 40.5; SUET., Div. lulius, 84. Cf. also the pictures.
40
Page 74
was in Greece, one must have a special reason for this

have had (i).
Reinach (2) sees in the anthropomorphic tropaion a symbol
of the duel, while the „trophée tumuliforme" would correspond to
a battle on a large scale. More credible, however, is the view
of Virgil (3), who sees in the tropaion the vanquished himself:
„... haec sunt spolia et de rege superbo
primitiae, manibusque meis Mezentius hic est".
After all, how attractive the theory of Reinach at first sight
may appear, yet it is difficult to reconcile with the numerous
rich messages and images of tropaia, which were erected
after an ordinary battle. Honor one can assume that a lot of weapons
while representing some kind of trophies, whether or not dedicated to a
deity, but that the consecration of a fallen enemy for reasons
of practical hygiene, out of piety or for other reasons
gene is by that of a weapon arrangement, which created the illusion that men
here had to do with a human being, and that thus the tropaion was born.
Bötticher (4) wants to establish a connection between the tropaion and the tree-
cult. On the other hand, De Visser (5) notes that the aid for a
tropaion usually did not consist of a tree trunk, but of one in the
ground stake. In addition to the images, the speech
use in this direction, as the verbs used to
to indicate the creation of a tropee, only on poles, not on
trees may be involved.
With regard to the tree species used, one finds several times a
oak mentioned (6); more often, however, the olive is mentioned (7).
We learn from Diodoros that a wooden
trunk to prevent the tropaion from standing too long
and keep the memory of the mutual enmity alive (8).
This statement cannot be very credible. After all, were
visited centers such as Olumpia and Delphoi not strewn with monuments
of all kinds, which recalled some successfully conducted
(1) LOUK., 'Αληθείς ιστορίας I, 38; 42; FLORUS, I, Sun, 4. See Ы. 30, о . .
(г) . REINACH, Les trophées et les origines polities de la guerre, . 230-231.
(3) COMP., Aen., XI, 15-16.
(4) BOTTICHER, . 71 etc.
(5) THE FISHERMAN, 99, . 114.
(6) PLOUT., Marcellus, 301 F; Romulus, 27A; SIDONIUS, Carmen, V, 33; STATUS,
Thebais, II, 707 ff.; VERG., A°n., X, 423 and XI, 5 w.; LUCANUS, Pharsalia, 135 vv.
(7) CORNUTUS, , p. 39, 8; DION. HAL., ρητορική, Ы. 7> ; 2
EUDOKIA, Ы. 9·
(8) DiOD., XIII, 24.5; cf. PLOUT., Αΐτια 'Ρωμαϊκά, 273 D.
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Page 75
conflict ? Woelcke (i) also rejects this motivation as sentimental-

romantic, in contrast to Lammert (2), who in the attitude of
Nikolaos in his speech to Diodoros thinks he finds the proof
for its correctness. After all, Nikolaos wants the hardness of war
among the Greeks. Lammert refers to a number of
writers (3) who put forward a view similar to that of Diodoros.
However, as all these sources are late, it cannot be ruled out that the
their propagated conception has the same origin. In addition, they are
no stranger to rhetoric. Finally, Diodoros only proclaims the
opinion of Nikolaos and one may rightly ask whether this
the Greeks of the 5 e century BC. was shared.
Instead of a romantic motivation, we would like to
rather put a practical : after all, considerations of practical
nature will certainly have played a major role in choosing the
tree species for erecting a tropee. Often one will in the rather
wood-poor Greece did not have a big choice and feel satisfied
had to make do with what happened to be found. This view finds
aid in the above passage from Diodoros himself, where the latter says,
that the ancestors of all Greeks founded tropaia „δια των τυχόντων
ξύλων". On battlefields one simply does not use stone or bronze columns
to encounter. Since people usually arrive on the same day or at most
erected a tropee one or two days after the battle, there was no time or
opportunity to create an artful monument. so will
therefore have learned the practice to, if one wanted to meet the deity
immediately consecrate the hair to come, a sapling of its branch
to get rid of or cut down a pole to use as weapons
confirm. We do not hear anywhere that someone has been sent
was specially made to fetch the trunk of an oak or an olive;
one used what one happened to find, although one will, if possible,
have taken into account the "wishes" of the concerned
deity.
In later times people have delved into this issue and thought
to have to give it a deeper foundation; so do Diodoros and others,
if they claim that a particular type of wood was chosen for a
certain deity. However, the tropaion would then be in the first place
Athena must have been consecrated, as her olive is most often mentioned.
This is contrary to the literary data, which is primarily Zeus
(1) WOELCKE, . 143; cf. BURCKHARDT, I, . з о 8.
(ζ) LAMMERT, at PAULY-WISSOWA, S. . .
(з) Cíe, De officüs, I, 33-41; The Invention. , 23, 69 .; SENECA, Suasorìae,

V, 8; PLOUT., 'Ρωμαϊκά, 273 CD.
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name as the god to whom tropaia were devoted (i). And him was
the oak sacred. If, on the other hand, we know that it is the olive that
most common in Greece, then it will come as no surprise
arouse, that it was mainly used as support for the to be established
tropion.
In connection with the tropee, Zeus is nicknamed Tropaios (2)
or Tropaiouchos (3). With the Romans luppiter also becomes Feretrius
because he wears a tropaion, according to an explanation (4).
In general, tropaia were devoted to war gods (5),
who had aided the victor in achieving the victory. if
such are mentioned by name : Hera (6), Athena (7), Poseidon (8),
Ares, Nike and Aphrodite (9).
The tropaion is a we gift (10). Of course one could
do not violate this : by his devotion to a deity it was up to the
from the interference of the people. The destruction or conservation
of it was left to the gods, ie to the elements. Cassius
Dio relates that even Caesar wrote a tropaion drawn up by Mithradates

dared not bring it down, because it was dedicated to the warrior gods. He
found another solution by shading it from his
own tropee and thus destroy it in a way (11).
(1) EUR., Herakleidai, 937; Hiketides, 647; Phoinissai, 572, 1251 (with associated
scholion) and 1472; GORGIAS, ЪрііарЫоз, fragment . 6; KAIBEL, lipigr. Gr., 768; C1G, 173;
VII, 2462 (Thebai); JOAI, XXIII, 1926, p. 121 (inscr. from Thrakia); TIMOTHEOUS,
Persai, zio; plaice. LUKOPHRON, Kassandra, 1328; FLORUS, I, 20, 4; PLIN., Nat. Hist.,
VI, 152 (cf. PROP., III, 4, 6); TAC, Ann., II, 22; VITR., II, 8, 52; . magnum,
col. 697, p. 768, 51; GENER, Thesaurus.
(2) FARNELL, I, p. 60. See p. 24, note. 4.
(3) · 4. remark. 9.
B1 2
(4) Bl. 13, note. 15.

(5) CAS. DIO, XLII, 48, 2; OVID., Remedia amoris, 158 (patrii dei); SENECA,
Suasorias, V, 4; POLUDEUKES, Onomastiken, I, 24 (θεοί ύπερουράνιοι).
(6) Pl. 24, note. 5.
(7) EUDOKIA, p. 9.
(8) PLIN . , Nat. Hist., VI, 152; POPE., VIII, 10, 8 (cf. Тноик., II, 84, 4).
(9) PLOUT., Sulla, 464 E; VERG., Aen., XI, 7-8 (Mars) (cf. GESNER, Thesaurus).
(10) ATHENAIOS, Deipnosophistai, XIII, 591 B; GORGIAS, Epitaphios, Frag. 6;

PAUS., IV, 32.6; Ш, 1 o, 8 ; plaice. EUR., Phoinissai, 5 72 ; tropaion in temple on coins
of Augustus, p. 195.
(11) CASS. DIO, XLII, 48, 2 (cf. PLOUT., Αίτια. 'Ρωμαϊκά, 273 E; SENECA, Suaso-
riae, V,4 and 8; VITR., II, 8.51-52; Cíe, De inventone, II, 23, 69). That this view today
still alive in Greece, according to a statement in The National Geographic
Magazine (jrg. CIX, January 1956, p. 67), according to which Abbot Artemas of the monastery
te Varlaam stated: “The Government wants to take over these monasteries.
They belong not to the State, not even to the people, but to God. Better that they rot
and decay in sanction than be preserved by earthly interference".
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Only twice do we learn that a tropaion really

became null and void. The Milesians removed a erected by the Athenians
tropee because, in their opinion, it was drawn up incorrectly (i).
And Sulla left the tropaia of Ліагіш over lugurtha, the Cimbri and the
remove Teutons; however, they were restored by Caesar (2). Can
in the first case, one still discovers an acceptable motive for the
action of the Milesians, the action of Sulla only flows
from a political contradiction. Although the Spartans have good reason
could have argued for removing the tropaion of
Iphicrates, yet they left it undisturbed (3). Vitruvius brings the ban
to break off a tropaion once more expressly forward; he
reports that the Rhodians put the tropaion of Artemisia on the market of
did not dare to destroy their city „religione impediti, quod nefas est
tropaea dedicata removeri". They also found an acceptable solution:
“circa eum locum aedificium struxerunt et id electa Graia statione texe-
runt, ne qui posset aspicere, et id αβατον vocitari iusserunt" (4). Also

Seneca confirms that it never happened that a tropee was sold
wide (5).
The practice of not erecting a tropaia of durable material
is associated by Adler with a Delphic ordinance,
which assertion, however, he does not substantiate with evidence. It's more ahead
to accept that that which was originally created by nature
was itself given, namely that when establishing a tropaion one uses
made of a log or pole, gradually became a use,
from which one could not deviate: it became a law of custom.
Habits wear off, however, and no protest from the Spartans at the
Amphiktuonen (6) can stop this.
The establishment of a tropaion sometimes went with special
ceremonies involved. Sometimes an altar was placed next to it (7). The
polemarchos Gulis had to set up his army and for the front of the
troop set up a tropee, after which all wreathed themselves in honor of the
deity and the flute players had to make their music sound (8).
While singing a paian "as usual," the Phleia-
sioi a beautiful tropaion on (9). Agesilaus left his soldiers for Thebai
(1) THOUK., VIII, 24, 1.
(2) SUET., D/p. lulius, 11.
(3) XEN . , Salvation, IV, 5, 10.

(4) VITR, II, 8, 52.
(5) SENECA, Suasoria 0 , V, 4.
(6) B1. J3.

(7) CAS. DIO , XL ! , 24, 3.
(8) XEN . , Hell., IV, 3, 21.

(9) XEN . , Hell., VII, 2, 15 (Eq. Timotheos, Persa /, 210).
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also in festive display — wreathed and with flute playing — a

establish tropee (i). That the tropaion itself was often crowned,
can be seen from the pictures. Sometimes sacrifices were offered.
Athenian ephebs sailed to (the) Tropaion on Salamis to arrive there
Zeus to sacrifice Tropaios (2). The creation of a tropaion was sometimes called
also preceded by an act of sacrifice (3).
A. Reinach (4) tries to fathom the nature of the tropaion by
to set it against apotropaion. Like this last evil powers and
had to ward off disaster, the task of the tropaion was to protect the divine
to invoke and direct it at the one who already before the battle had such
promised a sign of victory to the deity. However, such a promise
nothing anywhere, nor is there, in any ancient writer, any
designation for establishing a connection between tropaion and apotro-
pay. Moreover, the ancient view (5) points in a different direction.

In contrast to Reinach, others (6) state that the oldest
meaning of the tropaion is precisely that of an apotropaion. However, this is
hard to believe, since an apotropaion is before battle
can render his services, but no longer makes sense after the victory.
The absolute silence of Herodotos remains striking with regard to
trekking to the tropaion, the more so, since it is with Thoukudides and others
writers repeatedly and without reserve. Used to be
it's one of the many common things that people just don't talk about
because everyone knows them? Then why do others speak of it so often
about ? Or were sometimes the older writers and visual artists
held back by a religious trepidation or some kind of taboo, that their
forbade each to do anything in their own field for "sustainability"
of the sign of victory, which only the gods had at their disposal?
Anyhow, in the course of the 5 e is suddenly big century
scale this sacred silence broken by crossing the tropee
write and she is going to portray. Man then steps next to the deity
forward, who takes care of the maintenance of the tropaion himself
and previously remained in the background. Once this step was taken
paved the way for a second : the manufacture of tropaia from
durable material that braved the elements. Or in other words-
(1) PLOUT., Agesilaos, боб AB.

(2) CIA, II, 467, 27 = DITTENBERGER, Sjlloge, I, 370 (from 99 BC; cf.
BAUER).
(3) XEN., Anab., IV, 6, 27.

(4) A. REINACH, L es trophées et les origines polities de la guerre, bl. 214; ID.,
Itanos et rinventio scuti, . 350.
(5) p. 6 etc. In addition to Zeus Tropaios, Zeus Apotropaios also appears: PHLEGOON
VAN TRALLEIS, Περί Θαυμάσιων και Μακρόβιων, 3 (KELLER, I, pp. 68, r. 17).
(6) TOCILESCO-BENNDORF-NIEMANN, p. 132.
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den : while originally tropaia were established as votive offerings

to the gods and human fame thereby remained in the shadows,
now man more in the light and he became aware that this
Triumphal signs were a particularly suitable means of proclaiming
own glory (i). Thus tropaia were erected of stone (2),
of bronze (3) and even of gold (4) and the permanent tropaion was
born. It found its place in hallowed and crowded cities like
Olumpia and Delphoi, where both elements : the thanks to the gods and
the glory of the conqueror were well justified, as well as in the
hometown of the triumphator (5).
In Greek times, a carrying appears next to the standing type
baar tropaion, symbol of the abandonment of the old custom that

tied a tropee to the battlefield (6). Soon she will come, except in
the hands of a deity, even in the hands of a human being. An
inscription on the shield or on the base not only gives the name of the
god to whom it is dedicated, but also the names of victor and
vanquished, the latter often in standing, kneeling, or sitting
posture at a tropaion is depicted (7).
And while at Rome tropaia were taken along in a triumphal procession
bear (8), they also served as crowning points for triumphal arches (9) and ter
decoration of other monuments (10).
Not only for victories on land, also for victories
Tropaia were established at sea (11). These are already in the 5 cent. e
(1) AELIANUS, ιστορία, XII, 23 ; PLOUT., Sulla, 464 E; 473 ; VERG., Aen.
XI, 790.
(2) Plaice. ARISTOPH., Ploutos, 453; PLOUT., Αϊτια 'Ρωμαϊκά, 273 ; POPE., I,
32.5; , 21, 8; VIII, io, 5; THEMISTIOS, lo rede, 136 D-139 A; STRABOON, IV, 185.
(3) PLOUT., Alkìbìades, 207 D; Αίτια 'Ρωμαϊκά, 273 E; POPE., V, 27, 11 (cf. VI,
2, 3); THEMISTOOS, /. c.\ Oc., De inventione, II, 23, 69.
(4) PLOUT., Sertorius, 579 E; THEMISTOOS, /. e. (cf. FLAV. IOS., 'Ιουδαϊκή αρχαιο
, XV, 8, i); FLORUS, I, 20, 4.
( ) BI. 40.
5
(6) PLOUT., Romulus, 27 С and elsewhere; IULIANUS, Συμπό^ιον, 311 .

(7) PLOUT., Sulla, 464 E; 473 ; ιστοριών παραλλήλων, 306 BD;
Ilepì της'Ηροδότου κακοηθείας, 873 AE;PAUS., V, 27, 11; cash. DIO, XXXVII, 21, 2;
EL'STATHIOS, HOM., //.,
X, ^(¡y, schol. ARISTOPH., Ploutos, 453; HIMERIOS SOPH., XV,
5; Cíe, In Pisonem, 38, 92; PLIN., Nat. Hist., III, 136; TAC, Ann., II, 18; VERG.,
Aen., XI, 84.
(8) PLOUT., Marcellus, 301 F-302 ; Pompey, 643 A; Romulus, 27D; p. 97-99.
(9) CASES. DIO, LIV, 8; SUET., Claudius, ι ; SALL., fragment. by SERVIUS, VERG., Aen.,
XI, 6; Fig. 179-181.

(10) POPE., I, 15, 1 (gate at Athens); monuments at Ephesos, La Turbie and
Adamklissi (cf. FLORUS, I, 37, 6).
(11) See chap. VII on the naval trope.
46
Page 80
ch. for (i) and differ in their nature in nothing from a

"land tropaion".
In practice, the tropaion apparently also has a martial law
had meaning. It did not derive it from certain regulations,
about which at least nothing is known, but of the unwritten law.
The tropaion was established after the end of the battle (2). Only
once there is a tropaion, erected before the battle (3). It
oracle of Trophonios advised the Thebans to
to set up a tropee at Leuktra. Although this course of action is wholly
and was already contrary to the prevailing custom, it is nevertheless sufficient

justified by the divine decree, which is also a proof of
the unusual of the case and an identification of tropaion with apotro-
paion improbable.
In some images trophies can be found while the battle is still
is in full swing; this too is not evidence for the tropaion-apotropaion-
theory, as it is quite possible that the battle is different
has phases and the tropaion is lined up after a victory in a
earlier stage (4). Moreover, there is no objection to it at a later time
the presence of a tropaion before the end of the battle, because
one can then consider it as a symbol of victory, which is aligned
can do with the palm branch and that by a deity to the future
winner is awarded.
Usually, however, the creation of a tropee was immediate
after the stroke, once a day afterwards (5) or even a few days later (6).
Furthermore, it sometimes happened that on the same occasion two
or three tropaia were erected, apparently for different parts
of the same fight (7). If the battle was undecided, it could happen,
that both sides established a tropee (8). This then gave rise to
(1) HERODOTOS, III, 59 knows only the consecration of enemy prows in

a temple.
(2) XEN., Heil., VII, 1, 32; Тноик., I, 30; 63, ; IV, 134, ; VII, 34, 7; 72, ;
S ALL., /. .
(3) POPE., IV, 32, 5-
(4) BI. 62.

(5) оик., Π, 22, 2-3 ; IV, 38.4; VII, 45; CORN. NEPOS, XIV, Datâmes, VIII.
(6) Тноик., VIII, 24 (з е day); PLOUT., Timoleoon, 250 D.
(7) Тноик., V, з, 4; VII, 24, ; 4ΐ>4! 45! XEN., Hell., I, 2, io; HERODIANUS,
μετά Μαρκον βασιλείας ιστορία, III, η, η; PLOUT., Περί της 'Ρωμαίων τύχης ή
, 318 D; HIMERIOS SOPH., she reason (Polemarchìkos), 12; LOUK., 'Αληθείς ίστορίαι,
I, 18; OVID., Heroides, XVII, 242; XXI, 213; PLIN., Nat. Hist., VI, 152; FALL. MAX.,
VI, 9, 14; VERG ., Georgia, III, 32.
(8) Тноик., I, 54; 105.5; , 92, 4-5; IV, 134; VII, 34, , 54; XEN., Hell.,
V, 4.65-66; VII, 5, 26; cash. DIO, XL!!, 48, 2 (cf. DIOD., XV, 87); PLOUT., Aristei-
des, 331
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to a renewed scuffle (ι). Elsewhere, however, this fact did not

serious consequences (2).
It also sometimes happened that neither of the parties
tropaion, such as after an inconclusive battle between Lakedaimonians
and Messenians (3).
How pure one felt the connection between τρόπαιον and τροπή
may appear from the following incident : after the battle of Erineos in 413
the Corinthians, who had narrowly conquered, set up a
tropaion on; the Athenians, however, did the same, though they
were convinced that they had suffered defeat „δτι ού πολύ Ινίκων".
thought, however, that they were entitled to the foundation, because the Corinthians
were withdrawn (4).
And how scrupulously the old custom was adhered to, it shows
next event : after a fight against the Corinthians Niklas missed two
and sent a messenger to his adversaries to extradite the
to ask the dead. But according to law and custom, they who saw
in a truce asked to be allowed to take their dead away from the
victory and they were therefore not allowed to erect a tropee. The good Nikias
now preferred to forsake victory and fame, rather than
that he left two of his fellow citizens unburied (5).
Here one can clearly see the martial law significance of the tropaion.
Whoever sets up a tropee is undisputed master of the terrain. He disposes
over the fallen opponents and can plunder them (6). He can a
grant a truce and give the enemy leave during this battle.
pause (ύπόσπονδος) to remove and bury his dead. Sometimes also work
killed the prisoners (7). From Thoukudides and Xenophone one can
to make out how much the creation of a tropaion was connected with
the conclusion of a truce and the burial of the fallen
den (8).
Significant in this regard is a message (9), according to which once
the Lakedaimonians considered their defeat unbearable and judged
(1) THOUK., I, 105.5; XEN., Heil., VI, 4, 14; PLOUT., της Ηροδότου
κακοηθείας, 873 Α-B (cf. XEN., Hell., VII, 2, 15; 5, 26); Ι^ουκ.,'Αληθεϊς ίστορίαι, I, 18.
(2) XEN., Hell., VII, 5, 26.
(3) PALS., IV, 8, 13.
(4) THOUK., VII, 34, 7.
(5) PLOUT., Nikias, 527.
(6) PLOUT., Peiopidas, 287 A.

(7) THOUK., I, 30.
(8) THOUK., I, 63, 3; II, 79, 7; III, 109, 2; IV, 14.5; 38, 4; 72, 4; 101, 4; VI,
97. 5 ; i°3. 1 i VII, 5, 3 (cf. И, 22, 2-з); XEN., Hell., VI, 2, 24; 4, 14; 4, 15 ; VII, , 19;
5, 13 (see also DIOD., XV, 87, 2-3; XVI, 4; 86).
(9) XEN., Hell., VI, 4, 14.
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were, that they established a tropee by their opponents

had to prevent and try not to protect their dead
of a truce, but with the weapons in the fist to get hold of.
That all this was only possible with the usual at the time
manner of battle, in which the victory was not yet followed by a
pursuit of the defeated enemy, is clear. The also applies here
maxim : μηδέν άγαν, μέτρον άριστον. After getting the win

first of all it behooves the gods to give their due thanks and honor
the wise and the fallen to the ground, a task which the Greeks
very special to my heart.
The change in strategy (i) by setting a back
following also brought changes regarding the tropaion:
it had to lose its martial law significance. Together with the
pursuer it moved away from the battlefield and once elsewhere
erected, it was set up in a conspicuous place and
lasting monument, more to the glory of the victor than to that of
directed to the gods. Yet the religious element also persisted
for a long time yet.
That the Greeks established a tropaion for a momentous
fact is shown by their frequent occurrence in
literature and art. At the end of the 3 c. BC. are they even there
e
proceeded to grant certain privileges to those who

tropee had founded. In a law from 217-216, the text of which is on
the Acropolis was found at Athens, it reads as „εΐπεν · επειδή
οι νόμοι προστάττουσιν, ó δήμος ó 'Αθηναίων τρόπαια στήσαντας ή κατά
ή κατά θάλατταν ... έτίμησεν σίτω έμ πρυτανείω, έπιμελεΐσθαι αυτών καί
έκγόνων τήν βουλήν καί τον δήμον, διδόναι δε καί θυγατέρων εις εγδοσιν τον δήμον
προίκα οσην αν βούληται, καί εις έπανόρθωσιν των ιδίων κατ'άξίαν εκάστοις των
" (ζ). ·
Finally, from a historical point of view, the tropaia are a fascinating

illustration to the military history of antiquity. A reference to
the Tropaeum Traiani at Adamklissi may suffice to show,
what historical problems they can give rise to.
Of great importance is often the identification of the weapons that
adorn the tropaion (3). They learn which tribes or peoples in battle
were involved and suffered defeat, while their form,
as well as that of the whole tropaion, of importance for the dating can
to be. Sometimes it is also the place of installation that has an important
can give change. For example, the location of the Tropaeum Traiani, ver
(1) WILCKEN, . 171 : by Philippos or perhaps already Epameinoondas.

(2) DITTENBERGER, Sjlloge, I, 496, Ы. 744 = CIA, IV, 2,385b, . 100.
(3) It is especially P. COUISSIN who has moved in this field.
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Page 83
of the civilized world in lonely Dobrusha, decide to

a battle between the Dacians and Traianus (i), a battle that will take us out of the
literature is unknown.
After thus the origin, the diffusion, the development and the
to have checked the sign of the tropaion mainly on the basis of

of literary data, we shall endeavor in the next part, to
the art-historical development of . based on archaeological data
outline the tropee.
(i) See the literature on the Tropaeum Traiani (Ы. 187-188).
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CHAPTER
THE TROPAION IN ANCIENT ART

DISTRIBUTION AND FORM
One of the greatest difficulties in treating the

Archaeological material about the tropee does make up its tremendous size
and the great variety thereof. An attempt will be made in this
order in order to arrive at an at least global
overview of the tropaion in ancient art. Provided that
completeness has been pursued, but due to the lack of overview
also of the published material could not be reached. Also
numerous problems could not be solved within the short space of this work
fully treated and resolved. So missing
to further study the relationship between depicted tropaia and
the historical events to which they relate. Despite
it may be assumed that the collected material is extensive
is enough to show the practical outline of the course of development of the
tropaion and to serve as a starting point for further
detailed studies and even, if important enough, for a Corpus
Tropaeorum.
Real tropaia have not come down to us from ancient times; for the
therefore, one has to rely on the images to study them. Checked
will become, how first of all the tropaion develops in the different genres
of ancient art. After an explanation about his
shape will be described, what functions it had and how it
developed in its changing environment, after which finally another
treatise on the naval trope follows.
i. — CHRONOLOGICAL OVERVIEW OF THE TROPAION

IN ANCIENT ART
The oldest depiction of a tropaion dates from the fifth

century BC . and occurs on a fragment of a vase, origin
from the sanctuary of the Kabeiren at Thebai. Incidentally, on painted
vases the tropaion is only sparsely represented. In the 5 e century
one only finds one on an Attic pelike from that time
from Pericles.
51
j, б
Page 85
The local spread also does not appear to be large at this time.
With the exception of the frieze of the heroön at Gjölbashi-Trusa, they are
only Attic reliefs, which show a tropee; such a stone that now
built into the wall of the church of the Panagia Gorgopiko te
Athena, the balustrade around the temple of Athena Nike and a four-sided,
marble base, found sw of the Parthenoon.
Very vague and unlikely is the tropee that would
found on the west frieze of the Nike Temple. Some call the
on images very unclear representation a tropaion (i), others
don't even mention it (2).
The fact that at this time, especially Athens, is the main
is the place where tropaia is found, besides the flourishing art life of
this city are mainly attributed to the great victories on
the Persians of the early part of this century, in which Athens had such a
played a significant role. Persian equipment it is then
also, which adorn the tropaia on the balustrade around the Nike Temple (3).
In the fourth century, the tropaion expands in two directions
from. In addition to vases and reliefs, it is now also depicted on coins
and gems, and of these it is chiefly the coins which bear the token of victory
beyond the narrow confines of Attica throughout the ancient world.
The vases include an Attic pelike from Megara, an aruballos
in the British Museum, a vase in Hildesheim and one in the collection
Torlonia depicting the battle against the Amazons.
The reliefs from this time again include one on the Acropolis
found base, now from the east side of the Parthenoon, as well as a
fragment from the Peloponnese, which is now in the so-called Theseion
is saved.
How far the tropaion had spread in the meantime is shown by a
enumeration of the places of origin of the coins, which are a tropee
show. They are: Ainos, Lampsakos, Herakleia in Bithunia, Thrakia,
Klazomenai, Lokris Opountia, Corinth, Syracuse and Capua; also
Seleukos and the tyrant Saturos of Herakleia (Bithunia) left one
depict their coins.
On gems, the tropaion only occurs sporadically; the
only two copies are the so-called gemme of Onatas and a stone with the
image of the wounded Othruades. It's not likely that
one on a gem from Kerch, on which Nike put a shield on a truncated
tree trunk nails, must see the beginning of a tropaion. The shield
(1) SMITH, Catalog of Sculpture, I, 421 even distinguishes a tribe with helmet,
armor and shield. cf. BAUMEISTER, fig. 1240.
(2) FW, 747-761 (cf. DS, Ы. jol; WOELCKE, . 137 and note 39).
(3) B1. 113-114.
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for one confirms only then to the sign of victory, when all the other
weapons have already been installed. The consecration of a shield was by the way
not uncommon in ancient times (i).
The development, which in the fourth e began century, is in the third
century on. It is mainly coins that bear the image of a tropee
such as those of Antiochos I, the Boiotian League, Aitolia, Ziaelas
of Bithunia, Athens, Chalkedon, Marathous, Syracuse (Purrhos,
Geloon Π and Hieron) and Messana. On the Italian mainland,
she depicted on coins of the Bruttii, of Capua, Atella, Caelia, Heraclea
in Lucania, Rhegium and Taranto.
Of greater importance, however, is that the tropaion are now also
makes an appearance in Rome, which on some of its coins depicts the stereotype
depicting a Victoria wearing a tropaion
wreathed (fig. 6). The issuance of this so-called victoriati started
according to Grueber in 229 and continued until AD 173.
Except at Rome they were used in various places of
Italy and, moreover, minted at Corcyra. Their distribution is, ^б
considering the number of copies preserved, has been enormous (2).
Thus then tropaion, after already the fourth е century Magna Grecia
to be published in the third е century this new area not only geconso
joined, but also conquered Rome, from which it is not for the time being
will dispel more. Like in the East the coins par excellence
became bearers of representations of tropaia, that is how they are in Rome in
this initial stage even exclusively.
It is rarely found on gems and vases even in this century;
of the latter we mention one from Malta or Todi and one from Bologna.
Meanwhile, on Greek soil we encounter the remains of a tropaion
in round plastic, the first of which something has come down to us. It became
erected in memory of the victory over the Gauls in 279 and
found at Thermon in Aitolia (3).
Cabaret brings another tropee on a medallion of Antigonos
Gonatas and one on a silver strip, taken from the scabbard of a
sword, the remains of which were found in a burial mound at
Trichion in Aitolia.
Of more importance are the terracotta incense altars, on which each time
the image returns of a woman wreathing a tropaion. This
depiction recalls the victoriati. However, there is one distinction:
the victoriati wears wings on the victoriati, the woman on the altars
is wingless. Because of the stereotypical repetition of the same performance
(1) BABELON, Engraving, Ы. 119; LIPPOLD, 33.5 ; FAG, IX, 44; JAI, I, 1886, p. 128.
(2) GRUEBER, passim; DS, . 508-509; WOELCKE, . 208.
(3) AA, 1932, Col. 147.
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it is obvious that the altars come from one

factory which, given the locations where it was found, had a large sales area. Mostly
several have been found in Taranto, which fact for Wuilleumier
reason to assume that there was a connection between the
image on these altars and a monument there (i). altars as
these were further found at Mukenai, Delos, Eretria, Olbia and
Cumae; others are of unknown origin; in addition, many do
fragments assume that they too come from such an altar
to be.
Closely related to the altars just mentioned are the so-called.
Megarian bowls, because they contain the same representation in relief.
They too came from the same factory. Among the numerous find-
places, however, Taranto is not. Schwabacher does not share the opinion
van Wuilleumier, that the depicted depiction goes back to a
Tarentine Triumphal Monument of Purrhos. According to him, the origin
are sought in Attica itself, because most specimens there
were found (2).
While the tropaion in Rome became more and more popular, the
second century BC . the beginning of its death in the
actual Greek world. The cause of this is closely related
along with the course of history. It is in the second e century,
Greece gradually after Flamininus' declaration of freedom in 196
increasingly loses its freedom and ceases to be an independent superpower
while, on the other hand, Rome's power continues to expand and
strengthens.
With the loss of independence, under the Ro-
meinse yoke every independent military undertaking and thus the reason
erecting a tropaion, as well as the desire to proudly
symbol on monuments. It is Rome that predominates
and that, as in so many areas, here too, as a diligent learner,
footprint of his enslaved master.
Except on coins of Herakleia on Latmos, of Pergamos,
Ephesos and Bithunia in the east only the tropaion can be found
on a relief from Tenos, a sarco hedge from Lukie and one from Greece
sourced relief in the Louvre. So the Greek motherland is playing
hardly a role anymore.
In Italy, on the other hand, it is still the victoriati, who always
keep repeating the same type. Still in the second e However, this is centuries
(1) DEONNA, Brûle perfumes, and WUILLEUMIER; . REINACH, Pyrrhus; aaa, 1909,
col. 172-173 and Fig. 31, Col. 169 (Olbia); WOELCKE, p. 150, 152 and note. 88-91.
(2) COURBY, 30, . 346 and fig. 30, p. 349 (= NICOLE-COLLIGNON, 1299);
ID., . 381 and fig. 13, Ы. 382; SCHWABACHER.
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current stopped, as several mint masters (i) put the tropaion on their
take coins and follow their own paths, which lead to a
large variety.
In the first century BC. takes the crowd of coins with
the image of a tropee is great and it is in particular
men like Sulla, Caesar, Antonius, and Augustus, who regarded the tropaion as
do not despise victory sign in the least.
In the east, the tropaion is still found on an archaic
relief, probably found at Kuzikos, and on coins of
Adada in Pisidia, Kibura in Kilikia and a drachma of Ariarathes X of
cappadocia.
In Rome, however, it can now be found on almost every
field of art. Some monuments with the image of a
tropee bear a pronounced triumphal character. This is especially true
for the Tropaeum Alpium in La Turbie, which was crowned by a
large stone tropaion. Remains of such a tropee were also found
at Makri Steno on Rhodes.
A tropaiophore Mars was set up as a cult statue in the Martian
temple in Rome, which is in ζ ν. ch. was inaugurated. The original
function of the Victoria of Apollonia, who also added a tropaion
occurred is unknown.
Very often a tropaion appears on reliefs; so on the fries of the
Temple of Hecate at Lagina and the Temple of Mars at Merida in Lusitania.
Furthermore, it is found on the triumphal arch on the pons Milvius;
it is possible that the tropic reliefs at Bologna are also of an arch
to originate. From Pompeii comes a frieze with Eroten, busy with the
creation of a tropee; Constantinople makes its contribution in the
form of a neo-Attic relief. A tropaion occurs on a relief
above the inscription on the tomb of Caecilia Metella on the Via Appia and
on an altar in Rome. We also find it on the bottom of clay-
earthen dishes, on a crater in the Lanckoronski collection and on
roofer tiles. A tropaion adorns a shoulder flap of a statue of
Augustus in Copenhagen and stands for a reason hard to fathom
depicted on the back of the Augustus from Primaporta. Finally comes
it still on a stamp or coin model.
Of the monuments, where the presence of a tro-
paion in earlier days, the chief is a Pergamean
(i) L. Postumius Albinus, A. Aburius Geminus, M. Fourius Philus, L. Valerius

Flaccus, P. Vettius Sabinus, C. Fundanius, T. Cloulius, C. Egnatuleius, and M. Porcius
cato. The chronology of these coins is not entirely fixed; BABELON dates them in
The two e half of the 2 C century, while Grueber shifts most of them to the top
of the 1st century.
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memorial to the victory over the Gauls (i).

This tropee has not been recovered, however. Also the temple
from Mars UI tor in Rome would once have been adorned with tropaia,
worn by Victoriae (2). There is also a Roman base from the
time of Caesar, who would have served as bearer of a tropee (3),
while a statue of Victoria from Fossombrone would have a similar function
have had (4).
Uninterrupted goes the tropean series in the first century
. ch. through, yes, it even expands, because the tropaion
now straight is first becoming a popular ornamental motif for various species
of objects on which it hardly occurred before and because
it spreads widely across the western provinces of the
empire, especially Gaul and Germania.
As in the past, the tropee remains part of the fixed form treasure
of mint masters and gem cutters. Only from Otho and Nerva is
no coin with the image of a tropaion is known. especially on the
coins of the Flavian emperors, it is common, while it
less popular than that of the emperors of the Lulic-Claudian house.
Of the numerous gems we mention only the most famous: the gemma
Augustea and the gemma Caesarea or Tiberiana, both of which are a tropaion
show.
Monumental trophies also occurred during this time, such as the
tropaion from Hippo and one from the Horti Sallustiani at Rome.
Also known are the so-called Trofei di Mario, in reality dating from
the time of Domitian and perhaps from a triumphal arch; she
are now erected on the Capi's at Rome. Small tropaion figurines
are from Neumagen, Neuss and Bonn; some once stood
in military sanctuaries.
Tropaiophore statues of Victoria perish from Naples and
Carthage; from St. Germain come statuettes of Mars with a tropaion,
while in Narbonne a tropaiophore Amor was found.
As in the last century, we now often encounter tropaia
to reliefs of the most diverse provenance; like this on a relief with
the image of the Via Sacra in Rome, a relief in Naples, fragments
from Veii and sculptures from the Farnese collection, on quadrangular bases in
Rome and Athens, the tomb of Clodius Quirinalis in Trieste,
a tombstone in Budapest, under a marble seat in the Villa Casali
(1) SCHOBER, Gallier Memorial ; AJA, XLI, 1937, . 134-135; REG, LI, 1938,
p. 131-132.
(2) DS, . 511; cf. Ovm., Fasti, V, 555.
(3) САН, plate part IV, 88.
(4) Mostra, 166th, p. 238.
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in Rome and on the ceilings of the Amphitheatrum Flavianum. Also

capitals are decorated with it. That there were other bases in Rome
with images of tropaia, makes an announcement from Montfaucon
conjecture (i). Furthermore, a relief is mentioned in the Villa Wolkonsky
depicting a tropee, of which the helmet and the bottom part
have broken off from the trunk (2).
Among the ornamental motifs on triumphal arches, the tropaion as
symbol of victory, of course, has a prominent place. We'll find it then
also on the bow of Titus, on that at Capua and in Turin; a relief with
a tropaion from Peschiera is probably also from a triumphal arch
originating.
Remains of a triumphal arch in Avignon suggest that too
a tropaion was once depicted on this (3). The arches of Périgueux,
Toulouse, Carpentras and Orange also show a
or more such victories. It is unclear whether the tropes on a re-
sweet from Bordeaux (4). The coats of arms referred to as "trophées" on the tombstone
of M. Augustalius Martinus from Bordeaux can be resented as a
anthropomorph tropaion (5). It's different
with reliefs from Valcabrère and Vienne.
Also from Germania are some reliefs with the image of a
tropaion originating; the main site is Mainz, where a tropee
om occurs on the lupiter's column. Even a mirror box from Remagen
contains a representation of it in relief.
The center of gravity has therefore clearly moved to the west.
In the eastern part of the Roman Empire there is hardly any
tropee, whether it should be that a relief from Spalato was used for this purpose
would like to calculate.
While the tropaion thus underwent a regional expansion
to the west, it also penetrated some areas where it
until then was not or hardly known: it is frequently used
for the decoration of the breastplate of statuae thoracatae, of
carved Sarkophagen, where it is mainly used as
corner figure — alone or in the hands of a person — and on frescoes
Pompeii.
In cabaret, except for a few already in other contexts
mentioned objects, even for a gladiator helmet from Pompeii, a
plate of blue glass, relief beakers, ash urns, Arretine chalices and lamps.
(1) MONTFAUCON, . 245.
(2) MATZ-VON DUHN, 3546.
(3) ESPÉRANDIEU, Recueil Gaule, I, 234.

(4) ., , 1232.
6) 1°·. . "S · 1
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The frequent occurrence of the tropaion in all areas of the

art : round sculpture, reliefs, painting, coins, gems and more
cabaret shows how popular it was in the 1st century AD. BC, who before
our victory sign in this field has been the pinnacle.
The decline begins in the second century of our era
of the tropion. It still has an important function as the crowning achievement of
the Tropaeum Traiani at Adamklissi. Coming from Avaricum (Aquitaine)
several fragments, suggesting a tropee and originating
would be of a monument of victory (i). In the round sculpture it comes
otherwise only in front of a statue of M. Aurelius from Moutali.
Also mentioned is a tropaion on a Corinthian basis,
on which stands a trunk without a crossbar, equipped with a helmet and three
shields at the base (2).
The tropaion is still fondly used on reliefs. It occurs
on the columns of Traianus and M. Aurelius, on a column from the theater
at Catania, on the frieze of a capital of the southern puloon of the
baths of Aphrodisias, on reliefs at Bologna and Modena and on
parts of triumphal arches at Samos, Corinth and Rome (Septimius
Severus). Furthermore, according to an old description (3)
tropaia in compartments separated by pilasters on a tomb
ment on the Via Portuensis in Rome. As in the i e century the
tropaion common on harnesses and Sarkophagen.
Almost no emperor is missing on the coins (4). the decline
can rather be seen in gems and other cabaret art.
Only a terracotta lamp from Corfu still shows a tropaion. men
could say that it still belongs to the official treasure of shapes
and as such still on monuments as triumphant and on coins
depicted. But among the common people, for whom the products of
the cabaret were mostly intended, it has gained a lot of popularity
lost.
These phenomena continue into the third century and show
clearly indicate that the tropaion has passed its zenith.
Monumental trophies are no longer found at all. In
we still find relief there in the Giardino Boboli in Florence; they would
come from a triumphal arch. There was also the one in Lepcis Magna
decorated with. Remains of a gigantic tropaion, of which unfortunately
no details can be distinguished anymore, they come from
(1) RA, XXXVIII, 1879, . 364-365.

(2) DS, note. 9, p. 515.
(3) BARTOLIUS-BELLORIUS, Veterum sepulcra, ill. Lil, p. 46-47.
(4) See coins of Traianus, Hadrian, Antoninus Pius, M. Aurelius, L.
Verus, Commodus, Pertinax, Pescennius Niger and Albinus.
58
Page 92
of a relief from the baths of Caracalla in Rome (i). Furthermore, there is

the base of Scipio Orfitus, the sarcophagus of Balbinus, the armor of
a statue of Caracalla from Thasos and a number of capitals in the S. Lorenzo
fuori le mura and in Leningrad, depicting tropaia. Also on the
Pincio, capitals of pilasters were found, which, despite their
fragmentary condition allowed it to be seen that they were decorated
with armour, tropaia and shields (2).
The tropaion is only sparsely represented on gems, compare
resembled the former abundance. Just a trio of gnostic gems
still show the image of it; it seems to be connected here
with Christian-oriented religious sects.
Only on coins (^) has the tropaion managed to secure its place
harbor not only, but the artists even turned out, as will be
capable of new discoveries.
After tropaion, that I e century by the Roman armies
had penetrated into Gaul and Germania, in the subsequent period mainly
limited to Rome, in the fourth century AD. C mr .
a slight shift to the east. However, this one turns out
not to be of great significance; with the gradual decline of
the Western Roman Empire and the increasing influence of Christianity,
which possesses in the Cross a more sublime symbol of victory than the heathen
tropaion had once been, the tropee disappears; also in the east makes
they no longer rise.
At Rome one still finds a tropee on the Arch of Constanti) η ;
she also appears on the base of a statue in Turin, on the
Decade base of Galerius and Constantius Chlorus and on the arch of
Malborghetto.
A tropaion statue was found at the eastern city gate
of Tomis in the Dobrusha. At Salonika a tropaiophore adorned
Victoria Galerius' tetrapulon. A rectangular pillar from Constantinople
tinople with the image of a tropaion and a prisoner may be
also from a triumphal arch. Also the column of Theodosius te
Constantinople was decorated with a tropaion.
Among the gems there is only one, that of Licinius, of a tropee
(2) ID . , 3454.
(3) Septimius Severus, Caracalla, Lulia Domna, Geta, Macrinus, Heliogabalus,
Aquillia Severa, Alexander Severus, Gordianus Pius, Philippus Arabs, Otacilia, Traia-
nus Decius, Trebonianus Gallus, Volusianus, Valerianus, Saloninus, Gallienus, Salonina,
Postumus, Victorinus, Claudius Gothicus, Quintillus, Aurelianus, Tetricus, Tacitus,
Florian, Probus, Carus, Numerian, Carinus, M. Aurelius Julianus, Diocletian,
Galeria Valeria, Maximianus Herculius and Carausius.
59
Page 93
provided. It is the coins, which traditionally remain the tropaion

show (i).
The same applies to the fifth century, although with the
number of coins also limited their variation more and more. Except on emperor
In the case of coins (2), a tropaion can still be found on a Vandal coin and
one from Constantinople.
The end then comes in the sixth century, after Lustinian de
tropee again on one of his coins. being out
time or earlier is also an ivory diptuchon, the so-called ivory Barberini,
which is now in the Louvre and in the center shows the Emperor on horseback,
crowned by a flying Victoria. Under this performance is a
second goddess of victory to the left; she raises her left hand to the emperor
and carries a tropee (3) in his right hand. This striking gesture is
as a farewell salute from the goddess, who for ten centuries the faithful
had been a companion of the ancient sign of victory, the tropaion.
§ 2. — THE TYPOLOGY OF THE TROPAION
The way a tropee is composed leaves room for an in

details almost limitless variation. It seems useful beforehand to make some
to establish ginsles, which should form the basis for determining
establishing the typology. Exceptional shapes, which are not within
having strict boundaries enforced also remain possible.
From a typological point of view, the distinction made by Woelcke between
tropaia with a trunk rooted in the soil and with a loose pole of
of no essential importance, as it hardly changes the appearance
shape of the victory sign. In addition, often can not be separated
which one is dealing with. Incidentally, it was in the nature of
It is important that, if a suitable tree was available, one should
used; if this was not the case, they were satisfied with
a severed branch, which was fixed in the ground and often secured with
using stones or a piece of wood.
The distinction between a standing and a portable tropaion is for
the typology is also of little importance and moreover dangerous. It
(1) Of Galerius Maximianus, Constantius Chlorus, Severus II, Maximinus

Daza, Constantine I, Maxentius, Licinius I, Crispus, Constantine II, Licinius II, Constan
tius II, Constans I, Magnentius, Decentius, Constantius Gallus, Vetranio, lulianus,
Valentinian, Valens, Valentinian II, Theodosius I, Maximus, Eugenius and Arcadius.
(2) Of Honorius, Theodosius II, Priscus Attalus, Lohannes, Valentinian III,
Maiorianus, lulius Nepos and Romulus.
(}) CUMONT, . 88-89; DS > p. 514.
60
Page 94
plays a role in that a worn tropaion is not the heavy type

can exhibit a standing tropee. It is dangerous to speak of
a portable tropaion, because a standing tropaion is also very
may be available, even if it is not currently being worn.
The outward form also does not change due to the fact that the tropaion-
pole is made of wood, stone or metal. Whether it is provided with a side branch and whether
these runs obliquely or horizontally are ancillary to the typology
issues, often no more than coincidences.
What is important, however, are the weapons from which the tropaion is made
built up. Their origin, which is mainly a historian and an arms master
skillful interest, as well as their shape and decorations are for us
goal less important. The decisive question, however, is which weapon
nen are attached to the tropaion, in what number and in what place.
This mainly determines the outward impression and shapes the type.
To avoid an almost endless subdivision, we know
armor and helmet only a subordinate place for the determination
of the tropaion type, as they are almost never absent; the same applies,
due to their often small dimensions, for greaves, daggers and
swords.
It is different, however, with the shield, which is an all-
occupies a predominant position both because of its size and because of the
fact, that number and place often change. The position of spears and drums
caps is again subordinate to that of the shield.
Apparently of significance is the angle under which the viewer de
see trope. However, since this factor has nothing to do with the
construction of the tropaion itself, it is only for a subdivision of
interest.
The oldest tropaion on the vase shard from the sanctuary of the Kabeiren
at Thebai (fig. 7) (1), although only the upper half is visible
is, a helmet, a scaly armor and a spear, which is slanted upwards
protruding side branch on the right side of the victory mark is horizontal
Fig.57 Fig. 8
(1) BI. 30, note. 4. Cf. a coin of the Boiotische Bond: DS,Jafb. 7107, p.
503 and WOELCKE, p. 202 (Fig. 8).
61
Page 95
established. The missing shield may have stood at the foot,

but could also have been in the hands of a Nike. The rest
of a wing, to the right of the tropee, could indicate this, were
it does not, that the orientation, which is turned away from the tropaion, rather does
suspect that the winged figure is turning its back on it.
Despite the incompleteness, it is clear that this victory sign is not
more than the weapons of one hoplite. For this reason we would
want to call it a hoplitentropaion and refer to it as
type 1.
In the midst of battlefields stands the oldest
plastic tropaion on the frieze on the inner
side of the western wall of the heroön te
Gjolbashi-Trusa (fig. 9) (1). This also bears the
reinforcement of a heavily armed : helmet, armor,
11
on the left a shield and a spear on the right,
just as the arms were borne by the
living soldier. The orientation of the tropee is still
Fig. 9 not fixed: while on the above-mentioned shard she
the viewer turned to the left, the last one turns
turn to the right. This attitude is the most unfavorable one
can propose; for the shield, which because of its shape and decorations
is such a wonderful means of building up a decorative whole, see
one here from the inside. It is therefore to be expected that this
manner of representation will only be used exceptionally, since
it prevents the artist from creating a beautiful whole.
It is also possible that this orientation is not unfounded,
but is determined by the share the tropaion has in the battle.
On the left is the ship's camp of the Greeks, on the right the city of Troy,
where it is directed. Benndorf-Niemann therefore believes that the
direction of the tropaion points to a favorable outcome for the Greeks
of the battle. According to Friederichs-Wolters she is not easy to
declare, conspicuous indication of future victory.
Both hypotheses find little support in the literature (2).
Unlike the sculptor of the previous tropaion,
the painter of an Attic pelike of the time of Pericles there so much
out of the tropee in all its details to show that he is a great
has to spare (fig. 10). Nike nails a helmet here
tropaion, which is directed to the left and composed of a helmet, a suit of armor
with chitoon and a sword on a carrying strap. While this is now on the regular
(1) BENNDORF-NIEMANN, Ы. 115-116 and pi. X and XXVII; FW, . 320 and nos.
993-999; WOELCKE, . 149; DS, . 497 and 501; RRR, I, 448, 3.
(2) BI. 47.
62
Page 96
way on the left, is the spear that should be on the right

worn, also on the left side. This does arise from the
Fig. io
long, to make everything come out as best as possible. A shield with a

big eye as shield mark is below against the trunk and still has to be on the
correct position (i).
Also unfinished is the tropaion on a relief from the time of
Pheidias at the Panagia Gorgopiko Church in Athens (2). Despite these
incompleteness, which also includes the tropaia on the balustrade of the Nike Temple
and the vagueness of that on the frieze of this sanctuary, voices

the tropeeën of 5 E century in one respect similar to one another, viz., that
(1) TILLYARD, 104, . 59 and pi. 14; RRK, II, 326.4; STUDNICZKA, Siegesgottin,
pi. X, 45; WOELCKE, p. 162 and note. 75.
(2) FW, 1185; AZ, 1867, p. 95 and pi. 226, 3.
63
Page 97
they contain no more than the weapons of one man. In general

one can say, that the artist has not yet found the ideal form
ie the shape that offers the most beautiful sight to the viewer.
An exception must be made for the three Persian
tropaia on a four-sided marble base, found south-west of the
Parthenoon (fig. 11). On the front is a soldier next to a completed
Fig. ii
tropaion, whose trunk with obliquely upward projecting side branch a conical
shaped helmet, a lower and outer garment and on the left a large
shield. The left part of the base is badly damaged; at
the tropaion appearing thereon seems to be stripping only the outer garment
break, which on the tropee on the right side is just by a Nike
applied. All three tropaia are depicted frontally (i).
In addition to this frontal hoplite tropaion, which we
designate as Type IA, comes in 4 e century variant, which hopli-
tentropaion from the side showing the graceful curve
of the shield immediately catches the eye (type IB).
This is already found in the beginning of the century on a basis, found
east of the
middle of aParthenoon. Onview.
tropee in side the long
Nikeside
justofputs
it isawritten
helmet in
onthe
the trunk. An
second goddess of victory turns to a tropaion on the right corner.
A remnant of the wing suggests that such a stage is also on the left
side was depicted (2).
(1) WALTER, 398; SCHÖNE, 97 and pi. XXIII; WOELCKE, fig. 3, Ы. 149.
(2) FW, 1184; WALTER, 399; WOELCKE, . 162 and note. 138.
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Page 98
A special feature shows a coin from Ainos (i) in the form of

a tropaion with an artificial pedestal; this may indicate that we
here no longer have to deal with the rough tropee of the battlefield,
but with a more artful construction.
In addition to type IB, which still appears on coins of . in this century,
Bithunia and Thrakia and on an Attic pelike from Megara (fig. 12), remains
IA in vogue (2). A few details may be noted.
Almost without exception, the coins of Syracuse show a

tropaion of type IA. After humble beginnings with type I В as mint mark
on the obverse of coins from the period 317-306 (3), since
310 a coin in the foreground with a Nike, wearing a helmet to a tropee
nails (fig. 13) (4). Later Agathokles will add his name to this statue
gen and elevate it to great beauty (5). The tropaion is of a very
slim shape and additionally provided with a pair of shin plates, which,
(1) WOELCKE, . 201 and pi. XI, 1; MAY.
(2) On coins of Klazomenai, Lokris Opountia, Syracuse, Capua, Seleukos

I and on the gemme of Onatas.
(3) WOELCKE, . 201 and pi. XI, 13-15; DE LUYNES, pi. VII, 18.
(4) DS, . 505; WOELCKE, . 200.
(5) BORGER, pi. XVII, 1; BAUMEISTER, Π, fig. 1146, p. 960; HEAD, fig. 105,
p. 181; IMHOOF-BLUMER, Flügelgestalten, 62, bl. 29 and pi. V, 6; Monnaies, IV, 395-
396 and pi. XVI; Monnaies, V, 1182-1187 and pi. XXXVI; GARDNER, Types, pi. XI, 21
and p. 184; WOELCKE, p. 202 and pi. XI, 10.
65
Page 99
now for the first time, at the bottom of the tropaion pole at varying heights
be confirmed.
The tropaion on Capua coins (fig. 14) is sometimes
fitted with a pedestal (1). Giving twigs with leaves
on the other hand, to know that the tropee on coins of
Seleukos I was founded on a tree trunk (2). as well as on
the coins of Syracuse lack here the spear.
A beautiful piece is the so-called gemme of Onatas (3).
The tropaion, founded here by Nike, is essentially still
of type I A. However, its structure is very loose. Helmet, harness with under-
robe and shield are normally attached; a sword hangs from the left
silk; a garment is hung over a side branch, shin plates are
established on the trunk, against which leans a large shield. A spear stands
against a small shield hanging from the left side branch, while a ribbon with
the inscription ONATA hangs down from the tropee in graceful waves.
Very doubtful is the "tropaion" on a gem, on which, according to
Furtwängler Salii attach an ancile to a tropee. Woelcke calculates, so-
far necessary, with this view off (4). Incidentally, the "tropaion" of a
type to be determined : visible are a helmet and a pair of shin plates ;
the rest is hidden behind a shield, which is attached by two people.
Meanwhile, in the 4 e century entirely unremarkable new tropaiontype
born. On a coin of Lusimachus of Thrakia it reads between the victory
goddess, who from the outstretched hand of a sitting-
crowned Athena's king's name, and the knee
of Athena a small tropaion, which on both arms
carries a shield (fig. 15) (5). In development
of the tropee this is a fact of great significance. The
After all, the artist hereby shows the original
rigor in the construction of the hoplitentropaion
sail. And when one no longer wishes to
limiting it to one man's weapons is basically
opened the door to free development, which indeed
will
timefollow and results in an overload, which we see especially in Roman
to observe.
(1) WOELCKE, p. 200; Monnaies, IV, 15; ib., V, 134; IMHOOF-BLUMER, flugelhorn
shapes, 65, p. 29.
(2) WOELCKE , . 202 and pi. XI, 16-18; HEAD, fig. 332, . 757; BAUMEISTER,
II, fig. 1107, p. 953; GARDNER, Types, pi. XIV, 1; DS, fig. 7110, p. 505; IMHOOF-
BLUMER, Flugelgestalten, 65, . 29.

(3) MidDLETON, p. 88; BABELON, Engraving, fig. 97, p. 125; ]AI, III, 1888,
p. 204-206; FATF, XIII, 37; LippoLD, 33.8; WALTERS, Gems, 601 and pi. X.
(4) FATF, XII, 63; WOELCKE, . 146; DS, note. 6, p. 509; FGS, 1134.
(5) WOELCKE, pi. X, 5 and 5a; MUHO, . 33; DS, note. 7, . 515.
66
Page 100
In essence, however, the new type, which we will call type II

still very controlled; it is an extension of type IA into a more even
weighty form : the symmetric hoplitent ropaion .
The same century, which in type II is an extension of
gives rise to the hoplitentropaion, at the same time brings
time a limitation thereof in type III, the development
weapon type . This is first appearing on
an Etrurian vase depicting a battle
against the Amazons (fig. 16). The tropee on this consists
of a cross, which is placed on a pedestal and
only decorated with a suit of armor and helmet; all offensive
weapons are missing (i).
All tropaiontypen of four e his century, as well as
those of the preceding upright models. Match
to vary the nationality of the vanquished
the arms : the helmet with horns on the Etrurian
vase indicates a victory over the Gauls.
The typology of the tropaion moves in the
3 e century within the previously mapped out orbits.
New types do not arise, the existing ones come without exception
in front of. In addition to type IA (2), type Ι В is also widely distributed. However
there is a distinction : while the former in the most divergent parts
of the Greek world is found, it becomes the second major
resembles the model, which was used in certain centers such as the factory of
the terracotta frankincense tarts and the Alegarian bowls and the mint
of the victoriati, all of which use type IB exclusively. Variations
Fig. 17 Fig. 18
in insignificant details — sometimes a pedestal is found, sometimes not;

sometimes the spear is missing, sometimes it is present (fig. 17-18) —
(1) WOELCKE, fig. 9, Ы. 184 and note. 78; DS, . 498 and 515.
(2) Coins of the Boiotische Bond (with pedestal: Ы. 61, note 1) and of Aitolië
(with pedestal: WOELCKE, Ы. 204 and pi. XI, 33-34); medallions of Antigonos Gonatas
(Ы. 144); coins of Ziaelas of Bithunia (robe instead of armour, knod on the right
side and obliquely thrust into the ground: WBR, I, 2, 8, Ы. 219 and pi. XXIX, 9)
and Marathous in Phoinikia (WOELCKE, Ы. 206).
1.7
Page 101
can be disregarded. Also outside these centers comes

this type once for (i).
Tropaiontype Π is the third e sporadic (2) century,
as well as type ΙΠ; the latter only in a lararium from the time of the Seleucids
with five statues in two rows one above the other; next to a prora on a column
contains a statue of Eros, Tuche, Nike and a tropaion
on a gnarled trunk with two side branches (3).
Except for the fact that with the tropaion also the tropaion types on
Italian soil to enter without modification (4), finds in the
3 E century another development site, which is very important.
It is King Purrhos who brings this novelty, and that on his own account.
278 minted coins from Syracuse (fig. 19) (5).
Until then only standing tropes were known and this
was entirely in line with the original intention. Purrhos
let, however, for the first time depict a tropaion, which
is carried by the goddess of victory. With a wreath in her
right hand and a tropee in her left hand she is on her way to
Fig.
to pass these victory symbols to the victor
handy. This opens up a far-reaching perspective for development
of a rich treasure of shapes of great variety.
In the second e century, all existing types in use;
show a noteworthy feature only
a number of coins from Pergamos (fig. 20) and Ephesos (6). The
tropaia on this are of type III and wear a Gallic helmet
with horns, but lacking a trunk. The legend speaks
of a ΑΘΗΝΑ NIKHION. Fig. 20
(1) Coins of Syracuse (time of Purrhos; tropee as coin symbol on the
obverse: WOELCKE, p. 202 and pi. XI, 24-28) and of Caelia (HANDS, Italo-Greek
Coins, p. 116, Iac; WOELCKE, p. 204, 2-4 and pi. XI, 40); gems (FGS, 2204-2207
and 6672).
(2) Coin of Messana (282; tropaion as figure in the background: WOELCKE,
p. 203 and pi. XI, 23); armor from Koos, which probably belonged to a tropee,
in view of the side branches protruding through the armholes (MENDEL, Catalog sculptu
res, III, 833, p. 35; HEKLER, p. 203).
(3) THE KNIGHT, Bronzes syriens, pi. VI; Mon. Piot, XII, 1905, . 55-78 (Ы. 193).
(4) Coins of the Bruttii (IA with greaves and stones at the base: HANDS,
Italo-Greek Coins, p. 185, ; WOELCKE, . 202 and pi. XI, 29-32); from Heradea in
Lucanie (with greaves: WOELCKE, pp. 204, 1 ; with pedestal: ib., pp. 204, 2 and
pi. XI, 41).
(5) WOELCKE, p. 202 and pi. XI, 19-21; DS, fig. 7111, . 505; GARDNER, Types,
. 184 and pi. XI, 23; HEAD, fig. 181, p. 323; DE LUYNES, pi. XIII, 3-4; Monnaies, IV, 527.
(6) Pergamos: WOELCKE, p. 206 and pi. XI, 46; HEAD, p. 536. Ephesos: WOELCKE,
p. 206 and pi. XI, 47.
68
Page 102
Now that the tropaion has been introduced in Italy, the

Romans soon embraced the tradition of shapes through a new tropaion
to create a type that appears for the first time on
denarii of M. Fourius Philus, probably from 104
(Fig. 21) (1). On the reverse of this, one of
woman coming to the right, armed with helmet and spear, a
tropee : it is the Roman city goddess Athena-Roma, who
replaces Nike-Victoria.
The number of weapons that make up the tropee on this coin
has been built up has been considerably expanded. While the Greek tropaion-
typing, despite variations, still shows the necessary control over the day
the Romans, on the other hand, do not know how to measure and expand
they expand the tropaion into an overloaded form, which is denoted
as type IV. Thus we find at the foot of the tropee on the last
mentioned coins two shields and some Gallic animal head trumpets;
the number of weapons is more than the equipment of one man. Can we
however, still note a certain moderation on these coins, these
will eventually lead to an often even unaesthetic excess.
A great resemblance in construction with the tropaion on the
coins of M. Fourius Philus show the victory sign on
silver coins of С Fundanius (fig. 22) (2). Could one do it
tropaion type on the previous coins as a contamination
of the tumuliform and the anthropomorphic tropee, now this is
excluded, as there are no weapons at the foot of the
Victoria's wreathed tropaion, but a living prisoner.
The innovations of the two e century, which have just been described, are
typically Roman. A priori one can expect that the heavy type IV
mainly in standing form; the lighter types of the past are

on the other hand, more suitable to be worn and as currency symbols
to serve. However, the Romans also come to the fore with regard to the first types
to new discoveries, although initially a certain austerity still remains.
Thus we find in the i e century type IA in its simplicity back on mun
ten of Faustus Cornelius Sulla with the image of three tropaia, which are
draw on the three triumphs of his father-in-law Pompey
(Fig. 23) (3).
(1) GRUEBER, II, 555-561 . 283 and pi. XCIV, 5-6; COUISSIN, Equipement, 4, .
35 and Fig. 4; DS, note. 5, p. 510; WOELCKE, p. 209 and pi. XII, 11.
(2) Probably from ιοί. GRUEBER, I, 1696-1703, p. 233 and pi. XXXII, 8;
WOELCKE, p. 210 and pi. XII, 13 BC; DS, note. 5, p. 510; COUISSIN, Equipment, 7,
p. 37 and fig. 6.
(3) From 54. WOELCKE, p. 211 and pi. XII, 21; DS, note. 11, . 510; BABELON,
Description, I, 424, 63 ; GRUEBER, I, 3909-3911 and pi. XLVIII, 22 (cf. the signet rings of
Sulla and Pompey, also with three tropaia: CASS. DIO, XXXVII, 21, 2 and XLII, 18, 3).
69
Page 103
The coins of L. Cornelius also deserve special mention

Sulla himself, who recall his famed victories. His is a
Athenian tetradrachm known with the common pre-
position of an owl on an amphora, which, however,
surrounded by tropes on both sides, which
would be fond of his victories at
Chaironeia and Orchomenos (Fig. 24). The Signs of Victory
Fig. 23
have a somewhat unusual shape; they consist of a
helmet, a tunic and a small, round shield, which in
front view in the middle of the chest area is
established, while small side branches on both sides
shoulder height (1) (type IC).
The same tropaion form is found on golden
and silver coins from Sulla, on which she made a sacrifice
and flank a crook. On some, the
gnarled trunk a striking resemblance to a
Fig. 24 bunch of grapes (fig. 25) (2).
Another special feature are the trophies
on coins of C. Coelius Caldus, struck at
among the i e century. They give a lecture
can be seen, which is decorated on both sides with tropaia,
composed of a trunk with tunic, helmet, shield,
Fig. 25
sword and two spears. Not only the nature of the
arms, but also their place varies greatly :
sometimes the blemishes are on the outside, then again they hang
in their normal place on the left side branch. Sometimes the spears are even-
widely attached, elsewhere crosswise. This is how the designer goes
of this coin in principle still of type IA, but allows
take all kinds of freedoms to achieve the most artistic effect possible.
reach (3).
The same freedom can be observed on coins
by С Julius Caesar, in which the tropaion plays a major role
plays (a r b. 26). His victories in Gaul become there
on glorified by trophies of Gallic arms,
namely a tunic and a helmet with horns, on the right one
shield and on the left a trumpet with an animal head. to the judge
side there is still, apart from the tropaion, an ax that Fig. 26
(1) REGULATION, . 67 (cf. a coin from Antibes, p. 72).

(2) REGULATION, p. 67; GRUEBER, II, 1-4, p. 459-460 and pi. CX, 1-4; WOELCKE,
. 211 and pi. XII, 20; BABELON, Description, I, 406, 28.

(3) GRUEBER, I, 3837-3840, p. 475 and pi. XLVII, 23-24 and XLVII1, 1; WOELCKE,
p. 212 and pi. XII, 25; BABELON, Description, I, 373-375, 7-12; DS, . 510; COUISSIN,
Equipment, 17, p. 40.
7°
Page 104
ends in an animal head. Simple as this tropee is in its construction,

yet it shows a great peculiarity which is not here, as on the coins
of С Coelius Caldus, can be motivated stylistically, namely that it
shield in an unnatural place on the right side of the tropaion
is fitted (i).
Caesar permits himself the same on a denarius with the image
of the handcuffed Vercingetorix, seated before a tropaion (fig. 27) (2). on
Fig. 27 Fig. 28
in the same way a tropaion of Spanish arms is composed, which on

a quinarius of Caesar stands between a wreath and a shield and relates
has at the battle of Munda (fig. 28) (3).
A fairly normal tropaion shines on the wars in Britain
to signify, with a shield on the left and a spear or sword in menacing
attack stance on the right (fig. 29). On his left is a
chariot and on the right a shield with two spears and a
animal head trumpet. Sometimes they stand apart from the tropaion,
but then again they are arranged in such a way that it is clear
that they belong to the tropee, so that we here too

can speak of the overloaded type in his first Fig. 29
stage (4).
Caesar also adds all kinds of hitherto unknown elements
the tropaion without, however, becoming an undue extravagance
get. So far, the expansion of the tropaion mainly came
manifested in a heaping up of arms at his foot, now shall
these weapons are lifted and attached to the side branches of
the victory sign, so that it often becomes top-heavy. The number of weapons stands
than in any proportion to the armament of one man. This
(1) WOELCKE, . 212 and pi. XII, 29; CMI, I, 17-18; BABELON, Description, II,
17, 25-26; GRUEBER, I, 3953-3958, p. 505-506 and pi. XLIX, 12-13; COUISSIN, Equi
pement, 21, . 42.
(2) BABELON, Description, II, 17, 28; GRUEBER, I, 3959, p. 506 and pi. XLIX, 14;
COUISSIN, Eqmp:ment, 23, p. 43.
(3) WOELCKE, p. 213 and pi. XII, 36; BABELON, Description, II, 18, 29; CMI, I,
16; DS, p. 510 and note. 20; GRUEBER, I, 3961, . 507 and pi. XLIX, 16.
(4) GRUEBER, II, 70-71, p. 363 and pi. C, 19; CMI, I, 15; BABELON, Description, II,
12, 12-13; DS, Fig. 7118, . 510; WOELCKE, . 212 and pi. XII, 23; COUISSIN, Equipment,
18, . 41 and fig. 8, . 42.
7'
Page 105
is also no longer necessary: after all, it has become a sacred sign of victory
into a monument with the intention not so much to the gods on modesty
to bring honor and thanksgiving to the wise, but to give the glory of victory
glorify. The pride is no longer satisfied with the simple
sign, which was erected on the battlefield by primitive means and
left to the elements, but requires a 20 beautifully out
cool trope. The overload is an expression of this.
Overloaded tropaia at the top appear for the first time
on Caesar's denarii (fig. 30). On the flip side of that is
at the foot of a tropee of Spanish and Gallic arms
on the right a captive woman in mourning pose, while
Fig. 30 left a naked, handcuffed man kneeling, looking back at it
victory sign. This consists of a pole with armor and helmet, while
On either side a shield, a spear and a trumpet with an animal head
are mounted symmetrically (1).
the i e century BC. is thus for the tropaion of a special
wealth, in that they carry with them a great variety of forms
brings; it is so large that it is impossible to go into all the details
point. Therefore, a brief summary will suffice,
the more so, because with type IV the new forms are exhausted. It was
besides, there is no need to create new types, since the latter
offered every opportunity for change and variety.
Type I В is rare at this time. Type IC, a combination

of IA and IB, which we found on the coins of Sulla, are found
back on coins of Antibes in Gaul, minted under the governor-
ship of M. Aemilius Lepidus in 78-77 BC. (2).
Type II also occurs only sporadically; the
equilibrium in this type, which was characteristic of
the Greek tropaia of this form, is used by the Roman
often disturbed by the difference in shape and
size of the shields, as shown on a denarius
by Q. Caepio Brutus (fig. 31) (3).
More often one finds type ΙΠ, sometimes 2elfs 2under helmet; the frequency
it suggests that it is an unfinished tropaion 2ou 2ijn, te
not (4).
(1) GRUEBER, II, 86-88, . 368-369 and pi. Cl, 9; WOELCKE, . 212 and pi. XII,
27; CMI, I, 14; COUISSIN, Equipement, 20, . 42 and Fig. 9.
(2) DURUY, II, p. 475.
(3) GRUEBER, II, 52-54, p. 475-476 and pi. CXI, 10; CMI, I, 8; BABELON, Description
tion, II, 115, 35 and 453, 22; WOELCKE, p. 213 and pi. XII, 38.
(4) With helmet eg REINACH, Pierres gravies, pi. 31, 64, ia and bl. 34. Without
helmet ib., pi. 62, 5, no. 59, 5 and p. 62; FGS, 5982.
I2-
Page 106
In the i century AD return all existing tropaiontypen

e
back. In particular, we still find the typical variant I С on the

shoulder flap of an armor from Pergamon in Berlin. It
tropaion is carried by a Victoria (i).
Type ΠΙ occurs as before with (2) and without helmet (3)
(IHA and ΠΙ В respectively).
Of type IV, for example, the Victoria of Carthage shows a tropaion-
form with an accumulation of arms at the foot (IV A); against
proposition with this we would arm the tropaion with an overload of
can call IV В exclusively on the side arms, while the combination
of both could be referred to as IV .
A good example of this last type are the so-called Trofei di Mario
on the Capitol, two in number. Old pictures (4) show this monu
ments in undamaged condition. They were removed in 1587
of the remains of the Nymphaeum Alexandri at the tip of the
Aqua lulia, in whose niches they were set up for Alexander Severus,
as his coins from 226 show. Before that they adorned a triumphal monument,
according to Macrea, a triumphal arch of Domitian (fig. 32-33) (5).
Both tropaia contain a great multitude of weapons, both on the
arms as at the foot, and, moreover, of various kinds. beautiful be
worked shields, gracefully shaped helmets, greaves, scabbards,

quivers, scaly armor on one, and a hairy tunic on the other
other tropaion make their ornaments. On the one hand, the Roman
to arm ; a captive woman, at whose feet children used to play
were in the middle of the tropee. Remains of winged
genii are still visible on either side. The other tropaion exists
mainly of barbarian weapons. Both monuments exhibit at
all their lavishness which deserves the name baroque, a great deal of
(1) HAGEMANN, . 40 and fig. 54.
(2) WALTERS, Bronces, 1548 (bronze tropaiophore Victoria in London).

(3) RRJ , II, 1, . 387.7; DS, note. 2, p. 512; REINACH, Pyrrhus (Victoria met
-
tropaion in Naples).
(4) From P.S. Bartoli, i 1700, G. Piranese, 1750 and P. Righetti, 1836.
(5) MAGREA, . 131; BIENKOWSKY, The Simulacris, 19, Ы. 40 and fig. 19, Ы. 39;
ID., Celtes,
p. 195; HELBIG, Führer, I, p. 409-411; RM, XXXVIII-XXXIX, 1923-4,
. 190; AJA, XIII, 1909, p. 517; XXXIII, 1929, p. 234; SCHUMACHER, photo 5,
.79; MAASS, p. 67 f.; PAULY-WISSOWA, SV Tropaeum; JAI, XL VI, 1931, . 64 and
70; DURRY, MAHEFK, LU, 1935, p. 77-80; RICHTER, p. 318 (cf. p. 128); MONT-
FAUCON, p. 108-109 and 170; DURUY, II, p. 489; GSELL, p. 115; LENORMANT; TEBO,
. 85; WOELCKE, p. 158; DS, note. 8, p. 509; p. 513; remark 14, p. 515; BAUMEISTER,
p. 1531; RRR, I, 289-290; JORDAN, I, p. 478; II, p. 517; BERNHART, p. 139; KIB,
fig. 7, p. 408; CMI, IV, 479.
73
Page 107
symmetry. Their composition is exquisite, so that they make the most beautiful
still existing tropaia may be called (i).
Fig. 32
(1) MACRF.A, p. 113.
74
Page 108
Fig. 33
Due to the difference in the weapons used, it is sometimes

distinguished between a classical and a barbaric tropaion. That much
is in any case certain that, according to the Trofei di Alario, which
name was wrongly assigned to them, no longer considered tropees obligatory
buildable from enemy equipment only. On this
point, an artistic development took place, which became possible
75
Page 109
in letting go of the original conceptions of the

tropion. To the weapons of the vanquished people join those of
the victor himself; certain weapons become traditional and without
losing its triumphal significance, the tropaion acquires an important
decorative function, with the above consequence (i).
The distinction between a classical and a barbarian tropaion occurs
clearly forward on a rectangular marble ash urn, found
in a burial vault on the Colle di Concervino near the Villa Magna, a
resort of the Roman emperors (2). She is with high relief
decorated; of the four corner tropaia, two are complete and one partial
kept. The reverse shows a weapon tropee that takes the shape of a
living tropaion approaches. The weapons are both Roman and foreign
origin. Of the corner tropaia, one is composed of armor with
surcoat, helmet, some shields of various shapes on either side,
as well as a large number of spears, trumpets and other objects. It
anotherAtropaion wears
few tropaia a robe
from andfrom-
Gallic cloak instead of armor.
because of their particulars.
On the reliefs of the Triumphal Arch of Toulouse (3) which are around 20
n. ch. was built, comes a
tropaion for, that is symmetrical
by design, but very overloaded by
a large bunch of spears on both side arms.
The image at Espérandieu ver-
instead of a helmet, shows
resemble a wreathed head. a cloak
captures the shield; sit at the foot
two prisoners (fig. 34).
The same top-heavy shape, apparently
baar a hallmark of Gallic Tro-
paia, appears on the reliefs of the
Arch of Carpentras (4); one of them
Fig. 34 shows even heavier forms,
because on both sides not only
neatly wrapped bundles of spears have been applied, but moreover
shields of different shapes, animal head trumpets, quivers and
(1) MAGREA, . 122-123.

(г) LovATELLi, pi. XIV, i and 2.
(3) DS, . 513 and 515; PAULY-WISSOWA, SV Triumphbogen, col. 422; ESPÉ-
RANDIEU, I, 820.
(4) DS, p. 515 and 517; RRR, I, 98; PAULY-WISSOWA, SV Triumphbogen, Col.
416-417; ib., sv Tropaeum.
76
Page 110
Gallic field signs in symmetrical order are piled up,

while a vexillum flutters above the helmet. What about this tropaion?
which stands out is its great height. In general, a tropee is the same height
like a man or just a little higher; however, the one just described is
more than twice as high.
Even stranger and completely self-contained is a second tropaion
to this bow. is clearly visible
here the tropaion tribe, to which at the top
both sides a large quiver with arrows
is attached. 0 th lids of the tubes are
open and hang down; they show
see the content. On the trunk
There are still a few objects that are attached to the
using the images difficult to find
are identified. down under-

one separates a sword and a dagger. Two
prisoners, a man and a woman, stand
chained to the trunk with heavy chains.
The tropaia are long and massive too
at the triumphal arch of Orange, which
some in 21 A.D. ch. to Tiberius
was ordained, but according to Couissin still
from the i e c. BC. stems (1). She
differ only in so far as
the previous, that the direction of the weapons
is more vertical, making the victory sign
gains in thinness (Fig. 35).
The length of the tropaion pole falls
also on coins of Vespasian with
the captured ludaea; on coins from
Domitian with a captured Germanic
man and woman is the long tropaion pole
scaly, which does to a palm tree
think. This one would be motivated by
tropaia, who suffered the defeat of the Jews
remember and may also be analog on
coins with Germania Capta depicted (2). Fig. 3 5
(ι) DS, . 511, 513, 515 and Fig. 7128, p. 517; PAULY-WISSOWA, SV Tropaeum;
DURUY, II, p. 71; ESPÉRANDIEU, Recueil Gaule, I, 111 and 260; RRR, I, 97, 383 and 202-
203; BAUMEISTER, III, p. 2143; COUISSIN, Frises; BREUIL, Apropos; CAGNAT-CHAPOT,
I, fig. 41, p. 79; AJA, XXIX, 1925, p. 208.
(2) CMI, I, 135-137; KOEHNE, III, 23, . 276 and 34, p. 277; KOEPP, fig. 36,
p. 54; DS, p. 513 and fig. 7129, p. 517; GSELL, p. 189, 1.
77
Page 111
A completely different appearance is a tropee without armor on a

puxis in the Louvre depicting the she-wolf with the twins,
and of Roma and Mars at a tropaion; this is back to back
laurel and consists of greaves, a round shaft, a helmet and a
round shield (i).
In the second cent. ch. does it concern the shape of the tro
e
paion hardly leads to new developments. With the exception of ΙВ and С

all types occur. People like to alternate by next to a classic
to place a barbarian tropaion, as is done on the pillars of
Traianus and M. Aurelius and on a sarco hedge (2). Remarkably high
another tropee on a coin of Antoninus Pius (3).
The only new thing of this century is a purely cross-shaped tropaion-
stem, among other things, on a sarco hedge from the Villa Lu do visi en
now in the Thermenmuseum with the image of
Traianus, who ordered the subjugation of the Dacians
sails (4). The Borghese collection contains a
sarkophaag depicting a fight between
Romans and barbarians, framed by two rigid, cruciform
shaped tropaia with standing prisoners (fig. 36) (5).
In general, it can be noted that
the overload remains moderate at this time; an out-
the tropaia on the columns of Traianus make exceptional
and M. Aurelius. Usually, however, the artist knows
to limit, not just out of necessity — by lack
Fig. 3 6 to space or when a tropaion is worn
— but also otherwise. He devotes himself to a

achieve the greatest possible artistic effect by using the weapons artfully
to decorate and arrange nicely. He mainly tries to achieve this by
a symmetrical arrangement or a crosswise attachment. This last
preferably with spears, shields and greaves. Only seldom
a parallel arrangement occurs; this makes the victory sign a
very stiff impression, which is probably the reason for the fact that these rankings
settlement is found only exceptionally. The principle of
variado is, in all symmetry, not neglected and above all allowed
matches the shields, where round, oval, quadrangular and rectangular
alternate.
A single word about tropaia with a human face. Already
(1) THE KNIGHT, Bronces Іли ге, Π, 2958, Ы. 132 and pi. 105.
(2) DuRUY, V, . .
(3) /, II, И65.
(4) DS, note. 4, p. 516; DuRUY, V, Ы. 195; САН, plate part V, 188-189.
(5) RRR, III, 170, 4
78
Page 112
in the 4 e century ν. ch. shows a tropee on a coin of Bithunia

very clearly the face of a man (i). Elsewhere you can use coins
of the same type a helmet with cheek flaps and a nose guard
be distinguished (2).
In the i e c. BC. an agate shows two Erotes that have a
erect a tropaion, that in the place of the helmet the head of a
Eros has. The gods of love place the tro-
pee, which is built on a gnarled
trunk with two side branches, just on a foot
piece (fig. 37) (3).
In the i e cent. ch. one finds a

tropee with a head on the relief of the arch
from Toulouse (4). The Museo Archeologico
in Palermo is in possession of a sarco hedge,
on which the scene of a struggle between
Romans and barbarians on both sides
is closed by a tropaion; the
the right one seems to have a face (5). д£ь. 37
The presence of a head on top

the tropaion pole is reminiscent of the custom to
impale an enemy on a pole. It need not be considered excluded
become that this also sometimes occurred in Greco-Roman antiquity;
the cited examples of human-headed tropaia can be found in this
direction and confirm the view that in a tropaion of
anthropomorphic build the consecration of a slain opponent
must see.
The three cent. ch. brings a standstill which destroys the form treasure of the
e
tropaion : it has passed its peak and is also in the

art is gradually coming to an end. New variations step high
at least in the surrounding environment. From the existing types come
the hophtentropaion and the disarmed type to a lesser extent; the
symmetrical, on the other hand, is more in demand.
A typical shape that stands alone and stands out because of a special
rarefiedness, is depicted on a base built by Scipio Orfitus in 295
dedicated 1. o. M. SOLI SARAPIDI. This was found at the church of
S. Sebastiano on the Via Appia and shows how Victoria makes a tropee
(1) Monnaies, IV, 685 and pi. XXVI.

(2) Monnaies, V, 2437 and pi· LXVIII.
(3) REINACH, Pierres gravees, p. izo and pi. 11 , 41.
(4) BI. 76.
(5) BiENKOwsKi, Darstellungen der Gallier, p. 43 and pi. , а; AJA, XVII, 1913,
p. 555.
79
Page 113
directs in the presence of Roma (or Virtus ?). The tropaion has no
shields; instead, from one protruding side branch hangs a
quiver, while the other has two spears that cross
are confirmed (i).
In the 4 th , 5 th and 6 th century the tropaion mainly occurs on
coins; usually it is worn so that its dimensions are limited;
its shape is usually symmetrical.
A Christ monogram, included on coins of Honorius (2)
is
howdepicted nextimage
much this to a Victoria with tropaion
had become and prisoner,
a type belonging to theshows,
fixed form treasure of numismatics in those days.
It is Emperor Lusinianus, who is the last to strike a medallion,
containing a tropaion. Preceded by a Victoria with
a tropee in hand, the monarch rides there on his horse. The tropaion
shows the disarmed type, a symbol, as it were, of defenselessness
and the faded glory of the empire (3).
(1) RRR, III, 188.4; PAULY-WISSOWA, IV, nt. 358, col. 1506; HELBIG, Fuhrer ,
I, 871; STRONG, Roman Sculpture, p. 312-313 and pi. XCVII; CIL, VI, 30782.
(2) CMI, VIII, 32; EDWARDS, 685, . 116.
(3) GNECCHI, I, 1, bl. 40 and pi. 20, 4.
80
Page 114
CHAPTER IV
THE TROPAION AND BEING

ACCOMPANYING FIGURES
The environment of the tropaion is of such great variety,
that a systematic classification is necessary. Of course it is

man in the first place, who as the founder of the tropee with her
connects. At the same time, however, deities also come along
in front of; this will be dealt with in a second paragraph. Thereafter
the tropee is considered in connection with animals and finally to
center of objects and symbolic signs.
i. — THE TROPAION IN AN ENVIRONMENT OF PEOPLE
A priori one can be victorious and vanquished at a tropaion

to expect; in connection with whether or not the battle has ended
can be distinguished:
I. — The tropaion in the midst of battlefields
It has already been observed several times that a tropee had been
aim before the end of battle (i). This is mainly found on Sar-
kophagen the second e cent. ch. In addition, those cases must be
secluded, with tropaia framing a battle scene, there the signs of victory
in this case only have a compositional function and of no working
significant significance in the scene depicted. on other
Sarkophagen, however, they are, because they are in the midst of battle.
tossing and turning (2).
For example, on a sarco hedge from the Palatine, there is a chained
man crouching by a tropaion, while a soldier takes a great lunge
is doing; the rest of a horse and carriage are also still visible (3).
(1) Heroon of Gjólbashi-Trusa (Ы. 62); frieze of the Nike Temple in Athens
(p. 52); Etrurian vase (Ы. 67); cf. the scabbard of a sword from Trichonion (Ы. 137).
See also Ы. 47.
(2) Frag. of a sarcophagus in the Palazzo Giustiniani : MATZ-VON DUHN,
3330 and DS, . 517; sarco hedge from San Zenone (p. 138).
81
Page 115
Tropaiophore soldiers frame a battle between Romans and

barbarians on a sarco hedge in the Villa Ludovisi, originating from the
Porta San Lorenzo. On the right side stands in the midst of other
fighters another tropaiophore soldier (i).
On a carved sarcophagus in Belvedere, a
tropee the battle for the corpse of an Amazon (2).

The fight is about to end on a coffin found at
the Via Collatina in Rome. On the left corner is a tropee; a prisoner
gene is fed to a tropaion in the middle, including already
another prisoner is sitting; wife and child are there. a soldier
fixes a sword at the sign of victory. The next scene depicts how
a prisoner is pushed by a soldier towards the emperor (?),
who sits there in heroic nakedness. Behind him forms a sym-
metric tropaion, under which a prisoner sits, the closure (3).
Apart from these few cases, which are all the more proof
that one should not erect a tropee until after
combat, we further distinguish mainly two groups,
depending on whether the victor or the vanquished at the end of the battle
the main character is with a tropee.
II. — The victor at a tropaion
Although not all material is always in precisely defined

categories can be classified, however, broadly speaking, the
following categories are distinguished :
A. — The victor erects a tropaion
This action takes place in several stages:
1. The victor attaches weapons to a tropee.

We probably see a scene like this for the first time on a
gemme with the image of the wounded Othruades, who uses all his powers
gathers to create a tropaion before his death (4).
Not only men, women also set up a tropaion. so on
a Lukische sarkophaag, probably from the 2 e c. BC. upon which
the robbery of the Palladion by Odusseus and Diomedes.
(1) SCHREIBER, I 86, . 189.
(ζ) ROBERT, . IOI V. and pi. XXXIV, 80 a.
(3) DS, . 516-517; Notizie degli scavi, 1908, Ы 234-241.

(4) CHABOUILLET, 3501; LippoLD, 51, 1-3; Krause, Pyrgoteles, . 241; ds,
. 501.
82
Page 116
To the right of this confirms a half-naked woman of uncertain identity

a spear to the token of victory, already wearing helmet, armor and shin plates.
Two shields and a knod stand against the base of the trunk. A man
in
see,heroic nakedness
however, Robertstands
sees inright. Von Duhn
the figures wH in the
Diomedes andwife Aphrodite
Aigialeia after the fall
of Thebai (i).
A woman as founder of a tropee also appears on the
reliefs from the temple of Hekate at Lagina (2). Usually, however, it is a
guy who does this. In a Pompeian fresco, this confirms
ness of Victoria a vexillum to a tropee (3). A combination like
this is more common, especially on gems from the 1st century BC, albeit
without Victoria. On a gem with the legend VRBANVS he wears a
lance and cloak to the sign of victory (4). Elsewhere hangs a
bearded warrior in full armor wielding a sword
trope (Fig. 38) (5). Then again confirms a soldier with beard
(Mars ?) an arrow to it (6), while on a gem with the inscription
L.MV. SAL. a seated man holding a sword and a shield at a д£ь. 38
tropaion hangs (7). Other gems show the image of
two soldiers erecting a tropee (8). The front . appears on coins
position of a man (the emperor), busy building a tropaion,
Fig. 39 Fig. 40
also (fig. 39 and 40) (9). Extended with prisoners she is already coming
during the republic.
(1) VON DUHN, AM, II, 1877, p. 132-137 and pi. XI; ROBERT, . 147-148 and
pi. L, 138 ; RRR, Π, 337 » · 2
(ζ) Bl. 162.

(3) p. 118. Cf. a medallion with an analogous image, bl. 164.
(4) FGS, 7627.
(5) FGS, 4439-4441.
(6) FAG, XXX, 10.
(7) WALTERS, Gems, 2073, pi. XXVI.
(8) FGS, 727 and 4442.
(9) Constantine I (CM/, VII, 495 ; GNECCHI, I, 48-49, Ы. 19 and pi. 7.15 ; VIERORDT,
pi. LIX, 2649); Constantine II (CAÍ/, VII, 178; GNECCHI, I, 13, bl. 25 and pi. 9, 4); Con-
stantius II (CM/, VII, 180-181; 195).
83
J. 8
Page 117
On a great historical fact, the battle of Pudna, coins have

by Paullus Aemilius Lepidus from around 55 BC. relation. on
their reverse side a great figure (Aemilius) hangs from an object

a tropaion; to the left of it are a larger and two smaller ones
forms in which one can easily perceive Perseus and his sons
courage (1).
One of the most beautiful pieces with the image of a tropaion
from the time of Augustus is the famous Gemma Augustea in Vienna,
pertaining to Tiberius' triumph over the Pannonians. On the
lower half of this stone expresses the victory of Tiberius
king in the creation of a tropaion. To the still on the ground
reclining pole, armor, helmet and shield are already attached; some soldiers
then put the trunk upright and place it in a pre-made hole.
A captive man and woman, sitting on the ground, watch grimly,
while on the right a few more prisoners are dragged closer (2).
A snapshot of the creation of a tropaion like this one strikes
one in antiquity hardly touched; after all, usually concern images
only the affixing of arms (3), an inscription or a
wreath.
2. The victor sacrifices at a tropaion.
Already on the balustrade around the Nike temple one can find some
victorious goddesses engaged in ox sacrifices, while others erect tropaia (4).
Even the victor himself sometimes makes a bull sacrifice, as shown by
an Attic pelike from Megara; moreover, approaches this on the other
side of the victory sign a sacrificial servant with a ram and a bowl (5).
That the victors also slaughtered prisoners at a tropaion shows
the frieze of the heroon of Gjolbashi-Trusa (6).
(1) GRUEBER, I, 3373-3376 and pi. XLIII, 8; WOELCKE, p. 212 and pi. XII, 24;
BABELON, Description, I, 122, 10; DS, note. 1, p. 509 and Fig. 7117; Guide Coins, II,
11, . 2б.
(2) DS, p. 513 and 515; FATF, LVI; BABELON, Engraving, fig. 113, Ы. 155; AJA,
XLIII, 1939, . 307 ; SCHUMACHER, 2, p. 14-15; EICHLER-KRIS, 7, p. 52-56; s.
REINACH, Pierre gravees, p. 2-3 and pi. I, 1; RRR, II, 144; KIB, fig. 2, p. 396; BLÜM-
LEIN, fig. 184, p. 63.
(3) Sarco Hedge of the Via Collatina (p. 82); coin of Traianus (CMI, II, 254);
coin of Constantius II (CMI, VII, 312 and 315; VIERORDT, 2744; GNECCHI, II, 60
and pi. 137, 12; FROHNER, p. 306); coin of Constane I (CMI, VII, 186-187; MAURICE,
I, pi. XV, 7 and bl. 159).
(4) Bl. 114.
(5) p. 78.
(6) Pl. 62.
84
Page 118
Of particular note is an archaizing

relief from the i e c. BC. (Fig. 41). To the left of a tropaion it says
a woman who is from a
can a liquid
pour into a bowl;
along the tropaion pole
squirms a
snake up to
of the liquid to
to lick. a sol-
that's looking from the right
allow ; behind him
his horse and his
servant. The snake would
according to Friederichs-
Walters point out, Fig. 41
that the soldier a
heroo is; indeed he shows himself in heroic nakedness and
he only wears a cloak over his arm. Reinach explains the scene
like a libation in honor of a soldier, but speak not of the serpent,
who, as a symbol of an earth deity, by its presence the first
statement seems to confirm (1).
The killing of a prisoner for a tropaion by the over-
winner is rarely shown, and after i e c. BC. in the
not at all (2). Twice afterwards you will find the performance
of a bull sacrifice at a tropee by goddesses of victory (3).
In general, however, the religious ceremonies at a
tropaion of a less bloody character (4).
3. The victor crowns his tropaion.
The crowning of a completed tropaion by the victor

is found late at first. She appears for the first time on a gem
from the 1st century BC (5). From the second email cent. ch. people find her especially
(1) FW, 437; RRR, 11,497, 3.

(2) Crater in the Lanckoronski collection, Vienna, Ы. 123, note. 2.
(3) Torso from Mantua from Lulic-Claudian period (Ы. 126) and one from Nola from the
2 century (Ы. 126).
e
(4) Ointment bottle in Berlin with the luster ratio of Caligula (Ы. 157) and coin of C.
Coelius Caldus with lectisternium (p. 70).
(5) WALTERS, Gems, 2072, p.i. XXVI.
85
Page 119
on coins; on this it is the emperor who, dressed in battle dress, holds a tropee
adorns with a wreath (i).
The scene is extended on a coin of Gallienus, because the
emperor when crowning a tropee with prisoners in turn
is crowned with a palm branch by a Victoria (2).
4. The victor writes on the shield of a tropaion.
Certainly rare is the depiction of a conqueror who

inscription on the shield of a tropee; she only occurs
on two gems from the 1st century BC. On one a soldier subscribes
full armor kneeling on a shield attached to a tropaion pole
hangs, while armor and helmet are still on the ground (3). The other
shows a youthful hero describing the shield of a tropee, on the
foot of which lies a defeated enemy. Under the tropee Hgt another
shield, including a bearded dead man (4).
B. — The victor with %j,jn completed tropaion
The actions described in the foregoing can all be considered

be regarded as belonging to the creation of a tropee. Of course there are
borderline cases; for this purpose one would use the image on an Athenian coin
from the time of Hadrian, on which „Miltiades" a
captured Persian to a tropaion, a belated reminder of the
Persian Wars (5), and not only these, but all cases where
prisoners are dragged to a tropaion, either to be slaughtered
or to be riveted to it.
All kinds of scenes take place with a completed tropaion. So takes
the victor for a tropee the submission of his opponent
on (6). A special scene shows an Italian gem. This says
in the middle a woman in a long robe and pulls on a tie it
corpse of a young man up. On the right a man with
(1) Without prisoners (Saloninus : CMI, V, 37, 67 and 77-78; Constantine I :

CMI, VII, 496); with one prisoner (Gallienus : CMI, V, 1262; Probus : CMI, VI,
844 and 864-868); with two prisoners (Commodus: САП, III, 420 and 443; Caracalla:
CMI, IV, 671; Aurelian: CMI, VI, 72; Frobus : CMI, VI, 863; Diocletian: CMI,
VI, 513; Maximianus Herculius: CMI, VI, 608).
(г) CMI, V, 1268; GNECCHI, II, 34, . 109 and pi. 115, 2.
(3) HENKEL, 1607 and pi. LXXVI, 192.
(4) FGS, 6489.

(5) IMHOOF-BLUMER-GARDNER, . iji, pi. ЕЕ - ; WOELCKE, p. 155;
HEAD, p. 327.
(6) Murcus and Asia (Ы. 162); Traianus and the Dacians (p. 78).
86
Page 120
upturned head; another man sits on the left in front of a tropaion. If

clearance is thought of Odusseus after the murder of the suitors (i).
More widespread than these isolated cases are some
performances, some of which have become a regular type.
i. The victor considers his tropaion.
This scene is the least because of its great variety

stereotypical. Already in the 5 e c. BC. we found the victor at
his tropaion on a base of the Acropolis (2). In the second e c. BC.
one finds a heroos near a tropee on a bas-relief in the Louvre (3).
And on a sardonyx at Luna also stands a soldier, leaning on his
spear, a tropaion to watch (4).
From Magnesia on the Maiandros comes a fragmentary preserved
image from the i e cent. ch. with a slightly different presentation:
it is that of a heroos with a tropaion, composed of a pole
and a suit of armor at his feet. The statue was found in a building
north-west of the theater (5).
Alexander is the name given to an unclothed man
with helmet, standing in the midst of a small group of people in front of a tropaion
stands; the sculpture comes from Gabiae (6). In this context, a
carneo in Vienna with the image of a heroically naked emperor next to
a tropee with a seated, handcuffed prisoner (7).
Elsewhere, a naked youth sits in front of a tropaion, while
a young man with a horse stands next to him (8). A fragment of a
relief from Veii, also from the i e cent. ch. stems, shows above
a bearded head, while a shaggy fur hangs from a tree stand to the right.
Above is a helmet with two horns, to the right of it an oval
shield. This victory sign also includes a hanging cloth with fringes,
probably a vexillum (9). One encounters a bearded soldier
also refers to a relief, to be discussed in more detail in another context, from
from the city wall in Mainz (10).
Ί) FATF, XXIV, 14.

>) BI. 64.
'3) Catalog sommaire, 551, Ы. 30; RRJ , I, Ы. 82.
-
\A) DS, . JI 7 .
'5) MENDEL, Catalog sculptures, II, 601, pp. 335 ·; RRJ, IV, 362, 4
'6) Now in the Borghese collection: Catalog sommaire, 2301, bl. 32.
>) RAÍ, L, 1935, pi. XXIV, 5.
[8) FGS, 7626.
'9) BENNDORF-SCHÖNE, 279, . 179.
'10) p. 147.
87
Page 121
<
88
Page 122
A beautiful piece of work is the chalice from Orbetello with the name
Hilario L. Avillii Surae, now in the Antiquarium in Berlin (fig. 42) (1).
Only half of it has come to us; be on this saved section
four tropaia, which are separated from each other by a standing figure
divorce. To the extent that the fragmentary condition permits judgment,
are the diametrically opposed tropes in structure on
each other equal. One is made up of helmet, armor, two shin plates
which are fastened obliquely to the trunk, and on both sides a full front
view attached ornately decorated shield, behind which two spears each
are arranged crosswise. The other tropaion is with a tunic
clothed and bears an oval and a hexagonal shield, also in front
sight. Between the two fully visible tropaia stands the victor
in heroic nakedness and leaning his hand on a spear; he is looking at
the barbarian tropee, on the other side of which a mourning woman,
symbol of the conquered nation, state. Portions of such figures
are also visible in the two damaged tropaia. The chalice dates
from the time around 15 BC. to 21η. ch. and does refer to emperor
August.
In the east it is still Rheskouporis Π of the Skuthen (69-94
n. BC), who on coins has his own image turned to a tropee
late application between two inmates (2).
On Roman coins we mainly find the emperor at a tropaion
at. Traianus coins minted in Crete contain
a grieving Armenia between a tropee and the boulder
zer, who carries a Victoria in his right hand (3).
Then again he strides between two trophies to
forward (4). Antoninus acts as a spectator at
the creation of a tropee by Victoria (5).
Later, the emperor is found near a tropee with two
prisoners (6). It is M. Aurelius who is a bee
without type, because on some of
let his coins put his own effigy
with a spear in the left and a downward pointing Fig. 43
(1) OxE, 220, . 97-98 and pi. LU, a and b; BJ, CXXXVIII, 1933, p. 90 f.;
DRAGENDORFF, Darstellungen, fig. 1, Ы. 306.
(z) WOELCKE, p. 206 and pi. XI, 50-51; S. REINACH, Antiquités du Bosphore
cimmérien, 2 . 131 and pi. LXXXVI, 2.
(3) BiENKOwsKi, De simulacris, 8, pp. 32-34.
(4) Coin from 116 : CML, II, 356.
(5) p. 116.
(6) Postumus {CM1, VI, 403-404); Constantine II (CM1, VII, 234); Constantius II
(CM1, VII, 313).
89
Page 123
branch in the right hand, standing next to a tropaion (fig. 43) (1). Far-
divorced emperors imitate this (2).
2. The victor rests his hand on a tropaion.
Repeatedly in this matter the great creative power of

the period of M. Aurelius. This is reflected in an image
from Moutali, which represents the emperor, propped up with his left hand
on a tropaion (type III) leaning against a tree trunk (fig. 44) (3).
<- Fig. 44
Such a representation also appears on one of his coins

from 178, on which the emperor in military uniform with his right hand on a
tropee, at whose foot sit two prisoners (4). With certain
variations especially regarding the prisoners returns the same representation
on coins of other emperors (fig. 45) (5), as well as on a Greek
coin from Nikaia, on which the prisoner extends his hands to the emperor (6).
(1) CMI, III, 394-397 and 633;VIERORDT, p.XXXVI, 1598; RAÍ, L, 1935, pi. IX,3.
(2) Commodus (RAÍ, L, 1935, pi. IX, 2); Caracalla (САП, IV, 503-507); geta
(CMI, IV, 156-158 and 163; RAÍ, L, 1935, pi. , 9); Saloninus (with two prisoners:
CMI, V, 64).
(3) MENDEL, Catalog sculptures. III, 1390, p. 600-601.
(4) GNECCHI, II, 23, p. 29 and pi. 60, 9.
(5) L. Verus (with mourning Armenia : GNECCHI, II, 5 and 7, bl. 45 and pi. 72, 4
and 6; CMI, III, 350); Commodus (with two weeping prisoners: CMI, III, 868 and
913 ; GNECCHI, II, 153-154, p. 68-69 and P^ 8 > ^"7! FROEHNER, pp. 120); Postumus (CMI,
VI, 434); Constantine II (with one prisoner: GNECCHI, II, 17, bl. 142 and pi. 134.5).
(6) WBR, 1, 3, 233, bl. 428 and pi. LXXIII, 5 (L. Verus).
90
Page 124
Some special performances are mentioned here. An

relief on the narrow side of a sarco hedge in the cathedral at Massara late
watch an Amazon move to the right with a double-edged axe
and a round shield in the left hand, while she puts her right hand
on a staff with helmet, armor and shield, which can be nothing but
a tropaion (i). Incidentally, after the battle, the Amazons were not
the victors, as the obverse shows, where defeat and death
of their queen is depicted.
Only limited to coins of Magnentius is the representation of
a Roman citizen with toga and headgear, who together with Libertas
holding a tropee (2).
3. Victoria crowns the victor with his tropaion.
The representation of the victor's wreath for his

tropaion, which we already found on a coin of Gallienus (3),
especially the human fame in the foreground and is therefore quite late:
it dates from the i e cent. ch.
In the Amphitheatrum Flavianum, the ceilings were originally
corpse decorated with relief work, which we know from drawings from the 16th century
century (4). Probably in the nave there was a relief with
a woman and a man, to whom from the right is a Victoria with a wreath
in the raised hand approaches. Behind her is a tropaion, to which
one can distinguish a suit of armor and shin plates. Also in the northern
In the side aisle of the colonnade there were tropaia, provided with a
tunic instead of a suit of armor (5).
At Pompeii one finds such a scene on a wall painting
at the Pantheon. A young soldier sits on a pile of weapons and carries a
peculiar crown on the head. He holds a sword in his left hand
and with the right he rests on a tropee. Next to him is Victoria, with
white bands in the hair; on the left she carries a palm branch and on the right
hand she holds a wreath over the soldier's head. According to Duruy
he holds the sign of victory like a scepter and would hold his stance
Make Nerva think (6).
In the second e century comes a performance like this before. At a with
round and hexagonal shields hung tropee on a relief at Modena
(1) RRR, III, 58, 3: ROBERT, p. 106 and pi. XXXVI, 86 b.

(2) CMI, VIII, 52.
(3) p. 86.
(4) From the Destailleur collection, now in the Staatliche Kunstbibliothek in
Berlin.
(5) KAHLER, Parerga, fig. 57, p. 257 and 58, p. 258.
(6) HELDIG, Wandgemälde, 940; DURUY, III, p. 49; DS, p. 514-515 (cf. KIB,
4°3. )·
9 1
Page 125
kneels a barbarian; to the right of this is a soldier, to whom a Victoria

approaches with a palm branch in the left hand; she puts a wreath on her head
of the soldier. A shield on the right side may have belonged to
a second tropaion (i).
Remarkably little does the scene appear on coins. Except with
Gallienus one finds it with Antoninus Pius, who crowns by Victoria
while seated on his horse (2).
On a coin of Alexander Severus from 231
strides the emperor, in military uniform and armed
with a spear, with a soldier to the right;
the latter carries a spear and a tropee. The
Emperor meanwhile is taken over by Victoria
wreath (fig. 46) (3 ). Last comes the
coronation of the emperor by Victoria at a
tropaion for Trebonianus coins
Gallus of the Astarte type (4).
Fig. 46 The scene is also rare on gems;
on a copy from the time of Traianus
the emperor crowned by the goddess of victory seated; in front of him is a
tropaion, under which a prisoner squats (5).
C. — The Tropaiophore Conqueror
The image of a tropaiophore victor in the i e century

b.c. and is a Roman invention. Usually the tropaion is no more
than a symbol of victory and a glorification of man-
fame in the first place.
1. The tropaiophore victor in general.
The oldest image of this occurs on coins

of M. Aemilius Lepidus, minted around 65 BC. (Fig. 47).
His denarii show the equestrian statue of Lepidus, who
according to the legend AN(nos) XV PR(aetextatus) H(ostem) Fig. 47
O(ccidit) C(ivem) S(ervavit), and in his hand a tropaion
wears. In connection with this, Weege points to the way in which the Osci
(1) DÜTSCHKE, V, 854, . 354.
(2) CM1, II, 1182; GNECCHI, II, 26, . 12 and pi. 45, 8 (without or with a standing
and a sitting prisoner).
(3) CM1, IV, 593; GNECCHI, II, 30 . 83 and pi. 100, 6; FROHNER, . 175.
(4) BI. 161.

(5) Galette archeologique, 1875, Ы. 96.
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Page 126
the surcoat of the defeated enemy on a spear over the shoulder

wore (i).
A tropaion in the hands of a triumphator occurs shortly afterwards
on a serratus of M. luventius Laterensis (2); also on the frieze of the
temple of Hekate in Lagina one finds one (3), as well as on the closing
piece above the passage of the triumphal arch of Septimius Severus (4).
Tropaiophore soldiers are probably the ones on a coin of
Nero a statue group of the emperor in a quadriga between Pax and Victoria
flank on a triumphal arch (5). The same happens on Sarkophagen
in the Villa Ludovisi, on which they form the frame of a struggle
stage (6) ; on a sarco hedge from Souk Harras (Thagaste), just like the previous one
from the second cent. BC, they are tropaiophore Amazons, which are the group of
email
Achilleus and Penthesilea surrounded by an Amazonomachy (7).

To crown a building with eight columns — probably
the aedes divi Augusti restored by Antoninus Pius in 158-160 — finds
one presumably tropaiophore soldier on coins of this monarch (8).
Since the 3 century, especially the emperor himself,
E
just as Mars is depicted on coins with a

trope in hand. Alexander Severus makes this
a start (9). Several emperors follow this for
image after (10У The usual variations come here
at the front (fig. 48) (11).
Special mention only deserves a
coin with the sculptor of the two Licinii, which Fig. 48
(I) DS, p. 508 and Fig. 7114; BABELON, Description, I, 127, 20-22; JAT,
XXIV, 1909, p. 136 (WEEGE); DURUY, II, p. 69; GRUEBER, I, 3638-3647, p. 447-449
and pi. XLVI, 2-8 (cf. VAL. MAX., III, ι, ι).
(г) About 62 . ch. : RECLINO, p. 89-90.
(3) p. 162.
(4) BAUMEISTER, Fig. 1985 and pi. LXXXV; cf. MONTFAUCON, . 235, about the
triumphal arch "de Portogallo".
(5) CMI, I, 306-308.
(6) , 1936, col. 241-242 and Fig. 1 ; cf. the sarco hedge of the Porta San
Lorenzo (p. 82).
(7) ROBERT, p. 120-121 and pi. XLII, 97.
(8) CMI, II, 3-12.
(9) CMI, IV, 296 and 5 8 5 (with tropee and spear) ; CMI, IV, 5 94 (accompanied by
six praetorians).
(10) Postumus (CMI, VI, 412-413); Victorinus (САП, VI, 94-95); Aurelian
(CM/, VI, 78); Constantine II (CMI, VII, 242); Romulus (DS, p. 514 and fig. 7124).
(II) Tropaiophore emperor rests hand on a shield (Constantine I : CMI,
VII, 241; GNECCHI, I, 28, p. 17 and pi. 7, 7); emperor with spear and tropee between two
prisoners (Constantine I : CMI, VII, 238-239; VIERORDT, pi. LIX, 2643; GNECCHI,
I, 23 and pi. 7.5; Constantius II: CMI, VII, 320-321); emperor with shield and tropee
between two prisoners (Constantius II : CMI, VII, 324; Constante I : CMI, VII, 190-
191; MAURICE, I, p. 160 and pi. XVI, 3).
93
Page 127
holding together a tropaion (i), and one of Theodosius, on which he

himself is depicted with a spear, to which a tropee is attached, and
with a globe carrying a Victoria figurine (2). On a religious
dance of the cult of Mars Victor Pacifer would after all be a relief in
the Villa Albani, to which five bearers of a
tropaion move to the right (3).
2. The tropaiophore Romulus type.

With a single word it was already indicated that the correct identity
of the bearer of a tropaion is not always certain; many descriptions
speak not of the emperor, but of a soldier with a tropaion. It
is not excluded, however,
that in some cases the
logsgod himself, who im-
mers with the same attributes is assigned
rest as those just mentioned. There-
next to it one finds repeatedly „Romulus
with Acron's spolia".
These spolia exist according to the
images from a tropee.
A wall painting in a house
on Via dell'Abondanza in Pompeii
shows him for the first time; she would
remember the statue of
Romulus, that in Rome in the Forum
of Augustus (fig. 49) (4).
May his identity be in here already
can be doubted, on
a coin of Hadrian she becomes
Fig. 49 confirmed by the inscription ROMVLO
CONDITORS (5).
The same figure with spear appears on coins of Antoninus Pius
and tropee according to legend as Romulus Augustus (6). Whether or not name-
it appears on the coins of various emperors (7) ; the clad
(1) BI. 161-162.

(2) CMI, , 74.
(3) ARNDT-LIPPOLD, 3563 a.
(4) Mostra, 47, p. 37 and pi. VIII, 2; САН, plate part IV, 176, 1.
(5) CMI, , 1315-1320; GNECCHI, III, 84, p. 18 and pi. 145, 7; Mostra, 33, p. 34.
(6) CMJ, II, 704-705 and 909-912.
(7) Commodus (CM/, Ш, 224; 662; 781-782; GNECCHI, П, 36, bl. 55 and pi.
80, 8); Alexander Severus {CMI, IV, 351-354; 375; 395; 583-584; 590-591; FOURORDT,
pi. XLIX, 2062; EDWARDS, 92, p. 81); Valerianas (CM/, V, 274-275); Gallienus
(CM/, V, 1300-1305).
94
Page 128
being of the figure is usually an indication of Romulus, while

Mars often appears unclothed.
3. The tropaiophore emperor and his captives.

We have already seen in the first group that sometimes, just like in the tribe
of a standing tropee, also at the feet of the tropaiophore emperor a
or two prisoners. In some cases, a special
relationship between the emperor and his captives forward, reason, why
images if they are united in a special group.
This special relationship appears first on coins of Severus II
in the beginning of the 4 e century duke carries in one hand and a tropaion
drags along with the other a captive barbarian by the hair. A second
prisoner sits in front of him (1). Several emperors depict this scene on
their coins, albeit with minor variations (fig. 50). With lulianus she is even the
only one with a tropaion; the emperor is presented with his head turned (2).
Fig. 50 Fig. 51 Fig. 52
Besides dragging a prisoner, the emperor is also depicted,

while kicking at him with his foot; usually he wears except
the tropaion also has a spear (fig. 51) (3).
A contamination of several types leaves a Constantine coin
tine, on which the emperor wears a tropaion and a prisoner at the
dragging hair along, but at the same time kicking a barbarian with his foot,
who sits on the floor and raises his eyes to him (fig. 52) (4).
(1) CMI, VII, 68; MAURICE, II, . 297 and pi. IX, 8.
(2) Maximinus II Daza (CMI, VII, 186; MAURICE, II, XI, . 297); Constantine II
(CMI, VII, 235-237; GNECCHI, II, 20, . 142 and pi. 134.6); lulianus (CMI, Vili,
75-82; V1ERORDT, pi. LXII, 2809-2810; DS, p. 517, Fig. 7132; DURUY, VII, p. 284;
MACDONALD, p. 232 and pi. IX, 4); Theodosius II (SABATIER, I, 12, pp. 115-116 and
pi. V, 4); Maiorian (CMI, Vili, 11).
(3) Coins of: Constantine I (CMI, VII, 688), Constantine II (CMI, VII, 243;
MAURICE, III, p. 65 and pi. III, 7) and Constantius II (CMI, VII, 318-319); medallion
of Crispus (MAURICE, II, p. 411 and p. XII, 17).
(4) CMI, VII, 237; MAURICE, II, p. 366 and pi. X, 24; GNECCHI, 1, 20, p. 17
and pi. 7, 4; FROHNER, p. 364.
95
Page 129
D. — Less widespread performances
Some images have been saved, which deserve special mention

to earn. Only one larger group is found here: the tropaion
during the triumphal procession.
i. Some standalone images.
That a tropaion as a kind of we gift found a place in a

temple, evidenced by a coin of P. Cornelius Lentulus Marcellinus from around
around 42 BC. (Fig. 53). It is M. Claudius Marcellus, who
is depicted on the reverse of this, holding a tropee
to a temple after his victory over Viridomarus,
the chief of the Boii, in 222. It is known that he de
spolia opima dedicated in the temple of luppiter Feretrius
Fig. 53 on the Capitol (1). Traianus re-introduced this coin
put into circulation (2).
Less clear is the meaning of a young man's act
who, armed with spear and shield, places a tropaion on a rock (3).
The colorful series of performances is continued by a
gemme depicting the extradition of Lugurtha to Sulla;
one of the field marks, which are carried by soldiers
wear, ends in a tropaion (fig. 54) (4).
The Apotheosis of Augustus Before the Eyes of Tiberius, Livia
and others being watched by a Roman soldier with
tropaion, surrounded by prisoners, on the Gemma Caesarea of
Tiberiana, also called Camée de France, from the time of
Tiberius (5).
Then again we see, on coins of Constantin, the emperor with
raising right hand from an elevation hold an allocutio, where-
when he carries a tropee in his left hand. He is surrounded by nine
soldiers with horses, and crowned by Victoria (6).
Sitting on armor, Crispus receives a globe with a phoinix
(1) GRUEBER, I, 4206-4208, . 567 and pi. LV, 16; DS, p. 508, fig. 7115 ; REGULATION,
p. 89; BABELON, Description, I, 352, и ; COUISSIN, Equipement, 28, p. 45 ; NEWBY, p. 60.
(2) BABELON, Description, II, 574, 13.
(3) WALTERS, Gems, 2074.
(4) S. REINACH, Pierres gravees, Ы. 101 and pi. 93, 102.”
(5) DS, p. 513 ; FAG, LX; SCHUMACHER, 3, p. 15-16; BABELON, Engraving, fig. 112,
p. 151; ID., Catalogue, pi. XXVIII, I, 264, p. 120; KOEPP, fig. 1 (cf. DURUY,
IV, to p. 152).
(6) CMI, VII, 484.
96
Page 130
of a tropaiophore Constanti] η standing in front of him. Wear a panther

his feet indicates a connection with the east (i).
Are all these incidental cases, otherwise it is with the
next group.
2. The tropaion during the triumphal procession.
The tropaion was of course one of the symbols of victory,

who were taken along in the triumphal procession. As it is with the Profectio
Augusti is a Victoria who wears the seal of victory after the victory
to hand out to the triumphator, so it bears it during the triumphal process itself
or let it carry its subordinates along.
Thus strides on a gem from the I e century AD ch. an unclothed one
little boy with a patera and a cornucopia in his hand to the left,
followed by a handcuffed prisoner, a man with a wreath in the
hand, another with an olive branch and a soldier with a tropaion on the
shoulder. After this the emperor comes on horseback, with a wreath on his head.
The procession is decided by a rider (2).
In 167 the coin of M. Aurelius was struck, on which this and his
Imperial Brother are depicted riding in a Victoria Ver
decorated quadriga. A signifer, accompanied by some other persons,
leads the way, while a number of barbarians, including a crowned king,
accompany the car. In the background a tropee can be discerned, where
sitting under a captive man and woman (3).
ADVENTvs AVGVSTI is the legend of another coin of M.
Aurelius, whereupon he, in battle dress, strides toward a triumphal arch;
he carries a scepter and a tropee, is preceded by soldiers
with field marks and followed by Victoria. Behind these are the temple
of Luppiter Capitolinus and an altar of burnt offering visible (4).
The coin of ΛΙ dates from 177. Aurelius with the image of
a parade in which he and Commodus participate in a quadriga
drives. Above them floats a Victoria with a tropee; moreover become
she was preceded by a tropaiophore soldier. Commodus also let
mint such a coin; the tropaion in the soldier's hand is
replaced by a vexillum (5).
L. Verus coins also show a triumphal procession scene.

M. Aurelius and L. Verus ride, preceded by a soldier, in
(1) CMI, VII, 68 5; MAURICE, I, p. 104 and pi. IX, 7; FROHNER, . 281; GNECCHI,
, . p. 134 and pi 3 >

I 0 2 (coin of Constantine I).
(2) S. REINACH, Pierres gravees, p. 102 and pi. 95, 109.
(3) CMI, III, 885; GNECCHI, II, 50, p. 33 and pi. 63, 1.
(4) CMI, , 3; KAHLER, Parerga, fig. 5, p. 267.
(5) M. Aurelius : KOEHNE, ΠΙ, 36, bl. 289; Commodus : ib., 5 bl. 306.
97
Page 131
a chariot with four horses. It is now clearly visible that the

two prisoners surrounded tropaion in the background in the procession
is carried (fig. 55) (1).
Worth mentioning is another coin of
Commodus from 181; on this rides Victoria,
while she crowns a tropaion, herself in the
chariot of the triumphant emperor (2).
At the conclusion of the two e century is still a
relief in the Villa Ludovisi to be mentioned,
which, according to Strong, comes from a
triumphal arch from the time of the Antonines. Also
it depicts a triumphal march, in which
Fig. 55 a tropaion with prisoners on a carrier
bar is carried along; it's from a realm
decorated, ornate shape. On the right side is a triumphal
arc visible (3).
The three e century, the arch of Leptis Magna in North Africa; this
tetrapulon was richly decorated with relief work, on which four tropaia
appearance. These were arranged on the pillars on the
north and south sides, that one can give them to the left and right of the passage
saw when approaching the arch. Caught men and women
are riveted to the signs of victory. In the triumphal procession, which
is depicted on the facade, tropaia are carried along by horsemen
wear (4).
That also the representation on coins of Caracalla, on which we de
emperor, accompanied by tropaiophore soldiers, see a row of horseback riding
make (5), is a triumphal procession, is probably made by the
legend ADVENTVS AVG. on analogous coins of Probus, which also bear
the emperor on horseback is depicted. He carries a spear in the left and
salutes with the right hand. He is led by Victoria and
followed by a Tropaiophore soldier (6).
A coin of Numerian brings the triumph over the Quaden
in the picture : Carus and Numerianus ride in a quadriga to the left, front
conducted by Victoria with wreath and palm of victory. In the distance you can see
(1) CMI, III, 302-303; GNECCHI, II, 17-19, . 47 and pi. 73, 2 and 74.4; FROOHSER,
. 91; ViERORor, pi. XXXIX, 1698; JAI, XLVIII, 1933, fig. 64, . 138.
(2) CMI, UI, 813-814.
(3) RRR, III, 289.3; DS, fig. 7091, p. 488; Bulkttino d'Arte, 1909, . 7;
SCHREIBER, 80, . 103; STRONG, Art in Ancient Коте, II, fig. 420, p. 118 and p. 117.
(4) TOWNSEND, pi. Х ПІ-ХХ and fig. 1, p. 513; Mostra, 6, p. 632.
(5) CMI, IV, 561.
(6) RECLINO, p. 132-133.
98
Page 132
a tropee between two handcuffed prisoners; four soldiers carry her

on a bier (i).
After all, we still find a victorious procession, except on a
already mentioned medallion of Lustinian (2) and the ivory Barberini (3),
on which tropaiophore Victoriae accompany the Emperor, on the gemme of
Licinius from the 4 century AD. ch. The emperor is depicted with a
e
spear and globe in hand, standing on a quadriga; the horses ver

kick his enemies in the dust. Keeping two winged goddesses of victory
hold the reins ; the right one wears a tropee, the left one a field-
sign. Sol and Luna each offer the Emperor a globe (4).
The conclusion is clear; may in some cases be a real
tropaion in the triumphal procession, in other cases belongs
it among the many symbolic signs denoting the triumph.
. — The vanquished at a tropaion
We already considered the presence of prisoners at a tropee

more or less to be expected. Already in the fifth recover century proved reliefs
e
of killing POWs at a tropaion. However, it will

in Roman times the vanquished to become a solid part
becomes of the sign of victory, fixed in the sense that he repeatedly and in a
certain posture at the tropaion is depicted, but without his
presence is mandatory. Not always only one prisoner comes
in front of; also two and more are found, men and women, yes even
children, and in different poses. Not always is with figures of
prisoners preserved the tropaion; many people suspect the
presence of it due to the typical attitude of the bar-
give birth (5).
A. — The tropaion with one prisoner

Is only one prisoner depicted at the foot of a tropee,
then according to his attitude one can examine the following groups:
divorce :
(1) CM1, VI, 91; DURUY, VI, p. 518; GNECCHI, II, ii, bl. 123 and pi. 123, 8.
(2) p. 80.
(3) p. 60.
(4) BABELON, Engraving, fig. 142, p. 186; ID., Catalogue, I, 308, bl. 160 and pi.
XXXVII, 308; CHABOUILLET, 255; DURUY, VII, p. 27.
(5) BIEN ко ws κι, Celtes, Ы. 49 ee
99
J.9
Page 133
. A kneeling prisoner under a tro pai on.
The oldest depiction of a prisoner under a tropaion dates back to

probably from ιοί BC. and appears on coins of C. Fundanius
and T. Cloulius, the first of which the prisoner in kneeling position
display (i).
Fig. 56 Fig. 57
With minor variations, this representation comes back in numismatics

on coins of C. Memmius (2), Caesar (img. 56) (3), Augustus (img. 57) (4),
Nero (5), Vespasian (6) and Titus (7). After that it is no longer found.
The kneeling prisoner can still be found under a tropaion
in the sculpture of two century (8). The 3 has a century
e e
example (9). At last he found in the 4 century. On a base e
in Turin a little boy is seen on his knees in front of a tropee.

ken, while his hands are chained to the tropaion pole. Victoria
raises a shield behind the victory sign with her left hand (10). And
on a relief of a rectangular pillar from Constantinople, a
captive, kneeling before a tropaion, toward the token of victory;
(1) BI. 69 and 123.

(z) Tropaion type of . the coins of C. Coelius Caldus (Ы. 70) with naked,
kneeling prisoner. The weapons would point east according to BABELON,
Description, , 2i8, 10. Cf. WOELCKE, p. 211 and pi. XII, 22; DS, note. 12, . 510;
GRUBBER, I, 3937-3939» 495 b1
(3) The kneeling Vercingetorix turns his head to the tropee : WOELCKE,
p. 213 and pi. XII, 34-35; CM/, I, 19; GRUEBER, I, 3960, . 507 and pi. XLIX, 15;
BABELON, Description, , 17, 27; COUISSIN, liquidation, 22, p. 42.
(4) Spanish prisoner under a tropee with shield and lance on the left and a on the right
sword : GRUEBER, Π, 120, bl. 376 and pi. CII, 10; CM/, I, 404; WOELCKE, p. 215 and
pi. XII, 52; BABELON, Description, I, 319, 19; ib., II, 68, 171.
(5) DS, . 517 (Alexandry).

(6) Recirculated by Traianus : CM/, I, 648-649.
(7) With kneeling Jew, supporting the tropaion : CM/, I, 273-274; 295-297;
33°; 33 5· Cf. another coin of Tiberius (bl. 180).
(8) Relief at Modena (Ы. 91); statue of L. Verus in the Vatican (RRJ", I, 589,
1; WROTH, 72 . 135; HELBIG, Fuhrer, I, 212; AMELUNG-LIPPOLD, II, 420 and
pi. 62) and of Hadrian in London (SMITH, III, 1895; HEKLER, Ы. 213 and fig. 142,
p. 215; RRJ", I, 582.6 and p. 944, 3; WROTH, 71, p. 135).
(9) Relief in the Giardino Boboli in Florence (p. 116).

(10) DÜTSCHKE, П, 68.
IOO
Page 134
he wears a diadem and is thus king; his hands are tied on

his back. The relief may come from a triumphal arch (i).
2. A seated prisoner under a tropaion.
The prisoner dates from the same time as the kneeling prisoner,
who sits under a tropaion. He is already featured on the above
coins of T. Cloulius from ιοί BC. (fig. 58) (2), but found more in
hallway. Nevertheless, he spreads the ß c. BC. not then hesitantly. θ
Except on coins of Caesar (3) we only find him on the plate

in the relief band above the inscription on the tomb of Caecilia Metella
on the Via Appia at the foot of two pompous tropaia, which are reversed
are identical (fig. 59) (4).
Fig. 58 Fig. 59 Fig. 60
In the 1st century AD. ch. comes except one sitting under a tropee
man (5) as such already predates a woman (6). stay for now
images like this are scarce, however; first in the time of the Flavians
they reach a climax, especially in the numismatic
tic. Under Vespasian, the prisoner is
under a tropaion to a fixed coin type, which
in many emperors with slight variations in a
endlessInsuccession.
particular, the female
catch a big role; so on coins of Vespa-
sianus from 79. We must often find in her the allego-
rian figure of ludaea, who usually weeps
is displayed (Fig. 60). Sometimes the tropee stands Fig. 61
(1) MENDEL, Catalog sculptures. , 695, 1. 494; DS, note. 16, . 515.
(2) GRUEBER, I, 108Z-1114, . 167-168 and pi. XXIX, 6-8; WOELCKE, . 210
and pi. XII, 14; BABELON, Description, I, 360, 2; COUISSIN, Equipement, 6, . 37 and fig. 5.
(3) With Vercingetorix (Ы. 71).
(4) DS, . 511; remark 8, p. 515; . 516; PAULY-WISSOWA, S.V. Tropaion;
AZZURRI, Ы. 14 etc. and pi. I; Thesaurus Gronovianus, XII, fig. 36, p. 33.
(5) FGS, 4443 ; coin of Nero Claudius Drusus with triumphal arch with tropaia
(p. 184); gnostic gem (Claudius; p. 168); satkop hedge in Blundell Hall (tropaia
with prisoner framed battle scene : MICHAELIS-FENNELL, 303, Ы. 399; BIENKOWSKY,
Darstellungen, . 43 and pi. VIIa); Viennese cameo (p. 87).
(6) Crater Lanckoronski (p. 123, note 2).
101
Page 135
on a globe, symbol of world domination (i). At Domi ti anus

is it Germania, who sits weeping on a shield for a tropee, on whose
shield Victoria, with the foot on a helmet, the inscription DE GF.R(manis)
(fig. 61) (2). Coins minted in Corinth are missing a
indication of the identity of the prisoner (3).
In the second e century the prisoner appears covered with a tropee,
also on Sarkophagen (4). On a chest from the Vigna Ammendola, now in
the Capitoline Museum, one can find this group, as well as on the sarkophaag
at Blundell Hall, flanking a Roman battle scene
and barbarians (5). On a sarcophagus in the Villa Doria Pamfili with a-
the same representation, the prisoners are seated on shields (6).
Also on harnesses of statuae thoracatae one finds the seated
prisoner under a tropaion. Like a statue of Traianus te
Fig. 62 Fig. 63 Fig. 64
Turin, on which the tropaion has a special shape: it consists of

a pole with a helmet; artfully at his foot are four shields
arranged, above which an ax protrudes on both sides (Fig. 62) (7).
Especially on coins the series, which was started by the Flavians, is
(1) CMI, I, 225-228; DS, . 516-517. Tropee on globe : Guide Coins, III, 11,
. 42; , plate volume V, 125, i (cf. Ы. 128).
(i) CM /, I, 469-47 ; 474-475; ViERORDT, pl.XXII, iH7; Koehne in 28-29, bl. 277
2 ) >
(3) CMI, I, 696; 724; EDWARDS, 103, p. 27.
(4) From the Via Collatina and the Palatine Hill (pp. 81-82).
(5) RRR, III, 205; BiENKOwsKi, Darstellungen, pl. IV-V; /CM/, XXVI, 1930,
fig. 62, p. 109; AJA, IV, 1900, p. 363; SCHUMACHER, photo 1, p. 77; KIB, 412, 2;
DURUY, II, p. 127.
(6) MATZ-VON DUHN, 3320; BiENKOwsKi, Darstellungen, pl. IX b.

(7) GROSS, . 107 and pl. 22 a. DÜTSCHKE also mentions another tropaion with
one prisoner on a torso (IV, 72).
102
Page 136
continued. Next to a mourning Armenia (ι), Parthia (2), Dacia (img.63) (з)
and Germania (fig. 64) (4), also comes a Dacian, on whose legs the
judge of the tropee sets foot (5), a Germanic (6) or a nameless one
prisoner (7) for. The three tropaia on L. Verus coins, under each
of which there is a prisoner, remember his Germanic, Sarmatian
and Armenian triumphs (8).
Since the transition to the third e century we find a seated mourning
prisoner whether or not surrounded by arms, starting on coins
of Septimius Severus (9), with varying legends and in varying
environments (10). Henceforth, on coins, the prisoner under a tropee
sitting, an ordinary appearance (11). In addition to the stereotypical group, one finds
but also some individual details.
On a coin from the time of Gordianus Pius depicts a warrior who
sitting in front of a tropaion on a pile of weapons with head in hand (12).
In addition to the personifications of subject countries mentioned, come
in the 4 e century also Alamannia and Francia for coins of Constantinople
tijn I (13) and Crispus (14). Small details enliven the image: this is how you see
(1) Traian (Crete, . 89); M. Aurehus (CAdI, III, 11; BIENKOWSKI, De

simulacns, 8, . 32-34); L. Verus (CMI, III, 4-5; 9-13; 190-192; 219-221; 255; DODD,
p. 217-218 and pi. XII, 1; cf. p. 90).
(2) Traianus (CMI, II, 264); BIENKOWSKI, D¿ simulacns, 14, p. 36 and Fig. 14;
cf. coin of Nicopohs ad Lycum with oriental prisoner from the same time: WBR,
I, 1, 8, p. 137 and pi. suppl. I,, 14).
(3) Traianus (CMI, II, 529-538; BIENKOWSKI, De simulacns, 10, p. 34 and fig.
10a; KRELING, 1478).
(4) M. Aurehus (CMI, III, 215-224; BIENKOWSKI, De simulacns, Fig. 12c , pp. 34;
BLANCHbT, pi. I, 13, p. 118; ViERORDT, pi. XXXV, 1586-1587; KOEHNE, ΙΠ, 13, p.
286; KOEPP, fig. 53, p. 82).
(5) Traianus (p. 84, note 3).

(6) M. Aurehus (CMI, III, 225-226; 296-301; 350; KOEHNE, III, 6, pp. 285 and
15, p. 286).
(7) M. Aurehus (Amastris : WBR, I, 1, 94, . 178 and pi. XX, 16); L. Verus
(CMI, III, 193-196; 199-204; 272-274; 285-286; DODD, pp. 236: Armenier of Parth).
(8) CMI, III, 321-522.
(9) CMI, IV, 230; 659; 661.
(10) Between Victoria and a standing woman (Ы. 139), with or without a tower crown
(p. 117) and in the company of Virtus (p. 163).
(11) Caracalla (CMI, IV, 746); Geta (pp. 117 and 139); Phihppus Arabs (DS, p. 516);
Galhenus (p. 86, note 1); Probus (ώ.); Constantine II (p. 90, note 5 and p. 140, note 1);
Constantlus II (Ы. 84, note 3 and p. 163); Constans I (with Victoria and Emperor: p. 84, note 3).
(12) CMI, V, 510 (Antioch).
(13) Alamannia : CMI, VII, 165-167; MAURICE, I, p. 389 and pi. XXII, 9; BIEN
KOWSKI, De simulacri, fig. 7, p. 33; BLANCHET, pi. I, 14, . 129 BC; Francia : CMI,
VII, 168; BIENKOWSKI, The Simulacns, 11, p. 34 and Fig. 11; BLANCHET, I, 18 and .
127 f.; KOEHNE, IV, 2, p. 26 and pi. I, 7.

(14) Alamannia : CMI, VII, 74; MAURICE, I, pi. XI, 5 and p. 124; GNECCHI, I,
3, p. 23 and pi. 8, 17¡Francia : CMI, VII, 75 (cf. BIENKOWSKI, De simulacns, 11, Ы. 34).
103
Page 137
we Alamannia and Sarmatia on coins of Constantine Π the eyes on

raise to the victory sign (i). This ends this series, which is more
spread was then the combination of a tropaion with a standing,
squatting or lying prisoner.
3. The Tropaion with a Standing Prisoner

gene.
This combination is exclusive
tend in the i e and 2 e cent. ch. in front of.
We already met a prisoner
woman at the Tropees of Marius
and on the chalice of Hilario L. Avillii
Surah (2). Male prisoners standing
under a tropee on a gladiator-
helmet from Pompeii (3), on a relief in
the Museo Civico in Bologna (4) and
on fragments from the Agora
at Corinth (5). Sometimes the
captives attached to the token
chained (6). At a Bernese source
bronze group sits the head of a
barbarian clinging to the round shield of
a tropee (Fig. 65) (7). a single
times oneprisoner
standing finds a tropaion with a (8).
on a tombstone
In relief one finds a prisoner,
whose hands are gathered behind their backs
unions, also on the triumphal arch
in Turin leaning against a tropaion
to stand; the relief is from the time of
Domitian (9).
Fig. 65 A group, consisting of a solo
(1) Alamannia : CMI, VII, 108; Sarmatia: CMI, VII, 109-111; BIENKOWSKY,
The simulacris, 15, . 36 and fig. 15.
(2) or . 73 and 89.
(5) p. 115.
(4) Bl. 118.
(5) p. 124.
(6) REG, LU, 1939, p. 87 = Photogr. Eitrêlaufn. antiker Sculptures, 4360.
(7) BIENKOWSKI, Celtes, z, Ы. 50 and fig. 79, p. 49; RRS, IV, 113, 2 (cf. figurine
from Neumagen : CouissiN, Gaule méridionale, bl. 67).
(8) AJA, XXXII, 1928, p. 201; Arcbaeohgiai Ertesitö, XL, 1925-26, p. 57-59
(from Budapest).
(9) Mostra, 163, . 23 5·
I04
Page 138
daat, a prisoner and a tropaion can also be found on a relief

at the British Museum; on the left is a Dacian captain
with downcast eyes; behind him stands a Roman soldier, who
holds his prisoner by a chain; to the right of this is a
tree, with a Dacian cloak, a shield with a knob and a
hang there with the head of a griffin. The inscription states
M. ANTON. EPAPHRA (1).
On a low relief from Velleia, now in the Museo d'Antichità te
Parma, is the only fragmentary prisoner to the right of
a rectangular, smooth pillar, separated from the
tropaion in the Hnker plane; the sign of victory is composed of a Roman
helmet with cheek flaps and a harness; at the foot of the pole
a round shield, behind which other shields are visible (2).
A small naked figure is at the bottom of the trunk of a tropaion
bound on a relief from Brescia; her attitude is not further
indicated. To the left and right of the victory sign is a mourning Attis. It
tropaion consists of a helmet, a suit of armor and a chitoon, including two
shin plates seem to float. On the arms hangs a long
elongated, on the left a hexagonal shield (3).
It is remarkable that the standing prisoner does not feel at all
has managed to gain place on coins and also, that his appearance
under a tropee is always so varied that it has not grown into

a stereotypical combination, as was the case with the sitting prisoner.
4. The crouching and lying prisoner under a tropaion.

The same can be said of the squatting and reclining
catches, which are found extremely sporadically under a tropaion.
In a crouching position, a prisoner sits under a tropee on a gem
from the 1st century BC. (4) and on a sarco hedge of the Palatine from the
2 e cent. ch. (5). A lying prisoner is found on a coin
of Vespasian from 71 (6).
B. — The tropaion with two prisoners
It is Caesar, who for the first time brings two prisoners to a tropaion
depict, which apparently belong to the sign of victory. This happens on
some of his coins.
(1) WALTERS, Terracottas, D 626; DS, p. 515 and 517.

(2) DÜTSCHKE, V, 900, . Î73-374.
(3) DUTSCHKE, IV, 380.
(4) FGS, 598.

(5) p. 81.
(6) CMI, I, 590 (with captive Jew).
105
Page 139
. A seated and a kneeling prisoner.
The first combination we find is that of a seated

and a kneeling prisoner. This is how we find a woman in mourning
posture seated on the right side of a tropaion, while on the left a
naked, handcuffed man kneels and looks back at the victory sign (i). Also the
reverse order occurs. Incidentally, as far as could be
considered, this group is limited to Caesar's coins.
2. Two inmates sitting.
However, the same also depicts both figures in a sitting position

off (fig. 66) (2). It is precisely these two inmates who are
prefers to place at the base of a tropee. Q. Caepio
Brutus already followed the example of
Caesar after (3). C. Sosius did the same about 37
b.c. following the conquest of Jerusalem
lem (4). The captive man and woman, who are on his coins
Fig. 66 sitting under a tropaion are the most commonly used
scheme.
At the time of August this appears beautifully framed in an oval
amid a frieze of trophies at the temple of Mars te

Merida in Lusitania (5).
Contrary to the preceding images, the scene
on the Gemma Augustea, on which a man and a woman sit and watch
in the creation of a tropaion, full of life (6). Shows a starry image
again a relief from Valcabrère. It is located at the church there
and in the midst of a crowd of weapons also displays a tropee. Left
sits with his back against the tropaion pole a man with his hands behind his back
bound and looks back at a woman sitting on the right side and the
turns face to the tropaion (7). Being chained to a tropaion
also two seated barbarians on a relief from Spalato (8).
(1) BI. 72 (Coin of Caesar).

(2) GRUEBER, II, 89-92, . 369 and pi. Cl, 10; CMI, I, 13; DS, p. 510, note.
13; WOELCKE, p. 212 and pi. XII, 26; BABELON, Oescription, II, 11-12, p. 11 ; COUISSIN,
Equipment, 19, p. 42.

(3) p. 72.
(4) GRUEBER, II, 146, p. 508 and pi. CXIV, 9; WOELCKE, p. 215 and pi. XII, 49;
BABELON, Description, I, 194, 93 and II, 464, 2; САН, plate part IV, 3 y.
(5) DS, Fig. 7127, p. 516; AZ, 1845, p. 81 and pi. XXX, 1; DURUY, IV, p.
822; ComssiN, Gaule meridionale, p. 67, 7; . REINACH, Frize aux tropheeò.

(6) Pl. 84.
(7) ESPÉRANDIEU, Recueil Gaule, Π, 869.
(8) Mostra, 164, . 235.
об
Page 140
They also appear unfettered, as can be seen in a relief of the

triumphal arch in Toulouse, on which a man and a woman at the
foot of a tropaion tribe, turn the head and face each other
prestige (i).
A special feature shows a relief of the triumphal arch at Capua,
because they are two women, who are in the midst of a lot of weapons
be at the foot of a tropaion (2). Sometimes both people sit
as, for example, the captured Germania, on top of a number of weapons (3).
While the prisoners usually turn their backs on one another,
we find them seated opposite each other on the carved sarco hedge
of С Bellicus Natalis in Pisa (4).
In the 2 century AD ch. becomes the schema of the tropaion with the
nd
two inmates used several times to decorate statuae

thoracatae (5).
Such a group was also carried along in a triumphal procession (6).
In cabaret we meet him, except on a terracotta lamp
Corfu with a symmetrical, but ornate tropaion (7), especially at
in numismatics (8).
A number of Septimius Severus coins date from 195, on which

both prisoners back to back, each on a shield and with the
hands cuffed behind the back, being seated under a tropee; sometimes wears
the coin bears the proud inscription PART. ARAB. PART. ADIAB. (9).
(1) BI. 76.

(2) CouissiN, Gaule méridionale, Ы. 56; RRR, , 36, 2-3; DS, . 514 and note. 15,
p. 516; BELOCH, p. 351.
(3) Image from Salona (p. 119, note 3).

(4) Bl. 160.
(5) Statue of Traianus from Gabiae and one in the Oppermann collection (p. 119,
remark 2). cf. also a statue from St. Bertrand-de-Comminges (ESPÉRAXDIEU, Recueil
Gaule, XI, 7656).
(6) Pl. 98.
(7) WALTERS, Terracottas, 497, p. 74 and pi. XV.
(8) Domitian (because of his victories over the Germans : CMI, I, 539;
KOEHNE, III, 16, p. 276; 33, p. 277); Traianus (captive Parthian man and woman:
CMI, II, 184-186); M. Aurelius (captive Germanic man and woman : CMI, III,
157-161; KOEHNE, ΠΙ, 27 and 31, pp. 288; cf. p. 139; caught Sarmatian man and
female: CMI, III, 164-171; KOEHNE, III, 28, p. 288); Commodus (two Germans:
CMI, III, 76-78; 80-88; 92; KOEHNE, III, 6-10; two Sarmatians: CMI, III, 93-94;
97-102; KOEHXE, III, 11-14 and pi. VIII, 8). cf. coins of M. Aurelius and L. Verus,
(p. 97-98) and Commodus (Ы. 86, note 1, Ы. 90, note 5 and p. 177, note 5). Not always
the identity of the prisoners is known (Commodus : CMI, III, 231; 790-791;
KOEHNE, III, 16, p. 307).
(9) CMI, IV, 360; 363-374; 658; 662; DS, fig. 7126, p. 516; DURUY, VI, 55;
V1ERORDT, pi. XLIII, 1823.
107
Page 141
An image like this is now a very common sight on coins.

sel; often the tropaion is found in the company of the prisoners
alone (Fig. 67) (1); sometimes other figures become there
added to (2). With the coins of Licinius II ends
the series.
As for the sculpture is in the 4 e century
only to remove the column of Theodosius at Constantinople
report, which in addition to a symmetrical tropee also has
is decorated with a tropaion, which gives arms to the poor
misses, but instead has a number of weapons at the foot, where
there are also two handcuffed prisoners (3).
3. A seated and a standing prisoner.
The tropee with a seated and a standing prisoner is of almost

same date as the previous group and dates from the time of Augustus (4).
A little later in Triest is the relief from the tomb of
Clodius Quirinalis, soldier of the XV th legion, who died in 6 AD. ch. in return for
the Pannonians fought. It represents a tropaion, with a man on the left
male prisoner, while on the right is a grieving woman (fig.
68) (5).
(1) Caracalla {CMI, IV, 173-179); lulia Domna (Gangra-Germanikopolis :

WBR, I, 1, 33, p. 191); Gordianus Pius (DS, note 14, p. 516); Traianus Decius
{ib.); Valerian {CMI, V, 79; KOF.HNE, III, 2, . 341-342); Gallienus {CMI, V, 305-
316; 769-771; 1189; 1330-1331; KOEHNE, III, 6-8, p. 346; ALFÖLDI, Munzpragung,
1, p. 61 and pi. XXV, 2 and 15; pi. XXVII, 15; 11, . 50-51 and pi. XVI, 3-4, 20; pi.
XVII, 3-4 and XVII, 8, 14; EDWARDS, 148, p. 84); Postumus {CMI, VI, 50-51; 84-87;
232; KOEHNE, III, 2-5, p. 354); Claudius Gothicus {CMI, VI, 289; 305-310; 325;
KOEHNE, III, pi. IX, 5; ALFÖLDI, Münzprägung, 6, pp. 65 and pi. XXVII, 13, XXVIII,
2, 4, 19 and 20 and XXIX-XXXIII); Aurelian {CMI, VI, 260; 278); Probus {CMI,
VI, 735; 750-751; 755-757; 762-776; 936-942; SCHUMACHER, 404, . 61-62; GNECCHI,
III, 75-76, p. 70 and pi. 157, 11-12; ib., 102-108, p. 72; VIERORDT, pi. LVU, 2486;
KOEHNE, III, pi. IX, 8); Carausius {CMI, VII, 385-386); Constantius I Chlorus {CMI,
VII, 302-303); Constantine I {CMI, VII, 169-170; 697-698; MAURICE, II, p. 235 and pi.
VII, 12); Licinius I {CMI, VII, 183-185 ; MAURICE, I, p. 435 and pi. , 2); Constant
tine II (CAÍ/, VII, 260-262); Licinius II {CMI, VII, 60-61).
(2) Caracalla (p. 86, note 1 and p. 139); Alexander Severus (medallion from
Abukir, p. 157; Trebonianus Gallus (Astartetype: bl. 161); Saloninus and Postumus
(emperor : p. 90) ; Postumus (group on attica of triumphal arch : CMI, VI, 47-49); aureli-
anus and Probus (emperor : bl. 86, remark 1); Probus (Victoria: Ы. 139); Numerian
(triomphtocht : p. 98); Diocletian and Maximianus Herculius (emperor : bl. 86, remark 1);
Constantine I (p. 93, note 11); Licinius II (p. 162), and others.
(3) DS, p. 515 and note. 14 and 15, p. 516; RRR, I, 103.
(4) FAG, XXXVIII, 12.
(5) SCHUMACHER, photo 11 a, bl. 82-83; RRR, II) 135.3; DS, p. 517; mosira,
209, p. 252.
108
Page 142
This combination also found a place on coins from Vespasian

to Septimius Severus (fig. 69) (1). In the presence of other figures
it appears on coins of Antoninus Pius and L. Verus (2) and on a

coin from Asia Minor (3).
4. Two prisoners standing.
In the i e cent. ch. come, as far as is known, for the first time also
two prisoners standing under a tropaion in front, a man and a woman.
This takes place in Gaul on the triumphal arches of Carpentras (fig. 70) and
(1) Vespasian (CM/, I, 547); Titus (CMI, I, 305-307); Domitian (CMI, I,

318, with the legend IVDAEA CAPTA and a standing Jew, riveted to the
tropee of GERMANIA CAPTA, with captive woman, seated on a shield : bl. 77,
remark 2); M. Aurelius (CM/, III, 227-229; KOEHNE, III, 14, . 286; REGLING, pp. 120;
ViERORDT, pi. XXXV, 1588; GNECCHI, II, 10, p. 28); Septimius Severus (CM/,
IV, 498).
(2) See resp. p. 92, note. 2 and p. 115, note. 4).
(3) AA, 1931, Col. 440, Fig. 8.
109
Page 143
Orange (ι). This rare schedule turns in the second back a few centuries
email
Sarkophagen (2); the 3 century happens at a tropeeën

E
decorated capital in Leningrad (3) and

on a coin of Heliogabalus with
a Bakchic scene (4).
It might be to stylistic
reasons — the horizontal line of the
whole has little liveliness and
is therefore less attractive —,
that this group is not widely distributed and
also almost impossible on coins
found.
5. Two crouching prisoners.

Even rarer is the tropaion
with the two crouching prisoners,
found on coins of the
town of Tomi(s) in the vicinity of the
Tropaeum Traiani in the Dobrusha.
The reverse of these coins from
Fig. 70 the time of Traianus shows a
tropee placed on a base,
on which traces of sculpture can be seen (5). This coin would be the top
present part of the Tropaeum Traiani and by the inhabitants
of Tomi in honor of Traianus (6). Others are of the opinion,
that coins of Tomi from the time of Septimius Severus, Geta Caesar
and Plautilla with on the reverse the image of a tropaion between
two squatting prisoners with phrugian caps at the same monument
remember (7). Blanchet believes it can still be found on coins of
Macrinus from Nicopolis (8).
(1) BI. 77·

(2) In the Museo Archeologico in Palermo and the Borghese Collection in Rome
(Ы. 78-79); see also a fragment in the Villa Doria Pamfili (BIENKOWSKI, De simulacris y
Fig. 58, p. 66; MATZ-VON DUHN, 3319).
(3) p. 121.
(4) Bl. 158.
(5) RASCHE, IX, 1394; HEAD, . 276; IMHOOF-BLUMER-PICK-REGLING, ii, 635,
680 v, nos. 2600, pi. 7.1 and 2601-2603. cf. TOCILESCOBENNDORF-NIEMANN, p. 127
and fig. 131.
(6) PICK, AEM > XV, 1892, p. 18-20.
(7) . PICK-IA BLANCHET, Kevue numismatique, 3 series, X, 1892, . 78.
e
(8) Ib., p. 74.
110
Page 144
Like the previous group, this one also remains incidental; only
on a torso from Amasra he was found (i).
6. Two kneeling prisoners.
An even greater rarity are two kneeling prisoners on

the foot of a tropee. This can be found on the chest harness of a
statue of Traian in the Louvre. The prisoner on the left has
head up to the symmetrically constructed victory sign (2).
C. — Raise tropaion with more than two prisoners
To the incidental combinations, of which we have already mentioned some above

one can also get to know the group of a tropaion with more than
counting two prisoners, which is rare. In the i e century
b.c. it was Perseus and his sons, who, on a coin of Paullus
Aemilius Lepidus flanked a tropee (3).
Usually, however, transferring a number of prisoners
to a tropaion. Such a scene shows a gem
relief in Geneva: at the tropaion stands a soldier with a prisoner,
while men in trousers and with bare torsos go to the
victory sign in the middle of the performance. The types
of the prisoners and the rectangular shield indicate that the Ger-
are moons (4).
Elsewhere one finds a tropaion, surrounded by a number of plaintive
prisoners, carved on a sarco hedge (5). Yet another schedule
shows a coin of Gallienus, on which next to a kneeling prisoner
two others are at the base of a tropee (6). from the scarce
data, it can be concluded that this group is not sufficient
has found entrance to become a widely accepted
scheme.
(1) BI. 119, remark. 1.

(2) PPS, I, 337, . 171, 1; BERNOULLI, UI, 77; DS, note. 14, . 516; Catalogue
sommaire, 1154, . 66; WROTH , 64, p. 133.
(3) p. 84 (recirculated by Traianus).

(4) RAÍ, LII, 1937, . 53 and pi. 18; VON ROHDEN-WINNEFELD, pi. 87, 2.
cf. a heavily damaged relief in the Vatican (BIENKOWSKI, Celtes, fig. 255,
p. 191; SCHUMACHER, IO, p. 8I; HELBIG, Führer, I, 331) and some other monuments
men (Ы. 81-84).
(5) SCHREIBER, 338, p. 261 BC; DS, p. 516-517 (in the Villa Ludovisi).
(6) Pl. 86.
III
Page 145
D.— Some Special Groups
Finally, some special cases should not be left unmentioned.

This includes first of all a coin of Vitellius with the image of
a Victoria, who places a tropaion on top of a prisoner who is on
a globe sits (i).
On the base of Traian's Arch at Corinth, the
prisoners at a tropaion also serve as atlantes (2).
Finally, there are a number of images showing children the
accompanying prisoners
already shows one of the at the footofofMarius
Tropees a tropee.
(3).Traces of this
Were the children
hereby presented playfully, resting at his mother's breast
one has a weight depicted on a sarco hedge (4).
An adult with a child is more common (5). A play full
tragically leaves a coin of Maximianus Herculius with the legend GAVDIVM
ROMANORVM , on which at the foot of a victory sign a prisoner
woman is feeding her baby (6). A man and a woman with in their
Finally, in the middle of a child, one finds under a tropaion on the
pedestals of the Arch of Constantine (7).
Let us summarize the foregoing with a single word. The placing
of prisoners at a tropaion created the possibility of a variegated
variation by altering their number and attitude. Related
with this a division, as given above, has something artificial,
with which the liveliness of the performance is not always completely
let unite; however, it has the advantage of clarity and
also reveals that among the varied combinations of
prisoners and a tropaion are some connections, which have
detached from the individual and developed into general types.
Examples include the tropaia with a seated prisoner and those,
including two prisoners. As said is the prisoner,
as an integral part of a tropaion, a Roman invention; he
occurs from the end of the 2 e c. BC. until the 4 e century
n. ch.
(1) CMJ, I, 92-93.

(2) DS, . 516.
(3) B1. 73-
(4) From the Via Colktina (Ы. 82).
(5) Chest armor of a statue in the Palazzo Colonna in Rome (Ы. 119, remark 2)
and coins of Antoninus Pius (Ы. 78, note 3 and Ы. 115, note 4).
(6) CMI, VI, 131.
(7) p. 132.
112
Page 146
§ 2. — THE TROPAION IN CONNECTION WITH A DEITY
Although in the order of reality man is first involved

with a tropaion, one finds in art from the outset also
a deity to a tropee. Could one stand on a vase shard from the holy
cathedral of the Kabeiren at Thebai the presence of a goddess of victory at
only suspect the tropaion, she is certain on an Attic pelike,
on which Nike nails a helmet to a tropaion pole (i). And thereby
we are in the time of Pericles.

Of course the actions, which deities in a tropaion
perform, symbolically; however, they are derived from reality and
imitations of human actions.
I. — Nike-Victoria
That the goddess of victory herself appears first at a sign of victory,

is in line with expectations. With regard to her, the following
scenes are distinguished:
A. — Nike sets up a tropaion
The creation of a tropaion takes place in the following stages:

first of all, the weapons are attached; then follows the wreath
of the sign of victory and the inscription of the shield.
Finally, there are sacrifices.
i. Nike attaches weapons to a tropee.
This symbolic act is a striking illustration of the

metaphorical use of the expression τρόπαιον ίστάναι, where . became
found that often the thought of a real
tropee vividly comes to mind (2). The symbolism expresses that
it is Nike that confers victory on a man. By the way, her role is
not limited to the application of a particular weapon, as already shown
from the relief at the Panagia-Gorgopiko Church in Athens, on which two
Nikai put on a suit of armor to decorate a tropaion (3) and the
heavily damaged reliefs of the balustrade around the temple of Athena-
Nike there (4). Trophies play a major role in this. While some
(1) BI. 62-63.

(2) BI. 20.
(3) B1. 63.
(4) KEKULE, Reliefs, . 5-12 and pi. I-VI; FW, 761-804; RRR, I, p. 21-22;
CARPENTER; AJA, П, 1923, . 47 2 ·
из
Page 147
Triumphal goddesses bring ox sacrifices, others are raising up

from tropia. The scene is divided into several fragments. on
fragment H, Nike attaches a helmet to a pole. At the Nike of Fragrance
ment M probably needs to be replenished a tropee. Fragment S
shows a goddess of victory for the lower part of a tropaion:
a thick trunk with a presumably leather armour. Fragment 2 poses
a tropee of Persian weapons, consisting of only a part-

preserved Persian hat with hanging ribbons, as well as a dress
with belt and sleeves. Nike just confirms a quiver here. The rest
of a large oar indicates that this tropaion is a ship's tropee
is, which could be a reminder of the battle of Salamis (1). In
a total of six tropaia are distinguished, of which probably three
consist of Persian equipment (2).
That in representations such as this reality and symbolism with
intertwined, is shown by a relief on a base with three Persian
tropaia, which was found south-west of the Parthenoon (3).
After all, next to the tropaion is a soldier, while from the other side
a Nike approaches with a piece of clothing adorning the monument.
In the 4 e century, the idea of a Nike
who sets up a tropee, very popular (4). This is especially true
for the Nike, who puts a helmet on a tropaion pole, which
representation was widely distributed by coins of Syra-
cuse from the time of Agathokles (cf. fig. 71) (5). A new
element brings an aruballos preserved in the British Museum,
on which two Nikai bring shin plates to a tropee (6).
The three E century one finds a Nike founder only a tropaion
on coins (7); they are those of Taranto, on which the goddess holds a shield
attached to a tropee (Fig. 72) (8).
(1) FW, 802.

(2) HEBERDEY, JOAI, XXI-XXII, 1922-1924.
(3) B1. 64.
(4) Gemme of Onatas (Ы. 66); fragment. of a relief from the Peloponnese,
now in the so-called Theseion in Athens (SCHÖNE, 99); vase in Hildesheim (PAGEN-
STECHER, Ы. 5 5).
(5) BI. 65. See also : base, found east of the Parthenoon (Ы. 64);
coin of Lampsakos (HEAD, ill. 287, . 529; GARDNER, Types, pi. X, 24 and Ы. 173);
gems (ZADOKS, JLondom a ring, Ы. 95 vv.).

(6) WOELCKE, p. 152 and note. 93.
(7) Antiochos I (IMHOOF-BLUMER, Flügelgestalten, 63, pp. 29; WOELCKE, . 202;

A. REINACH, Trophées macédoniens, fig. 7, p. 398); Purrhos, where Nike does not like
left, as usual until then, but approaching from the right (WOELCKE, p. 202;
Monnaies, IV, 527; IMHOOF-BLUMER, Flügelgestalten, 64, bl. 29); Taranto.
(8) Sometimes with shin plates and pedestal (IMHOOF-BLUMER, Flügelgestalten, 64,
p. 29; WOELCKE, p. 206, 2; DS, p. 515 and note. 9).
114
Page 148
This area is currently exhausted. After a break of a

century, however, the victorious goddess, now as Victoria, returns on a relief
on an altar in Rome in the i e c. BC. She also hangs a shield here
at the victory sign (i).
Fig. 72 Fig. 73
From the same time is a gem, on which Victoria, busy with the
towards a tropee, looks back at a "philosopher", who sat on the left
and supports his head with one hand (fig. 73) (2).
In the i e century AD undergoes further representation
changes due to stage expansion. This is already apparent on a
Diator helmet from Pompeii with the image of the apotheosis of Roma.
This one is in the middle, flanked by
two kneeling figures holding a in one hand
hold field mark and extend the other to
the city patrons. On both sides of this stage
stands a tropaion with a prisoner; Victoria
just arranges a shield on the victory sign (3).
How unclear several images
be, nevertheless it can be established, that
the last scene now, especially on coins
(Fig. 74) (4), returns regularly (5).
Fig. 74
In addition, however, there are also new
sten. For example, on a contorniatus of Nero there are two figures, including
(1) DS,fig. 7121, p. 512; RRR, III, 32; WOELCKE, p. 191; DUTSCHKE, III, 218;
Mostra, 9, p. 121 and pi. XXXII. Further gems in the British Museum (WALTERS,
Gems, 3041-3042).
(2) S. REINACH, Pierres gravees, p. 64 and pi. 64, no. 67, 1. Cf. the currency of
Antibes from 78-77 (Ы. 72).
(3) RRR, III, 86.1; WOELCKE, p. 163 ; Mostra, 90 a, p. 483-484 and pi. LXXVII1.
(4) Vitellius (CMI, I, 97), Vespasian (CMI, I, 551-553; 590), Traianus (CMI,
II, 246; 444-449), Antoninus Pius (CMI, VIII, 300, bl. 309 : contorniatus) and L. Verus
(CMI, III, 197-198; 281-284; 346; GNECCHI, II, 13, bl. 46 and p. 72, 10; 28, bl. 48 and
pi. 75, 2; 29-30, p. 48; FROHNER, p. 90; CAGNAT-CHAPOT, fig. 504, p. 276; ZADOKS-
JITTA, Ancient culture in pictures, p. 157, 9).

(5) Gems (FGS, 7293; cf. FOSSING, 623); breastplate of statue from Argos,
now in Leiden (VON ROHDEN, . 19, no. 50 o).
"Yeah
J 10
Page 149
Victoria, in the process of establishing a tropee (ι). In the time of

Traianus we find Victoria erecting a tropaion on both sides
of a globulus in the facade of a temple with eight columns on
a Bithunian coin (2); two antithetic Victoriae adorn a tropee

on a column base from the theater in Catania (3).
Fig. 75 Fig. 76
It also now appears that the time of the Antonines was a period of new
finds is regarding the tropee. Coins of Antoninus Pius ver
show a Victoria holding a shield with a palm branch in hand
tropaion that rises high behind a standing prisoner who mourns
looks back at her child (fig. 75) (4). Elsewhere is the emperor in person
present herewith; at his feet lies Africa, recognizable by elephant trunk
and lion (fig. 76) (5).
Last comes a Victoria who supplies a tropaion with a
shield, certainly for a relief in the Giardino Boboli in Florence.
It is said to have come from an arc of M. Aurelius; others however
assume that it belonged to the arcus novus, which Diocletian in 294
built across the Via Lata. Victoria, holding a palm branch in her right hand,
puts the left arm over the shoulder of a tropaion standing next to her,
to attach a shield to it. Kneel at the foot of the sign of victory
a handcuffed prisoner (fig. 77) (6).
(1) CM/, VIII, 138, p. 290.

(2) WBR, I, 2, 47, bl. 242 and pi. XXXVI, 14.
(3) LIBERTINI, 142 and pi. XXXVII.
(4) CMI, II, 1165; GNECCHI, II, 106, p. 21 and pi. 55, 3; FROHNER, p. 54.
(5) Antoninus Pius (CMI, II, 323; GNECCHI, II, 23, bl. 11-12 and pi. 45, 7; 47, 1);
Commode (CMI, III, 69; GNECCHI, II, 5, p. 52 and pi. 78.5; FROHNER, . 136).
Antoninus also knows a prisonerless variant (CMI, II, 324; GNECCHI, II, 25,
p. 12 and pi. 47, 2).
(6) BiENKOwsKi, Celfes, . 196-198 and fig. 261, p. 197; DUTSCHKE, II, 68;
SiEVEKinG, RM, Lil, 1937, . 74 f.; AJA, XLII, 1938, p. 583; Mostra, 2, p. 11-12.
116
Page 150
In the е century becomes the Victoria who erects a tropaion for the
last seen on Caracalla and Geta coins; the goddess places there
her foot on a helmet. Opposite her is the handcuffed Britannia with
tower crown and on the floor is a prisoner (fig. 78) (1).
Let us now turn to a number of special representations.

These can be found on some Pompeian frescoes. Confirm on one of them
Victoria a lance to a tropaion (2). The is not clearly visible
act of the goddess on another mural. She is on the
left side of a tropee, while on the other side a young warrior
with portrait-like, noble features; he is fully armed
and wears a golden wreath on his head. The crossbar of the tropaion
has been transformed into arms carrying spears. On the vertical trunk it says
(1) Caracalla: CAÍ/, IV, 639-641; EDWARDS, 76, . 8o; Geta: CMI, IV, 223;
BAUMEISTER, I, fig. 406 b, Ы. 372.
(2) Insula IX, 7 (RAÍ, IV, 1889, 2, . 107; WOELCKE, . 163).
"7
Page 151
a helmet with decorations in the form of horns. Such a helmet

is next to Victoria on the floor. The goddess has a hammer in the right one
hand and is busy on the back of the victory sign. Meanwhile, a
soldier a vexillum. The big nail coming from the helmet of the tropee to
sticking out indicates that Victoria is fixing the helmet with the hammer.
Because of its shape, a connection is made between this mural
and the monuments of victory at Pergamon, and will one wish in the soldier a Helle-
nist general or prince (Antiochos or Attalos I) see (i).
Quite numerous are the cups with relief decoration with the image of
a trope. On a skuphos from Boscoreale is the chariot of Emperor Tiberius
adorned with a tropaion, surrounded by a symmetrical decoration;
on the right is a winged Victoria, stretched out in her
hands holds a sword that she is going to attach to the token of victory. She
is followed by a female figure; an eagle is sitting on her
feet (2).
Variations on the same theme can be found on a Roman
relief in the Museo Civico in Bologna — on which hangs a Victoria one
shield attached to a tropee, while on the right is a prisoner next to a heap
weapons (3) — and on the base of Scipio Orfitus (4).
We have already encountered more than one Victoria at
a tropion. Since the i e cent. ch. isn't this an unusual appearance?
sel. It is new, however, when the two Victoriae who are working on a
tropaion, be applied in an antithetical position.
This occurs in particular on statuae thoracatae. on a picture
of an imperator with the head of Claudius both goddesses stride
with a shield towards the tropee; who on the right side wears an oval
shield, the other one of octagonal shape (5). Such a scene
can also be found on a torso from the Roman basilica in Corinth,
probably from the first half of the I e cent. BC; the tropaion
motif is repeated with one Victoria on the right shoulder plate
achieved (6).
The 2 e and 3 e cent. ch. we have a multitude of images,
of the chest armor with a tropaion with two antithetic Victoriae
(1) HELBIG , wall gemalde, 941; RRP , . 149, 4; WOELKCE, . 152; DS, note.
22, . 502 and fig. 7104, p. 501 (cf. Fig. 1625); ROUX-BARRE, II, Ы. 203 and pi. 67;
A. REINACH, Gaulois and 'Egypt, p. 45; PFUHL, Fig. 658, p. 278 and § 892, p. 816.
(2) HÉRON DE VILLEFOSSE, Ы. I4I VV.

(3) WOELCKE, . 163; BIENKOWSKI, Oe simulacris, 21, p. 40 and fig. 21, . 41.
(4) Bl. 79·

(5) From Susa in Turin (DÜTSCHKE, IV, 55; RRJ, Π, 2, 577, 6; BERNOULLI, Bild
nis rom. Kaiser, II, p. 335; DS, . 516).
(6) Perhaps Drusus the Elder {Л]А, XXVI, 1922, fig. 4, p. 146).
118
Page 152
is decorated (fig. 79) (ι). Often the goddesses attach a shield to the
victory sign, which usually represents type II, giving the symmetry
of the composition is further enhanced (fig. 80) (2). Sometimes this
Fig. 79 Fig. 80
however, also somewhat broken, because the artist uses one of the two
victories hang one shield on the tropee, while the other
it crowns (3). There are also prisoners at the foot of it.
An image of Traianus in Venice occupies a special place, through-
that it contains the rare representation of a tropaion, which by the
(1) From : Miletus (HEKLER, note i, Ы. 238), Olumpia (RKJ, II, z, 578.5 ; VON
ROHDEN, p. 2 and p. 19, 50 p), Athens (Kentrikon Mouseion : WROTH, 52, Ы. 132)
and Thasos (Caracalla : DS, note 3, p. 516). Also torsos from : Brindisi (HEKLER,
remark 31, p. 229) and Amasra (Amastris : MENDEL, Catalog sculptures. III, 1108 Ы.
345-346).
(2) Statue of Traianus from Gabiae (Louvre : EPA, III, bl. 289 A; DURUY, IV,
p. 823; Catalog sommaire, 1150, p. 66; VON ROHDEN, p. 12; RRJ", I, 42, p. 171,
pi. 338, 2 and p. 181, pi. 356.1; WROTH, 46, p. 132) and of Hadrian at Madrid (RRJ",
I, 563.6; WROTH, 47, p. 132; DE CLARAC, 2504 A, p.i. 916B; RICARD, 64, pi. XLIII).
Furthermore, sculptures in the Oppermann collection (BABELON-BLANCHET, 686, p. 297),

from the Peloponnese (in the Museo Naniano in Venice: RRJ, II, 2, 584, 3 ; AEM, IX,
1885, p. 49; VON ROHDEN, p. 19, 50 ) and in the Palazzo Colonna in Rome (RRJ", II, 2,
587.5; WROTH, 43, p. 131; MATZ-VON DUHN, 1355).
(3) Image from Salona (in Zagreb: RRS, II, 2, 584, 2; DS, remark 15, p. 516; WROTH,
45, p. 132; AEM, III, 1879, p. 166; id., IX, 1885, pi. 2; VON ROHDEN, p. 12; mostra,
221, p. 254), from Hadrian from Crete (in Istanbul : DURUY, V, bl. 108), from M. Aurelius
in Rome (Museo Capitolino: RRS, I, 587; WROTH, 48, pp. 132; DE CLARAC, 2447, pi.
953), in Leiden (RRj , II, 2, 587, 2; WROTH, 50, bl. 132; BRANTS, bl. io and pi. XIII,
-
25 ; JANSSEN, pi. V, 14) and in Rome (collection Doria Pamfili : RRJ", I, 605, 2; WROTH,
49, . 132; DE CLARAC, 2507, p.i. 981).
119
Page 153
one Victoria is crowned while the other with both hands a

brings sword (i).
Except on armor like this, the scheme comes with the two anti-
thetic Victoriae only once before, as far as we know, on
one of the upright corner pieces of Nero's so-called sarco hedge, which
was found in Rome on the Via Cassia (2).
Even capitals are sometimes adorned with such a group. From the
Flavian period or later are two fragments of a capital in the
Tabularium in Rome. Their relief decoration shows in the middle a
Fig. 81
tropaion, flanked by two Victoriae — of which only clothing —

and wing remnants are left — at the corners (Fig. 81) (3). A big
resemblance to these fragments, two antique capitals on the
high columns of the rear church of S. Lorenzo fuori le mura (4). Also
there is always a tropaion between the Victoriae on the corners.
(1) In the Grimani collection (RRJ 1 , I, 579.1; WROTH, 51, Ы. 132; DÜTSCHKE,
V, 376, . 146-147) ·
(2) RAÍ, LVIII, 1943, fig. 6, p. 15; BARTOLIUS-BELLORIUS, Veterum sepulcra,
fig. XLIV, p. 38-39.
(3) VON MERCKLIN, 0. с This mentions another capital from Porto, now in the
Museo Torlonia, but gives no further details. These are also not known from the
trophies of the "pilastri con armi" from Florence {Mostra, 1, bl. 174).
(4) MATZ-VON DUHN, 3447; Mostra, 4 c, p. 631; VON MERCKLIN, p. 194.
120
Page 154
Finally, a capital is built in the Ermitage in Leningrad.

worth, whose ornamental scheme is approximately equal to that of the
just mentioned capitals, but on which the tropaia is not in the same
master the composition. In addition, they are equipped with
nes, which are arranged symmetrically next to the tropaia. The Victorian
to have worn trophies. On the third side of the capital
there is a large akanthos leaf and the tropaion is not in the
middle, but on the left half (i).
After the century comes a Victoria, who carries weapons to a tropaion
confirms, whether the scheme of two antithetic Victoriae around a tropee
no more for.
2. Nike crowns a tropaion.

The next stage in the creation of a tropee is the wreath
of them. Since the 4 еcentury BC. is performing this han
division depicted by Nike; this scene immediately wins a big one
popularity.
A nice example here
of is found on an Attic
pelike from Megara. Immediately
wreath in hand flies Nike
to a tropaion, which in a
heap of stones has been stabbed and
for which an act of sacrifice
is performed (2).
To a performance like
it was in the 4 e and 3 century е
given great fame

by coins of Capua and
of Seleucus I (3). Not only
however by this one. They are in
the 3 e century, moreover, the
Hellenistic incense altars
and the Megarian bowls (4),
on which such representations are made
gene is found.
The frankincense cake jess
show on their four sides in Fig. 82
(1) VON MERCKLIN, . 202. See also MONTFAUCON, . 253.

(2) DS, . 505 and 515; WOELCKE, . 147; Fig. 1, p. 148 and note. 67; KEKULE,
Balustrade, p. 10; BAUMEISTER, I, p. 210 and fig. 165, p. 211.

(3) p. 66.
(4) Bl. 53-54-
121
Page 155
relief a fixed series of images : a Dionusian group, Apolloon

and Leto, Poseidoon and Amumone and finally a wingless woman
who crowns a tropaion and would be Nike (Fig. 82) (1).
Many Megarian bowls contain the same representation; on far
separate fragmentary copies must be in the original
condition a tropee with or without a goddess of victory is considered to be present (2).
Its own place occupies a bowl from Salonika, in which
in the middle of a frieze of figures a tropaion between two wings
empty Nikai state (3).
Southern Italy turns out to be the area where the image of the
Victoria crowning a tropaion, on coins a special preference
Fig. 83 Fig. 84
enjoyed (Fig. 83) (4). It is from this image that the victoriati
their name; they show the same type, with Victoria from the left on the
achieves a victory sign (5).
At the end of the 2 e c. BC. it comes to a re-
life on a quinarius by P.Vettius Sabinus (fig. 84) (6). C. Fundanius (7)
(ι) , 1909, Col. 172-173. DEONNA (Brûle perfumes) only speaks of a

woman at a tropaion; WUILLEUMIER, however, goes further into this issue and
shows that a wingless Nike is not uncommon in ancient art.
(2) KA, III, 1904, . 7 and fig. 7, . 8; COURBY, p. 410.
(3) BAUR, 197 and Fig. 46.
(4) Of the Bruttii (p. 68, note 4), of Atella (tropaion in a heap of stones and
equipped with shin plates: HANDS, bl. 15; WOELCKE, . 204), Heraclea in Lucania
(WoELCKE, pp. 204.1) and Taranto (IMHOOF-BLUMER, Flügelgestalten, 65, pp. 29; WOELCKE,
p. 206, 1 and pi. XI, 42; WUILEUMIER, pi. II, 3).
(5) p. 53, note. 2. Coins of Cn show a similar pattern. Baebius Tampilus,

Caecilius Metellus, Ti. Maecilius Croto (?), Vibius (?) and Matienus (WOELCKE, pp. 209;
BABELON, Description, I, 251, 3; 259.2; II, 159, 1; 209.3; 537).
(6) GRUEBER, I, 1564-1580, p. 221-222 and pi. XXXI, 18; WOELCKE, p. 210;
BABELON, Description, II, 531, 1.
(7) p. 69, note. 2.
122
Page 156
and T. Cloulius (i) combine the resp. with a kneeling and a sitting
prisoner.
Fig. 85 Fig. 86
In the i e c. BC., When Victoria who tropaion crowned,

is not an unusual appearance in Italy (fig. 85-86) (2), as evidenced by coins
from Adada in Pisidia and Kibura in Kilikia, which meanwhile also
the east has penetrated (3).
Again and again, small changes make the
necessary variety. For example, a denarius of Q.
Caepio Brutus and С Flavius Hemicillus a tropaion,
whose trunk in horizontal direction is a sword
confirmed; in addition, the mint master adds to the victory
goddess who crowns the tropee, a new attribute in Fig. 87
the shape of a palm branch (fig. 87) (4).
According to Grueber, M. Antonius had not yet won any victories
achieved, when he about 43 BC. had a quinarius struck with it
scene of the victoriati, which he is said to have had in the
(1) BI. 101, note. 2.

(2) Coins of : Cn. Cornelius Biasio (GRUEBER, II, 632-634, . 296 and pi.
XCV, 5 ; WOELCKE, . 210 and pi. XII, 16; BABELON, Description, 1, 396-397, 21), Clau
dius Unimannus (?) from 89 (GRUEBER, II, 748-778, bl. 313-316 and pi. XCVII, 9-17;
WOELCKE, p. 211; DS, note. 5, p. 510; BABELON, Description, I, 348, 4) and from Cn.
Cornelius Lentulus, about 86 (GRUEBER, I, 2443-2444, bl. 310 and pi. XXXVII, 21;
WOELCKE, p. 211; BABELON, Description, I, 415, 51), all of the victoriati type;
gemme from Ashik (with wingless woman at tropaion, as on incense altars : S.
REINACH, Antiquitésdu Bosphore Cimmerie», p. 56, 9 and pi. XV, 9; DURUY, II, p. 819);
crater Lanckoronski (winged goddess of victory; to the right of the helmetless tropaion is a
woman, while on the left a prisoner is killed and several others are brought in :
TOCILESCO-BENNDORF-NIEMANN, Ы. 101 and fig. 48, p. 42; WOELCKE, p. 147).
(3) Adada : WOELCKE, Ы. 206 and pi. XI, 48; HEAD, p. 705; IMHOOF-BLUMER,
Flugelgestalten, 64, . 29. Kibura : WOELCKE, p. 206; HEAD, p. 719.

(4) GRUEBER, II, 55-56, p. 476 and pi. CXI, 11; CM/, I, 6; BABELON, Description,
I, 498 and II, 119, 49 and 454, 31; WOELCKE, p. 213 and pi. XII, 37.
"3
Page 157
hope for future victories. Rather, however, one would

be able to think far-reaching formalism (i).
A coin of Augustus with the name of Carisius and the
depiction of a Victoria holding a tropee of Celtiberian
Weapons crowned, decision i e c. BC. the coin series
with this representation (fig. 88) (2).
The first century of our era brings an altar
Fig. 88 from Périgueux with a relief, on which Victoria with wreath
and palm branch between two naked barbarians and a tropaion
state (3). In numismatics, the goddess of victory who carries a tropee
crowned, except on a Rhodian coin, not returned before Domitian,
and then only on coins minted outside Rome (4);
the goddess carries a shield in her left hand. A general
coin type with this image, however, did not originate. After Commodus (5)
has used it yet, the last image comes from
this nature on coins of Macrinus; the triumph cart, in which
the state emperor crowned by Victoria contains a relief decoration
with the wreath of a tropaion by the goddess of victory (6).
This Victoria type is also scarce in contemporary sculpture
represented. Precisely within the Agora of Corinth, remains were
of statues that would have belonged to a triumphal
bow from the time of M. Aurelius. One of the bases shows a winged
the Nike crowning a tropaion, while on the other side of it
a handcuffed prisoner appears to be standing. A second relief would also
contain a trope. This would consist of a helmet, which with both,
stiffly projecting cheek pads rest on two standing crosswise on the floor
shields. On the right is a captive man, on the left a
child with the elbow on the knee of a captive woman sitting there.
It is not unlikely that this combination is intended as a victory sign;
as a 'tropaion', however, its form breaks with all traditions (7).
(1) GRUEBER, II, 36-39, . 394 and pi. , 9; BABELON, Description, I, 162, 7;
CMI, I, 82; WOELCKE, . 213.
(2) GRUEBER, II, 121-124, p. 376 and pi. GII, 11-12; CMI, I, 386-387; WOELCKE,
p. 215 and pi. XII, 53-54; BABELON, Description, I, 319, 20-21; II, 69, 172-173; ds,
remark 1, p. 511.
(3) ESPÉRANDIEU, Recuei/Gaule, II, 1275.
(4) Corinth (Ы. тог, note 3 ; EDWARDS expressly states that the goddess
crowns the tropaion); Caesarea in Samaria (CMI, 1, 756); Rhodes (WOELCKE, p. 206
and pi. XI, 49; IMHOOF-BLUMER, Flügelgestalten, 65, bl. 29, from the period of 43 BC.
ch. to 96 A.D. BC).
(5) p. 98.
(6) CMI, IV, 104-107.
(7) AJA, VI, 1902, p. 11-12 and fig..7, p. 14.
124
Page 158
Only once did we find two Victoriae mentioned, who were in antithe-
tic attitude to crown a tropaion, on a statue of a
imperator from Aigeira (i).
3. Nike describes the shield of a tropaion.
According to the available data, a Roman invention is the

Victoria, who on the shield of a tropaion the name of the victor,
the vanquished or the gift-giving deity writes.
This image, first launched on a coin of
С Egnatuleius (101 BC?; fig. 89) (2), however, found only
little entrance. In the i c. BC. we meet her in the
e
not at all. Only in the time of Domitian does she appear

again on its coins with a Victoria who, standing with the Fig. 89
foot on a helmet, puts the inscription DE GER(manis) on it
shield of a tropee, under which a mourning Germania sits weeping (3).
This type is found just as little on gems (4). Sometimes it is
shield already attached to the tropaion, if it is by Victoria
described (5). It is under
supported on a medallion from Aboukir from the
time of Alexander Severus (fig. 90) (6).
Earlier, large figures such as
Caesar's original finds discovered at
аапгіеп of the tropaion. In a sense,
this also for Traianus, who on the to him
mentioned column, which tells the history of
the successful Dacian Wars of this
prince, to portray Victoria while writing
Fig. 90 on a large shield resting on a small column.
The goddess stands between two tropaia from over
loading form, although here too the pursuit of a certain balance can become
noted, without this leading to a strict symmetry. a tropaion
is 'classic', the other 'barbaric' (7).
(1) JOAI, Beiblatt 27, 1932, Col. 229-230 and Fig. 114.
(2) GRUEBER, I, 1076-1078, . 164-165 and pi. XXIX, 4; WOELCKE, . 210 and
pi. XII, 15; BABELON, Description, I, 475, 1; COUISSIN, Equipement, 8, . 37 and fig. 7.
(3) B1. 102, note. 2. Elsewhere the helmet is missing, DE GER. and the prisoner
(CAÍ/, 1, 639-643; ViERORDT, pi. XXI, 1133).
(4) FossiNG, 1704 and pi. XIX; ZADOKS {Keep a ring, bl. 98) mentions another
gemme, which from the 4 e century was tribal, with this performance.
(5) Coin of Traianus (CMI, II, 80).
(6) DS, Fig. 7112; p. 505; p. 516; RECLINO, p. 150.
(7) LEHMANN-HARTLEBEN, p. 37; TEBO, p. 96; RRR, I, 351, 62.
125
Page 159
The scene of Traian's column is repeated on that of M.

Aurelius. Yet there are differences: the weapons at the foot of the victory
signs are not as varied as on Traian's column, but shine
mere shields, while neither trope is armor
wears; one has an animal skin and a hat, the other a tunic and
a helmet (i).
4. Victoria sacrifices a bull at a tropaion.

A performance that has only very rarely been seen since the Nike balustrade
occurs and has since been known only to the Romans, is that of a
Victoria, who brings a bullofler to a tropaion. On a torso from Alantua
from Lulic-Claudian times, bull-killing victorious goddesses flank a
victory sign, under which is a captive woman (2). A torso from Nola
contains such a representation. Hekier, however, denies any direct
bond with the tropee (3).
. — The tropaiophore Nike
In the third century ν. ch. makes the tropaion an important development

е
ling through. Could the act of the victorious goddess erecting a tropee,
already be understood symbolically, now this symbolism is completely
because the tropaion becomes a victory symbol, which can be aligned
be with wreath and palm of victory.
Syracuse coins of Purrhos show for the first time this
step taken, when the king then has Nike portrayed with a wreath
in her right and a tropee in her left, on her way to the over
hand these victory symbols to the winner (4). This also makes it
tropaion largely stripped of its original meaning : it
is no longer the sacred monument, erected by the victor after the
expulsion of the enemy on the battlefield was established. just being
triumphal character it retains, now that it has become a pure
victory symbol.
How eagerly this symbolism was accepted is apparent from the frequent
occurrence of the tropaiophore Nike. Here too, however, the urge brought
a wide variety for variety.
(1) RRR, I, 311, 68-69; DS > P · 7. bl. 505; . 514, 515 and 517; JAI, XLVI,
0 m
1931, fig. 2, p. 64.

(2) HEKLER, remark. 3, p. 228; DUTSCHKE, IV, 634; WROTH, 73, . 135; VON
ROHDEN, p. 4; DS, p. 516.
(3) In the Museo Nazionale in Naples (HEKLER, pp. 228; RRS, II, 163, 3).
(4) Bl. 68, note. 5.
126
Page 160
. Nike-Victoria with wreath and tropaion.
Still in the з е century ν. ch. becomes the type created by Purrhos

copied on coins of Caelia (1). It became a completely Roman
type. After a long hiatus, it's over
Domitian reintroduced on coins, on which
it to the four e to century to the usual
apparitions belongs (fig. 91) (2).
As a special feature, a London
gem from the I e century BC. to be mentioned,
on which a tropaiophore Victoria with a wreath
on the outstretched hand of a seated Roma (?) Fig. 91
state (3).
Since Septimius Severus, the group has been expanded with a
prisoner; on his coins it is a Parth, which at the feet
of Victoria (Fig. 92) (4). At Gallienus the goddess puts her
foot on a captive Germanic sitting on the ground;
this coin type also occurs with other emperors (5).
In addition, a Victoria Germanica with wreath and
tropee, standing between two handcuffed, seated prisoners
Fig. 92 genes (6).
According to the legend, it is the PROFECTIO AVGVSTI, who
on some coins of Postumus is depicted, on which the emperor,
armed with a spear and preceded by a tropaiophore Victoria
with wreath, goes out in the field (7).
Victoria Augusti is the name of the victorious goddess, who appears on coins of
Gallienus in military uniform is depicted, with wreath, tropee
and shield (8).
(1) HANDS, . 116, II-III; WOF.LCKE, . 204, 1; IMHOOF-BLUMER, Flugelge-

stables, 66, . 29.
(2) Domitian (from ludaea or Samaria : CMI, I, 298), Traianus (CMI, Π, 257;
from Amisos : WBR, I, 1, 77 p, Ы. 80 and pi. suppl. G, no. 30), M. Aurelius (CMI, III,
260-264), Commodus (CMI, III, 564; WOELCKE, pp. 163), Septimius Severus (CMI,
IV, 48 and 422), Gallienus (CMI, V, 1051-1057; KOEHNE, III, 14-16, Ы. 347), Probus
(CMI, VI, 739-747), Constantine I (CMI, VII, 580), Constantine II (CMI, VII, 203),
Constantius II (CMI, VII, 233-234), Constans I (CMI, VII, 138), Magnentius (CMI,
VIII, 3), Constantius Gallus (CMI, VIII, 45) and Maximus (CMI, , 14).
(3) WALTERS, Gems, 1809 and pi. XXIII.
(4) CMI, IV, 741-742; V1ERORDT, pi. XLIII, 1841.
(5) Gallienus (CMI, V, 1057-1061), Tetricus (CMI, VI, 189) and Valentinian I
(CMI, VIII, 36).
(6) Probus (CMI, VI, 734, 754, 759-760; GNECCHI, III, 78, . 70 and pi. 157,
13; KOEHNE, III, pi. IX, 9).
(7) CMI, VI, 292.

(8) CMI, V, 1086.
i¿7
Page 161
Since the i e century ν. ch. becomes the tropaiophore Victoria with

wreath also placed on a pedestal in the shape of a globe. On a
gem from that time, one sees an altar, decorated with
relief work and cups of Ammoon, and crowned by
a tropaiophore Victoria with wreath, standing on a
globe. On either side kneels a barbarian, who
with his hands stretching out a field sign in the direction
of the goddess (fig. 93). This scene relates to
the return of the field marks lost by Crassus.
The Victoria on the globe is probably the well-known
image from the Curia (1).
Fig. 93 She's coming too
for with other attributes
ten, about which later.
From the i e century AD ch. tribes
two terracotta figurines from Cologne and
Bonn (fig. 94). They represent Victoria with
wreath and tropee. The Cologne statue is finished
from the Vindex factory; the de-
breaking base may have been formed
through a globe (2).
We will meet again for sure
to a number of coins (3); Gallienus
places this Victoriatype in the middle of
two prisoners (4).
2. Nike-Victoria with palm branch and tropaion.

A variant of the foregoing
type is the tropaiophore goddess of victory, who in
instead of a wreath bears a palm branch;
she is only a little younger than the previous one
and also from Sicily, where
Geloon II hair on coins for the first time Fig. 94
(1) FGS, 2816; STUDNICZKA, RM, XXV, 1910, . 41-42 and fig. 8, p. 35;
LiPPOLD, 33, 2; FAG, XXXVII, 25.
(2) Cologne : WOELCKE, p. 170 and pi. IX, 2; LEHNER, Fuhrer, 2900, p. 68. Bonn :
WOELCKE, p. 170 and pi. IX, 1; LEHNER, Fuhrer, 2670, p. 68.
(3) Domitian (CM/, I, 466), M. Aurelius (CM/, III, 969; 975), Carinus (CM/,
VI, 139) and Probus (CM/, VI, 747)
(4) CM/, V, 1062-1067; GNECCHI, III, 95-96, bl. 57; KOEHNE, ΠΙ, 9, . 346;
20-22, p. 347 and pi. IX, 4; 31, . 348.
128
Page 162
showed (ι). After that she apparently fades into oblivion, until she
the 4 ecentury AD ch. returns to numismatics (fig. 95) (2).
Fig. 95 Fig. 96
Placed on a globe we find the tropaiophore Victoria with

palm branch, however, still on an aureus of Augustus, which according to Grueber
was struck in memory of his victories over Antony.
It is the only example of this kind and the oldest with a tropaio
phore Victoria on a globe (fig. 96) (3).
Since Constantine, the ordinary type is again a prisoner
gene added (4), on whose body Victoria sometimes her foot
places (5).
3. The tropaiophore Nike without further attributes.
Also in 3 c. BC. a tropaiophore Niketype develops

e
without further attributes. Usually the goddess wears the tropee

against the shoulder. This way we don't just find her on the vast
hand of Athena on coins of Rhegium (6), but also on a Helle
nist vase from Malta or Todi, on which the same scene four times
is repeated. With the free hand, which otherwise wears a wreath or palm of victory,
the goddess supports the tropaion high above her head (fig. 97) (7).
(1) WOELCKE, . 204.
(2) Constantine I (CMI, VII, 100-101; 579; 603-605; CAGNAT-CHAPOT, II, ill.
503, p. 273); Constantine II (CMI, VII, 66; 212; RECLINO, pp. 137-138); constant
tius II (CMI, VII, 200; 261-264; VIERORDT, pi. LXI, 2740); Constant I (CMI, VII,
143; 153-156; MAURICE, I, p. 157 and pi. XV, 2; ID., Ili, . 214 and pi. XIII, 26; CHA-
BouiLLET, 3179); Vetranio (CMI, VIII, 8-9; VIERORDT, pi. LXI, 2771-2772).
(3) CMI, I, 329; WOELCKE, pi. X, 2; GRUEBER, II, 4381, p. 21 and pi. LX, 17.
(4) Constantine I (CMI, VII, 487-488; MAURICE, II, pi. IV, 14 and Ы. 117; pi. VI,
5 and p. 165; pi. XII, 2 and p. 393; DURUY, VII, p. 32).
(5) Crispus (CMI, VII, 1-2; 132; MAURICE, II, pi. XII, 1 and . 389-390; KOEHNE,
IV, 4, p. 37 and pi. I, 8); Constantine II (CMI, VII, 1-2; 177; KOEHNE, IV, pi. I, 9
and 8, . 39).
(6) IMHOOF-BLUMER, Flügelgestalten, 29, p. 14; WOELCKE, p. 204.
(7) WOELCKE, fig. 6, p. 167 and note. 192.
129
Page 163
The tropee, raised by a Nike high above her right shoulder

is carried and supported with the left hand on a relief
Fig. 97 Fig. 98
from Tenos, may be a reminder of a Rhodian victory

at the beginning of the 2 e c. BC. (1). Until the second e cent. ch. come
representations like this for (fig. 98) (2).
In addition, however, there are also different types. On a
four-sided relief-decorated base in the collection
Borghese in Rome, one of the sides shows Victoria with
outspread wings, while she with her
right hand carries a tropaion behind him. With the
other hand the goddess supports the sign of victory, which marks
Fig. 99 worthily does not rest against her shoulder (3).
(1) Musée Belge, Χ, 1906, 8, p. 329-330 and fig. . 329.

(ζ) Victoria of Apollonia (i e century BC. : FRÖHNER, Notice, 479, Ы. 436;
RRS, , , 387.5); relief on shoulder flap of statue of Augustus in Copenhagen
(MUTHMANN, p. 49, 1); early Roman gem in the Robinson collection (LIPPOLD,
33, 3 ; FAG, LXIII, 31); bronze Victoria from Naples (1 th century AD : Ы. 73, note 3);
statuette in the British Museum (p. 73, note 2); fresco at Pompeii (HELBIG, Wand
gemalde, 902; ID., Untersuchungen, p. 315); sarco hedge in the Villa Ludovisi (2 е century
n. ch. : SCHREIBER, 335, . 257-258; ROBERT, . 104 and pi. XXXV, 85).
(3) RRR, III, . , 3·
1-3°
Page 164
However, the triumphant goddess does not always support the tropee; sometimes she rests
simply against her shoulder. This also stems from the 3 e c. BC.
(Fig. 99) (1).
We rarely find her in a purely frontal position.
According to Bartolius-Bellorius such a Victoria appeared on a lamp;
she wore a tropaion, which rose high above her and against her shoulder
leaned, in the right hand. And the author adds: „Duas alias
Tropaeorum Figuras observavtmus in Sepulcro Nasoniorum, cum
spoliis hostilibus, ad Monumentum affixis" (2).
Without resting the victory sign against her shoulder, Nike stretches
with the right hand a tropee in front of him on a gem from Tharros (3).
The tropaiophore Nike is not always alone. On a neo-Attic relief
Istanbul from the i e c. BC. she crowns Artemis (?) in company
of a man with a horse (one of the Dioskouroi) (fig. 100) (4).
On a Tivoli from coming out of the sarkophaag 2 e century n. ch.
two Victoriae on the corners frame the scene of a battle between
Romans and Gauls; the left one wears a tropaion, the one on the right
lace a flower garland (5).
Two tropaiophore Victoriae . serve as the crowning glory of a temple
around a figure with spear on a Traianus coin (6).
And accompanied by a Victoria with a tropaion leading the way,
Constantine crosses the Danube Bridge, which was struck in 328, to meet the enemy,
while a barbarian is already kneeling before them (fig. 101) (7).
(1) Hellenistic gems (3rd century BC : WALTERS, Gems, 1171, pi. XVII);
coins of Herakleia on the Latmos (around 190 BC. : WOELCKE, Ы. 20ό and pi. XI,
43), Bithunië (2 e century BC: WBR, I, 2, 28, 226 and Ы pi XXXI, 13-14;.... WOELCKE,
. 206, 2; IMHOOF-BLUMER, Flägelgestalten, 68, Ы. 30 and pi. V, 7) and C. Considius Paetus
(around 45 BC: GRUEBER, l, 4093-4096, Ы. 533 and pi. Lil, 19-21; WOELCKE, Ы. 212
and pi. XII, 28; BABELON, Description, I, 379, 8-9. Maybe the tropaion has this
pertaining to Caesar); gem in Paris (CHABOUILLET, 1537); stamp or coin model,
perhaps from Taranto (WALTERS, Terracottas, E, 128); winged Victoria figurine from
Mainz (i century AD: Esperandieu.. Кесизіі Gaule, Χ, 7342, Ы 6о.); fresco of the
c
Strada Stabiana at Pompeii (HELBIG, Wandgemälde, 903); shard of vase of С. Annius
(OxE, 190, p. 94 and p. XLIX); coins of Smurna (Claudius : VIERORDT, pi. XII,
818), Hadrian (CMI, II, 1133), Septimius Severus (CMI, IV, 674, 696 and 701),
Caracalla (Makedonia: CMI, IV, 720), Geta (CMI, IV, 286–287), Gordianus Pius
(Antioch in Pisidia : CMI, V, 501) and Tetricus (CMI, VI, 192-193).
(2) Veterum lucernai, fig. 1.
(3) Now in London (WALTERS, Gems, 3040, pi. XXXI).
(4) MENDEL, Catalog sculptures, II, 573, p. 294.
(5) Notile degli scavi, XVIII, 1921, . 244 v. and pi. XIII; KA, XXVIII, 1928,
p. 335-336.
(6) From 104-110 (CMI, II, 549-551; RECLINO, . 114).
(7) CMI, VII, 483; MAURICE, I, p. 105 and pi. IX, 9; GNECCHI, II, 8, p. 134 and
pi. 130, 6. Cf. the Profectio Augusti on coins of Postumus (bl. 127) and probably
at Lusinianus (Ы. 8o), as well as the procession on the gem of Licinius (Ы. 99).
J. 11
Page 165
A few times the tropaiophore Victoria can also be found on the out
outstretched hand of other deities (i).
Fig. ίσο Fig. ιοί
A tropaiophore Victoria was depicted with particular preference

on triumphal arches. Several times one finds above their passage two
victorious goddesses cut out in antithetic arrangement to as ahw the triumpha-
tor with the symbols of victory.
The bow of Titus, erected for his victory over the Jews,
is the first to show a tropaiophore Victoria (2). Following the
Arch of Septimius Severus (3) were also placed above the central aisle
from that of Constantine, two tropaiophore goddesses of victory are depicted.
Furthermore, on the middle plinths of the columns on the south side of
this one bowed a frontal Victoria with a tropee in hand. Moreover
there is still a tropaion on the outsides of the outer pedestals
a postament, with a man on the left, a woman on the right and in the middle
a child. On the north side, as it were, follow the Victoriae of the pedestals
the emperor, while the victorious goddesses above the passage here with the tropaia
point to Rome (4). The same decoration above the passage wore
(1) From Roma (Coins of Hadrian: CMI, II, 1301-1302) and Venus Genetrix
(id. : CMI, II, 1444-1445 ; Victoria rests her left hand on a shield, which
resting on a helmet).
(2) DS, . 517; TEBO, . 84.
(3) DS, . 514, 516 and 517; BAUMEISTER, ill. 1985 and pi. LXXXV; TEBO,
. 101; RRR, I, 259; PAULY-WISSOWA, SV Triumphbogen, Col. 392-393.
(4) LEUFKENS, . 191 w.; BAUMEISTER, pic. 1965, pi. LXXXII; RRR, I, 240;
AJA, XVI, 1912, fig. 3, . 379.
1З 2
Page 166
the Arch of Malborghetto, which, like the previous one, was erected to
following the battle of the Milvian bridge (i).
Thus alternate standing and floating tropaiophore . on victorious bends
Victoriae each other (2). A floating Victoria with tropaion was by the way
not the exclusive right of the triumphal arches. She also comes on coins
for (3).
In addition to the known types, some special features stand out.
Fig. 102 Fig. 103
First of all, there's the Victoria, holding a tropee with both hands
but without raising it high above her head;
this form is quite late (fig. 102) (4).
L. Verus extends the tropaiophore Victoria type on his coins with
a prisoner from (5). Septimius Severus surrounds it with more captives
genes (6).
(1) TOEBELMANN, pi. XIV.

(2) Cf. Rom. relief at Samos (ROUSE, 133, 2; AM, XXV, 1900, Ы. 174), relief
on the closing piece of the triumphal arch from 2* century AD. ch. ( ?) (BENNDORF-SCHÖNE, 306) and
southwestern pillar of Galerius' tetrapulon at Salonika (CUMONT, p. 88).
(3) Hadrian (CMI, II, 1131-1132; 1462-1463), Antoninus Pius (CMI, Π, 838-
839) and M. Aurelius (Ы. 97, note 5).
(4) Fresco at Pompeii (Casa della caccia antica : HELBIG, Wandgemälde, 904; RRP,
. 148, 4); coins of : Vespasian (CMI, I, 472), Antoninus Pius (CMI, II, 417-
418; 428-435; ViERORDT, pi. XXX, 1459-1460), Commodus (CMI, III, 862; 898-899),
Caracalla (CMI, IV, 629), Saloninus (Amisos: WBR, I, 1, 156, bl. 99 and pi. XI, 10)
and Numerianus (CMI, VI, 4 below: Carinus and Numerianus) ; relief above passage
from Arch of Septimius Severus (Ы. 132, remark 3).
(5) DODD, p. 218 and pi. XII, 2; CMI, III, 330-333. Also : Caracalla (CMI,
IV, 268-269) and Philippus Arabs (Amisos : WBR, I, 1, 144 e, bl. 95 ; pi. suppl. J, no.
10). Continuing on the capital at Leningrad (p. 121).
(6) CMI, IV, 545-546; 724-7*5; 7-6-737
43
Page 167
The tropaiophore Victoria without further attributes is also called

once placed on a globe. This can already i e c. BC.
found on roof tiles (fig. 103) (1).
From the time of Hadrian is a relief from Aphrodisias, which as a
piteel frieze once adorned the southern puloon at the entrance of the thermal baths.
Two sides of the capital contain reliefs, while
three Victoriae are applied on the corners. On
the main side is the goddess of victory on a globe
and wears a tropaion; the other two have a
palm branch in hand (2).
Such images are not very numerous (3). In the
3 E century, however, we find the goddess even if Victoria
Fig. 104 Augustorum with raised wings and standing on
a globe on Diocletian coins; with both
hands she clasps a tropee (fig. 104) (4). And after all it is a
tropaiophore Victoria, who at the time of Lustinian led the procession of monu-
men will decide (5).
4. The tropaiophore goddess of victory with various attributes.
In addition to the large groupings of tropaiophore . just discussed,
victorious goddesses occur in a number of other combinations, of which
some only once.
a) Caduceus
A reminder of the Gallic Wars would be a coin of L.
Hostilius Saserna the i e c. BC. be with the image of a
Victoria with a caduceus in her right hand and a tropee against her
left shoulder (Fig. 105). According to the herald's staff, the goddess is therefore not
only cupbearer, but also herald of victory (6).

b) Shield.
Some gems from the i e c. BC. show a Victoria with
a tropaion in the right hand and a shield in the left (fig. 106) (7).
(1) WALTERS, Terracottas, D 690 and Fig. 79, p. 419; RRR, II, 487, 1; A. REINACH,
Pyrrhus, fig. 4, p. 26; WOELCKE, p. 161-162.

(2) ZifeNDEL, Catalog sculptures. , 494, . 185-187.
(3) Quasi-archaic or Etrurian statuette (Brit. Mus. : WALTERS, Bronces, 1550);
lamp (Hamilton Collection: WALTERS, Terracottas, 831, Ы. 126 and fig. 154; CAGNAT-
CHAPOT, I, p. 685).
(4) GNECCHI, I, 8, p. 12 and pi. 4, 15; CMI, VI, 473.
(5) Aureus of lustinianus (p. 80, note 3) and ivory Barberini (Ы. 6o).
(6) GRUEBER, I, 3989-3993, p. 512-513 and pi. L, 9; WOELCKE, p. 213 and pi.
XII, 32; BABELON, Description, I, 553.
(7) WALTERS, Gems, 1026, pi. XV; 3043, pi. XXXI; 3044; FGS, 6249; LIPPOLD,
33.7 = PHAG, XXX, 3.
134
Page 168
A sculpture-decorated sarco hedge from Rome exhibits

in the middle a large door, from which Hermes Psuchopompos exits
enters. Left and right on a cross-belted globe is a
Fig. 105 Fig. 106 Fig. 107
Victoria without wings; in one hand she carries a tropee, with

the other she raises a shield to the victory sign (1).
The shield-bearing tropaiophore Victoria still occurs in late time
on single coins (fig. 107) (2).
c) Globe.
A mural in Pompeii from the i e cent. ch. adds to the
existing one a new schedule by displaying Victoria with a
tropaion against the left shoulder and a globe, symbol of the world
dominion, in the raised right hand (3).
d) Cornucopia.
A lamp
Victoria with from the and
a tropee same time showedfreehand
a cornucopia; a
the goddess supports the sign of victory high above her head. she's leaving
turned to a small altar on the right, on which a shield and a
laurel wreath. Sacrifices stand on both sides and pour a
liquid from a horn (4).
e) H e 1 m .
Uncertain is it, or the indistinct object, that a winged
Victoria on the gemme I e cent. ch. wears, is a tropaion.
Her other hand is holding a helmet (5).
(1) DÜTSCHKE, Π, 122 ("Ehesarkophag").
(2) Valerian (Nikaia, 3rd century : WBR, I, 3, 8οι, bl. 501 and pi. LXXXVI, 38)
and Priscus Attalus (with Christ monogram, 5th century: CMI, VIII, 10).
(3) HELBIG, Wandgemälde, 905 (Casa dei Dioscuri).
(4) BARTOLIUS-BELLORIUS, Veterum lucemae, fig. 2.
(5) S. REINACH, Pierres g-avées, Ы. 64 and pi. 65, no. 71, 4.
IS?
Page 169
f) Flower garland.
A Victoria with a tropee in her left and a flower garland in
the right hand is depicted on either side of a battle episode
between Greeks and Amazons on sarkophaag the second cent. BC, e
found at the Porta Salaria in Rome (ι). She recalls the tro
paiophore Victoria with wreath (fig. 108).
g) Spear.
Less rare is the type of Victoria with spear and tropaion,
which attributes, incidentally, are usually carried by Mars. It
will for the first time in two cent. ch. on coins of Hadrian
e
with the effigy of a tropaiophore Victoria, which stands on the hand of

Roma sitting on a sella curulis (2). Usually this Victoria comes
however independently for (3).
h) Sacrifice scale.
A new type is applied to his coins by Emperor Victorinus
brought : it is the Victoria with patera and tropaion, standing by an altar.
However, this was not followed (4).
Fig. 108 Fig. 109 Fig. no
i)Two tropaia.
The frontal Victoria stands completely on its own, standing with two
raises trophies in the hand in the air, like a medallion of M.
Aurelius (fig. 109) (5).
(1) RRR, , 178; ALTMANN, p. 84; HELBIG, Fahrer, I, 865; ROBERT, p. 91

and pi. XXXII, 77.
(2) CMI, II, 1301.
(3) Coins of M. Aurelius (СМ7, ΠΙ, 980-983), Caracalla (CMI, IV, 645-646)
Cams (CMI, VI, 82) and Constante I (CMI, VII, 24; 137).
(4) CMI, VI, 130.
(5) GNECCHI, Π, 36, p. 31 and pi. 61, 10.
136
Page 170
j) Wreath and shield.

Sporadically one also finds combinations of two earlier types.
Gallienus, for example, had coins minted with the image of the Victoria Augusti
in military uniform and equipped with a wreath, a shield and a tropee Ci).
к) Wreath and palm of victory.

Another late combination is that of the tropaiophore Victoria
with wreath and palm branch. The wreath surrounds the number XXV; a prisoner
sits at the feet of the goddess (fig. но) (2).
lì Prisoner.
On some coins the goddess of victory is in a special proportion
to the prisoner. Sometimes she places a tropee on a prisoner who is on
a globe is (3). In most cases, however, the tropaiophore
Victoria takes a prisoner with her (4).
Summarizing the foregoing briefly, it appears that the attributes,
with which the tropaiophore Victoria is equipped,
are part of the normal equipment of the tropaion (shield, helmet, spear,
wreath and prisoner), on the other hand are symbolic (herald's staff, globe,
cornucopia, garland and palm tree). The sacrificial bowl denotes
on a religious aspect. All combinations are from Roman times.
C. — Nike-Victoria at a standing tropaion
There are a number of performances outside the groups discussed above

from various times of a goddess of victory at a usually completed tro-
paion, which are largely incidental combinations and of which only
a single one on a larger scale has been imitated. As far as the
goddess of triumph seems to be the main character, they are treated here. •
A Nike on the one hand and a tropaion on the other frame the stage
of a battle between horsemen and hoplites on a silver strip from a
(1) Pl. 127, note. 8.

(2) Coin of Constantius II (CMI, VII, 237) and Constans I (CMI, VII, 139).
(3) Vitellius (CMI, I, 92-93).
(4) Coins of: Septimius Severus (CMI, IV, 544; 726), Caracalla (CMI, IV, 628),
Valentinian (CMI, VIII, 50; 55; GNECCHI, I, 12-13, bl. 74 and pi. 34, 9; BELLINGER,
p. 33, Valentinian Nos. 6-7; FROHNER, . 324), Valens (CMI, VIII, 49; 59), Valen
tinianus II, (CMI, VIII, 30; BELLINGER, bl. 35, Valentinian, no. 2; EDWARDS, 608,
p. 113), Theodosius (with cross or Christ monogram : CMI, VIII, 30), Eugenius
(CMI, VIII, 3; EDWARDS, 680, bl. 116), Arcadius (from Thessalonica or Constantinople:
EDWARDS, 708, p. 118; cf. 713), Honorius (CMI, VIII, 32; EDWARDS, 685, p. 116),
lohannes (CAII, VIII, 1-2), Valentinian III (from Thessalonica : EDWARDS, 699, bl.
117), lulius Nepos (CMI, VIII, 4), Romulus (CMI, VIII, 1) and from the time of the Vandals
(EDWARDS, 751, p. 120).
47
Page 171
burial mound at Trichonion in Aitolia; she probably comes from

the scabbard of a sword (i).
It is less unusual when Victoria is between two tropics
state, a scheme that could serve as an excellent decoration for the
chest armor of statuae thoracatae (2).
A beautiful statue in beautiful style is the white marble Victoria by
Carthage, wrapping her left arm around a tropaion standing next to her;
it dates from the 1st century AD. ch. (3). A harness is also out from this time
Pergamon, which has the representation of a Victoria on a shoulder flap
for a tropaion of the rare type I С (4).
As a decorative element, the tropaion occupies an important place
in on the reliefs of the Aula Magna in the Domus Flavia on the Palatine Hill.
They originally decorated protruding parts above the columns. e
tropes on this probably relate to Domitian's over-
reclamations on the tribes of Brittany before the completion of the
palace in 92 (5).
Two reliefs in the Palazzo Farnese show a
Victoria, advancing to the right toward a tropaion, approaches
whose feet were originally captives, like the fragments
at A and В prove. Fragment D also belonged to such a tropee.
Fragmentsrepresentation
damaged E and F, the first
of a with the heavy
Victoria and some weapons, where
of the arrangement is reminiscent of fragment B, the second with the
remains of a tropaion and the tunic of a goddess of victory. animal
trumpets and weapons indicate a victory over the Gauls,
not on the Chatti and Dacians, as was formerly believed (6).
The variations are almost inexhaustible. On a sarco hedge from San
Zenone, probably from the time of Traianus, is at the front
next to a battle scene a Victoria in front of a hall. Presumably she put
her foot on a prisoner's neck. Next to the goddess is a tropee (7).
The image on a base at Turin has already been discussed above (8).
(1) Eph. arch., 1906, p. 75; AJA, XI, 1907, p. 97.

(2) Gemme (1 th century BC : WALTERS, Gems, 3042), statue of Hadrian at
London and of L. Verus in the Vatican (Ы. 100, note 8).
(3) Musee Lavigerie, p. 10; DS, fig. 7130, p. 517; Mostra, 16, p. 20 and pi. v.
(4) HAGEMAXN, p. 40 and fig. 54 (now in Berlin).
(5) The fragments referred to here are also called Tropaia Farnese,
as they are in the Palazzo Farnese. Some accompanying pieces are in
the National Museum in Naples.
(6) DuRRY, Trophées Farnese, Note complémentaire, p. 77-80 ; A]A, XL, 193 6, p. 3 69.
(7) Now in Pisa : DÜTSCHKE, I, 60.
(8) Pl. 100. ZADOKS {Kondom a ring, bl. 99) still discloses a gemme from the 2 e
century, on which Nike with a palm branch with the right foot on a platform next to a
tropion state.
138
Page 172
The coins in particular show a very colorful picture. . Aurelius late

depicting on it a tropaion with two seated Germanic prisoners,
between a Victoria to the left and the Emperor himself
on the right side (fig. 111) (i). Septimius Severus
glorifies his successes in Britain in a
coin, on which a tropaion is placed between
Victoria, holding the trophy, and a
standing woman. A prisoner is sitting on the
ground (2).
On a coin from Geta this is together
with his imperial brother. Both
they support a globe in their midst. An Fig. ш
frontal Victoria stands between them and expands
spreads its wings over a tropee, under which sits a prisoner (3).
It is the Victoria Probi Augusti who is on
coins of this emperor to the right strides with
a wreath and a palm branch; she goes to
a tropaion, including two handcuffed prisoners
sitting (4).
Together with Libertas, the goddess of victory holds a tropai
fixed on coins of Magnentius and Decentius (ill.
Fig. 112 112) (5). Libertas is sometimes replaced by a
Roman citizen with toga and head covering (6).
The only performance that has become more widespread is that of a
Victoria sitting in front of a tropee. Already in the i e century AD ch.
we find her on a vase of Etrurian technique (7). She comes
however especially for coins; the goddess is usually here on weapons
seated and holding a shield with an inscription on the knee (fig. 113) (8).
Caracalla extends this scene with two seated prisoners; these coins
(1) CMI, , 214; GNECCHI, II, 7, p. 27 and pi. 59, 9; 8-9, p. 28 and pi. 59, 10;
KOEHNE, III, 20, p. 286-287.
(2) CMI, IV, 733.
(3) CMI, IV, 217-218.
(4) CMI, VI, 779
(5) Magnentius : CMI, VIII, 36; 46-51; VIERORDT, pi. LXII, 2780. Decentius:
CMI, VIII, 19; 26-27; GNECCHI, I, 2, p. 34 and pi. 14, 4; FROHNER, p. 316; FOURORDT,
pi. LXII, 2787.
(6) Magnentius {CMI, VIII, 52).
(7) KNAPP, p. 60, 2.
(8) M. Aurelius {CMI, III, 323-324; 356; FROHNER, p. 101; GNECCHI, II,
16, p. 28 and pi. 60, 4; ib., 17, p. 29); Commodus {CMI, III, 483-484; GNECCHI, II,
80, p. 60 and pi. 83, 7; FROHNER, p. 123); Septimius Severus {CMI, IV, 509-510;
533-5 34)·
1З9
Page 173
remember his victory over the Parthians. With slight variations

also returns this type later (i).
Deviant is a representation on coins
from Constanti) n, where the tropaion does not precede,
but behind the goddess is drawn (2). New
there is also an image on a coin of the-
same emperor with the legend CONSTANTINIANA
DAPHNE. Victoria is sitting on a cippus on this
and looks to the right. She has a palm branch in it
every hand. In front of her is a tropee and on
her feet kneels a prisoner, while he
with both hands on the ground. below
Fig. 113 her feet lies a shield; sometimes also places
the goddess' foot on the prisoner (3).
We now summarize the results. The connection of a Nike
with tropaion dates back to the 5 e c. BC. The goddess steps
initially exclusively as the founder of a tropee, to which she
weapons confirms. The helmet occupies a special place in this.

Performances like these also come in 4 e and 3 e century, to
then to return after a break in Roman times. Then we meet
however, mainly Victoriae, who attach a shield to a tropee.
Two such Victoriae were preferably applied antithetic
on breastplates of statuae thoracatae. In general can be
established that the ingenuity of the artists greatly
changed the repertoire.
Undoubtedly, the above representation has already been made in Greek times
somewhat disappear beneath an invention of the 4 e century:
the Victoria, who crowns a tropaion. This one found a wide distribution
through the terracotta incense al tarts, the Megarian bowls and the
victoriati.
As a third stage in the creation of a tropaion, one can
consider the inscription on the shield by Vic-
toria. This is a Roman innovation.
Rare, on the other hand, are the victorious goddesses, who
to seal a tropee by the sacrifice of a bull.
(1) Two prisoners: Caracalla (CMI, IV, 647-651); Philip Arabs (CMI,
V, 44-45; 158; GNECCHI, II, 1, . 96 and pi. 108, 3); Postumus (CMI, VI, 395); Con-
stantine I (CMI, VII, 576-578; VIERORDT, pi. LIX, 2053 and
Z^H)- A prisoner :
Constantine I (CM/, VII, 591; 649-650; 654; MAURICE, II, . 398 and pi. XII, 7); Con-
stantine II (CMI, VII, 229).
(2) CMI, VII, 260.
(3) CMI, VII, 89-91; MAURICE, II, pi. XV, 8 and . 514.
140
Page 174
Of great importance was the creation of the tropaiophore Nike.

Starting from coins of Purrhos, she was in the twinkling of an eye and in an instant
endless variety widely known and pictured everywhere. in the hands
from Nike, the tropaion has become a symbol of victory, which in one
line up with other common victory symbols like wreath
and palm branch. The variation lies for a considerable part in the
further attributes of the goddess.
Among the images of a Victoria at a standing tropaion
especially take the one in which the goddess was standing in a heap near a tropaion.
rumen is seated, an important place in.
It is mainly the coins to which Victoria is connected
with a tropaion is found. However, play an important role
also the triumphal arches and the above-mentioned breast decorations of
nasses.
In Roman times a prisoner is often admitted to the scene.
added.
VictoriaSome specialand
on a globe forms
the were the holding
Victoria tropaiophore
the tropee with her free hand
high above her head. The victory goddess, in the 5 e century
b.c. ahw stood at the cradle of the tropaion, it remains faithfully
lead through all antiquity, to finally with the sign of victory in
to go down.
IL — H erakles - H ercules and the tropaion
The connection of Nike-Victoria to a tropaion was common,

as the goddess of triumph herself was of a general nature and scarcely
specific city or group of people. The presence of
Heracles at a tropaion, on the other hand, is an exception and only comes
where there was a special reason for doing so, which
emptying is in a special relation to this deity.
Already in the 4 e c. BC. one finds traces of He-
rakles on coins of a city, whose name is derived from the
his : Herakleia in Bithunia, in the form of a knod that
down against the tropaion pole (fig. 114) (1). It is striking that Fig. 114
besides, that here employed a weapon of the victor
is used in the composition of a tropee. That Heracles indeed
was the winner, according to coins of the same city from the time of Timotheos
(1) WOELCKE, . 200; WBR, I, z, 23, 24, 29 and 30, bl. 349 and pi. LV, 17, 18,
22 and 23 (time : 364-352).
141
Page 175
and Dionusios (345-337) (1) and later from Dionusios alone (337-305; ill.
115 ) (2), on which Herakles is depicted as the founder of the tropaion. It
is Ziaelas of Bithunia (about 255-235), who is the knods
of Heracles will confirm on the right side of
the sign of victory, the common place for the spear that now
sticks diagonally into the ground behind the tropaion. The God
himself does not appear on his coins (3).
Or the naked warrior with knods and tropee on a
Fig. 115 Roman coin from the 3 e c. BC. like a Hercules
figure to be considered is not entirely certain (Fig.
116) (4). However, the probability of this assumption is
strengthens by the appearance of such a figure, also unclothed
and bearing the same attributes, on coins of C. Antius Restio
(around 46 BC), which was considered a descendant of Hercules. To be
symmetrically built tropaion with greaves may have
drawing on Caesar's victories in Gaul (fig. 117) (5).
Fig. 116 Fig. 117
Hercules plays an entirely different role on a carnelian in Berlin:

whereupon he is slain, subdued by Amor, who laid the hands of
ties his kneeling victim onto his back. A second Amor rises
the knee of Hercules and decorates a tropaion in the background with
quiver and lion skin. Hercules' attributes (6). The symbolic
sign of the act is clearly evident, just as on a
another gem, on which Aphrodite and Heracles — the latter leaning on
his knods — flanking a tropaion (7).
In the i e cent. ch. Hercules connects with a tropaion
not for. First on a coin of M. Aurelius from 148 we see him again
(1) WBR, I, 2, 33-36, . 350 and pi. LVI, 1-4; WOELCKE, p. 200 and pi. XI, 5-8;
GARDNER, Types, pi. XIII, 6 and p. 194; HENNIN, p. 193 and pi. 37, 7.
(2) WBR, I, 2, 38-40, bl. 350-351 and pi. LVI, 5-7; HEAD, fig. 266, p. 515;
Monnaies, IV, 685, pi. XXVI.
(3) p. 67, note. 2.
(4) BABELON, Description, I, 31, 46.
(5) GRUEBER, I, 4029-4032, p. 521-522 and pi. LI, 6-7; WOELCKE, p. 213 and pi.
XII, 30; BABELON, Description, I, 155, 1-2.
(6) FGS, 6864.
(7) THE KNIGHT, Bijoux, 1866.
142
Page 176
(Fig. 118). Here he stands in heroic nakedness, with a cloak over the
left arm and a knods and tropaion in the right hand, on a chariot that
drawn by a four-horse chariot of centaurs, who by their attributes
characterized as the four seasons (i). They are also tropaiophore
Fig. 118 Fig. 119
centaurs, wearing the armor of a torso of Augustus or Traianus

adorn the theater at Merida (2).
It is known of Commodus that he liked to be like Hercules
portray. On some of his coins the emperor, equipped with the
marks of this god, a helmet on a tropaion (fig. 119) (3), on
others he crowns it (4).
New features show coins from Heliogabalus and others
emperors (5). A naked Hercules with knods and lionskin lays his
right hand on a tropee, showing a column with the effigy of Victoria
stands. A palm tree and a purple snail indicate the Phoinikian her-
arrival of these coins.
Other emperors add two stones to this, from which water
appears, as well as other variations (Fig. 120) (6).
On Diocletian coins, a tropaiophore Hercules leans on
his knod (7). He is last seen with Maximianus HercuUus with
the honorific : CONSERVATOR AVGG. (Fig. 121) (8).
(1) CMI, III, 593; GNECCHI, II, 31, . 30 and pi. 61, 6; FROHNER, . 81-82.
(2) TARACENA, II, fig. 84, . 110.

(3) CMI, III, 202-204; cf. coin from luliopolis from the same time : WBR, 1, 2,
i, . 385 and pi. LXIII, 1.
(4) CMI, , 200-201.
(5) Heliogabalus (CMI, IV, 430), Gordianus Pius (Turos : CMI, V, 552) and
Philippus Arabs (CMI, V, 341).
(6) Valerian (CMI, V, 347), Tacitus (GNECCHI, II, 10, . 115 and pi. 118, 8;
cf. ii, p. 115) and Probus (with the legend : HERCVLI ROMANO AVG. : CMI, VI, 298).
(7) CMI, VI, 499-500.
(8) CMI, VI, 73; 582-583; GNECCHI, III, 29, p. 81 and pi. 158, 21.
14З
Page 177
Broadly speaking, two types can thus be distinguished

become : the tropaiophore Hercules type, which is more widely distributed
Fig. IZO Fig. 121
was, and the "Phoinikian type", which occurs especially on

coins from Heliogabalus to Probus.
III. — Pän and a tropaion
A rare combination, which chronologically resembles that with Herakles

follows is that of Pan with a tropee. It only comes in three e century
b.c. for medallions of Antigonos Gonatas. This
were struck in memory of his victory over the
Galatians at Lusimacheia, in response to which the monarch
entered the Paneia. To Pän apparently became an important
share in this victory, so that the god on this
medallions therefore acts as founder of the victorious
Fig. 122 character (Fig. 122) (1).
IV. — Mars and the Tropaion
And especially since the 2 e c. BC. the tropaion in Rome has been
citizen, catches there, once one has detached oneself from the
stereotypical form of the victoriati, a new development. On-
Immediately a figure is connected to it, who spoke very much to the
warlike mind of the Romans: it is that of the god of war
Mars.
He makes his debut on coins of L. Postumius Albinus (2) (134 ?;
fig. 123) and С Aburius Geminus (129 ?) (3), on which he with a tropee
(1) EDWARDS, 240, p. 41; DS, p. 500 and fig. 7109, p. 505.
(2) BABELOX, Description, II, 377, 1; WOELCKE, . 209 and pi. XII, 9; GRUEBER,
I, 1129-1132, p. 171-172 and pi. XXIX, 13.

(3) BABELON, Description, I, 94, 1; WOELCKE, p. 209 and pi. XII, 10; GRUEBER,
I, 999-1000, p. 147 and pi. XXVII, 14.
144
Page 178
races against his shoulder on a quadriga. Thus, the ear-

logsgod as the bringer of victory takes the place of Victoria and characterizes
thus the Roman character at one stroke.
Soon on coins of L. Valerius Flaccus (104 ?) a
change made, because the god is depicted on it on foot
with a spear in the right hand and a tropaion against the left
shoulder (fig. 124) (1).
Fig. 123
Fig. 125
Fig. 124
However, Victoria will not be pushed aside. On a gem from the

i e c. BC. she rushes, a naked, winged Victoria with palm-
branch, on the side of a tropaiophore Mars with helmet and fluttering
jacket (fig. 125) (2). Usually, however, one finds Mars alone.
The Return of the Field Marks, which Crassus gave to the Parthians in 53
lost and who in 20 BC. were returned by their king Phraates
was much celebrated in Rome. A relief would relate to this
am with the representation of Mars Ultor in full armor and with
a cornucopia — which we also found with Victoria —
in hand. From this horn come apart from two little boys (Romulus and
Remus) also a field mark and a tropee (3).
The representation of a tropaiophore Mars was a mainly by
gem cutters like to use motif. The frequent occurrence
of it is associated with the erection of the temple of
Mars Ultor in Rome, who died in 2 BC. was initiated and a memory
formed at the battle of Philippoi in 42. An image of Mars with
a tropaion on the left shoulder served as a cult statue (4).
(1) BABELON, Description, II, 511, 7; 512, 1; WOELCKE, . 210 and pi. XII, 12;
DS, p. 510 and note. 7, p. 515; GRUEBER, II, 647-648, . 300-301 and pi. XCV, 12.
(2) S. REINACH, Pierres gravees, Ы. 94 and pi. 83, 18.
(3) Relief from Bologna, now in Cleveland : JOAI, XXVI, 1930, fig. 72, Ы. 136.
(4) DS, p. 511; TEBO, p. 80; WOELCKE, . 194.
145
Page 179
Usually the god of war wears gems in the right

hand a spear. Usually he appears in heroic nudity, sometimes with
a gracefully fluttering cloak over his arm or around his waist.
The shape of the tropaion varies (i). Not always is with
certainty whether the figure depicted is Mars or a general
(eg Romulus) proposes (2). Not always is the tropaion on the
Fig. 126 Fig. 127
worn on the left shoulder (Fig. 126) (3). This varies depending on the carrier
it goes left or right : he wears the tropee ni. always to that
side facing away from the viewer (fig. 127) (4).
In addition to the common type of a walking Mars,
a standing tropaiophore Mars figure for (5); once we meet this one
on horseback (6).
(1) Type IA : FGS, 4437-4438. Type II : WALTERS, Gems, 1427 and pi. XX;
CHABOUILLET, 1444; crossed with two spears behind the shield : FGS, 6727. Type
III : . 72, note. 4. Gems of the Imperial Age : FGS, 7255-7261; 8717; FOSSING, 577,
578, 581 and 1682; WALTERS, Gems, 1430 (questionable piece).
(2) Furtwängler titles the tropaiophore figure on a gem (FGS, 6727)
like Mars and is silent about the fact that, in contrast to earlier similar ones, this
images in full armor.
(3) DS, Fig. 7120, Ы. 511; CHABOUILLET, 1441; DURUY, III, . 286; cf. IV,
p. 180.
(4) S. REINACH, Pierres gravees, p. 62 and pi. 62, 58, 2-3 and 59, 4; ib., p. 137 and
pi. 125, 39a; WALTERS, Gems, 1423; 1428; FGS, 2685-2691; LIPPOLD, 7, 1; CHA-
BOUILLET, 1442; 1443; 1445; DS, p. 517.
(5) CHABOUILLET, 3377.

(6) THE KNIGHT, Bijoux, 1548.
146
Page 180
Completely alone there is also a gem, on which Mars with a shield

is seated on a rock by the left arm, while in his outstretched
right hand holds a tropaion (i).
Great images of a tropaiophore Mars have not come to us;
we do know a number of statues, which partly come from Gaul
are (2). Germany delivers wedding

wish his share of the form
of a bronze plate with relief
decoration, which was found in
a grave at Remagen,
comes from a mirror box.
On this Mars is enthroned for a
tropaion, which is in a temple-shaped
building stands (3).
On reliefs he is by the way
scarcely represented; couple of
blocks from Mainz, which
would come from a
triumphal monument of the Legio I Fig. 128
Adiutrix from the time of the Fla vii,
show images of tropaia. On the top block of the second pillar
one sees a bearded soldier leaning on a lance and holding a tropee
holds (Fig. 128); another block shows a tropaiophore Mars (4).
The field of sculpture has the tropaiophore war
God should mainly leave to Victoria. Only on the attica
at the front of Constantine's arch we still meet him with
security. It contains the representation of an allocutio: on the left is
the emperor on a platform, on the right a crowd of soldiers as well as, on
the background, a building with two gates, in which two columns
with images. On the right column in the right passage Mars is written in
full armor; he holds a tropaion, the high one of which
pole rests on the ground (5).

(2) Silver statuette of advancing, tropaiophore Mars (THE KNIGHT, Bijoux,
2092, pi. XXIX); bronze statuette from St. Germain of tropaiophore Mars with dagger
(S. REINACH, Antiquités nationales, II, 40, Ы. 5 8 ; cf. 43, pp. 5 9, where another source
zen tropaion statuette from St. Germain probably Mars needs to be replenished);
bronze statue in Copenhagen (FOSSING, sub 577).
(3) B], CXVI, 1907, . iji.
(4) KAHLER, Ein römisches Siegesdenkmal in Маіп^. cf. ESPÉRANDIEU, recueil
Gaule, X, ad VII, 5763, p. 40.
(5) DS, p. 517; RRR, I, 241. Perhaps should be on Balbinus's sarco hedge
who died in 2 3 8, a piece of pole in the hands of Mars be made up into a tro-
pay {AA, 1937, col. 482 v. and fig. 1).
HT
J. «
Page 181
Small art reliefs also rarely show the warrior god in

a trope. Apart from a puxis in the Louvre, on which he and
Roma next to a tropaion (i), he stands
still depicted on a lamp from the time of Augustus
tus of Tiberius at Hanover (2). It for this for ·

coming bust of a soldier with helmet, who
carries a tropaion on his shoulder, is it possible
be none other than Mars Ultor. The same
applies to a cult statue from an army sanctuary
and comes from the factory of Vindex, which is a
paiophore figure with lance (fig. 129) (3).
It conquered a very important place
tropaiophore Mars-Ultor type on coins and
tesserae. Dating back to the time of Augustus
a tessera of Germanicus with on the front
the head of Mars and a tropaion at the turn-
side (4). On another tessera from the same century
both images have been combined into one
tropaiophore Mars with spear, while the om-
side shows a standard (5).
When a temple roof decoration appears
the spear-bearing Mars with tropaion among others
Fig. 129 images on a coin of
Caligula (6). Frontal, but
with the same attributes he appears below the
name Mars Victor at the time of Galba (7).
In addition to the traditional type (8), Vitellius also knows
another image of Mars with Victoria and
tropion. The warrior god is in full armor
and bears on his outstretched right hand a
statuette of a Victoria with a wreath in the
hand (fig. 130) (9). Fig. 130
(1) BI. 78.

(2) BJ, CXX, 1911, note. 181, . 232; another is in Copenhagen
(FossiNG, sub 577).
(3) WOELCKE, p. 194 and pi. IX, 3; FERRI, Arte romana sul Reno, p. 310 and fig.
211, p. 304; LEHNER, Fuhrer, 3106, p. 72.
(4) CAÍ/, VIII, 32-33, bl. 270; R0STOWZEW, . 26 and pi. I, 7.
( ) CM/, VIII, 49, . 272.
5
(6) NEWBY, 88, . 58.
(7) CM/, I, 138.

(8) CM/, I, 77-79; ViERORDT, 971, pi. XVII.
(9) VIERORDT, 968, p.i. XVII.
148
Page 182
Incidentally, the most common form on coins was the former;

next to the Victoria type, he managed to hold his own almost to the end.
Passing small variations, one can say that the figure of

Mars with spear and tropee features on most emperors' coins
(Fig. 131-133) (O-
(1) Vespasian (walking and standing, as Mars UI tor, Victor or Mars Conservator :
CMI, I, 88; 102; in ; 264; 269-271; 381; 440-447); Titus (walking and standing : CMI,
I, 65-66; 198-202; ViERORDT, pi. XX, 1063); Domitian {CMI, I, 422-423; from Niko-
medeia : WBR, I, 3, 33 bis, Ы. 520 and fig. p. 520; BABELON, Monnaie Domitien, Ы.
Fig. 131 Fig. 132
42-43 and pi. I, 15 and 16); Traianus (unclad or with flowing mantle: CMI,
II, 103; 190; 228; 255; 270-271; 372-375; 634; from Amastris : WBR, I, 1, 47, bl. 172
and pi. XIX, 10; from Nikomedeia or Nikaia : WBR, I, 3, pi. LX VII, 20 and note. 2, p.
520); Hadrian (CMI, II, 301; 1072-1073); Antoninus Pius (CMI, II, 751-752;
ViERORDT, pi. XXXI, 1489); M. Aurelius (CMI, III, 5; 126-129; 144-145; 254; 314-
; 35з; 7 ; 77°; 778-779; 794; 832-834; 870-871; 910-911; 913; 916; 926; GNECCHI,
і
li, 6, p. 44 and pi. 71, 10; FROHNER, p. 113; DURUY, IV, p. 750; LONGPERIER, p.
401 ; according to LONGPÉRIER such coins would relate to the departure of

a military expedition; on some specimens the spear of Mars has two points
ten: CMI, III, 737-738; 752-754. On a Corinthian coin the god places his foot
on a human head : CMI, III, 1095 ; IMHOOF-BLUMER-GARDNER, pi. G, CXXXVII.
It also happens that Mars is still armed with a sword: CMI, III, 835-837. An
another variant shows Mars without a spear: CMI, III, 579); L. Verus (sometimes with the
foot on a human head on coins struck at Corinth: CMI, III, 182-185; "4-
227; 236; 304-307; 362); Commodus (CMI, III, 230; 487; 519; 768; 777; 821-824;
842; 853; 878; BELLINGER, p. 17, Commode 1); Pertinax (CMI, III, 13); pescennius
Niger (with the new designation Marti Augusto, Marti
Invicto of Marti Victori; sometimes the god carries a sword
instead of a spear: CMI, III, 48-49; 52); albinus (with
the legend Mars Pater : CMI, III, 45); Septimius
Severus (with several legends, sometimes without
this; coins struck in Corinth the god sets again
one foot on the prisoner: CMI, IV, 123; 311-313;
322-324; 395-400; 412; 722; 815; no. Chron., 5 E series,
XV, 1935, p. 64; FROHNER, . 154; GNECCHI, II,
21, p. 75 and pi. 93, 10; Mostra, 32, p. 34); caracalla

(sometimes called Mars Propugnator: CMI, IV, 147-
148; 150-152; 154-157; 43 ); ^ 1 е а (. Сш , IV, 76);
Macrinus (terracotta coin form from 217-218 : CMI, Fig. 133
149
Page 183
we areSome coinsofshow
reminded noteworthy
religious details.
ceremonies Like
when wethis
see Mars with
spear and tropee standing next to an altar (i).
More widely distributed was the tropaiophore Mars
with Victoria statue in hand, already on coins of
Vitellius prevented (2).
A new variant appears in 209 : it is a
tropaiophore Mars running to the left with laurel branch (fig.
134) (3). Pronounced late is the figure of Mars, which except
a spear and a tropee also carries a shield (4).
MARTI GOMITI Avo. N. is the legend on a coin of Maxentius,
on which a tropaiophore Mars leads the emperor's horse (5). It is
also the tropaiophore warrior god, who wears a globe with a Victoria on
Maxentius hands over, while a figure lies stretched out between the
emperor and the god (6).
IV, note. . 305); Heliogabalus (GRÜNAU, 71, bl. 150 and pi. IV, 71); Alexander
Severas (CMI, IV, 177; zu; 234; 260-262; 280-284; 3 0 4-3 1 0 ; 33 -335; 3^6); Philip-
І
pus Arabs (CMI, V, 88-89); Valerian (CMI, V, 267); Saloninus (EDWARDS, 161,
p. 85); Gallienus (CMI, V, 830-832; 1215-1216; 1231; 1269-1275); posthumous (CMI,
VI, 260; 269; 271-275); Victorinus (CMI, VI, 74-75); Claudius Gothicus (CMI, VI,
154-160; 315); Aurelian (with or without spear : CMI, VI, 177; 179; 262-267; VIERORDT,
pi. LVII, 2458; GNECCHI, I, 3, . 9 and pi. 3, 13); Tetricus (CA11, VI, 26; 80); Tacitus
(CMJ, VI, 56-58); Florian (CMI, VI, 42; 104-105); Probus (CMI, VI, 333-346;
799-812; 858-860; 882-902; EDWARDS, 200, p. 88); Carus (CMI, VI, 109); Numerian
(CMI, VI, 18-24); Carinus (CMI, VI, 51-53); Diodetianus (CMI, VI, 313-315); gallery
Valeria (EDWARDS, 237, p. 91); Maximian Herculius (CMI, VI, 389-391; 620;
standing Mars in military uniform, looking back to the left, with spear and tropee is according to
legend Mars Pater semper Victor : CMI, VI, 393); Carausius (CMI, VII, 162-163;
387); Galerius Maximimanus (clothed and unclothed, walking and standing: САН, VII,
212-213; 3 - 3 ; MAURICE!, p. 72 and pi. VI, 9); Severus II (CMI, VII, 69; MAURICE,
2 0 2 2
I, p. 65 and pi. V, 13); Maximinus II Daza (CMI, VII, 188-191; 193; 210-212; MAURICE,
II, p. 423 and pi. XIII, 3; III, . 98 and pi. IV, 5; BELLINGER, p. 22, Maximinus 1);
Constantine I (sometimes nicknamed Conservator : CMI, VII, 322; 35 5 ; 370; 670-672; 701 ;
703-704; 712-715; MAURICE, III, p. 240 and pi. IX); Maxentius (CMI, VII, 98; MAURICE,
I, p. 85 and pi. VII, 5); Licinius I (CMI, VII, 195-197); Licinius II (CMI, VII, 74).
(1) Vespasian (САП, I, 268).
(г) Vitellius (Ы. 148); Vespasian (CMI, I, 265-267); Domitian (CMI, I,
424-433; VIERORDT, pi. XXI, 114); Traianus (CMI, II, 63; 371); . Aurelius (CMI,
III, 316-318; 430; 828-829; GNECCHI, II, 25, p. 30 and pi. 61, 2; DODO, . 220 and pi.
XII, 3); L. Verus (САП, III, 222-223; 265; 323).
(3) Caracalla (CMI, IV, 462-463; 474; VIERORDT, pi. XLVI, 1914); Heliogabalus
(САП, IV, 237).
(4) Galerius Maximianus (CMI, VII, 214; MAURICE, III, pp. 159 and pi. VI, 9);
Maximinus II Daza (CMI, VII, 192; 202-205; 3 - 5; MAURICE, III, Ы. 240 and pi.
2I 2I
IX, 18); Licinius I (CMI, VII, 198-201).

(5) CMI, VII, 86.
(6) Mint of Maxentius (CMI, VII, 133).
I-50
Page 184
Like Victoria, the tropaiophore warrior god is often referred to as

accompanied by one (i) or two prisoners (2). Sometimes he drags a prisoner
by the hair (3).
Very scarce are the coins with the image of the god of war
at a standing tropaion (4). In general, one can say,
that the imagination of the Romans with regard to the
bination : Mars and a tropaion, has not been large.
Entirely alone stands a coin by Antoninus Pius, on which a frontal
depicted Mars with helmet and cloak and armed with shield and spear
places a helmet on a tropee under which a prisoner kneels (5).
M. Aurelius, whose coins with regard to the present theme
show the greatest richness of form, had a coin minted with the
image of an unclothed Mars, seated on a pile of weapons; he
carries a spear and has his arm around Venus ( ?), who has the features
of Faustina and holding a laurel branch in his hand. On the background
a tropaion stands on a rock (6).
Finally she mentions a coin of Geta with a standing
Mars, who, leaning on a shield, crowns a tropee (7).
In summary, it can be established that the connection of Mars
tropaion a Roman, and dates from the 2 e c. BC. In addition to the
tropaiophore Mars plays the combination of the warrior god with a standing
win an insignificant role.
Several variations of the tropaiophore type could be made
registered. The most widespread was the representation of Mars with
spear and tropee, mainly in the I e 2 e and 3 e cent. ch. That Gaul
and Germania are important sites of this type, must be explained
be derived from the fact that the Roman population there for a considerable
(1) Aurelian (CMI, VI, 268-270; 280-282; RECLINO, Ы. 132); Tacitus (CMI,
VI, 55); Florianus (CMI, VI, 106; VIERORDT, pi. LVII, 2478); Probus (CMI, VI, 331-
332); Constantine I (CMI, VII, 669; GNECCHI, I, 62, Ы. 21 and pi. 8, 6); Licinius I (CMI,
VII, zi; COOK, II, 2, remark. 2, . 1195); Crispus (MAURICE, I, bl. 125 and p. XI, 8;
GNECCHI, I, 5, p. 23 and pi. 8, 18); Constantine II (GNECCHI, I, 17, p. 25 and pL 9, 6).
(2) Probus (CMI, VI," 903-904); Constantine I (CMI, VII, 680-681; 702; KRELING,
1621; MAURICE, II, . 327 and pi. X, 1; II, p. 435 and pi. XIII, 16); Licinius I
(CMI, VII, 194); Crispus (CMI, VII, 139); Constantine II (CMI, VII, 244; 263-264);
Constantius II (CMI, VII, 329); Constante I (CMI, VII, 194).
(3) Galerius Maximianus (with shield: MAURICE, ΠΙ, Ы. 175 and pi. VII, 14);
Maximinus Π Daza (with shield : CMI, VII, 216); Constantine I (CMI, VII, 157-158;
377; MAURICE, H, p. 213-214 and pi. XVIII, 3; BELLINGER, p. 23).
(4) Traianus (CMI, II, 380); Septimius Severus (with spear and shield: CMI,
IV, 132).
(5) VIERORDT, pi. , 1520; GNECCHI, II, 70, p. 17 and pi. 50, 7.
(6) CMI, III, 616.

(7) CMI, IV, 134-135
ili
Page 185
part consisted of soldiers, who obviously had a great reverence for

the god of war.
Incidentally, the above-mentioned variations related more to small
particularities of the Mars-Ui tor type, than on the environment in which this
appears. In this regard, a lack of forms could be
observed in comparison to Victoria. The main variant is the
figure of Mars, holding a tropee in one hand and a statue in the other
of Victoria wears.
The dedication of the Temple of Mars Ultor at Rome
corpse contributed to the popularization of the tropaiophore Mars figure,
from which the two e cent. ch. in sculpture, although hardly
more common, but is able to maintain coins into the 4 e century.
V. — Athena-Minerva-Roma
In direct connection with a tropaion, the goddess Athena comes to the

not for the Greeks. Only on a coin of Lusimachus of Thrakia
with the effigy of a seated Athena, who stretches out from her
hand crown a Nike Lusimachos' name, stands in the background
also a tropee (1).
It is first M. Fourius Philus, who on his denarii (104 ν. Chr. ?)
the effigy of a woman with helmet and spear, carrying a
tropee crowns and shows the type of Athena-Roma. So takes next to
Mars also the Roman city goddess part of the function of victory
goddess by crowning a tropaion in her place (2).
In the i c. BC. are they mainly gems, on which one can find Roma
e
at a tropaion. With a lance in her right hand she presses with the
left her helmet tighter on the head, while behind her is a tropee
lined up and a shield at her feet (3). Elsewhere stands the goddess,
also with a shield next to him, depicted frontally between two
tropia (4). Then again she stands between a tropaion and an altar (5).
Perhaps it is she, who also appears on one of the most famous
monuments in Germania, the Lupiter's Column in Mainz, from the i e century AD
ch. On the second column drum from below is a goddess with a
tropaion, the pole of which she holds at the level of the neck. she turns
(1) BI. 66.

(2) BI. 69.
(3) FGS, 6477-
(4) FGJ", 3539.
(5) FGS, 3541.
IJ*
Page 186
turns to the spectator and wears a helmet and a sword. Except for
Roma she is also called Honos or Virtus (i).
In the company of Mars we already met Roma at a tropaion
to a vase in the Louvre (2).
In numismatics she returns at the time of Galba. She wears a
globe with a Fortuna in hand; at her feet lies a shield and a
tropee stands behind her (3) Roma also appears with a Victoria with
wreath and palm branch in her hand, while she leans on a tropaion (4). at a
third, very similar type, Victoria has again been replaced by a
Fortune on a globe (5).
With certain variations, the Roma type returns with a Victoria in the
hand next to a tropaion with several emperors back (fig. 135) (6).
Commodus adds the title MINERVA VICTRIX .
Fig. 135 Fig. 136
Meanwhile, on coins of Titus, a new representation has her

entered : it is that of Roma, seated on the spoils of arms, while
in front of her a tropaion and behind her a shield armed
Victoria State (7). This type, which by Hadrian as FELIX ROMA is
indicated (fig. 136), can be found, also with certain modifications, in the
2 E century back (Fig. 137) (8).
(1) DS, p. 515 and 517; RRR, I, 187; ESPÉRANDIEU, Recueil Gaule, X, ad VII,
p. 385; VON DoMASZEwsKi, ]uppitersäule; Germania Romana, IV, pi. V, 2 and text part,
. 8-11; DE WAELE, Sculpture, . 19.
(г) Bl. 78.
(3) CMI, I, 184.
(4) CMI, I, 192.
(5) CMI, I, 193-194.
(6) Vespasian (CMI, I, 416-417); Commodus (CMI, Ш , 364-374; VIERORDT,
pi. XLI, 1742; GNECCHI, II, 48-49, p. 57 and pi. 81, 7); Caracalla (CMI, IV, 158-162;
164; VIERORDT, pi. XLV, 1891); Geta (CMI, IV, 87-88).
(7) CMI, I, 190.
(8) Hadrian (CMI, II, 714; GNECCHI, ПІ, 78, bl. 18 and pi. 145, 2; FROEHNER,
p. 35); M. Aurelius (CMI, III, 542); Commodus (CMI, Ш, 964; 970; GNECCHI, II,
161-163, p. 69 and pi. 88, 8-10; FROHNER, p. 117; 128; BJ, CXXXI, 1926, p. 301).
43
Page 187
While the gems almost completely fail us (i), on

here and there a tropaiophore Roma figure is also coined. Immediately
tropee in the right hand and a spear and reins in the left hand
the goddess a quadriga on the obverse of a coin by C. Vibius Pansa
(about 87 BC), which still has a tropee on the obverse as a mintmark
wears (fig. 138) (2).
Fig. 137 Fig. 138 Fig. 139
It won't be long before the tropaiophore becomes Minerva, as well as

Mars, also depicted on foot (fig. 139) (3). Later her will be second
symbol of victory handed over a small statue of Victoria (4). And
it is a tropaiophore Roma, which contains the series on coins of Constantine
close with the presentation of this Victoria figurine to the emperor (5).
VI. — Eros-Amor
Roman in origin, but only of a short duration, the

binding of Eros with a tropaion. This came in the i e c. BC.
and is, especially on gems, only in the following century
still frequently encountered. Sometimes the god of love is in
company of Psuche. This one provides, on a frieze from Pompeii, an offering
(1) FGS, 3540 : a questionable piece, showing Roma between a number of weapons;
the grouping on the left bears some resemblance to a tropee.
(2) Quadriga to the right: GRUEBER, I, 2244-2298, bl. 290-293 and pi. XXXVI,
8-12; id. to the left : ib., 2299-2307 and pi. XXXVI, 13-14; quadriga on either side,
resp. to the left and to the right : ib., 2308, bl. 295; WOELCKE, p. 210-211 and pi. XII,
17-18; BABELON, Description, II, 538, 1-5.
(3) Coins of C. Clovius (around 45 BC), perhaps related to the
victories of Caesar : GRUEBER, I, 4125-4128, bl. 539 and pi. LUI, 17-18; CM/,
I, 7; WOELCKE, . 213 and pi. XII, 33; BABELON, Description, I, 366, 11.
(4) Coins of L. Verus : CMI, III, 186-187; 268-270; DODD, . 243-244.

(5) CMI, VII, 386.
154
Page 188
on an altar, while Eros erects a tropaion, of which only

shield and pole can be distinguished (fig. 140) (1).
Fig. 140
Elsewhere, Psuche is the prisoner of Eros; her shackles are

a love god held, while a second Eros with a tropaion
moves to the right and a third floats above this scene with a large
sword ( ?) in hand (2).
Then again Eros erects a sign of victory, while Psuche, known by
her butterfly wings, like a prisoner of war tied at the back
hands at the foot of it (3).
Eros's triumph over Herakles has already been mentioned above (4).
By the way, as the founder of a tropee, he is not particularly fond of gems
rare appearance, which is closely related to the
taste of the public for which the gems were intended. now
Eros crowns a tropee, while his captive captive at the foot
(fig. 141) (5), then again he puts a helmet on the tropaion pole (6)
or is he busy with the shield (7). ...
(1) WOELCKE, . 143-144; TRENDELENBURG, 0. .
(ζ) Gemme in Berlin : FGS, 6230 (i e century ν. BC).

(3) Gem from ι β century η. ch. : FGJ", 75 J6.
(4) BI. 142.

(5) S. REINACH, Pierres gravees, Ы. 39 and pi. 36, no. 75, 2 (i e century ν. BC).
(6) FGS, 7555 (i e century η. BC); cf. FGS, 7550-7553
(7) FGS, 7557-7563 (i e century η. BC).
155
Page 189
Often it is also two Erots who erect a tropaion (i);

sometimes one holds the pole, while the other hangs up a shield
Fig. 141 Fig. 142 Fig. 143
(Fig. 142) (2); elsewhere a spear is fastened by one, while the other
stoops, maybe over
pick up a shield (}).
While Eros in some-
many cases as victorious
run victorious a tro-
wearing a paion (fig. 143) (4),
he also appears as
a handcuffed prisoner
himself, seated at the foot
of a trope (5).
On reliefs one finds
him only a single
time and time again under the seat
slab of a marble
seat in the Villa Casali
at Rome. The fore-
coming tropaion will be
by two wingless
Fig. 144 Eroted and looks like
(1) FGS, 3781; WALTERS, Gems, 2910-2911. Tropee with human head, see p.
79 Cf. CHABOUILLET, 1448 (designating the Erots as winged genii of Mars)
= S. REINACH, Pierres gravees, p. 39 and pi. 36, no. 74, 9 (i e c. BC.).
(2) FOSSING, 778-779; Eq. FGS, 7554 (i e Century n. Chr.).
(3) FOSSING, 780 (i e Century n. Chr.).
(4) Gemme, i e c. BC. (S. REINACH, Pierres Gravées, bl. 39 and pi. 36, no.
75, 5); statuette in the Vatican (Führer vatik. Skulpturensammlung, 174, bl. 319); figurine
from Narbonne, i e century η. ch. (ESPÉRANDIEU, Recueil Gaule, IX, 6888); statuette te
Vienne (RRS, II, 2, 448, 8).
(5) PHAG, XLIX, 27; cf. RRS, II, 2, 448, 8.
156
Page 190
to be purely decorative, because every triumphal motif ostensibly

missing (i).
Eros also comes to a tropaion in ceramic art but
rare; on a vase from Orange an unclad Venus Genetrix looks,
armed with sword and lance, with pleasure according to the weapons of
Mars, conquered by her charms. Three Erots are engaged in this one
weapons to put together a tropaion (fig. 144) (2).
A few more statues of Eros come from the Necropolis of Murina
with a trope. One of them represents an wingless Eros, who with
his left hand rests on the grip of a sword of a tropaion (3).
After i e cent. ch. come Eroten as founders of tropaia
hardly any more; tropaiophore love gods are even missing
whole. Let us only point to the medallions of Alexander Severus
from Aboukir, although Eros is very subordinate to this
position when it supports the shield, on which Nike a
inscription is applied, while on the right a tropaion with prisoner
state (4).
So after a short flowering period of the i e centuries before and after Christ
and especially in the field of gems the combination of Eros
disappeared from ancient art with a tropaion.
VIL — Aphrodite-Venus
The role of Aphrodite -Venus in relation to the tropaion is already

partly exposed in a different context (5); it appears, in contrast to the hitherto
distantly discussed deities, very insignificant.
Only an ointment bottle in the Antiquarium in Berlin still serves here
to be listed. Three women are depicted on this, together with
a naked boy, who according to Thiersch would be Caligula. Left of

(2) DECHELETTE, Vases céramiques. , 24, . 255.
(3) POTTIER-REINACH, 99" IOO > Ь1.53°: DS, fig. 7105, Ы. 502; cf. MENDEL,
Catalog de terre cuites, 2378-2379.
(4) BI. 125. Perhaps Erots with weapons in their hands still have to get on a
sarcophagus from the Mausoleum of the Licinii from the time of Traianus or Hadrian in
associated with a (now missing) tropaion (AJA, XIX, 1915, .
22-23).
(5) Aphrodite and Herakles flank a tropee (gemme, i e century ν. ch., p.
142); Venus Genetrix beholds the creation of a tropee by three Erots (vase
from Orange, i e century AD BC, see above); Venus Genetrix with tropaiophore Victoria in
the hand (coin of Hadrian, p. 132).
157
Page 191
this one stands a simple tropaion, with a handcuffed prisoner on

the foot. Still further to the left sits a woman with bare upper
body; she looks at the
tropee and the women, ter-
while she in her left hand
holds a shield. Left
hers is located on
a higher level a tem-
Peel. The shape of the
shields of the tropaion
would be on Gaulish or
Germanic origin we-
zen. The goddess becomes
understood as Victoria or
Venus Genetrix. According to
Reinach sets the stage
tje the lust ratio of Cali-
gula for; also Krause
speaks of a loop
tatio and calls the tempo
peel that off the capi-
Fig. 145 attire (fig. 145) (1).
VIII. D ionusos - B acchus
The conquest of India by Dionusos was for this god

led to the establishment of a tropaion. Yet his presence stands
only fixed in one case. A coin of Heliogabalus viz.
shows a naked Bacchus with kantharos and thursos staff in his hand
for a tropaion, to which two prisoners are riveted (2).
Less certain, on the other hand, is a mural at Pompeii. This
shows how an ivy-crowned figure moves towards an almost completed
tropaion goes to attach a shield to it. Behind her stands a
young satyr with pine cone wreath, thursos staff and animal skin. to the judge
silk writes a winged Nike with a scribe on a shield, which
is supported by a girl with an ivy wreath. An almost naked
(1) H. THIERSCH, Abbondi, der bayr. Academy, 1837, II, pi. I, p. 61 f.; DS, note.
4, p. 513; RRR, II, 33, 2; KRAUSE, Angelology, p. 20 (one of the women would be Livia);
FGS, 11362 (he wonders if one of the women is not Nundina); WOELCKE, pi.
IX, 4; SCHUMACHER, 5, p. 18.
(2) CMI, IV, 432.
IJ8
Page 192
prisoner sits in the foreground on a shield. According to Minervini, the

"woman" with shield and ivy wreath to be Dionusos himself. Mostly beautiful
associates this tropee with the conquest of Indie by this
god (fig. 146) (1).
Fig. 146
(1) In the Casa di M. Lucrezio : HELBIG, Wandgemälde, 565; , . 51-52;

RRP, 149. ; DS, note. 7, . 505; p. 516.
159
Page 193
The satyrs out due Dionusos are already in the i e century

b.c. at a tropaion for, especially on gems. They direct the tropaion
on (i). Elsewhere, one satyr has been replaced by a soldier, who carries a pair of shone
plates in his right hand, while the satyr has one hand on the tropee
lays, at the foot of which lie two shields (2).
In the midst of Bakchic scenes, two triumphal arches stand on the
sarcohaag of C. Bellicus Natalis, consul suflectus in 68 AD. ch. on
Both arches depict a tropaion, including two naked prisoners.
genes are opposite each other. From the right approaches a satyr with a pointed
ears and a small tail; he has a sword in his hand (3).
In summary, it can be said that the described images
incidental cases, as with Aphrodite-Venus.
IX. — A start
In the з е century η. ch. the oriental Astarte joins the ranks of

the deities already mentioned. Coins of . minted in Phoinikia
Caracalla one sees her, with a tower crown on her head, the right
lay hands on a tropaion. In her left hand she carries a spear with
downward point. Victoria crowns her from a small column.
At her feet is a Sileen with a bag and a purple snail (4). Of
minor changes, this scene is on coins of several emperors
for (5).
Heliogabalus, however, makes an important change by
the introduction of a tropaiophore Astarte; for the rest show
his coins have the same details as those of Caracalla (6).
In addition, Heliogabalus carries some completely new types
in. For example, the reverse of a coin minted in Phoinikia shows two
galleys with oarsmen; on one ship is Astarte with a tropee, on the
other two soldiers (7).
(1) PHAG, XXIV, 27; FGS, 4068-4071.

(3) From Pisa, now at Rome: RRR, UI, 107, 1; DUTSCHKE, I, 128; DS, note.
15, . 516; LASINIO, pi. XXVI.
(4) CMI, IV, 890-892.

(5) These changes mainly concern the Silene, the purple snail and the palm tree:
lulia Domna (CMI, IV, 329); Geta (CMI, IV, 305-306); Aquillia Severa (CMI, IV, 16);
Philippus Arabs (CMI, V, 134; 346-348; Galilee: CMI, V, 138); Otacilia (CMI, V,
112); Traianus Decius (CMI, V, 150).
(6) Heliogabalus (CMI, IV, 439-444).
(7) CM?, IV, 413; cf. IV, 447
160
Page 194
Also new is the coin image with a temple with six columns, in which
a tropaiophore Astarte and a Victoria standing on a column. For the
In the temple there is an altar between a palm tree and a purple snail (i).
After Alexander Severus had returned to the classical types in the meantime
on the other hand, in Gordianus Pius, the oriental influence again made itself felt.
Contamination is found on a coin of this emperor minted in Turos
of two earlier types, because the image of Astarte, who de
lays hand on a tropee and is crowned by Victoria from a column,
is placed in a temple with six columns, before which an altar between
there is a palm tree and a purple snail (2).
Traianus Decius adds to the Astarte type with the standing tropaion
two inmates (3); without prisoners this turns around,
with or without temple, still with several emperors back (4).
Trebonianus Gallus extends the scene — with omission, by the way
from the temple — still further out by besides two prisoners also
add the emperor. This is it, taken by Victoria from her
column is crowned. In the cut off a small figure with assistants sacrifices
tie of three others on an altar (5).
X. — Sol
Under Aurelian, a new deity appears in connection with

a tropaion : it is the sun god Sol, who, with a halo around it
head, within the legend ORIENS AVG. progresses with a tropee in
one and a globe with half moon in the other hand (6).
XI. — lupper
Contrary to what one might expect on the basis of the literary data,
after all, that Zeus-Iuppiter by his nickname Tropaios narrowly with the tropee
he is almost not found in the visual arts at all
at this sign of victory. First in the 4 e century AD ch. we see him on a
coin of the Licinii with a scepter in hand standing next to a tropaion,
'(ifcm',
(2) CMI, V, 5IV, 445-446.
5 3-5 54
(3) DS, note. 14, . 516.
(4) Trebonianus Gallus (CMI, V, 186-187); Volusian (CMI, V, 183-185);
Valerian (CMI, V, 356-357); Gallienus (CMI, V, 1490-1491) and Salonina, the latter's
wife (CMI, V, 167).
(5) CMI, V, 188.
(6) CMI, VI, 160.
161
Page 195
at whose feet sit two prisoners. The legend dedicates this coin
lovi Optimo Maximo et Virtuti Dominorum Nostrorum Augusti et
Caesaris. The image is related to the legend at the front
side, on which one sees the busts of the two Licinii, who lovn
Being called LiciNii and holding a tropaion (i). that lupper
is not more often found in a tropaion, remains a very
surprising and inexplicable fact.
XII. — P ersonifications
As for the other figures, those associated with a tropaion

occur, a distinction can be made between personifications
of regions and cities, and allegorical figures representing abstract concepts
introduce.
a) Personifications of countries and cities.

Already in 3 e c. BC. is found on Aitolian coins the
figure of Aitolia, spear in hand on Gallic shields
sits, while a small tropaion stands in the background (2).
In addition to the conquering nation, it is especially the conquered
area personified. Thus reaches on a denarius of
L. Statius Murcus the i e c. BC. a man (murcus)
hand to a woman who kneels in front of a tropaion and
Asia proposes. The tropee would relate to
Murcus' victory over Dolabella (fig. 147) (3).
Fig. j 4 7 Several tropaia are depicted on the frieze of
the temple of Hecate at Lagina in Caria, also from
the i th century. On the north side of it, except for a soldier who with
both hands bear a tropee in front of his chest (4), in addition a
tropaion for the background of a scene with Roma and Caria (5).
A third tropaion, which is, however, hardly recognizable as such,
would be at the feet of a standing figure (6). Even becomes
(1) MAURICE, II, . 572 and pi. XVII, 7.

(2) WOELCKE, p. 205 and pi. XI, 35-38.

(3) GRUEBER, II, 86, p. 485 and pi. CXII, 10; WOELCKE, p. 214 and pi. XII, 43;
BABELON, Description, II, p. 466 and 467.1; Huber's Numismatic Zeitschrift, III, 1871,
p. in and pi. I, 2.
(4) MENDEL, Catalog sculptures, I, 220, bl. 508 w.; RRR, 172, 11; SCHOBER,
Frisian, p. 37 and pi. XIII.
(5) MENDEL, 0. c, 223, bl. 516-518; RRR, 172, 16; SCHOBER, 0. , p. 35-36 and
pi. XI.
(6) SCHOBER, . , , p. 39 and pi XVI.
Page 196
distinguish a fourth tropee (i). On the south side of the temple

the erection of a tropaion by a woman is depicted, in the midst of
of heroes, Amazons and nymphs (2).
Personifications of conquered territories are mainly on Roman
coins not an uncommon phenomenon; we also found a series of Armenia,
Dacia, Parthia, Sarmatia, Germania, Britannia, Alamannia, Francia and
ludaea at a tropee (3).
In addition, on a coin of Cn. Pompey Magnus to
either side of Pompey still Baetica and a tropaiophore Tarraco in front,
which Pompey crowns the last (4).
A Corinthian coin is also known from the time of Commodus
with the effigy of a woman with a tower-crown and spear, an unmarked
identified city goddess, who stands by a tropee (5). Another Corinthian
The coin shows a figure with a wreath in the raised right
hand at a tropaion with two inmates seated; change her attitude
shows resemblance to that of Victoria (6).
The second half of the 3 E century brings a coin M. Aurelius
Julian with the legend PANNONIAE AVG. and the image of both
Pannoniae, one of which carries a tropaion (7).
b) Personifications of abstract concepts.

As a personification of an abstract concept, we encountered a tropaion
already Virtus — according to others Honos — to (8). Also afterwards find
one still sees her at a tropaion with prisoners on coins of Caracalla.
She wears a helmet on her head, puts one foot on another helmet and is
armed with sword and spear (9). On a coin of Constantius II
she is called Virtus Caesarum and rests her hand on a
tropaion, under which sits a prisoner (10). On the statue of Hadrian
in London Abundantia (or Tellus) lies at the foot of a tropee (11).
By the way, personifications like this are most numerous on coins. By
Quintillus, the brother of Claudius Gothicus, a coin is known on which
(1) SCHOBER, 0. , Ы. 37 and fig. so, . 36.
(2) MENDEL, . , ов, p. 47 8
ν ·; RRR, i74. 2 9; SCHOBER, 0. c, bl. 51-52 and
pi. XXXIV.
(3) Armenia, Dacia and Parthia : p. 103 ; Sarmatia : p. 104; Germania : p. 102,103,
107 and 125 ; Britannia : . ; Alamannia and Francia : Ы. 103; ludaea : bl. 77 and 101.
(4) CMI, I, 11; WOELCKE, . 152; GRUEBER, II, 81-83, p. 367 and pi. CI, 5-7.
(5) CMI, III, 1075.

(6) CMI, III, 1076.
(7) CMI, VI, 5-6.
(8) On the Lupiter's Column in Mainz (pp. 152-153).
(9) CMI, iv, 479-481.
(io) CMI, VII, 311.
(11) p. 100, remark. 8.
163
J. 13
Page 197
Concordia Exercitus is glorified and depicted with a tropaion

in one hand and perhaps a second in the other (i). Crispus
brings a standing figure with a spear in his left hand, which is
according to legend might call Juventus; she leaves the judge
resting hand on a tropaion (2). In the same way, one can
paiophore woman, who puts her hand on a coin of Constantius II on
the head of a kneeling captive woman, like Salus Reipublicae
consider (3). In addition, Magnentius and Decentius also
Libertas found (4).
Unnamed, on the other hand, are some figures on gems from the I e
century BC. So the woman (goddess?) who stretches out her hand to a
paion, holding with the other hand a himation, which is about her
legs is wrapped (5). Likewise the naked woman, who for a tropaion
sits (6) and the two identical goddesses ( ?), who with a
scepter in hand flank a tropaion, against whose trunk two shells
stand (Fig. 148) (7).
Fig. 148 Fig. 149
A molded medallion of the i e cent. ch. shows an image,

that is reminiscent of one of the frescoes from Pompeii: a half-naked
woman extends right hand to a centered tropaion,
on whose right side stands a general (fig. 149) (8")
In the field of sculpture there is only one Roman
base in Athens with a relief on the front and back.

The latter shows a Nike with a tripod, while at the front
(1) CMI, VI, 13-14.

(2) CMI, VII, 82.
(3) CMI, VII, 177.
(4) BI. 139.
(6) WALTERS, Gems, 4046. DE RIDDER, Bijoux, 1863 mentions another gem
with naked woman, who goes to a tree with weapons (tropee ?).
(7) FGS, 2565.
(8) THE KNIGHT, Bronces Louvre, II, 3467, p. 178 and pi. 117 (cf. fresco, Ы. 11 yi 18).
164
Page 198
a woman attaches a shield and helmet to a tropaion. left there-

of a second woman sits on a pile of weapons and raises her hand to
a tropee of roughly the same shape as the first. A big hope
arming lies with these groups. To the left behind the seated woman is the
tribe of a third tropee; the shield hanging from it is still correct
visible. Still further to the left, approximately symmetrical with the previous one,
also a woman, now turned to the left. She is also working on a
tropion. Completely on the left side, after all, it probably still stands
a tropaion behind a pile of weapons (i). r
Attitude, clothing and attributes still work in several cases

suspect that certain figures in a tropaion are personifications.
However, the lack of clearer data makes it impossible
establish its identity with certainty.
§ 3. — ANIMALS AT A TROPAION
In addition to gods and people, animals with a tropaion also appear

to be associated. Sometimes this is very removed and loose.
This seems to be the case on a coin from Ainos from the 4 e c. BC.,
on which a small tropee completely dwarfs a large buck on
the foreground (2) and on a coin from Klazomenai, which also bears a
small tropaion stands next to a large animal (3).
Other animals are apparently more closely involved in a tropee. Like this
can the snake, winding its way up a tropaion pole,
to taste a drink offering, point to a heroen cult at the
tropion (4). By the way, a snake is more common: on a fragment
a so-called. Penthesileia-sarkophaag the second e cent. ch. with a
part of a representation of an Amazonomachy becomes the stem of
a tropaion also wound around by a snake (5). In the third e century found
we put her on a jasper again, which bears the image of
a Roman-equipped soldier, who has a tropaion on his head
and holds a snake in each hand. This one focuses on and turns
the head to the victory sign. The meaning of the with Greek letters
written inscription is obscure (6).
(1) WALTER, 400.
(ζ) WoELCKE, Ы. and pi. XI, .

(3) WoELCKE, . and pi. XI, 3.
(4) BI. 85.
(5) ROBERT, . IIJ and pi. XXXIX, 93.
l6y
Page 199
More difficult to explain is the presence of a doe in a

tropaion on the so-called. gemme of Sertorius, which would come from the i e century
BC, but perhaps un-
is real. The animal is on the left
of the sign of victory, that of
one at that time still un-
usual overload
is (Fig. 150) (1).
Of greater importance is the
lion at the tropaion, that
Phobos would suggest (2).
He mainly appears on
gems. He appears on this
to set up a tropaion
Fig. 150 ten (3); elsewhere he turns it,
while he's on a lightning
flash stands, the back; above him is a star (4). A lion that
springs up against a tropaion, finally occurs on a relief of
the funerary temple of Termessos in Pisidia (5).
As a loud harbinger of victory, the cock must come
be considered a tropaion. Remarkably, this animal dedicates
a gem instead of a tail a cornucopia (6). We
also find him on a gem in Berlin; above two
grasping hands stands a crater in the middle, on which a tropaion
is placed. On either side of this is a horn of the
flood, symbol of the prosperity to be expected after victory
is, like a bullet or globe, a sign of dominion. On the one side
on it sits a rooster, on the other an eagle; both animals bear
together a wreath (7). On another Berlin gem, there are two

roosters at the foot of a tropee (8), while elsewhere a rooster on a
column is flanked by a tropaion and a dolphin (9).
For the sake of completeness, we do not want to conclude without adding the half-
mention animals, which have already been discussed in other contexts,
(1) DS, note. 11, p. 509; DURUY, II, p. 742.

(2) p. 36.
(3) FGS, 5983; WOELCKE, p. 145.
(4) FGS, 8636.
(5) WOELCKE, . 145; JOAI, III, 19ου, . 184, fig. 59.
(6) FGS, 7908.

(7) FGS, 8361.
(8) FGS, 5977-5979
166
Page 200
know the satyrs (ι) and the centaurs (z), followers of Dionusos and
Heracles. Another gem with a tropaiophore characteristic remained unmentioned.
tau (3).
§ 4. — SYMBOLIC SIGNS AROUND A TROPEA
Not infrequently a tropaion is accompanied by certain signs, in the

particularly victory symbols, such as gems discussed above.
Fig. 151
(1) BI. 160.

(2) BI. 143.
(3) FGS, 7586.
167
Page 201
In this regard, there are two clays scales from the i e cent.
ch. of importance, one of which, a sacrificial bowl, at Chieti (fig. 151) (1) on
the light came, the other comes from Alexandria (2). The based on this
statue tropaion is surrounded by loose arms and wreaths. There
the feathered helmet and the scimitar that adorn the triumphal sign, Sam-
being nitic, Zahn associates the tropee with the Allies-
war. The corona gramínea on the left is said to be the wreath, which was made in 90 BC.
was presented to Sulla.
Caesar leaves on some coins, depicting his victories in Gaul
glorify, next to a tropaion a peculiarly shaped ax with
depicting animal head (3). In 39 BC. makes the future emperor
Augustus made his debut with be-
trekking to the tropaion. He does this by issuing
a coin on which an aquila is crowned by a
tropee and flanked by two field marks (Fig. 152) (4).
Fig. 152 Something like that also occurs on a gem with the out-
delivery of lugurtha to Sulla (5).
Were these signs directly related to the battle, otherwise this is at
the following symbols. Two interlocking hands, symbol of
peace, reconciliation, and faithfulness, come except on one in the foregoing
paragraph mentioned gemme still for on another carved stone,
on which they are depicted under a tropaion (6). On another gem
again a tropee stands between two cornucopiae as signs of abundance (7).
Finally, we would like to recall the gems on which a tro-
paion prevents being surrounded by gnostic
characters.
From the time of Claudius dates a gem,
on which the emperor is depicted as a lupper,
clothed only with an aigis that is on the shoulder
is buckled. The right hand holds a scepter
and in the left he carries a lightning bolt. To be
head is surrounded by a laurel wreath. Left on
at his feet sits the eagle, furthermore a bearded,
cuffed barbarian in pants. Behind this is a Fig. 153
(1) DS, note. 10, . 509; ZAHN, Keliefgefäss ; NEUGEBAUER, inv. no. 4904, . 202.
(2) PERDRIZET, I, 446, . 157; II, pi. LXXXIX, 2.
(3) B1. 70.
(4) GRUEBER, II, 96-99, . 410 and pi. CV, 4-5; WOELCKE, . 214 and pi. XII,
45; BABELON, Description, II, 38, 67; CMI, I, 248; DOMASZEWSKI, Fahnen, 3, . 45 and
fig. 36.
(5) BI. 96.
(6) FGS, 5980-5981.
(7) FGS, 6150.
168
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tropaion, which carries helmet, armour, shield and greaves as weapons and
decorated with a ribbon. To the left of the image plane, around the head of the
emperor and on the reverse are densely packed Gnostic characters. It
tropaion might recall Claudius' triumph over Britain in
44. The Gnostic signs are of a younger date. As a result of that
notes Eichler-Kris : „die Figur des Kaisers erfuhr wohl in der
späteren Antike eine Umdeutung in gnostischem Sinn" (fig. 153) (1).
The front of an intaglio from third e century η. ch. shows laô
in the form of a mummy with four wings, as well as three heads of
jackals or dogs. Three stars and some half-disappeared letters
find themselves in the field. A cartouche below contains the letters IA.
On the reverse, a tropaion is depicted between two monograms.
One is formed by an I and an N, which may be lesus
of Nazareth should represent. The other is the monogram of Christ.
At the foot of the tropaion is a second Christo-
grams. This stone is said to have come from one of the sects, especially
without the Redeemer and the tropaion here would be the triumphant
Cross should depict (2).
About a third gem with an obscure Greek inscription
already mentioned above (3). The last of this group has
side a tropaion on a lightning bolt, above which is an X
brought as the first letter of the name of Christ. The in Greek letters
written text on the back means : fullness of grace (4).
(1) EICHLER-KRIS, 20, p. 62 and pi. 7, 24; RM, L, 1935, p.i. XXIV, 5.
(}) p. 165.
169
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CHAPTER V
THE LONE TROPAION
After the foregoing, it remains for us to examine that tropaia, which all
missing secondary characters. You often have to stay in the middle, or
they were originally intended to be single or were part of
of a larger group, which has been lost in the course of time. This
the latter applies in particular to tropaia in round plastic and for
relief works, showing the fragmentary condition and lack of
further details make it difficult and often impossible to ascertain whether
they were part of a greater whole and what this was.
Pictures of solitary tropaia come in such numbers
that a separate treatment thereof is completely justified
seems. Thus in this chapter all such tropaia have been brought together, of which
it is established that they must be regarded as single, as well as
those, of which this is not certain, but who nevertheless come to us without secondary characters
Came.
i. — TROPAIA IN ROUND SCULPTURE
Tropaia in round plastic without secondary figures are quite scarce.

Already in the third c. BC. they occur. While over a stone tropee
е
from Thermon in Aitolië (1) and a stone armor from Koos (2) closer
details are lacking with regard to the monument, to which
they may have originally belonged, may be from a tropee
Makri-Steno in Rhodes are said to be one day probably part
part of a small funerary temple, which was erected in honor of a
major character from the time of the war against Mithradates (88 BC)
or the overpowering of Cassius (43 BC) (3). Completely separate, due to
(1) BI. 53·

(z) B1. 68, note. 2.
(3) Mostra, 20 g, p.p. 97-98. Due to the ambiguity of the French
use at this point cannot be determined, whether the "trophée" of white marble from
i e c. BC., found north of the mound of the Tetrarch Deiotarus
on the Karalar west of Ankara is an anthropomorphic victory sign (CRAI, 1935,
. 43)·
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Page 204
its composition and squat shape, a marble tropaion, that

comes from the plain of Marathoon and a helmet with cheek flaps,
includes a bow, greaves and a shield (i).
Were all these tropaia of larger size and origin?
accordingly from Greek territory, in the i e cent. ch. come little
tropaion figurines found on Roman soil
became (fig. 154) (2).
At this time, the tropaia in the
province. Large and small alternate. very beautiful
tig is a bronze tropaion from Hippo in Africa. It
unique piece is 2.50 m high and could come
to be a monument to the memory of the Fig. 154
recovery of Caesar at Thapsus in 46 BC. (3).
At Novaesium (Neuss) a stone tropaion was found, which
seems older than 70 AD. ch. and once in an army sanctuary must have
stood (4). In addition, a few bronze trophies come from Germany.
paion figurines (5).
Very good work from the Flavian period is a tropee by Parisch
marble, which in 1888 on the Via Boncompagni in Rome on the site of
the earlier Horti Sallustiani was found. The height is 2.19 m.;
trunk and side branches are missing. The armor is finely decorated and like the
tropaion from Hippo covered on the back with a war cloak (6).
From the same time are the so-called Tropees of Marius (7) and perhaps also
the 3 meter high marble tropaion in the Museo Capitolino (8).
The second e century brings tropaion a Corinthian base and
the remains of a tropee from Avaricum (9). After a long hiatus
We meet in the 4 e in a round plastic tropaion in century
Adamklissi, the place where the famous Tropaeum Traiani stood. It
measures 2.70 m. and was discovered at the eastern city gate. Only one
part of it has been preserved (Fig. 155) (10).
(1) DS, . 503; SMITH, Sculpture, III, 2142 and fig. 25, Ы. 221. Cf. POPE.,
I. J*, 5·
(2) Statuette in Berlin (КЛ, XXX, 1929, Ы. 103, б); bronze trophies from
Etrurian weapons (CHABOUILLET, 3150-3157); id. in the Antiquarium in Berlin
(ROUSE, note 4, . ico).
(3) MAREC, . 64 and fig. 42, . .
(4) /, CXI, 1904, . 320 and pi. , 40 and 44·

(5) From Bonn (DS, note 13, pp. 515; WALTERS, Bronces, 1613; WOELCKE, pi. Χ).
From Cologne {В], LXIV, 1878, bl. 77).

(6) STUART JONES, 12 a, p. 30 and pi. VU.
(7) p. 75.
(8) MAGREA, note. 8, p. 116; DS, note. 14, p. 515.
(9) Pl. 58.

(io) TOCILESCO, Fouilles, p. 56 and fig. 39, p. 58; FERRI, Danubio, fig. 507, Ы. 374.
me?!
Page 205
It is obvious that the monumental under

the tropaia just described were originally part of a
Fig. 155
172
Page 206
memorial with more or less triumphal character as a temple or a

triumphal arch. A closer investigation might shed some light on this point
can provide. Let us only observe that far away the
part of the found tropaion statues not from Italian soil, but from
the province comes from.
§ 2. — TROPAIA IN RELIEF
While single tropaionbeelden already in 3 e c. BC.

are known, tropaia without minor figures in relief first appear in the
i e c. BC. The sequence is opened by a fragmentary
Worthy relief from Kuzikos, showing two tropaia on either side
Fig. i 5 6
of some weapons. This fragment is said to have come from a

memorial, that the inhabitants of Kuzikos in 73-72 BC. founded after
the retreat of Mithradates, the victory of Lucullus and the
liberation of their city (fig, 156) (1).
The tropee in relief is of an entirely different nature, which appears in a very unobtrusive way.
falling place and precisely because of this all the more conspicuous on the back of the
the statue of Augustus from Primaporta has been added. The meaning
this is difficult to determine (2).
Except for a few quadrangular reliefs, on which a single
tropaion prevents (3), brings the i e century n. ch. one more only at
part preserved relief plate from Vienne, which is decorated with a number of weapons
as parts of a tropaion and probably comes from a
(1) MENDEL, Catalog sculptures. , 288, . 49~5 ·

0
(ζ) BiENKOwsKi, De sìmulacris, bl. 26 and fig. 2, Ы. 27.

(3) Both from Rome : Villa Cesi (MATZ-VON DUHN, 3545) and S. Nereo ed Achilleo
(»., 3626).
17З
Page 207
frieze (ι). As an ornamental motif, the tropaion is most appropriate

a monument of victory, for which the reliefs mentioned will probably be
have belonged. Beneath the commemorative monuments come the triumphal arches
especially eligible (2).
Probably from a triumphal arch is a relief, which te
Peschiera was found and a somewhat strange tropaion was found.
shows. Downstairs is a suit of armor between two shields, which are
however, are not directly associated with it. At the top is a helmet
and an oval shield, above which again a lance. Above the
Fig. 157

(2) Tropaia come to the front of the arches at Périgueux (time of Augustus :
DS, note. 16, . 515; ESPÉRANDIEU, Recueil Gaule, II, 1276) and at Avignon (ESPÉRAN-
DIEU, Recueil Gaule, I, 234), and on a clay relief at Copenhagen (BREITENSTEIN,
892 and pi. 119).
174
Page 208
neck opening of the armor is a second shield with a round knob,

above which are some fragments, which may have belonged
at a helmet with a forest (i).
In later times, a solitary tropaion on reliefs is a rare
shine. We found it only on the breastplate of the statue of
Traianus from Sennecey (z) and on a relief from the time of M. Aurelius
(Fig. 157) (3).
§ 3. — THE LONE TROPAION ON COINS AND TN THE OTHER

SMALL ART
In numismatics, the tropaion is without

minor characters by no means a rarity. It
already exists in the 4 e c. BC. (fig.

158) (4). The three E century are found, except in the
east (5), also in the west such coins on
Italian soil (fig. 159) (6). In the second e century aft,. I5 8 Fig. 159
especially likes the tropaion without secondary characters
through Bithunian coins (7) greater distribution in Asia Minor.
Afterwards, however, it was found almost exclusively on Roman coins.
It is Faustus Cornelius Sulla, who even leaves three tropaia next to each other
display (8). The example of Caesar, who made a grateful use
made of the tropaion, so that on his coins the remembrance
to keep alive his many victories (9), great
imitation.
(1) LEVI, 177, . 82 and pi. XC1I B.
(2) ESPÉRANDIEU, Kecusìl Gaule, III, 2161.

(3) AMELUNG-LIPPOLD, III, , tir. 574 a and pi. 76. REINACH (DS, Ы. 515) ver
reports Etrurian Sarkophagen, on which a tropaion is said to occur. tired

There was also one on the column of Theodosius at Constantinople (Ы. 108).
Tropaia are still mentioned on reliefs from Carnuntum and Capidava (MAGREA, note 1,
. 108) and on relief plates around an altar from the Temple of Domitian at Ephesos
UOAI, XXV11, 1932, Col. 54 w.).
(4) Herakleia in Bithunia (Ы. 141); Lusimachus of Thrakia (302-301 ; WOELGKE,
p. 189 and 202; MULLER, 13, p. 334 and pi. II, 13); Saturnus (352-345; HEAD, pp. 515).
(5) Boiotian League, Aitolia, Ziaelas of Bithunia and Marathous in Phoinikia
(p. 67, note 2).
(6) Capua (HEAD, p. 35), Caelia (p. 68, note 1) and Heraclea in Lucanie (p.
68, note. 4).
(7) Prousias I (236-186) replaces the somewhat strange shape of the tropee
on coins of Ziaelas by a more common one. Prousias II (186-149) also left
mint such coins (WBR, 1, 2, 14, bl. 222 and pi. XXX, 8; 31 bl. 226 and pi. XXXI,
17; WOELGKE, p. 206, 1 and pi. XI, 45).
(8) Pl. 69.

(9) Pl. 70-71.
175
Page 209
On the victory of Q. Caecilius Metellus Pius over Sertorius

may have a coin of Q. Caecilius Metellus Pius Scipio and P.
Licinius Crassus lunianus from about 47 BC. relation; she ver
shows a tropee of Spanish weapons, including — a very rare one
apparition — a bow and a quiver (1).
Brutus follows in the footsteps of these predecessors, because he
in memory of his victories in the east adorns his coins
Fig. 161
with a tropee, sometimes on a gnarled trunk (fig. 160) (2), then again
erected on an artfully crafted post with a base (fig. 161) (3).
At the tropaion on coins of Antonius from 36 BC. it's noticable,
that even the shields at the foot of the victory sign are depicted frontally,
apparently with the intention of showing off their graceful drawing
come (fig. 162-163) (4).
In memory of the victory at Lancia in Spain, Augustus

hitting a denarius with a tropee of celtiberian weapons atop a
heap of weapons (fig. 164) (5). The Emperors of the Lulic-Claudian House
(1) GRUEBER, II, 6-7, . 572 and pi. CXXI, 3; WOELCKE, . 213 and pi. XII, 31;
BABELON, Description, I, 280, 52.
(2) GRUEBER, II, 59-61, . 477 and pi. CXI, 13; CMI, I, 4; WOELCKE, . 214
and pi. XII, 39; BABELON, Description, II, 117, 42 (coin of Brutus and Costa).
(3) GRUEBER, II, 85, p. 484 and pi. CXII, 9; WOELCKE, . 214 and pi. XII, 41;
BABELON, Description,11, 118.47-485456.38-39; CMI, 1.9 (Brutus and Servilius coin).
(4) GRUEBER, II, 147, . 509 and pi. CXIV, 10; WOELCKE, p. 214 and pi. XII,
48; BABELON, Description, 1, 187, 77; CMI, I, 17. Variant : GRUEBER, II, 148, p. 510
and pi. CXIV, 11; WOELCKE, p. 214 and pi. XII, 46; BABELON, Description, I, 187, 76;
CMI, 1, 16. According to GRUEBER, the weapons of this tropaia are not Gallic (REINACH),
but celtiberian.
(5) GRUEBER, II, 116-119, p. 375 and pi. , 8-9; WOELCKE, . 215 and pi. XII,
51; BABELON, Description, 1, 318-319, 17-18; II, 68, 169-170; CMI, I, 402-403.
176
Page 210
By the way, few coins were minted with the image of a

trope. This again appears on coins of L. Clodius Macer, who in
68 A.D. ch. governor of the senate in Africa was (i).
With the Flavian emperors, however, this is different. Vespasian her
wins through a tropee on a 72 or 73 coin
THE IVD AEIS (2). Also dating from his time is a Bithunian coin with
a tropee in the name of Titus Caesar (3). Domitian does have an out
spoken preference for the image of a Victoria at a tropaion,
yet the solitary tropaion is not lacking in him either (4).
In the second -century later it for several coins
e
emperors (fig. 165) (5). The tropaion, which is the Tropaeum Traiani in Tomis
( Adamklissi) crowned, is depicted on coins of that city from the
Fig. 165 Fig. 166 Fig. 167
time of Traianus (fig. 166) (6). Three tropaia next to each other on coins
by M. Aurelius from 167 (7) and by L. Verus (8) recall the
Germanic, Sarmatian and Armenian triumphs of the two brothers.
The legend on coins of deserves special mention
Pescennius Niger with the consecration : INVICTO IMP. TA., TROPAE., TROPAEA
or TROPHAEA (9), and those on coins of Septimius Severus, on which

INVICTO IMP. sometimes TROPAEA, TROPAE., TROFEI or TROPEA is added
jointed (fig. 167) (10).
(ТГсмТГі, 9
(ζ) CMI, I, 139; 35°; 353; 357·
(3) WBR, I, , з , . 237.
(4) CMI, I, 545; 618 (ludaea); 741 (Musia).
(5) Traianus (CMI, II, 98-100; 494-495 : on quadriga; 571-574; CMI, I, 402 :
recirculated aureus of Titus), Hadrian (CMI, II, 1507), M.
Aurelius (CMI, HI, 1216 : ludaea), Commodus (KOEHNE, III, 1-4, Ы. 306, with a
Germanic tropee, sometimes containing two prisoners), Pescennius Niger (CMI,
III, 30-33), Septimius Severus (DS, bl. 501 : Phoinikia), Caracalla (CMI, IV, 92 : op
quadriga), Constantine I (MAURICE, U, bl. 415 and pi. XII, 19) and Theodosius (CMI,
VIII, 75; SABATIER, I, 16, p. 116 and pi. V, 7).
(6) TociLEsco, Fouilles, p. 21-22 and Fig. 10; TOCILESCO-BENNDORF-NIEMANN,
fig. 130.
(7) CMI, III, 884; 895.
(8) CMI, III, 300-301.
(9) CMI, III, 34-38; 70; ViERORDT, pi. XLIII, 1799; DURUY, VI, p. 47.
(10) CMI, IV, 232-235.
ïTT
Page 211
Finally, a Greek coin comes from Amblada in Pisidia

the name of lulia Domna; she too is decorated with a tropaion (i).
Fig. 168 Fig. 169 Fig. 170 Fig. 171
It has already been noted that gem cutters like to use the tropaion as
use an ornamental motif; this also applies to the lone tropaion.
It goes without saying that the necessary variety was not lacking
argument (fig. 168-171) (2).
As far as the other cabaret art is concerned, first of all a blue glass
be called a plate, on which stands a tropee of Gallic weapons
pictured (3). Also brings the painting in the i e cent. ch. couple of
tropaia without accompanying figures (4). Traces of tropaia come to
finally for vase shards, which are reminiscent of the Tropaion chalice from
Orbetello (5). A fragment in the Loeb collection, now in the Antiquarium
at Munich, contains the remainder of a tropaion with elongated shields and
a coat of mail, as well as, it seems, remains of a cloak or
animal skin. A second shard in the same collection shows a
portion of a tropee with part of the inscription on the shield:
NIS. A shard in Tübingen is again decorated with a tropaion with
chainmail and elongated shields. From all these fragments it appears,
that the tropaion was used quite often as an ornamental motif for such
vases. Dragendorff is of the opinion that it relates to an over-
recovery from Armenia and Germania (6).
(1) HEAD, p. 705.
(2) th century BC. : FGS, 2534; 5972 (IC); 5973-5976 (II?); 59 8 2 (ΙΠ);
6671 (I); S. REINACH, Antiquités du Bosphore cimmérien, 11-12, p. 59 and pi. XVI, 12
(IB); WALTERS, Gems, 2242. i e cent. ch. : HENKEL, pi. VII, 132; LI, 1344; LXXVII,
292; 293 (from Zugmantel); FGS, 8114; 8362; FOSSING, 332(I); REG, L, 1937, p. 75;
DE RIDDER, Catalog sommaire, 1721; SMITH-HUTTON, 187, p. 42 and pi. VIII.
(3) CouissiN, Gaule méridionale, Ы. 67.
(4) RRP, 272.6 (fresco from Pompeii); RR V, I, 332, 2 (vase from Arezzo with
questionable tropaion); DUCATI, I, p. 124 (also questionable).
(5) p. 89.
(6) DRAGENDORFF, Darstellungen.
178
Page 212
CHAPTER'VI
SPECIAL FUNCTIONS OF THE TROPAION
After the foregoing, the task still awaits a number of details
further elucidate, which have either been hitherto unmentioned, or because of their
particular interest require a separate summary.
i. — THE TROPAION AS A SMALL BACKGROUND FIGURE
From 4 e c. BC. one often finds a tropaion on coins

points out that dwarfs with a larger and more prominent
dend coin image. Two cases can be distinguished in this regard,
to what extent there is a certain — albeit remote — connection between tropee
and coin image or not.
Except on a few already mentioned coins (1), this can be found
on a coin of Lokris Opountia (338-300), on which a miniature
tropaion is depicted under a soldier in combat
thing (fig. 172) (2). On bronze coins of Syracuse from the
3 e c. BC. one sees a tropee of small dimensions
behind the great head of Hieron (3). In the i e c. BC.
it still appears on coins of Ariarathes X of Kappa-
dokië next to the effigy of a standing Athena with a Nike- Fig. 172
image on the hand (4).
In all these cases one can still speak of a certain
relationship between the tropaion and the rest of the coin image, to which the
given its placement. However, this relationship is completely absent when
a tropaion is used as a mint mark, ie as a badge of the
coin maker. As such, it also appears from the 4 e until the
I e c. BC., As in Sicily, both in Greece (Fig. 173) and in the
(1) Of Ainos and Klazomenai (Ы. 165), Lusimachus of Thrakia (Ы. 66) and
Messana (p. 68, note 2).
(2) WOELCKE, p. 201 and pi. XI, 4.
(3) WOELCKE, p. 205 and pi. XI, 39.
(4) WOELCKE, p. 207 and pi. XI, 52; HEAD, . 752.
ï79
I. 14
Page 213
republican Rome (img. 174) (ι). There, as a rule, only a small

space for coin symbols is available, of course
only small tropaion types qualify for this.
Fig. 173 Fig. 174
§ 2. — THETROPAIONINE AND COMPO SITIONALFUNCTION
A compositional-decorative function
has the tropaion, if it is used in
frame of a central group, of which the
as far as the act is concerned not directly part
makes. So it is already in 3 e c. BC.
used on a vase in Bologna, on which two
tropaia on either side of a head with a
Fig. 175 Phrugian cap are shown (fig. 175) (2).
However, this performance, like some
others from a later period, all by themselves (3).
(1) 4 e century : Corinth (350-338 : HEAD, Ы. 402. Cf. EDWARDS, II . 14) and
Syracuse (317-306 : . 65, note 3).
3" century : Athens (WOELCKE, bl. 207 and pi. XI, 44; HEAD, bl. 381); Syracuse
(Purrhos : p. 68, note 1).
2 e century : M. Porcius Cato (101 ? : BABELON, Oiscription, II, 7, bl. 371 ; GRUEDER,
II, 662 and 681, . 304-305 and p.i. XCVI, 2).
ic century : M. Volteius (88 or 78 : BABELON, 0. c, II, 566, 3; GRUEBER, I, Ы. 388
etc.); L. Calpurnius Piso ( i 88 : BABELON, O. C, I, 293, 52; GRUEBER, I, 1965 and 1968,
p. 262 and fig. 49-50, p. 252); C. Vibius Pansa ( i 87 : GRUEBER, I, 2274); . Annius
and L. Fabius ( ± 82-80 : GRUEBER, II, 11, . 354); P. Fonteius Capito (59 or 54 : BABE
LON, 0.c, I, 509, 17; GRUEBER, I, 3851-3855 and pi. XLVIII, 6); L. Papius Celsus ( ± 45 :
Babelon, O. C, II, 284, 3; GRUEBER, I, 4023-4024, p. 520 and pi. LI, 1-2); L. Titurius
Sabinus (Babelon, O. C, II, 499, 6); L. Roscius Fabatus (BABELON, 0.c , II, 403, 33;
GRUEBER, I, . 422).
(2) RM, XLII, 1927, p. 122; DUCATI, II, . 473; Fig. 343, p. 474.
(3) Athenian and Roman coins of Sulla (Ы. 70), some gems (p. 138,
remark 2 and p. 152) and perhaps another Tiberius coin depicting
a quadriga, decorated with wreaths, a Victoria, a kneeling prisoner and two
tropaia (CMI, I, 64-67).
180
Page 214
This will be different, as from the 2 century η. ch. two tropaia rule
nd
be used moderately on certain monuments to frame a

middle group. This happens especially on Sarkophagen, where it is
Fig. 176
the long side depicted scene gladly by tropaia with or without

traps or also by tropaiophore figures (fig. 176) (1).
By the way, this is not Sarkophagen's monopoly. Two identical
trophies surrounded on an urn from Volterra, now in the Museo Guarnacci
and come from i e cent. BC, the main scene : a horseman
(1) Sarkophaag in Blundell Hall (Ы. 102), in Pisa (with battle between Romans and
Gauls: DÜTSCHKE, I, 100; LASINIO, pi. CXXXVI; BIENKOWSKI, ar Stellungen,
pi. VIIb; DS, . 516), from the Vigna Ammendola (Ы. 102), in the Vatican (with the
abduction of prisoners of war; the shields on the corners probably belonged
corpse into a now-vanished tropee: DURUY, VI, Ы. 453), from the Villa Ludovisi, now
in the Thermal Baths Museum (Ы. 78), of unknown provenance (Ы. 78, note 2), in Palermo
(Ы. 79), in the Borghese collection in Rome (Ы. 78) and in the Villa Doria Pamfili
at Rome (Ы. 102).
Tropaiophore soldiers are found at Sarkophagen in Rome (from the Porta San
Loren2o : Ы. 82, and in the Villa Ludovisi: Ы. 93).
Tropaiophore Amazons are found on Sarkophagen from Souk Harras (Ы. 93)
and in the Palazzo Borghese in Rome (ROBERT, pp. 108-109 and pi XXXVII, 88), as
also in the Villa Doria Pamfili (ROBERT, pp. 109-110 and pi. XXXVII, 89).
Tropaiophore Victoriae occur on a sarco hedge of the Porta Salaria
at Rome (Ы. 136).
l8l
Page 215
who slashes with his lance at a fallen man
prisoner (i). are more such urns. The urn from a burial vault on the Colle
There
di Concervino (fig. 177) (2) has a counterpart in another, of which
Fig. 177
the four corners bear tropaia, which on the one hand is a colorful mixture of
arms, on the other side including a floral motif with pigeons (3). An
urn, found at Casigliano in Umbria, shows a lake
different decoration, also surrounded by tropaia (4).
Two flanking tropaia or tropaiophorc . played an important role
figures in architecture and especially on triumphal, about which, however
will be discussed in more detail. Winder often finds them on coins.
Nikaia in Nero's time put into circulation a coin with the name of M.
Tarquitius Priscus and the image of a suit of armor and a helmet between
two symmetrical tropes (5). On a Traianus coin from 116 strides
the emperor between two tropaia (6).
Also on breastplates of statuae thoracatae the two
tropaia around a middle class, especially in the second e century (7). that one in
this time gladly used the tropaion for this purpose, except from
(1) BiENKOwsKi, Darstellungen, p. 43 and fig. 56, . 42.

(2) p. 76.
(3) LovATELLi, fig. 4, p. 260 and 5, p. 261.
(4) LOVATELLI, p. 261.
(5) WBR, I, 3, 41, bl. 403 and pi. LXVI, 16-17.
(6) Pl. 89.
(7) Statues of Hadrianuc in London and L. Verus in the Vatican (p. 100, note 8)
and statue in Athens (VON ROHDEN, 29, p. 18).
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what has already been stated can still be seen from the columns of Traianus and M.
Aurelius, on which the Victoria writes it on a shield, on both sides
is surrounded by a tropee (i).
The three E century, however, are not examples of such
known. The last known monument with such a scene
is the decade base of Galerius and Constantius Chlorus in Rome.
It stood on the Forum between the Arch of Septimius Severus and the
Fig. 178
Column of Phocas and dates from AD 303-304. ch. On one of the sides
she shows two Victoriae carrying a shield with the inscription: CAESARVM
DECADES OF FÉLICITER. This shield is or is being held by the goddesses
established on a trunk, below which two greaves are crosswise
confirmed. Two prisoners sit at his foot. Left and right state
a tropaion of barbarian weapons (fig. 178) (2).
§ 3. — THE TROPAION IN ARCHITECTURE
The important decorative function of the tropaion often went

horse with an architectural task, because a tropee also uses
was used as decoration on top of a building. This is how she appeared on top
the attika of a triumphal arch and served as the highest crowning of
tropaion buildings; she also adorned the roofs of temples and others
constructions.
(1) BI. 125-126.

(2) RIEGL, p. 154 and fig. 28, p. 155; MATZ-VON DUHN, 3629; SCHUMACHER,
photo 27 b, . 93.
183
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. Tropaiophore triumphed.
The statements of some writers who say that triumph-

bows sometimes bore tropaia (αψίδες τροπαιοφόροι), are confirmed by
some images. On a coin of Augus
Already two arches can be seen that have been erected
on a bridge or viaduct and except with rider
statues are also decorated with tropaia. Or
these relate to a military over
extraction, can be doubted in view of the
legend : QVOD VIAE MVNITAE SVNT (fig. 179) (1).
In this connection, the bow on the Pons
Milvius are remembered, who died in 27 BC.
Fig. 179 was founded. The ship's snares, which
were confirmed, suggest that he is involved
king had at the battle of Actium, although the actual reason for his op
towards the restoration of the Via Flaminia. On this would also be the legend
be able to indicate the currency just mentioned (2).
The so-called Tropees of Marius are also said to have come from a
triumphal arch, which was built in 89 for the victory of
Domitian on the Chatti and Dacians; they would originally be above
have stood on the arch (3).
Interesting is a relief from the Flavian period, which is probably
represents the Sacra Via. From right to left, you can see a
fur-like building, from which one can reach a triumphal arch with one passage
comes, only to reach a triumphal arch on which stands a quadriga,
whose rider is crowned by a Victoria standing behind him.
To the left of this is a tropaion. Then one comes to a round
building and a triumphal arch with three passages; this has a
image group, which consists of a tropaion on the left and right side,
a group of two boys and in the middle a four-in-hand (4).
Two triumphal arches, above which trophies with two prisoners, found
we already on the sarco hedge of С Bellicus Natalie (5).
Coins are again a rich source of data. On a
probably Claudius minted copy with the name of
Nero Claudius Drusus flank symmetrical tropaia, sometimes with ge
captives or weapons at the foot, the equestrian statue of Drusus on
(1) CMI, I, 235 and Fig. p. 94; WOELCKE, p. 199 and pi. X, 4; NEWBY, 95, . 66.
(2) DS, note. 16, p. 515; PAULY-WISSOWA, SV Triumphbogen, Col. 381; ROSSINI,
pi. XIV.
(3) MAGREA, p. 130-131.
(4) BENNDORF-SCHÖNE, 358.
(5) p. 160.
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his arch from 9 BC, where the legend reminds of the Germans
(Fig. 180) (1). This performance differs only slightly from that on other ones
coins of Claudius for his victories over the Germans and
Britons (fig. 181) (2). The figures that appear on
Fig. 180 Fig. 181
coins of Nero on the attica of an arch surrounded by a central group;

maybe they are tropaiophore soldiers (3).
In the second e century, one finds an aureus of Trajan to the distance
depiction of his Forum represents a trope in an architectural context.
The entrance to the Forum is formed by a building, which
bears great resemblance to a triumphal arch; it is crowned by
a chariot with six horses; on the chariot is the victorious emperor.
On both sides of this group are a tropaion and a Victoria (4).
Another gold coin of Traianus features on either side of the
chariot team a tropee with two soldiers (j).
Coins from Hadrian are also known, on which on the attica of
a triumphal arch with two tropaia flanking a four-in-hand; on a variant
the tropaia have been replaced by statues (6).
Septimius Severus puts on a coin from 204 with the inscription
ARCvs AVGG. s. с a triumphal arch, on which the emperor in a chariot with
eight horses stands amid two tropaia. Still on the corners
an equestrian statue (7).
(1) CMI, I, 1-4; KOEPP, fig. n, p. 23; KOEHNE, III, p. 259, 3-5; DS, p. 513
and 515; REGLING, p. 102; , record part IV, 211 e; NEWBY, 102, p. 73. This
coins were recirculated by-Titus (KOEHNE, III, 11, bl. 260)
and Domitian (Jb., 12, p. 260). An arch by Germanicus in Rome would also be on the
attika have worn a tropaion (DS, bl. 513; cf. CMI, I, 220).
(2) CMI, I, 16-29; 4 8 -49; KOEHNE, III, . 271, 4-6; DURUY, IV, p. 427; ,
plate part IV, 211 h (cf. KOEHNE, III, 8-10, . 259-260).
(3) p. 93.
(4) CMI, II, 167-168.
(5) MACDONALD, p. 202 and pi. VIII, 2.
(6) CMI, II, 1557 (Corinth); cf. 1558.
(7) CMI, IV, 53; DURUY, VI, p. 241.
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The representation on a Postumas coin, on which

on the platform of a triumphal arch with eight columns a tropaion between
two seated prisoners and two palms at either end stands (i).
Presumably there were other bows in a similar way
decorated (2).
2. Tropaion buildings.
The tropaion reaches its peak when it is used in

crowning of a tropaion building, which bears the victory sign high above the
environment and serves only as its massive base. Probably
This already happened in a building from the 2 e c. BC., which GE
was found on the slope of the Panajir Dagh at Ephesos (3), and
previously at a round tower in Leuktra (4).
However, we know this with certainty from the Tropaeum Alpium te
La Turbie, on the border between Italy and France (5). At an altitude of
486 m. above sea level rises a gigantic monument there
on an almost square pedestal. It consists of two rejuvenating
depressions, above which rises a dome supported by columns, which
crowned by a stone tropee. Also in the intercolumnia are
tropaia suspected (6), while according to an old description „nelle facíate
delle bande erano due gran trofei di marmo bianco intagliato a mezzo
rilievo, simili alle Trofei di Mario, che ancore si veggono a Roma" (7).
The tropaion at the top of the monument was not only monumental
dimensions, but also took over from an architectural point of view an all-
dominant position. The building was built in 7 or 6 BC. at the expense of the
Senate established in gratitude to Augustus, who killed the Alpine peoples
had overcome. Reminiscent of the original Greek tropaion
still the spot where the monument was built; it is the place where
the enemy was defeated.
(1) BI. 108, note. 2.

(2) Of Constantine at Rome and those at Malborghetto (pp. 132-133).
(3) NIEMANN-HEBERDEY, p. 153; 155-156; 162-163; 165; fig. 106, . 164; JOAI,
I, 1898, Col. 79; AJA, III, 1899, p. 63; DS, note. 4, p. 502; NOACK, . 116 and pi.
157; О, . 33; KIB, fig. 6, p. 147.

(4) NIEMANN-HEBERDEY, p. 164.
(5) PAULY-WISSOWA, S. v. Tropaeum; DS, p. 512, fig. 7122 and note. 5; KA,
LXX, 1870, p. 59; , plate part IV, 188a; NISSEN, hand science, p. 134-135;
138-139; ], LXXXVII, 1889, . 12; TociLESCO, Fouilles, fig. 16, p. 38; bull. Com.,
LXI, 1933, p. 65, Fig. 1 and 66, Fig. 2; FRMIGE; BENNDORF, Trophee d'Auguste;
DIEULAFOY; Mostra, pi. XXXIII and . 115-117; SPRINGER, X, p. 487-488; CRAI,
1934, p. 128-129; aaa, 1932, Col. 28-29; -AJA, X, 1906, p. 358; XI, 1907, . 104;
XV, 1911, p. 242-243; XXXVIII, 1934, p. 460.
(6) AJA, XIV, 1910, p. 382-383.
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Tropaion buildings like the one just mentioned are, incidentally, very
rare. The literature still speaks of monumental tropaia of
Pompey in the Pyrenees, from Drusus
on the Elbe and from Germanicus on the
Weser (ι), but there is no trace of this
found.
On the other hand, there were remnants
of a large tropaion building in
the Dobrusha to light. It is
the Tropaeum Traiani in Adamklissi
in Romania. The connection with Traianus
rests, except on other grounds, in
especially on the inscription (2). However
this has been a hotly contested issue for many years
matter. Some were of the opinion,
that the monument had to come from
the time of Augustus and erected would
are in memory of the victory,
that M. Licinius Crassus in 27 BC.
achieved on the Bastarnae (3). According to
others, however, this Tropaeum would
certainly belong to Traianus, wherein they
except in the inscription numerous proofs
found in the preserved reliefs,
in coins of Tomis (4) and in fact
that the residents of a nearby
remote location, which as Civitas
Tropaeensium, Tropaeum Traiani, Mu-
nicipium Tropaei or Municipium Trai-
ani is referred to, also Traianenses
Tropaeenses were mentioned (5). An
third view is represented
d by lorga, who as his opinion
defended that the Tropaeum Traiani
on earlier remains by Emperor Valens Fig. 182
(1) Pompey : fragment. from SALL. in SERVIUS, VERG., Aen., XI, б (cf. PLIN.,
Wet. Hìst., VII, 96). Drusus : FLORUS, II, 30, 23 (cf. also I, 37, 6). Germanicus : TAC,
Ann., Π, 18 (cf. 22).
(2) CIL·, III, 12467.
(3) FURTWÄNGLER, F. HAUSER, COUISSIN, EUGÉNIE STRONG.
(4) Bl. 110.
(5) BENNDORF, NIEMANN, TOCILESCO, PETERSEN, CICHORIUS who, in a later
reconstruction by Constantine believes, ea
187
Page 221
was founded on account of his victory over the Goths in 369 (1). Pauly-
Wissowa finally summarizes as follows: the monument was erected
by Traianus in 103 in honor of Mars Ultor; it was destroyed by the
Goths about 251 and restored by Constanti]η about 322. It is
a reminder of Traian's victory over the Dacians.
The base of the structure consists of several steps, which lead to
lead to a platform on which there is a tower of 30 m. diameter and 38 m.
height raises. It was decorated with sculpture and ended in a
truncated cone, above which the hexagonal pedestal of the 5.30 m. high
tropaion arose (fig. 182). This consisted of a trunk with a diameter of
of 2 m. and was equipped with armor, four hexagonal shields, two
quivers and two greaves. None of the missing helmet was recovered
track found ; however, other remains were found from which it was possible to
conclude that the token of victory was surrounded by a standing prisoner of war
and two incarcerated women.
Noack deduces the shape of this monument from the tumulus. Once
it was surrounded by a low wall, it was extended into a high one,
cylindrical building which — certainly not without Hellenistic
flood — was placed on its own substructure. Thus arose
build like the mausoleums of Augustus and Hadrian. This shape remained
not limited to funerary monuments, but was also used
for trophies. Springer also thinks that construction seems more
on a funerary monument than on a trophies. Reinach sees the origin
of this building form in the tumuliform tropee (2).
3. Temples.
Various finds show that among the sculptures that

served as the roof decoration of temples, the tropaion is not missing either.
As far as Greece is concerned, no certain examples of this are known (3) ;
in Rome, however. The Temple of Mars Ultor would have been decorated
are with tropaiophore Victoriae (4). Also a tropaiophore Mars becomes
mentioned (5).
Elsewhere, Tropaiophore Victoriae flank a statue on the roof
of an oktostyle temple (6), which also occurs on a Bithunic
(1) CRAI, 1936, . 12; REG, L, 1937, p. 89; AJA, XLIII, 1939, p. 497,
(2) NOACK, p. 117-118; SPRINGER, X, p. 510; A. REINACH, Trophées et origines.
. 230.
(3) Perhaps the funerary temple at Makri-Steno (p. 170).
(4) DS, p. j 11.
(5) Mint of Caligula (Ы. 148).
(6) Coin of Traianus (p. 131).
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coin from the time of Traianus, where, however, it is decorated with a

globulus between two Victoriae, erecting a tropee (i).
The aedes divi Augusti restored by Antoninus PiuS probably had
corpse again a tropaiophore soldier as roof decoration (2).
4. Other construction works.

It is not always possible to determine which is the original place
and function of tropaion images that we still possess. Sometimes
they stood on a base, accompanied or not by tropaiophore and others
figures (3), then again
they decorated a grave
monument, like from
an old description
caught a grave
construction on Via Por-
tuensis turns out, where the
winning in box
know those stood by
pilasters of each other
were divorced (4).
But also elsewhere
they came before.
Not uninteresting
in this regard a
gem with a cir
custard scene. On the
foreground chasing four Fig. 183
quadrigae in full
sails to the right ; the background is formed by a complicated
construction. Between two corner monuments that enclose the whole, stand
on an elevation all kinds of buildings, from left to right: two high columns
with beams and with statues, a Victoria with wreath on a
high column, three small columns with beams and statue groups, a high
rising slender pyramid, a second column with a Victoria statue, a minia
ture temple and a temple-shaped building that gives the impression of a
tympanon on two columns. The long base on which these monuments
standing, ends on both sides in a protruding round part, which
equipped with a tropaion of type Π (fig. 183) (5).
(1) BI. 116 (sculpture in the facade field).

(2) Coin of Antoninus Pius (Ы. 93).
($) BI. 128.
(4) BI. 58.
(5) S. REINACH, Pierres gravees, Ы. 66 and pi. 67, no. 79.
189
Page 223
A relief from Foligno also takes us to the circus. to this

in the background is a portico with four passages, on which
a quadriga and two symmetrical trophies are faintly visible (i).
That the Trofei di Mario, after they move from their original place
were removed, were set up in the niches of the Nymphaeum
Alexandri, attested to by coins of Alexander Severus from 226 with
the image of his thermal baths. They are a large building, of which
the upper part forms a sort of triumphal arch with three passages.
In the middle are two statues, in both outer ones one each
tropion (2).
On the nature of the monument of victory at Avaricum in Aquitaine,
which was provided with a tropaion, the remains of which have been found,
nothing further can be disclosed. It could date from the 2 e century
n. ch. (3).
(1) Amali, XLII, 1870, p.i. L and M; CAGNAT-CHAPOT, Π, fig. 470, Ы. 222; rrrr,
III, 45, 4; BAUMEISTER, III, . 2093.
(2) CMI, IV, 479 (cf. . ). 1Ь
(}) BI. 58, орт. .

190
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CHAPTER VII
THE SHIP STROPE
Winning a naval battle was for the ancients, as evident

from Thoukudides it appears (i), no less a reason to raise a tropaion
then aim a victory on land. Although several times notification
is made of a tropaion for a victory at sea, is made for it
never used a separate name. The conclusion
is obvious: the Greeks and Romans apparently did not make
distinction between a land tropaion and a so-called ship tropee. In essence
there was no difference between them. The distinction that exists is
empty in the occasion of the incorporation, depending on whether this is a field or a
naval battle, as well as in the outward form of the memorial, which in
some cases differ markedly from that of the land tropaion. This
is therefore the motive for a separate treatment.
A priori, one might expect that where a tropaion was
made of captured weapons, in a naval victory also enemy
vessels or at least ship parts were included therein. designated
however, do not consider these to be the equipment of an individual soldier
proper, the anthropomorphic build must be violated.
A timid attempt to maintain it as responsibly as possible
can be found on the reliefs of the Nike balustrade in Athens, on which the rest
of a large oar — a man's "weapon" — indicates that
one of the depicted tropaia is intended as a ship's trope (2).
The literary data on the construction of a naval tropee are
gens even scarcer than those about the founding of the land tropaion.
Thoukudides tells that after the naval battle at Naupaktos the Athenians
tropaion and dedicated a ship to Poseidoon (3). Moments later
does he relate such an event, adding that this ship
was set up next to the tropaion (4). Also from Xenophone one can
(1) THOUK . , I, 30; 54; II, 84, 4; 92, 4-5; IV, 12, 1; 38, 4; 56; 134; VII, 23, 4;
24, 1; 34, 7; 41, 4; 54; 72; VIII, 42.5; 95, 7; XEN., Heil., I, 5, 14; 6.35; V , 4.65;
4.66; DEMOSTH., Oluntbiscbe Rede (III), 24; συντάξεως (XIII), . cf. HERODOTS,
III, 59 ·
(2) BI. 114.
(3) оик., II, 84, 4.
(4) Тноик., II, 92, 4-5; coins (Ы. 192).
191
Page 225
deduce that ships were used in the composition of a

trope (ι).
In Roman times. is it luvenalis, which among the parts of a
(ship) tropee also calls the ship's transom:
Bellorum exuviae, truncis adfixa tropaeis
lorica et fracta de cassid buccula pendens
et curtum temone iugum victaeque triremis
aplustre et summo tristis captivus in arcu
humanis malora bonis creduntur (2).
Using to set up a tropaion on the battlefield itself
after a naval battle, of course, they could not hold their own. Hence, that a
naval trope on land was established and that, like Xenophone mead
shares, as close as possible to the battle site (3). By the way, this will
have been common practice.
Since any essential distinction between a land and a ship
tropee is missing, it is here necessary to explain the nature and
sign of the tropaion nothing to be added. This is how we limit
us to a discussion of the different types, in which
show where and when the ship's trope occurred.
§ 1. — THE TROPAION NEXT TO A SHIP OR PROOF
Entirely in accordance with the statement of Thoukudides,

that, as a result of a naval battle, a ship is next to a
tropaion, one can find a tropee of this form, the oldest type of
call it the ship's trope. The irregular in its structure consists
in this, that it cannot be said that this tropaion is only the equipment
of one defeated enemy. However, there was no other solution
as simple and a tropaion as that of the just discussed Nike-
balustrade is therefore an exception.
On Greek soil one finds a tropaion next to a ship or front.
only in the literature. Its lack in the visual
art is — apart from the fact that battles are, as a rule, naval battles
far outnumbered — perhaps due to the emergence of a
another monument of victory, which was widely distributed: the Nike on a
prow, of which the Nike of Samothrace is the most famous
image. It is mainly the coins of Demetrios Poliorketes, which have a
contain an image thereof; it also occurs on gems. The name
~~ "TÖXENT №//., I, 5, H (cf. II, 3, Ю-

(2) IUVENALIS, Sat, IV, 10, 133 ff.
(3) XEN,. He //,. V, 4, 66 (cf. Тноик, I, 30,.. 54; IV, 38, 4; VII, 23, 4; Vili, 42, ).
5
I92
Page 226
tropaion only applies to this in a broader sense, reason, why

victory monuments like this one in connection with the restriction made to
treat only anthropomorphic tropaia, disregard
den left.
Type I of the ship's trope is first used in Roman times
on coins of C. Poblicius Malleolus (89 ν. Chr.). at the time
side of this denarii is a soldier or heroos in front of a tropaion;
behind him is a prora. The sign of victory is composed of a suit of armor,
a helmet, on either side a round shield and a pair of greaves.
So apart from the prora, this tropee doesn't differ in any way
of a land tropaion (1).
Between two ship fragments, the tropaion stands on a golden
coin of Λ1. lunius Brutus from 44-42 BC. with the legend CASCA
LONGVS. P. Servilius Casca Longus was probably the commander of
Brutus' fleet. The coin may be a reminder of the conquest
of Xanthos and Patara in Lukia (fig. 184) (2).
Fig. 184 Fig. 185
A final example of a tropaion next to a ship occurs

on a coin of ЛТ. Anthony from 36-34 BC. At the foot of the
Tropaion pole on the right is a gracefully decorated round shield and on the left a
prow (Fig. 185) (3).
It is possible that the tropaion of a lararium from the time
der Seleuciden should be regarded as a naval tropaion (4).
A variant of the first type of ship's trope arises when
to this is added a deity who sets her foot on the prow.
An example of this is the Victoria of Cornazzano. In a graceful attitude
the goddess leans against the sign of victory, placing the left foot on a
ship's sneb, which is surrounded by arms. The left arm is raised
(1) GRUEBER, II, 697-707, . 307 and pi. XCV1, 4-7; WOELCKE, . 211 and pi.
XII, 19; BABELON, Description, II, 333, 7 (cf. 332, 6).
(2) GRUEBER, II, 62, . 478 and pi. CXI, 14; CMI, 1.14; REGLING, . 92; BABELON,
Description, II, 118, 45-46 and 455, 36-37; WOELCKE, p. 214 and pi. XII, 40; FOURORDT,
pi. V, 503.
(3) WOELCKE, . 215 and pi. XII, 47; CMI, I, 18; BABELON, Description, I,
187, 78; GRUEBER, II, 149, p. 510 and pi. CXIV, 12.
(4) Bl. 68.
^3
Page 227
and probably rested on the head. Maybe she was wearing a decorated
bow or stern mast in hand (i).
A coin of Caracalla from 211 AD. ch. shows a Victoria who
places her foot on a prora during the creation of a tropaion.
A seated prisoner and a standing woman with a tower crown surrounded
the trope (2).
Neptune with dolphin on a coin of Trebonianus Gallus
and trident in hand next to a tropaion, while resting the foot on a prora
put (3).
§ 2 — THE TROPAION ON A SHIP OR PROOF
In a next stage, the tropaion and ship are mixed with each other.
unions in the sense that the tropee is placed on top of a ship or prow
posted. There is only a single example of this on Greek soil
known, that would go back to a sign of victory that was in effect at Athens.
existence existed, but the time of which cannot be determined (4).
This type was mainly accepted by the Romans and in particular
at the time of August.
The Greek example is an Athenian coin from the period of
186-147 v · Ssh. by the name of Themistocles. She shows an owl,
seated on an amphora. To its right, within the curve of
an olive branch, a prow with a tropaion. Said Themistocles
is a descendant of the great Athenian of that name and this naval
tropee also refers to the battle of Salamis (5).
A variant of this type mainly occurs on
Gems: It is the tropaion on an entire ship. Like this
on a gem in Berlin, with a comparatively much too
large tropaion placed in the middle of a ship. It
is equipped with a round shield, which is placed just in front of the chest
part is attached and its full curve to the
Fig. 186 turns; behind it some spears are arranged crosswise
established (Fig. 186) (6).
Sometimes the tropaion on a ship is flanked by others
objects : this is how it occurs in the middle of two field marks on a
(1) HELBIG, Fuehrer, I, 3 5 5 ; RRJ", I, 349; DURUY, III, . 48; ROSCHER, III, . 349.
(2) , IV, 495
(3) From Ptolemais in Galilee: CMI, V, 197.
(4) WOELCKE, . 154.
(5) WOELCKE, /. c. and pi. VIII, 2; BABELON, Aperçu, fig. 18, Ы. 124.
(6) FGJ", 2202; FAG , XXIX, 5.
194
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Roman warship (fig. 187) (1); then again it stands between a horn
abundantly and an eagle with a wreath in its beak; he turns his head
to the victory sign (fig. 188) (2). Sometimes two tropaia occur (3).
Fig. 187 Fig. 188
However, it is mainly the tropaion on a prora that except on

gems (4) also occurred elsewhere. A great resemblance to such a
tropaion on a denarius of Cn. Domitius Ahenobarbus, who served as naval
guardian of Brutus at Brindisium Cn. Domitius Calvinus conquered (42-41
Fig. 189 Fig. 190 Fig. 191
BC; Fig. 189) (5), show the tropes on Augustus coins.

Those on a denarius from 29-27 BC. differs from the previous one in that
that they also have a steering oar and an anchor attached to the bottom of the
trunk are attached, is provided (Fig. 190) (6). It is this tropee that we
found in a temple (fig. 191) (7).
These last tropaia probably relate to the battle
at Actium; the hexagonal shield of the Roman marines would be on it
can point. The temple depicted is, according to some, that of Mars
Ultor in Rome, which view is not shared by Liegle, however.
(1) PHAG, XLVI, 49; FGS, 6696; WALTERS, Gems, 2145 and pi. XXVII.
(2) S. REINACH, Pierres gravees, pi. 60, no. 50, 4; WOELCKE, . 156.
(3) WALTERS, Gems, 2149
(4) FGS, zzo}.
(5) GRUEBER, , 94-97, . 4 8 8 and pi СХП, 15; WOELCKE, . 214 and pi. XII,
44; BABELON, Description, I, 467, 21; DS, note. 24, p. 510.
(6) GRUEBER, II, 4352-4354, p. 15 and pi. LIX, 19-20; CMI,I, 118-120; WOELCKE,
p. 215 and pi. VIII, 3; DS, note. 4, p. 518; BABELON, Description, II, 66, 157-159.
(7) GRUEBER, II, 4355, . 15 and pi. LX, 1.
J. 15
Page 229
According to him, it is that of Diana, whose image on the obverse of

the latter currency. By the way, Liegle sees a revival in the tropee.
commemoration of the victory of Sextus Pompey, while Reinach
believes that it refers to Caesar's victory at Afar-
seille (i).
Be that as it may, we think
this ship trope in virtually un-
changed shape back on some roof
decorative tiles. A copy in Bonn and
two in Rome show it almost
identical image of a tropaion with
shield and two crossed spears above
on a prora, on both sides where
of a jumping dolphin
image. There is a steering strap on the trunk
confirmed. The victory sign on the tile
in Bonn also carries a
animal trumpet, which is difficult to
can be associated with the
battle of Actium. The oval shield and
the trumpet could be honored
Fig. 192 on Augustus' victory over the Gauls
in 13 BC; the akroterion would then
come from a building from the following time, e.g. the temple of
Mars Ultor (Fig. 192) (2).
Only on coins of Heliogabalus will also come an Astarte
for the deck of a ship; next to her is a Victoria statue on a
column. Astarte lays his hand on a tropee (3).
§ 3. — THE TROPAIOPHORE FIGURE ON PRORA OR SHIP
A third type of ship trope arises when one

a tropaiophore figure on a prora or a complete
ship places.
An Athenian coin from the time of Hadrian
bears the image of a ship with an owl on the Fig. 193
(1) LIEGLE, p. 102 and Fig. 7 d = pi. XIII, 12 and 14; DS, p. 511 and 518, fig.
7134; WOELCKE, . 157-158.
(2) WOELCKE, p. 152 v., 160 and pi. VIII, 1. Two other acroteria with a
the same representation comes from Würzburg (BJ, CXX, 1911, bl. 161). A copy
from San Marino differs somewhat from that from Bonn due to the absence of the animal
head trumpet (WOELCKE, p. 152 and fig. 4, Ы. 153).
(3) CMI, IV, 447 (cf. 160).
196
Page 230
foreword. On deck, a warrior in full armor rushes along with

a wreath in the right hand and a symmetrical tropaion in the left.
It is generally assumed that it is Themistocles and that this
coin relates to the battle of Salamis. Maybe it is
do not suspect without foundation, that we here an image for us
having the monument of victory that was on Salamis
erected in a place called Tropaion
(Fig. 193) (1).
As Themistocles was depicted, while he
about to rush ashore to collect a tropee
to erect, so one also finds Victoria with
a wreath and a tropee atop a prow.
The goddess either has the same intent, or is from
plan to the victor the symbol of his victory
to hand over (fig. 194) (2).
Finally, we find, on a coin of Fig. 194
Etruscilla and Traianus Decius, an unclothed man-
male figure with the right hand on a tropaion and the left on a
palm tree, advancing on a prow (3).
§ 4. THE TROPAION WITH SHIP PARTS
A new type of naval trope emerges in Roman times : it is it

tropaion, which is equipped with certain pieces of equipment
of a ship. We have already encountered a precursor of this
to the Nike balustrade in Athens; while the there
The oar shown in the picture can still be counted among the „weaponized
ning" by one man, this is now changing.
This is very original Ser. Sulpicius Galba
Fig. 195 to work on a coin from 64 BC. the cruciform
(1) BERNOULLI, I, . 96 and pi. II, 1; PAULY-WISSOWA, S.V. Tropaion; IMHOOF-
BLUMER-GARDNER, pi. ЕЕ, XXI and XXII, . 153; PAUS., 1, 36, 1; Тноик., II, 92.4;
CIA, II, 467 and 469 (cf. schol. AÏSCHCLOS, Persai, 303); BAUER, p. 97.
(z) Gemme (S. REINACH, Pierres gravées, p. 64 and p. 65, no. 71, 1). The image
recalls the Nike of Samothrace, which, however, lacks the tropaion (cf.
coins of Demetrios Poliorketes : NEWELL, 0. c). It is not improbable that
a Nike must be replenished at a ship base from Epidauros (WOELCKE,
fig. 5, p. 155; cf. funerary monument from Rheneia: DS, Ы. 503 and a Panathenaic
amphora : WOELCKE, p. 155). Other figures were also depicted on a prora:
20 It was a general on the relief in the rock at the foot of the stairs, who went to the
Acropolis of Lindos on Rhodes (WOELCKE, bl. 155; DS, Ы. 504; HILLER
VON GAERTRINGEN, 0. с; A JA, Vili, 1904, fig. 4, p. 91), Apolloon on coins of
Amigónos Gonatas (HEAD, img. 143, bl. 231; ATHENAIOS, Deipnosophistai, V, 209 E)
and Eros with a statuette from Magnesia on the Maiandros (AA, 1904, 31, bl. 29).
(3) CMI, V, 44.
197
Page 231
tropaion pole can be clearly distinguished on this. Both to the tribe

if parts of a ship are attached to the side branches: anchor
and mirror. As with a tropaion, there are also prisoners under it
placed the trope. This would recall a campaign, which in
209-208 by P. Sulpicius Galba Maximus and whereby
the enemy fleet was destroyed (fig. 195) (1).
This type did not follow this type, unnatural as it was, as it was
is impossible with the help of ship parts around a tropaion pole a
organic whole, such as this with the
weapons of a soldier was the case. So shows
therefore the tropaion on coins of Sextus Pompeius
a completely different style. The trunk has been replaced by a
anchor and to this helmet and armor are attached, while
a trident protrudes above it. Hanging on the arms
Fig. 196 an akrostolion and a sneb, while under the armor
the tunic has been replaced by the monstrous heads of
Skulla and Charubdis (fig. 196) (2).
Of the tropee with ship parts, which M. Antonius on a te
Byzantium minted coin, no further details
known (3). This is the case with the ship's trope on a coin of
Octavian from 28 BC. It bears a great resemblance to the
tropaion on a prora on another coin of Augustus (4). Also now
is the sign of victory in a temple. However, its composition has changed,
because it is not on a prora, but on the bottom. A steering strap and
an anchor, which are attached crosswise to the trunk, characterize it
tropaion as a ship trope (5).
A tropaion is still called a monument, which occurs on
a fresco at Pompeii. It consists of the shaft of a Corinthian
column, which is decorated with beaks and helmets and a statue of Apollo (?)
on the top.
a shield (6).Against theapplies
The same base ofto
thethis
column lean an
monument asoar, an anchor and
to memorials
like the column of Duilius and the rostrum in the Roman Forum: no doubt
are the signs of victory; in the strict sense, however, they are not tropaia. This would be one
(1) BABELON, Description, II, 474, 8; DS, . 518; GRUEDER, I, 3907-3908, . 488
and pi. XLVIII, 21.
(2) GRUEBER, II, 15-17, p. 562-563 and pi. CXX, 11-12; WOELCKE, . 214 and
pi. XII, 42 ; BABELON, Description, II, 3 51, 21 ; DS, note. 2 3, p. 510; CMI, I, 1 ; GRUEBER,
Coins Triumvirs, p. 114 and pi. IX, 8.
(3) WOELCKE, p. 156; DS, p. 518; british. Mus., Catalog Thrace, p. 99, 60.
(4) Bl. 195.
(5) WOELCKE, p. 215 and pi. XII, 50; BABELON, Description, II, 66, 160; CMI, I,
121.
(6) Casa delle Quadrighe : HELBIG, Wandgemälde, 1776; DS, p. 518.
198
Page 232
also be able to claim the tropee on the coin of Ser. Sulpicius Galba,
were it not that here the apparent intention to build a tropaion
wen is evident from the cruciform tropaion tribe and the captives.
§ 5. — SOME SPECIAL TYPES
In conclusion, only a few special types remain to be mentioned.

Very special is the shape of a tropaion on a coin from Chalkedony from
the time after Alexander. It stands on a pole with a pedestal and consists of
a helmet, a strange armor (?), a shield, a
double-edged ax and some others hard to spot
ingredients. It is the trident under the tropaion, which
indicates that this is a ship's trope (Fig. 197) (1).
It also happens that ship parts that are not directly
to be associated with the tropaion, to justify the presumption ^ I97
that this is nevertheless intended as a ship's trope (2).
Let us mention a number of reliefs from the time of Augustus and
from Antioch in Pisidia. On it are kneeling, handcuffed
depicted prisoners looking back as if at a tropaion. Portions of
the frieze contains images of all kinds of weapons, including ear-
log ships. Another section shows two Tritons, forming a tropaion
between them, which consists of a helmet and a suit of armor. The reliefs
come from the Propulaia and glorify Augustus' victories
on land and at sea. The ship's trope probably relates to
at the naval battle of Actium (3).
Otherwise, the designer of a coin of
Augustus by the name of Cossus Cn. f. Lentulus on, that
the tropaion in the hands of the equestrian statue of the emperor as
a ship's trope should be considered; he continues this

Fig. 198 to decorate the pedestal with two prows. Also this one
coin is involved in the battle of Actium (fig. 198) (4).
A very late excels Constantinople - 5 e or 6 e century - shows
Finally, another monument, which can be called a ship's trope: the
is a winged city goddess with a tower crown; she carries a palm of victory
and a tropaion in her hand, while at her feet lies a prow (5).
(1) WBR, I, 2, 30, . 295 and pi. XLVI, 18.

(2) Triumphal Arch on the Pons Milvius in Rome with ship's beaks (p. 184)
and bow at Orange, with friezes with ship parts (Ы. 77).
(3) AJA, XXVIII, 1924, p. 437 w . and fig. 3 and 4, p. 439.
(4) GRUEBER, II, 4672-4673, . 101 and pi. LXX11, 2; CMI, I, 418; WOELCKE,
p. 215 and pi. XII, 55; DS, note. 11, p. 508 and note. 1, p. 511; BABELON, Denription,
I, 430, 79; II, 78, 234. Traianus recirculated it {CMI, I, 572).
0) CMI, VII, 1.
199
Page 233
In summary, it can be said that to indicate a

victory at sea on a land tropaion simply ship or share
of that added. Traces of this can be found already in the 5 e c. BC.
Literary data and pictures indicate that the ship next to the
tropaion was drafted; a prow was also used for that purpose.
In a second stage, the victory sign was placed on top of the ship or the
prow placed. In addition to a standing tropaion, there will also be a
carry type for in the hands of a human being or a deity.
In Roman times, the tropaion mainly spreads, to which
parts of a ship are secured as much as possible in the same way, as
the weapons were also applied.
In addition to such naval tropes, Greek as well as Roman
soil for special victory monuments, which are not subject to the strict
understanding of tropaion fell; with the Greeks this was mainly the Nike that
rushes on a prow, with the Romans it were the numerous
monuments decorated with ship's beaks. Although also
a few shapes could still be noticed in the ship's tropee,
which deviated from the more usual ones, yet she does not exhibit the rich ones
variety offered by the land tropaion.
CONCLUSION
When this work is now finished, it cannot be otherwise
then take place in the knowledge that even now the study of the tropaion
not fully completed.
For example, a number of quotations from Latin writers, of which the

Office of the „Thesaurus linguae Latinae" still after the closing of this
work was given in a benevolent manner, no longer be
incorporated.
Could the data collected here be expanded into a
Corpus Tropaeorum, then even more extensive investigative work will be required
to be.
Apart from that, moreover, in several respects,
question marks about that, within the limited scope once set
not all still open issues could be dealt with and
peaceful solution.
If, however, this treatise, partly because on extensive
extensive use was made of the archaeological data
available, contributed to the signing of an at least
global picture of the ancient tropaion, then she has modestly
made her own to enrich the knowledge of this field of ancient times
life and thus — for the time being — achieved her goal.
200
Page 234
5СНЕЛ1АТІ5СНЕ OVERVIEWS
I. — TROPAION IN AN ENVIRONMENT OF PEOPLE
Century
before Chr. after Chr.
A. НЕТ TROPAION TMV BATTLE STAGES 543.. -.2.4.
B. THE VICTORY AND HIS TROPAION
1. He raises a tropaion 4. 21-1 . . 4 .

2. He sacrifices at a tropaion 54..1-12...
3. He crowns a tropaion 1-.234.
4. He describes the shield of a tropaion 1-

5. He is standing next to a tropaion 5..21-1234.
6. He lays his hand on a tropee -.234.

7. He is crowned by Victoria at a tropee -123..
8. He wears a tropaion 1-1 2345
"Romulus type" - I 3··
2
9. The tropaiophore emperor drags a captive -...45

He kicks a prisoner -...4.
He drags and kicks a prisoner -...4.
10. Tropaion in a triumphal procession by the victor
to wear -123..
Ditto on portable -. 23 . .
С THE SUCCESSFUL AT THE TROPAION
1. One prisoner, kneeling 1-1234.

sitting 1-1234.
standing -12...
squatting 1-.2...
lying -1....
2. Two prisoners, sitting 1-1234.

sitting and kneeling 1-
sitting and standing 1-123..
standing -123..
squatting -.23..
kneeling -.2...
3. More prisoners 1 - . 23 . .
201
Page 235
II. — НЕТ TROPAION IN AN ENVIRONMENT OF GODS
A. NIKE VICTORIA
Century
. She sets up a tropaion before Chr. after Chr.
<7)She attaches weapons to a tropee 543.1-123..

Antithetic Victoriae confirm weapons -123..
V) She crowns a tropaion 4321-123..
e) She describes the shield 2 .-1 23 . .
d) She sacrifices a bull 5....-12...
2. Oe tropaiophore Nike
a) Without further attributes 321-12345
Same on globe 1-123 . .
b) With wreath 3 . 1-1234 .
Same on globe 1-123 . .
c) With palm branch 3 . . - . . .4.
Same on globe ι-
d) With caduceus 1-
e) With shield 1 - ". 23.5
ƒ) With globe -1....
g) With cornucopia -1....
h) With helmet -1....
/) With flower garland -.2...
j) With spear -.234.
k) With two tropaia -.2...
/) With offering bowl -..3..
m) With wreath and shield - . .3 . .
») With prisoner by the hair -..345
o) With wreath and palm branch -...4.
3. Victoria at a standing tropaion
a) Standing, with other figures 32.-1234.

b) Standing between two tropaia 1-.2...
c) Sitting in front of a tropaion -1234.
B. HERAKLES-HERCULES
1. He raises a tropaion 43 . 1 -
2. The tropaiophore Hercules -. 23 . .
3. Hercules lays his hand on a tropaion -..3..
С PAN
Pän sets up a tropaion 3..-
202
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D. ARES MARS
Century
. The tropatophore Mars before Chr. after Chr.
d) With spear 21-1234.

V) With Victoria Figurine -12.4.
c) With laurel branch -..3..
£) With shield -...4.
e') With prisoner by the hair -...4.
2. Mars erects a tropaion
d) Mars fixes the helmet -.2...
V) Mars crowns a tropaion -..5..
3. He marches a standing tropaion
d) Seated on arms -.2...
V) Standing next to a tropee -.254.
E. ATHENA-MINERVA-ROMA
1. At a tropaion
d) Standing 4. . 1-125 . .
V) Seated on weapons -1....
2. She crowns a tropaion 1-
3. She wears a tropaion 1 - . 23 . .
F. EROS-AMOR
1. Eros raises a tropaion

a) He attaches weapons to a tropee 1-1....
b) He crowns a tropaion 1-
z. The tropatophore Eros 1-1 . . . .

3. Eros T(it as a prisoner under a tropee 1-
4. Eros supports a tropee's shield -..3..
G. APHRODITE VENUS
I . Standing next to a tropaion 1-1 . . . .
2. With tropaiophore Victoria in hand -.2...

3. Sitting by a tropaion -1....
H. DIONUSOS-BACCHUS
1. Satyrs set up a tropaion 1-1....
2. Dionusos raises a tropaion -1....
3. Dionusos stands by a tropaion -..3..
203
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I. ASTARTE
Century
before Chr. ' after Chr.
Same in temple -..3..

2. She wears a tropaion -..3..
Same in temple - . .3 . .
3. Tropaiophore Astarte on a ship -..3..
J. SOL
Tropaiophore Sol -..3..
K. IUPPITER
luppiter next to a tropaion -...4.
L. PERSONIFICATIONS
1. Countries, cities em^ 3 . 1-1 234 .

2. Abstract concepts 1-1 . 34 .
. — ANIMALS AT A TROPAION
1. A goat 4...-
2. A snake 1-. 23 . .
3. A doe 1-
4. A lion 1-. 2 . . .
5. A rooster 1-1 . . . .
IV. — SYMBOLS AT A TROPAION
1. Various items (weapons, field marks, hands, horns

plenty) 1-
2. Gnostic Signs -..3..
V. — THE SHIP'S STRAPION
1. a) A tropaion next to ship/prow 5...1-

b) A tropaion next to a deity with the foot on a
prow -1 . 3 . .
2. a) A tropaion on ship/prow 321-1....
b) Ditto in temple 1-
3. Tropaiophore figure on ship/prow -.23..
4. a) Tropaion with parts of a ship 5...1-
b) Ditto in temple 1-
5. Special types 3.1-.2..5
204
Page 238
CHRONOLOGICAL TABLE OF THE TROPAION TYPES

Century
Type I. Hoplitentropaion before Chr. after Chr.
. Frontal 54321-12345.
B. By the way 4321-1
C. Combined -
е . Symmetrical tropaion 4321-123456
Type Ш. Disarmed Tropaion
A. With helmet 432.-1234.6

B. Without helmet 1-1
Type IV. Overcharged tropaion

A. With booty on the vòet 21-1234..
B. With weapons on the side branches 1-1234..
C. Combined -1234..
PARTICULARITIES
standing tropaia 54321-1234..

worn tropaia 321-123456
Tropaia without trunk .-. 2 . . . .
Tropaia on a high stem -1
Tropaia with prisoners 1-12345.
Tropaia with human head 4. . 1-1
205
Page 239
TOPOGRAPHICAL-CHRONOLOGICAL OVERVIEW
OF THE SPREAD OF THE TROPAION
m = coins
Before Chr. 5 e century 4 C century 3« century 2nd century i c century
MIDDLE Boiotia m lo kris Boiotia m

GREECE (Thebai) Opountia m. Leuktra
Aitolia m
Thermon
Trichion
LITTLE ASIA Gjolbashi- Ainos m Bithunia m Ephesos Ankara

Trusa Herakleia lucia Antioch
(Bith.) m Bithunia m (Pisidia)
Klazomenai m Ephesos m Kuzikos
Lampshark m Herakleia lagina
(latmos) m pergamon
pergamos m Adada (Pis.) m
cappadocia m
Kibura
(Kil.) m
ΑΤΤΙΚΆ Athens Athens Athens salami

Megara Megara Athens m
Athens m
peloponnese Bassai (?) NN

Corinth m
ITALY capua m capua m Pompeii

Etruria Atella m Taranto m
gross m Bologna
Caelia m chietia
Heraclea m fossom source
Rhegium m
Taranto m
Bologna
Malta (Todi)
SICILY Syracuse m messana m

Syracuse m
206
Page 240
Before Chr. 5° century 4 C century 3 e century 2 E century i c century
NORTH- Thrakia m Macedonia m Epirus

GREECE (Lusimachos) (Antig. Gon.) (Apollonia)
Thessalonike Byzantium
Byzantium m
|
ASIA (other) Syria m
. Syria m
(Antiochos I)
! (Seleucos I)
Phoinikia m
I
EGYPT Crimea Olbia Egypt

Pontos etc. ! (Christmas) (Alexandria)
I
SCATTERED Gems Gems Gems Gems
ROME Rome diff. Rome m Rome diff.

Rome m Rome m
GREEK delos Tenos Rhodes

ISLANDS Chose
Ι ι
ROMAN Spain
PROVINCES I (merida)
after Chr. i e century ie century 3 e century 4 e century 5-6 th century
LITTLE ASIA Magnesia Aphrodisias Ephesos

Miletus moutali Amblada m
Murina Pisidia ί Amisos m
pergamon amastris Chalkedony m
Bithunia m amastris m Nikaia m
music m Amisos m
Nikaia m Bithunia m
Nicomedeia m ! Nikaia m
skuthia m Nikomedia m
smurna m Nikopolis m
ΑΤΤΙΚΆ Athens Athens

marathon Athens m
peloponnese Corinthian Aigeira achaia m

argos
Corinthian
Olumpia
achaia m
Corinth m
207
Page 241
after Chr. ie century 2 E century 3 e century 4 e century 5-6th century
ITALY Arezzo (ι) Bologna Florence Malborghetto

Boscoreale Brescia Pompeii Turin
Brescia Brindisi
Casigliano foligno
Civita Vec Gabiae
chia Modena
Cornazzano Naples
Florence San Zenone
Gabiae Tivoli
mantua Turin
Naples Velleia
Orbetello Venice
Peschiera Massara
Pompeii Catania
postage
Prima porta
Sad
Turin (Susa)
veii
Volterra
Etruria
ROME Rome, various, m Rome, various, m Rome, various, m Rome, various, m Rome, various, m
SCATTERED Gems Gems Gems Gems
GREEK Rhodes m corfu Thasos

ISLANDS Crete
samos
NORTH Byzantium constant

GREECE Thessalonike nopel m
ID. m
ASIA ludaea m ludaea m Galilee m

luliopolis m Phoinikia m
gangra-
Germanic
copolis m
AFRICA Carthage Souk Harras aboukir

hippo Lepcis
(ι) In some cases the location is unknown and the place is mentioned,
where the object concerned is kept.
SUN 8
Page 242
after Chr. I e century 2 E century 3 e century 4 C century 5-6th century
TALLYA Avaricum
Avignon
St. Bertrand
the Comminges
Bordeaux
Carpentras
St. Germain
La Turbie
Narbonne
orange
Paris
Perigueux
sennecey
Toulouse
Valcabrète
Vienne
Antibes m
ERMANIA Bonn
Cologne
Mainz
Neumagen
Neuss
Remagen
PANY Metida Madrid
VERY ROM. Bern capidavac Siscia m tomis

PROVINCES Budapest carnuntum
salona Geneva
spalato tomis
tomis m
Page 243
INDICES
I. — Lr lAIR INDEX
Adler, F., 2, 44 epic, 32

Aelianus, 29, 34, 38 Erdmann, ., 27
Aiolic lyric, 22, 32 Espérandieu, E., 76
Aischulos, 2, 22, 30 Etymologicum Magnum, 7, 8
Aristophanes, 7, 8, 9, 22, 23 Eupolis, 8
Arkadios of Antioch, 8 Euripides, 7, 22
Babylon, E., 55 Eusebios, 39
Bakchulides, 22 Eustathios, 40
Bally, Gh., 9 Florus, 37
Baitoli(us), PS (— JP Bellorius), Friederichs, . — P. Wolters, 62, 85
2. 73, 1
Frothingham, AL, 3
Batrachomuomachia, 9, 22, 30 Furtwangler, Α., 66, 146
Baumeister, ., Gansiniec, Zofia, 3, 4, 32, 33
Bellori(us), JP, 2 historians, 4, 23
Benndorf, O., 3, 32 Gesner, JM, 7, 8
Benndorf, O. — G. Niemann, 62 Ghilain, ., 27
Biondo, Flavio, Graef, P., 3
Blanchct, ., no grammarians, 4, 6, 23
Boesner, J.S., 2 Gregory of Corinth, 7, 9
Botticher, С, 4i Grueber, . Α., 53. 55, ^З. ΐ 9
2
Boulenger, J. С. (Bulengerus), 2 Hase, . ., 2

Carnoy, AJ, 27 Hekier, .,
Cassian Bassus, 26 Henning, W. ., 27, 28
Cassius Dio, 23, 25, 43 Herodianus, 6, 8, 23
Cento, 19 Herodotus, 22, 23, 30, 36, 45
christian writers, 39 Hesuchios, 27, 28
Ciaccone, ., I Himerios, 40
Cicero, 23, 29, 37 j Homeric Hymns, 22
Claudian, 22, 38 I Horneros, 22, 30
Cockerell, Ch. R., 40 Homolle, T., 3
Couissin, P., 77 Hyde, WW, 3
Damasus, 19 Inscriptions, 5, 23, 26, 165, 187
Daremberg, Ch., 3 lorga, N.. 187
Demosthenes, 1, 20, 23, 31 Isidore of Seville, 7
Dindorf, W., 2 Isocrates, 23, 28
Diodoros, 23, 29, 34, 35, 41, 42 luvenalis, 192
Dionusios Thrax, 9 Knapp, P., 159
Dragendorff, H., 178 Knolle a Knoll, St., 2
Duhn, F. von, 83 Kramer, J.H., 27
Dümmler, F., 32 Kratinos, 8
Duruy, V., 91 Krause, J.H., 158
Eichler, Fr. — E. Kris, 169 Lammert, F., 3, 42
Ekermann, P., 2 Liegle, J., 195, 196
210
Page 244
'Αλεξάνδρου, 35 Saglio, Ε., J

Longperier, . the, 149 Schaeder, . ., 27
Lusias, 23 Schober, .,
Macrea, M., 3, 73 scholia, 23
Menandros, 8 scholia at Aischulos, 30
Minervini, 159 — Aristophanes, 7, 9
Montfaucon, B. de, 57 — Dionusios Thrax, 9
Nicolai, J., — Euripides, 7
Niemann, G., 62 Schwabacher, W., 54
new comedy, 23 Seneca, 44
Noack, F., 188 Servius, 6, 9
Nonius, 6 Sophocles, 22
Orphic Hymn, 25 Souidas, 8
Panvinius, ., 1 Springer, ., ι88
papyri, 5 Steger, AD, 2
Pauly, A. — G. Wissowa, 3, 188 Stephen, Η., 2, η
Pausanias, 5, 18, 23, 26, 28, 30, 31, 32, Strong, Eugenie, 98
33, 34, 35, 36. Studniczka, F., 3
Petersen, E., 3 Tacitus, 38
philosopher, 23 Tertullian, 39
Pigres of Halikarnassos, 9 Thesaurus Gesner, 7, 8
peanuts, 22 — Graecae linguae, 2, 7
Piranese, G., 73 — Gronovian, 2
Platoon, 31 Thiersch, H., 157
Ploutarchos, 13, 23, 31, 37 Thiofridus, 19
Polubios, 23 Thoukudides, 8, 23, 30, 35, 45, 48, 191,
Poulsen, F., 28 192
Proba, 19 tragedians, 22
Rasche, }., 2 Varr,
Reinach, Α., з, 29, 34, 3 5, зб, 37, 4і, 45, Vendryes, J., 8
85, 158, 88, 196 Virgil, 41
Reland, ., η, zj Visser, MW de, 41
rhetoric, 23 Vitruvian, 44
rhetoric, 12, 16, 31, 33, 35, 42 Wecklein, ., zo
Righetti, P., 73 Weege, P., 92
Ritschi, F., 2 Woelcke, ., ζ, з, ЗЬ З , 33» 35, З , 4*,
2 б
Robert, C, 83 6о, 66.

Rodenwaldt, G., 29 Wuilleumier, ., 54
Rossini, L., 2 Xenophone, 23, 3°, 48, 19 , 9
1 І 2
Rubels, the, 2 Zahn, R., 168

legend, 5, 30, 35, 36 Zedier, JH, 2.
II. — INDEX GRAECUS
, 44 , 11, 12
, 21 , 12
, 13 τροπαίου, 11
ΑΘΗΝΑ NIKHION, 68 , 11, 12
, 13 , 12
, 12 , 11
, 11, 21 , 11
, 12 , 11
211
J.I6
Page 245
, 11 , 14
, 18, 19 άγαν, άριστον, 49
, 13 , 21
, 13, 15 , 21
, 13 , 7, 27, 28
τροπαιοφόροι, 184 , 27, 28
, 13 , 18, 20, 21
, 13 , 7, 21, 27
, 24 , 66
, 12 òpOoùv, 11, 14
, 12 ,8
, 12 , 12
, 13 τροπαίου, 11
, 13 , 13
, 13 , 11, 14
, 14 , 13
, 12 , 11, 15
, 12 , 13
, 11, 14 τροπαιοφόρος, 25
, 12 , 13
, 24 , 18, 19
, 12 ,8
, 13 , 21
, 11 της νίκης, 7, 21
, 11 , 14
, 11 , 11, 14
, 18, 19 , 6, 7, 27
, 12 ,6
, 13 , 24
, 14 (πνοαί), 24
(τροπαιούχα), 25 , 26
, 14 , 2, 7, 8, 9, 13, 14, 20, 21,
, 12, 14, 15 22, 24, 48
, 13 , 6, 7, 8, 9, 27
ύπερουράνιοι, 43 βρέτας, 24
,6 εδος, 24
, 11, 14 , 6, 8, 24
, 12 , 25
, 9, 10, 14, 16, 113 , 24, 25
, 13 , 25
, 12 , 25
, 11 , 25, 184
, 14 , 7, 25
, 17, 19 , 6, 7, 8, 48
, 13 , 18, 19
, 14 , 13
, 14 , 21
, 13 , 48
,8 , 13
, 12 , 13
, 14 , 13
212
Page 246
.—:
LATINUS
lovi Optimo Maximo et Virtuti Domino

ab, 19
adsuescere, 15 rum Nostrorum Augusti et Caesaris 162
ADVENTVS AVG(VSTI), 97, 98

IVDAEA CAPTA, I09
L.MV. SAL., 83
agger armorum, 38 M. ANTON. EPAPHRA, I05
AN. XV. PR. H. О. С S., 92
MARTI GOMITI AVG. N., I JO
ARCVS AVGG. S.C, 185
CAESARVM DECADES FELICATER, 183 mere, 15
cantara, 15 MINERVA VICTRIX, 153
CASCA LONGVS, 193 ипісіріит Traiani, 187
Civitas Tropaeensium, 187 Municipium Tropaei, 26, 187
congeries armorum, 38 niclon, 7, 27
CONSERVATOR AVGG., 143 NIS, 178
ORIENS AVG.,
consistent, 14
pangere, 14
CONSTANTINIANA DAPHNE, I40
PANNONIAE AVG., 163
constituent, 14
PART. ARAB. PART. ADIAD., 107
consumer, 15
poneré, 14
damnatio memoriae, 13
the, 18, 19 porta, 15
debere, 15 PROFECTIO AVGVSTI, 97, 127, I3I

QVOD VIAE MVNITAE SVNT, 184
dedicare, 15
rapere, 15
DE GER., 102, 125
reference, 15
DE IVDAEIS, I77
remover, 15
differre, 15
disciple, 15 reporter, 15
erige, 14 refund, 14
ex, 19 ROMVLO CONDITORI, 94
exciting, 14 sistere, 14
exornare, 13 spolia, 6
explicare, 15 stare, 14
extrude, 14 statuesque, 14, 16
facere, 15 sumere, 15
FELIX ROMA, 153 tollere, 15
Feretrius, 13, 43, 96 Traianenses Tropaeenses, 187
ferire, 13 triumph, 6, 7
ferre, 13, 15 tropaeatus, 25
figere, 14 Tropaeens, 26, 187
GAVDIVM ROMANORVM, 112 Tropaeolum, 26
GERMANIA CAPTA, I09 tropaeophorus, 25

habere, 15 tropaeum, 6, 7, 9, 14, 15, 16, 18, 21, 22,
HERCVLI ROMANO AVG., I43 23, 24, 26
IA, 169 Tropaeum Traiani, 187
induere, 15 tropaeus, 24
inrigare, 15 tropaicum, 26
INVICTO IMP. TA., I77 tropeum, 2, 6, 7
INVICTO IMP. TROPAE., 177 trophaeum, 6, 7
INVICTO IMP. TROPAEA, 177 tropheum, 8
INVICTO IMP. TROPEA, 177 vehere, 15
INVICTO IMP. TROPEI, 177 venti tropaei, 24
INVICTO IMP. TROPHAEA, 177 victoriatus, 26
IOM SOLI SARAPIDI, 79 vovere, 15
IOVII LICINII, 162 VRBANVS, 83
213
Page 247
IV. — GENERAL INDEX
earth deity 85
Abundantia 163
. Aburius Geminus, Coins. . 55. 144
Achilles and Penthesilea. . . . 93
pursuit 49
Actium, naval battle 184, 195, 196, 199
Adada (Pisidia), Coins . . , .
55, 123
Adamklissi, city gate
59. ?!
Tropaeum Traiani. .
3, 26, 38, 46, 49, 50, 58, 110, 171,
177, 187
eagle 166, 195
adspiration 7
M. Aemilius Lepidus, Coins . . 72, 92
Paullus Aemilius Lepidus, coins 84, III
Africa 116, 177
Agesilaus, tropaion at Thebai. . 44
agonistic victory monuments . . 1, 4
Aigialeia 83
Ainos, coins 52, 64, 165, 179
Aitolia 162
Aitolia, coins 53, 67, 162, 175
alamania 103, 104, 163
albinus, coins 58, 149
Alexander Severus, medallion. . . 108, 125, 157
coins . . . 59, 73, 92, 93, 94. 150, 161, 190
Alexandria 21
coin 100
Alexandros (Alexander) 34, 37, 87, 199
statuette from Gabiae. . 87
allobrogen, tropaion 37
allocutio 96,^7
Alpine peoples 186
altar at tropaion 44, 97, ^S, 135, 136, 150, 152, 155,
161
in Athens 21
Ephesos 175
Perigueux 124
puteoli 21
Rome 55, 115
terracotta incense altars 37, 53, 54, 67, 121, 123, 140
amastris, mint 103, 149
Amazons (Amazonomachy). . . 52, 67, 82, 91, 93, 136, 163, 165
tropaiophore. . . . 181
Amblada (Pisidia), mint . . . . 178
Amisos, mint 127, 13З
ammon 128
Amor (Eros) - 142, 154
figurine from Narbonne. . . . 56
Amphibious 33. 44
Amuklai, tropaion 31
214
Page 248
amumone 122
. Annius, coins 180
anthropomorph tropaion. . 4, 16, 19, 20, 22, 28, 32, 40, 41, 69,
79. ^ 1 , ^З
AntibcSj Coins 70.7 2 > "5
Antigonos Gonatas, medallions 5 3, 67, 144
coins . ^7
Antioch, coin 103
Antioch (Pisidia), mint . . 41
propulaia 199
Antiochos I 118
coins .... 53, IM
C. Antius Restio, Coins . . 142
Antoninus Pius 93, 189

coins . . . 58, 78, 89, 92, 93, 94, 109, 112, 115,
" 6 , 133, 149, 151, 189
M. Antonius 129
coins ... 55, 123, 176, 193, 198
Antonins 98, 116
Aphrodisias, Thermes. . . . 58, 134
Aphrodite 43, 83, 142, 157, 160
Apollo(on) 7, 122, 197, 198
apotropaion 45, 47
aquila (field sign) with tropee. 96, 168
Aquillia Severa, Coins. . 59» б 0
Arabic 27
Arcadius, coins 6o, 137
Ares (Mars) 43
argos 31-34
arms to a tropaion. . . 117
Armenia 89, 90, 103, 163
Armenia , 177, 178
Armenian 103
Artemas, abbot 43
Artemis 131
Artemisia, tropaion in Rhodes 44
Asia 86, 162
astarte 92, 108, 160, 161
on ship 160, 196
Atella, coins 37, 53, 122
Athena (— Roma) 66, 69, 129, 152, 179
consecration of tropaia. 42, 43
Athens 1, З 1 , 32, 34, 52
epheben 45
monuments of Lusikrates, Nikias
and Thrasullos 4
coins 5 3, 7°, »б, i8o, 194, 196
Nike Temple, Balustrade 52, 63, 84, 113, 126, 191, 192, 197
Frisian 52, 63, 81
gate 46
naval trope 194
215
Page 249
tropaia 32, 34
tropaion on Corinthians. . 48
Milesians. . 44
law on Acropolis 49
Athenians 34, 19 1
Attalos I (fresco) 118

Attica 52
origin of tropaion. . , 32
Attis 105
M. Augustalius Martinus, tombstone, 57
August 84, 89, 106, 108, 148, 174, 186, 187
194, 196, 199
apotheosis 96
picture Copenhagen. . . 55, 130
Prima porta. . . . 55, 173
mausoleum 188
coins 4o,f43, 5 5. I 0 0 . I 24. 129, 168, 176,
184, 195. ^ 8 . ^9
torso from Merida. . . 4 3
tropaia 3
Aurelian, coins 59, 8б > 93, I o 8 , ^о, H 1 , і б 1
M. Aurelius 97, 24, 175

I
picture Moutali . . . 58, 90

Rome 119
coins (medallions). 58, 89, 90, 97, 103,107,109, 127, 128,
133, 136, 139, 142,149, 150,151, 153,
177
M. Aurelius lulianus, Coins . . 59, l6 3
Avaricum, Victory Monument. . . . 58, 171, 19°
Avestian 27
Avignon, Triumphal Arch 57, 174
Bacchus (Dionusos) 158

cn. Baebius Tampilus, Coins. . 37, 122
baetica 163
bakch's scene 110, 160
Bakchic Victory Monuments. . . 1, 4
barbarian tropaion 73. 75. 76, 78, 89, 125, 183
base, Athens 52, 56
o. of Parthenoon 52, 64, 114
Roman 164
zw of Parthenoon 52, 64, 87, 114
Catania (column) 58, 116
Corinthian 58, 171
Rome 56, 57, 130, 183
Decade base. . . 59, l8 3
Scipio Orfitus. . . 59, 79, II 8
Turin 59, 100, 138

Bassai, temple 40
Bastarnae 187
images 4, 21, 22, 28, 32
Z16
Page 250
Aigeira 125
Argos (Leiden) 115
Athens 119, 182
bein 104
To lead 119
Magnesia ad Maiandros 87
Miletos 119
Olumpia 119
Peloponnese (Venice) 119
Rome, Palazzo Colonna 112, 119
Villa Doria Pamfili .... 119
Salona (Zagreb) 107, 119
St. Bertrand-de-Comminges. . . . 107
tropaiophore 25
sent chieftain 107, 119
figurine(s), Berlin 171
Magnesia ad Maiandros 197
Neumagen 104
from Vindex 128, 148
wreath of tropaion 45,84,85,86,113,121,122,124,143,
151, 15 2 , 155
soldier (emperor) 44, 86
Bithunia, coins 52,53,54,65,79,116,131,141, 175
177, 188
Dionusius of Herakleia. . 142
Prousias I 175
Prousias II 175
Saturn of Herakleia. . . 52, 175
Timothy of Herakleia. . 141
Zielas 53, 67, 142, 175
boii 96
Boiodsche Bond, coins 53, 61, 67, 175
goat 165
Bologna, triumphal arch 3.55
Allies War 168
tree cult 41
tree species 41, 42
tree trunk 41, 44, 60
Brittany 138
Brindisium, battle 195
Britannia 117, 163
Britain, wars 71, 139, 169
british 185
bronze tropaion 33, 46
brutium, coins 37, 53, 68, 122
abdominal girdle from Rethymno 28
loot pieces 22
Byzantium, mint 198
Caecilius Metellus, coins 37, 38, 122

Q. Caecilius Metellus Pius 176
Q. Caecilius Metellus Pius Scipio, Coins . 176
217
Page 251
Caelia, coins 37, 53, 68, 127, 175

Q. Caepio Brutus (M. lunius Brutus), 72, 106, 123, 176
Caesarea (Samaria), mint .... 124
Caligula, Lustrado 85, 157, 158
coins 148, 188
L. Calpurnius Piso, coins .. 180
capua, coins 37, 52, 53, 65, 66, 121, 175
triumphal arch 57, 107
Caracalla, statue Thasos
59, " 9
coins 59,86,90,98,103,108,117,131,133,
136,137, 139, Mo, 49, 5 > НЗ,
l 0 l 6 o >
163, 177, 194
Carausius, coins 59, I o 8 , 4°
caria 162
Carinus, coins 59, 128, 133, 150
Carisius 124
Carpentras, Triumphal Arch 5 7, 76, 109
carus 98
coins 59, Ч 6 , Ho
Cassius 170
Catania, theatre 58, 116
Chaironeia, battle 34, 70
Chalkedony, coins , 53, 199
Charubdis 198
To chat 138, 184
choregic victory monuments ..., 1, 4
christian art 39
sects 59
Christianity 59
Christians and tropaion , 39. 59
Christ 39
Christ monogram 80, 135, 137, 169
cimbren 44
circus 189, ico
Claudius , 101, 168, 169
statue Susa (Turin) 118
coins 131, 184, 185
Claudius Gothicus 163
coins 59, 0 , о
M. Claudius Marcellus 96
Nero Claudius Drusus, Coins. . . , ι84
equestrian statue 184
torso Corinth ιι8
tropia . . . 38, ι87
Claudius Unimannus, coins. . . . 123
L. Clodius Macer, Coins 177
T. Cloulius, coins 55, , 123
C. Clovius, coins 154
C. Coelius Caldus, coins 70, 7ΐ, »5
Commode 97
as Hercules ИЗ
2ΐ8
Page 252
coins 58, 86, 90, 94, 97, 98, 107, 116, 124,
127, 4 3 , i39> МЗ, 4Ъ 153. ібз, 177
1
Concordia Exercitus 164

. Considius Paetus, coins 131
Constante I, coins 60, 84, 93, 103, 127, 129, 136, 137,
151
Constantinople, coins 60, 137, 199

pillar 59, 100
Triumphal Arch of Constantine. 59,
Column of Theodosius 59, 108, 175
Constantius I (Chlorus), Decades . . . . 59, 183
coins 60, 108
Constantius II, coins 60, 83, 84, 89, 93, 95, 103, 127, 129,
137. MB 163, 164
Constantius Gallus, coins 60, 127
Constantine I, coins 60, 83, 86, 93, 95, 96, 97, 103, 108,
127, 129, 131, 140, 150, 151, 154, 177
Tropaeum Traianic 187, 188
tropaiophore 97
Constantine II, coins 60, 83, 89, 90, 93, 95, 103, 104, 108,
127, 129, 140, 151
Corcyra, mint 53
cn. Cornelius Biasio, coins 123
cn. Cornelius Lentulus 123
Faustus Cornelius Sulla, coins 69, 175
L. Cornelius Sulla 44, 96, 168
coins 55, 70, 72, 180
tropaia 38
seal ring 69
P. Cornelius Lentulus Marcellinus, Coins . . . 96
corona graminea 168
Corpus Tropaeorum 51, 200
Cossus Cn. f. Lentulus, coins 199
costa 176
Crispus 96
medallion 95
coins 60, 103, 129, 151, 164
cult dance tev Mars Victor 94
dada 103, 163

offenders 78, 86, 103, 105, 138, 184, 188
wars 50, 78, 125
arm 105
roof tiles 55, 134, 196
dating of tropaia 49
That's tropaiouchos 25
Decentius, coins 60, 139, 164
Delphoi, ordinance 44
victory monuments 1, 3, 4, 41, 46
Demetrios Poliorketes, coins 192, 197
deus 7
219
Page 253
animal cult 36
Diocletian, Arcus Novus 116
coins 59, 86, 108, 134, 143, 150
Diomedes robs Palladion 82
Dionusian group 122
Dionusos 158, 159, о, 167
Dioskouroi 131
dolabella 162
dolphin 166, 194, 196
Domitian 56, 104, 184
in Brittany 138
coins 77, 102, 107, 109, 124, 125, 127, 128,
149, о, 177, 4 , 185
l8
temple at Ephesos 175

Domitius Ahenobarbus, tropee AUobrogen. . 37
cn. Domitius Ahenobarbus, Coins. . . . 195
cn. Domitius Calvinus 195
Danube Bridge 131
Dorians and tropaia 31, 32, 33, 34
portable tropaion 40, 46, 60, 61, 68, 69
trident 194, 199
three tropaia 47, 64, 69, 103, 175, 177
durable material 33, 44, 45
C. Egnatuleius, coins 55, 125

Egyptian tropaia 27, 37
Elbe, tropaion of Drusus 187
angel 39
Enualios, temple on Salamis 31
Ephesus, coins 54, 68
Temple of Domitian 175
tropaion building 46, 186
Epidauros, acropolis rock relief 197
Erineos, battle 48
Eros (Erots) 55, 68, 79, 125, 154, 155, 156, 157
figurine Magnesia 197
Murina 157
Narbonne 56, 156
Rome (Vatican) 156
Vienne 156
erotic victories 1, 4
eteokles 30
Etruscilla, coins 197
Etrurian figurine 134
sarkophaag 39, 175
tropaia 38, 39
arm 171
Eugenius, coins 60, 137
L. Fabius, coins 180

Q. Fabius Maximus, tropee AUobrogen . . 37
Faustina 151
220
Page 254
Flavii (time . d.) 56, 101, 102, 120, I47, I7I, I77, I84
C. Flavius Hemicillus, Coins . . I23
Florence, "pilastri con armi" . . 120
triumphal arch M. Aurelius 58, HÓ
Florian, coins 59» ô ,
flute playing at tropaion 44, 45
P. Fonteius Capito, coins ... 180
fortune 153
M. Fourius Philus, Coins . . . 55, 69, 152
Francia 103, 163
frescoes in Pompeii 57, 83, n?, ô, 64, i7 I 8
Casa dei Dioscuri. . . . 135

Casa della Caccia antica. 13З
Casa delle Quadrighe. . 198
Casa di M. Lucrezio . . 158, 159
Insula IX, 7 117
Pantheon 9 1
Strada Stabiana 131

Via dell'Abondanza. . . 94
C. Fundanius, coins 55, 69, 100, 122
Galatians, battle of Lusimacheia. . . 144

galba, coins 148, 153
Galena Valeria, coins 150
Galerius Maximianus, Decades 59, 3 l8
coins . . 60, 150, 151

Galilee, mint 160, 194
Gaul 56, 59, , 7 ,
2 6 IO 9, 147, 151, 168
Gallienus, coins 59» 86, 91, 92, 94, 103, 108, in , 127,
128, 137, 150, 161
Gauls 53, 56, 67, 131, 138, 196
wars 70, 134, 142, 168, 181
arm 67, 68, 69, 70, 72, 76, 77, 158, 162,
176, 178
Gangra-Germanikopolis, coin . . 108
building 21, 22, 32
gem(s) 5, 52, 53, 56, 58, 59, 72, 79, 3 , 5, 8 8
86, 92, 96, 97, 105, 108, 114, 125, 128,

134, 135, 13 , ^г, 145, , 47, ,
8
154, 155, 157, 16ο, 164-168, 178, ι8ο,

189, 192, 195, 197
Ashik 123
Berlin , 142, 155, 66, ι68, 194
Camee de France 96
gemma augustea 56, 84, 6
gemma Caesarea (Tiberiana) . . 56, 96
gnostic 59, , 165, ι68, 169
Hellenistic (early Roman) 131
Italian 86
christmas 52
Licinius 59>99, 131
221
Page 255
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Page 256
tomb hill Trichonion. . . . 53, 138

grat cellar Rome (Colle di Con
cervix) 76
funerary monument Rheneia. . . 197
Rome, Caesarea
Metella . . 55,
Via Por-
tuensis 58, 189
Sad, Clodius
Quirinalis. . 56, 108
tombstone Budapest 56, 104
Bordeaux, M. August-
talius Martin. . 57
tomb temple Makri Steno. . . 55, 170, 188
termessos . . . . 36, 166
gulis 44
rooster 166
Hadrian 134, 157
image Crete (Istanbul) 119
London 100, 138, 163, 182
Madrid 119
mausoleum 188
coins 58, 86, 94, 131, 132, 133, 136, 149
153, 157, 177, 185, 19 6
half-animals 166
hands, intertwined 166, i68
harness Koos 68, 170
Pergamon (Berlin) 73, 138
Hecatesion 21
Heliogabalus, coins 59, 110, 143, 144, 150, 158, 160, 196
Hellenism 37
Hellenistic general (prince) 118
ега (Tropia) 24, 43
Heraclea, coins 37, 5 3, 68, 122, 175
Herakleia ad Latmos, coins 54, 131
(see also Bithunia)
Heracles (Hercules) 30, 141-144, 155, 157, 167
Hermes Psuchopompos 135
heroin (-cult) 85, 87, 163, 165, 193
doe 166
Hippokooon, tropaion 30
historical significance of tropaion 49, 51, 61
Honorius, coins 60, 80, 137
Honos 153, 163
height of tropaion 77, 78
cornucopia 97, 135, 137, 145, 166, 168, 195
L. Hostilius Saserna, coins 134
laó 169
lesson of Nazareth 169
223
Page 257
Illurians, tropaion 34
India, conquered by Dionusos. . . 158, 159
Inscriptions on tropaia 12, 15, 40. 46, 84, 86, 113, 125, 140
John, coins 60, 137
Iphicrates, tropaion 44
Iranian 27, 28
Italy 68, 69, 123, 173, 186
coins 37. 53. 54
ludaea 77. i 01 . і б 3
coin 127. 177
lugurtha 44, 9 б > ι 6 8
lulia domna, coins 39, 108, 160, 178

lulianus, coins 6о, 95
luliopolis, coins 143
lulisch-claudie tense I2Ó
coins . . . . 50, 176
C. lulius Caesar 56, 125, Ь 154
Gallic Wars 7°. Mi, іб8
coins 5 5, 70-72, іоо, ιοί, loj, юб, іб8, 175
battle of Marseilles. . 196
Thapsus . . 171
tropaia 38
Egypt . . . 27
Marius . . . 44
Mithradates . 43
lulius Nepos, coins о, 137
M. lunius Brutus (Q. Caepio Brutus). 193, 195
coins і7 б > 193
lupper 7, , , 8
capitolinus 97
Feretrius 13, 43, 9 б
Tropaeophorus 25
lustinianus, coins (medallions) . . . о, 8о, 99. 1 . 134
M. luventius Laterensis, Coins . . . 93
luventus 164
ivory Barberini (diptuchon) о, 99. 134
seasons 143
Jerusalem юб
Jews 77. оо, 105, log, Ч 2
capitalize 57, І20

Aphrodisias 58, 133
Leningrad 59, о, 121,
postage 120
Rome, Pincio 59
San Lorenzo. . . . 59. 2 о
tabularium .... І20
Cappadocia, coins of Ariarathes X 37, 5 5, 179
karanos -зб
emperor, tropaiouchos 24
224
Page 258
celtiberian weapons 124, 176
celtic tropaia 29, 38

centaurs 143, 167
Kibura (Kilicia), currency 55, 123
Kisseus, tropaion of Karanos. . . 34
classic tropaion 75 > 7 6 > 78, 125
Klazomenai, coins 52, 65, 165, 179
Little Asia 175
coins 109
cabaret 5, 52, 57, 58, 107, 148, 178
Corinth, Agora 104, 124
basilica 118
coins 52, 102, 124, 149, 163, 180, 185
triumphal arch 58
M. Aurelius 124
Traianus . . 112
Corinthians 48
crater , 166
Crete, mint , 89, 103
tropaia 28, 29
crotch 39> 59» 137» l 6 9

martial law 47-49
Kupris Tropaiophoros , 25
Kuzikos, memorial 17З
lagiden , 37
Lagina, Hekateion 55, 83, 93, 162
Lake Daimonians 48
lamps 57. 41, 135
coli. Hamilton 134
Hanover 148
Copenhagen 148
corfu 58, 107
Lampsakos, coins 52, 114
Lancia 176
Langadia (Arkadia) 26
Laphaes, tropaion at Argos. . . . 31
lararium (laryn chapel) 68, 193
La Turbie, Tropaeum Alpium. . . 38, 46, 55, 186

lectisternium with tropaia 70, 85
lion(s) at tropaion 34-36, 166
god of death 36
God of War 36
war memorial . . . . 4
raiding Persians. . . . 36
Phobos 36, 166
symbol of Africa .. 116
army chapel with tropaion 56, 148, 171
Legio I Adiutrix 47
Lepcis Magna, Triumphal Arch. . . . 58, 98
leto 122
22
Page 259
Leuktra, battle 33, 47

tropaion building 186
libation 85
Libertas 91, 139, 164
Licinii, busts 162
mausoleum ?
Licinius I, coins 6o, 93, 108, 150, 151, 161
Licinius II, coins 60, 93, 108, 150, 161
M. Licinius Crassus 128, 145, 187
P. Licinius Crassus lunianus, coins 176
Lindos, acropolis (relief) ^7
Livia 96, 158
Lokris Opountia, coins 52, 65, 179
lucullus 17З
Lukourgos, rhetra 33
Luna 99
Lunkeus, tropaion 30
Lusikrates 4
Lusimacheia, battle 144
Lusimachus of Thrakia 152
lustrado 85, 158
Macrinus, coins 59, 110, 124, 149

Ti. Maecilius Croto, Coins. . . . 37, 122
Magna Graecia, Tropaia 53
Magnentius, coins 60, 91, 127, 139, 164
Magnesia, theatre 87
Mainz, lupper's column 57, 15*, 163
monument of victory 87, 147
Maiorian, coins 60, 95
alakedonia, coin 131
tropaia 34, 35, 37
Makri-Steno, funerary temple 170, 188
Malborghetto, Triumphal Arch. . . . 59, , i86
marathon, battle 28, 32
tropaion 22, 28
Marathous (Phoinikia), Coins . . . 53, 67, 175
C. Marius, tropaion 44
marble tropaion 28
Älars (Ares) 7, 38, 78, 83, 93, 95, 106, 136, 144,
145, , 154, 157
August
149
Curator
149, 150
Invictus
Father 149
149
Father Semper Victor
150
propugnator 149
Ultor 145, 148, 49. 2 , i88, 195
Victor 148, 149
Victor Pacifer 94
statuette Gaul 147
226
Page 260
Copenhagen . U1
St. Germain 56, 147
silver 147
genius 156
tropaiophore 55, 145-48, 150-152, 188
Marseille, battle 196
Matienus, coins 37. 122
Maxentius 150
coins 60, 150
Maximian Herculius, coins 59, 86, 108, 112, 143, 150
Maximinus II Daza, coins 60, 95, 150, 151
Maximus, coins 60, 127
medallion 83. 164
Megara, vanquished by Soloon .. 31
C. Memmius, coins 100
human head at tropaion 76, 78, 79 '5 6

Merida, Temple of Mars 55, 106
theater 43
Messana, coins 37. 53. 68, 179
Messenians 48
Metellus, tropaia 38
Mezentius 41
Milesians 44
Miltiades 32, 86
Milvian bridge, battle 13З
Minerva (Victrix) 154
Mithradates 43. 170, 17З
monumental tropaia 5. 58, 7 2 . ^ 2
mukene tropaia 29, 3o

Munda, blow 71
coins 5, 52, 56, 58-60, 83, 86, 92, 101, 105,
107, io8, 114, 122, 133, 141, 152, 184
tropaiophore 25
coin model (Tarente) 55, 131
mint mark (coin symbol) 65, 68, 69, 154, 179, 180
coin shape 149
Murina, Necropolis 157
music, coin 177
Naupaktos, battle 191

Nemesis of Pheidias 28
Neptune 194
Nero, coins 93, 100, 115, 182, 185

tropaion Capitol 38
Nerva, fresco 9 1
coins 56
Nicopolis ad Lycum, coins 103
Nikaia, mint 9°. 45. 149. l 8 2
Nike (Victoria) 43. 53. 62, 64, 66, 68, 69, 84, 113,
137. 138, 140, Mi, 152, 157, 164, 179
crowns Lusimachos' name . . . 66, 152
227
I. 17
Page 261
establish tropaion 62, 64, 65, II4, lij, 121, 122, I23,
M©, 157» ^ 8
nails shield to tree trunk. . 52
stands on prow 192, 200
wingless 53, 122, 123
Samothrace 192, 197
Tropaiophoros 25, 56, 126, 129-131, 141
kikias 4, 48
nikl 27
Nikolaos 42
Nicolochos 40
Nikomedia, mint 149
Nicopolis, coin no
Numerian 98
coins 59, 98, 108, 133, 150
nundina 158
nymphs 163
Octavian (August), Coins . . . 168, 198

Odusseus 30, 82, 87
orTerkan 70
offerings at tropaion 45, 84, 113, "4, 121, 123, 126, 135
140, 154, 165
offering bowls (paterae) 55, 97, 136, 137
Alexandria 168
chietia 168
Olumpia, victory monuments 1, 3, 4, 41, 4б
Olumpos, lion 34
origin of tropaion 27, 29, 32, 33
East Indian Cherry 26
Orange, triumphal arch 57, 77, 11°, 199
Orchomenos, battle 70
Oriens 22
Osci 92
Otacilia, coins 59, 160
Otho, coins 56
paiân at tropaion 44
palladien 3.82
Pan 36, 144
Tropaiophoros 25
pancia 144
panhoplie 3, 32
pannoniae lazy
pannonians 84, 108
L. Papius Celsus, coins 180
Parthians 3, , 107, 127, 140, 145
Parthia 103, 163
Paris, Arc de Triomphe du Caroussel 39
Colonne de la Grande Armee. 39
Porte St. Denis 39
228
Page 262
Patara (Lucia) ^3
patfii dei 43
Pax 93
Peloponnese, Tropaia 30. 3 2
Penthesilea 93
sarkophaag . . . . 165
Pergamon, Victory Monuments. . 3. 56, "S
Pergamos, coins 54, 68
Périgueux, triumphal arch. . . . 57. 174
pericles 51, 62, 113
permanent trophies. . . . 46
Perseus and sons 84, III
Pertinax, coins 58. 149
Persians 32, 36, 52, 86
Persian (Iranian) 27, 28
Persian Wars 52, 86
tropaia 27, 28
arm 52, 64, 114
Pescennius Niger, Coins. . . 7. 58, 149. 47
Peschiera, triumphal arch ... 57. 174
phallic symbol 29
Pheidias 28,
Philippoi, battle 145
Philip of Macedonia. . . 34, 35
tropaion about Illurians 34
Philippus Arabs, Coins. . . 59. I 0 3. 13З. ^о, 143. Mo. о
Phleiasioi, tropaion 44
Phobos 3б,
Phoinikia, coin 143, о, 175, 177
Phraates 145
Phrune, image 21
pinax from Mukenai 29, 3°
Pisidia 55, , , 178, 199
1
place of tropaion 32, 4о, 4б, 49

Plautilla, coins о
ceremonies at tropaion .. 44, 85
C. Poblicius Malleolus, coins ^З
poluandreia Зб
Poludeukes tropaion 30
Pompeii, friezes 55, 154
Pantheon 9 1
cn. Pompey Magnus, coins, ібз

tropia . 38, 69, 87
seal ring 69
Sextus Pompey 196
coins . . . 198
M. Porcius Cato, coins .. 55, і8о
Poseidon 43, 122, 191
Tropaios 24
L. Postumius Albinus, Coins . 55, 4 4
229
Page 263
Posthumous, Coins 59,89,90,93,108,127,131,140,150,

186
Priscus Attalus, coins 60, 135
Probus, coins 59, 86, 98, 103, 108, 127, 128, 139,
143. I 44. 150, 151
price 22
Psuche 154, 155
Ptolemais (Galilee), mint 194
Pudna, blow 84
Purrhos, coins 37, 114, 141
victory monument Taranto 54
Pyrenees, tropaion of Pompey 187
quad, triumph 98
T. Quinctius Flamininus 54
Quintillus, Coins 59, 163
relief(s) 5, 52, 55, 56, 58, 148, 173, 175

Antioch (Pisidia) 199
Aphrodisias 58, 134
archaizing 85
Athens 52
Panagia Gorgopico 52, 63, 113
Bologna 3. 55, 58, 104, 118, 145
Bordeaux 57
Brescia 105
capidavac 175
camuntum 175
Catania 58, 116
Ephesos 175
Florence 58, 100, 116
foligno 190
Geneva (terracotta) 111
Istanbul 55, 100, 131
Copenhagen (terracotta) 174
Corinthian 104
Kuzikos 5 5. 173
Lindos 197
London 105
Mainz 87, 147
Modena 58, 91, 100
Naples 56
Paris 54, 87
Peloponnese (Theseion) 52, 114
Peschiera 174
Rome, Domus Flavia 138
farnese 56, 138
Sacra Via 46, 184
San Nereo ed Achilleo. . . . 173
Baths of Caracalla. . . 59
Vatican ni , 175
230
Page 264
Villa Albania 94
Villa Cesic 173
Villa Ludovisi 98
Villa Wolkonsky 57
samos 133
spalato 57, 106
tenos 54, 130
Sad 56, 108
triumphal arch 133
Valcabrère 57, 106
veii 56, 87
Velleia 105
Vienne 57, 173
Remagen, grave 147
Remus 145
Rhegium, coins 37. 53. 1*9
Rheneia, funerary monument 197
Rhodians 130
Rhodes, funerary temple at Makri Steno. . . . 55, 170, 188
coins 124
victory 130
Tropaion of Artemisia 44
oar 114, 191, 197
Roma 69, 78, 80, 127, 132, 136, 148, 152,
153. 154, 162
apotheosis 115
tropaiophore 154
Rome 46,53,54,55,59,124,132,144,145,
180, 186, 188
aedes divi Augusti 93, 189
Amphitheater Flavianum 57. 9 !
aqua lulia 73
Aventinus, tropaia 38
capitol, tropaia 38, 56, 73, 96
curia 128
Domus Flavia (Aula Magna). . . . 138
Forum Augustia 94
Romanum 183, 198
trainic 185
grave Caecilia Metella 55, 101
Nasonii 131
Via Portuensis 58, 189
burial vault Colle di Concervino. . . 76
Horti Sallustiani 56, 171
Mausoleum of Augustus 188
Hadrian 188
license 157
coins 53, 142
Nymphaeum Alexandria 72, 190
rostrum 198
Sacra Via j6, 184
231
Page 265
temple Diana 196

luppiter Capitolinus 97, 158
lupper Feretrius 96
Mars Ultor 5 5, 56, 145, 152, 188, 195, 196
Baths Alexander Severus 73, 190
caracalla 59
triumphal arch Antonins 98
arcus novus 116
Nero Claudius Drusus. 101, 185
Constantine 59, 112, 132, 147, 186
"the Portogallo" . . . . . 93
Diocletian 116
Domitian 56, 73, 184
Germanicus 185
Punch Milvius 55, 184, 199
Septimius Severus. . . 58, 93, 132, 133, 183
Titus 57, 132
Trofei di Mario 3, 56, 73-75, 104, 112, 171, 184, 186,
190
topaia 37, 54
Via Appia 55.79, 101
Cassia 120
Flaminia 184
lata 116
portuensis 58
Villa Magna 76
column M. Aurelius 2, 58, 78, 126, 183
Duilius 198
Phocas 183
Traianus 2, 58, 78, 125, 126, 183
Roman citizen 91, 139
Roman Campanian Coins 37
roman tropaia 23,37,38,69,72,137,140,145,151,
154, 200
arm 73, 76
Romulus 94, 95, 145, 146
August 94
image 94
Romulus Augustulus, coins 60, 93, 137
round sculpture 53, 58, 170
L. Roscius Fabatus, coins 180
Salamis, blow 26, 114, 194, 197

Temple of Enualios 31
Tropaion 26, 45, 197
conquered by Soloon 31
salii 66
Salonika, tetrapulon 59, 133
Salonina, coins 59, 161
Saloninus, coins 59, 86, 90, 108, 133, 150
Salus Reipublicae 164
232
Page 266
Samaria, mint 124, 127

Samniten, tropaion 37
arm 168
Samos, Triumphal Arch 58
Saracens 39
Sarkophagen 57. 58, 81, 102, 110, 181
balbinus 59. I 47
С Bellicus Natalis . . . 107, 160, 184
Blundell Hall , 102, 181
Etrurian
З8, I75
lucian
54. 82
Massara 9 1
Mausoleum of the Licinii 157

Palermo 79, 110, 181
Penthesilea 165
Pisa 181
Rome 78,181
Belvedere .... 82
Borghese 78, о, 181
"Ehesarkophag" 135
Nero 120
palatine 81, 102, 105
Palazzo Giustiniani. 81
Porta Salaria. . . . 136, 181
Porta San Lorenzo. 82, 93, 181
Thermal Museum. . 78, 181
Vatican 181
Via Couatina. . . 82, 84, 102, 112
Vigna Ammendola. 102, 181
Villa Doria Pamfili 102, 110, 181
Villa Ludovisi. . . 78, 82, 93, , 130, 181
San Zenone (Pisa). . . . 81, 138
Souk Harras (Thagaste). 93. 181
Tivoli 131
Sarmatia 104, 163
Sarmatian prisoners 107
wars . 177
satyr 158, 160, 167
ship snatch 184. 19З. 99. I 100
ship's mirror 192, 198

naval trope 46, 51, 114, 191-200
Seleucids 28, 68, 193
Seleukos I, coins 37. 52. 65, 66, 121
Septimius Severus, coins 7. 59. IO 3, 107, 109, о, 127, 131,
13З. 137. 139. 49. ïjb l 77> 185
I
Sertorius 166, 176

Servilius 176
P. Servilius Casca Longus ^3
Severus II, coins 60, 95, 150
Sicily 128, 179
Silene 160
23З
Page 267
skulla 198
Skuthen 89
Skuthia, Coins of Rheskouporis II. 89
Tropaios 26
snake 85, 165

Smurna, mint 131
Sol 99. б 1
Soloon, tropaion 3i
C. Sosius, coins юб
Spanish prisoner ІОО
arm 71, 72, 176
Spain 176
Sparta, Temple of Zeus Tropaios. . . 31
Spartans -ЗЗ, 44
mirror box 57, 147
spolia 6
Acron 94
hostilia 131
opima 13, 96
standing tropaia 46, 60, 61, 67-69
city gate with tropaia 40
L. Statius Murcus, coins 86, 162
statuae thoracatae 57, 58, 102, 107, 118, 138, 140, 182
steering strap 195. 19 6 » ^ 8
Ser. Sulpicius Galba, coins

I 97. 199
P. Sulpicius Galba Maximus 198
symbolism (symbols) 38, 39.41, 47, 8 > 97.99. 54.57.59,
ИЗ, 114, і*6.137, M b M*, i54.166,

167, 197
Syracuse, coins 52, 65, 66, 180
agathokles 37, б 5, IM
Geloon II 52, 128
Hieroon 52, 179
Purrhos 37. 53, 68, IH , "б, 127, i8o
taboo 23, 45
Tacitus, Coins 59» МЗ, 15°, 151
Taranto, coins 37, 53, І 4, "
monument of victory 54
M. Tarquitius Priscus, Coins . . . . 182
Tarraco 163
Tellus 163
temenos 21
temple(s) 40, 47, "б, 147, ^ , ібг, і84, 189

tropaion in temple . . . . , 13. 4о, 43. 9 б > І 6 > І 95, ^ 8
tropaion on temple . . . . , ізі, 148, 173, ^з, і88
weapons in temple 3°
Zeus Tropaios 24
Termessos, funerary temple ,
tesserae 148
Tetricus, Coins 59, 127, , 150
234
Page 268
Teutones 44
Thapsus, battle H"
Thebai 83
temple of the Kabeis. . 3°, 51, 61, 113
tropaion of Agesilaos 44
Thebans, bronze tropaion. . 33
tropaion of Leuktra 47
Themistokles 194, 197
Theodosius I, coins 60, 94, 137. 177
Theodosius II, coins .... 60, 95
Thessalonica, mint 137
Thrakia, lions 36
coins 52, 65
Lusimachos 66, 152, 175, 179
Thrasullos 4
Tiberius 77, 84, 9 > б Il8 > Ηβ
coins , ι8ο
Timotheos 40
L. Titurius Sabinus, Coins . . 180
Titus, coins 100, 109, 149, 153, 177, 185
Titus Caesar, coins 177
Tomi(s), coins о , 177, 187
city gate 59
tower crown 103, 117, 160, 163, 194, 199
torso 102
amasra in , 119
Brindisi 119
Corinthian 118
mantua 85.126
Nola (Naples) 85.126
Toulouse, Triumphal Arch. . . . 57, 7 , 79.

6 IO 7
Traianus 50,78,86,92,110, 116,125,138, 157,
177, 187, 188
statue Gabiae (Louvre) 107, 119
Paris III
sennecey . . . 175
Turin .... 102
Venice . . . . II9
coins 58, 84, 89, 96, 100, 103, 107, HO, III
115,125,127,131,149,150,151,177,
182, 185, 188, 189, 199
torso Merida .... 143
Traianus Decius, Coins. . . 59, 108, 160, 161, 197
Trebonian Gallus, coins 59, 92, 108, 161, 194
Trichonion, burial mound 53, 138

Triest, Tomb of Clodius Quirinalis 56, 108
triumphal arches 3.4, 25, 38.46, 57, 58, 132, 133, 141,
17З, I 74, 182, 183, 190
on coins. . . 93, 97. 98, 101, 108, 184, 185, 186
at Sarkophagen. 160
235
Page 269
triumphal procession 25. 38, 46, 96, 97, 98, 99, 107, 108,
124
Tritons 199
Troy 62
Tropaia (Arkadia) 26
Tropaion (plant) 26
Tropaion (salamis) 26, 45, 197

tropaion statue(s), Adamklissi 59. ?!
Ankara 170
Avaricum 171
hippo 56, 171
Chose 68, 170
Corinthian 171
LaTurbie 55
Makri Steno 55, 170, 188
marathon 170
Rome, Horti Sallustiani. 56, 171
Museum Capitolino 171
Trofei di Mario. 3, 56, 73, 74, 75, i 0 4, 112, 17 1 , i 84.
186, 190
Thermon 53. 17°
tropaion figurine(s), Bonn 56, 171
Cologne 171
Neumagen 56
Neuss 56, 171
tropaion buildings 183, 186, 187
tropaion tribe 11, 12, 41, 60
bunch of grapes 70
oak 41, 42, 43
scaly 77
high 77, 78
wooden 41, 42, 43, 61
gnarled 79
cruciform 67, 78, 197, 199
metal 61
stones 31, 46, 61
Tropaios, Music 26
skuthia 26
Tropeos, Scotland 26
Trophonios, oracle 47
tuche 68
tu multiform tropee 11, 13, 16, 19, 41, 69, 188
tumulus 19, 188
Turos, coin 143, 161
Turin, Triumphal Arch 57. 104
two tropaia 47. 70. 13 6 , 138 » M 2 , 181, 182
on ship ^5
dishes 5, 52, 53. 55, 178

C. Annius (chalice) 131
Arezzo (chalice) 57, 179
236
Page 270
asumen , 57
Attica (pelike) 51, 62, 65, 113
Bologna 53, 18°
Boscoreale (cup) 118
Casigliano (urn) , 182
Etrurian , 38, 67, 81, 139
Hildesheim , 52, 114
Lanckoronski (crater) 55, 85, 101, 123
London (arubalos) , 52, 114
Malta (Todi) 53, 129
Megara, come on 37, 54, 67, 121, 122, 140
pelike 52, 65, 84, 121
Munich , 179
orange 157
Orbetello (chalice) 89, 104, 178
Panathenaic amphora. . . . ^7
Paris (puxis) 78, 148, 153
relief cups 57, "8
Rome, Colle di Concervino (urn) 76, 182
Museum Torlonia. . . . 52
Salonika (bowl) 122
Thebai (vase shard) 30, 51, 61, 113
Tubingen 178
vases 5, 52, 178
Volterra, urn 181
valens 187
coins 60, 137
Valentinian I, coins 60, 127, 137
Valentinian II, coins 60, 137
Valentinian III, coins 60, 137
Valerian, coins 59, 94, 108, 135, 143, 150, 161
L. Valerius Flaccus, Coins 55, 145
Vandal Coins 60, 137
Varlaam, monastery 43
field character(s) .... 22, 96, 99, 115, 145, 168, 194
Venus 151, 157
Genetrix 132, 157, , 160
Vercingetorix 71, 100
savior 169
destruction of tropaia 12, 15, 16, 43
decoration of tropaia 12, 15, 16
transportation of tropaia 13, 15. б
L. Verus 97
statue (Vatican) loo, 138, 182
coins 58, 9°, 97, 3 , 7, i°9> "5, ЧЗ,
IO 1 0
149, Π , ^4, 177

0
Vespasian, coins 77, i°°, i , 5 , 109, 115, 133, 149,

0 1 IO
150, , 177
Vetranio, coins 60, 129
P. Vettius Sabinus, coins 55, 122
Vibius, coins 37, i"
237
Page 271
. Vibius Pansa, coins 154, 180

Victoria (Nike). . . . 26, 37, 53, 56, 60, 69, 79, 80, 83,
86, 89, 91-94, 9 6 -9 8 > I00 » 102 . IO 3 .
108, 112-141, 145, 147, 148, 150-154,
158, 160, 161, 163, 177, 180, 183-185,
189, 194, 196
antithetical Victoriae. . HÓ, II8, 120-122, I32, I40, I83
Apollonia 55. 130

Augusti 127, 137
Augustorum 134
Bonn 128
Carthage 56, 73, 138
Cornazzano ^3
curia 128
angel 39
fossom source 56
germanica 127
Cologne 128
London 73. 130. 134

Mainz 131
Naples 56, 73. 13°
on globe 94, 128, 129, 134, 135, 141, 150
on prow »97
Probi Augustic ^9
tropaiophore 56, 59, 73.8o > 97.99. I 2 1 . "б, 129,
132, 134-137, 157. i8i, 188, 197
wingless 53, 135

victoria 26, 37, 53, 54, 67, 122, 123, Mo, 144
Victorinus, coins 59, 93, I3 6 > JO

vindex 128, 148
Viridomarus 96
Virtus (Caesarum) 80, 103, 153, 163
Vitellius, coins 112, 115, 137, 148, 150
pedestal of tropaion 66, 67, 79, 114, 176, 199
M. Volteius, coins 180
Volusian, coins 59, б 1

privileges for founders of tropaia 49
prow (prora) 68, 193, 199
woman (see also prisoners). . . . 53, 82, 85, 86, ii8, 139, 158, 163,
164, 165
with tower crown 103, 117, 160, 163, 194, 199
chariot decorated with tropaion. . . 118, 124, 177
weapons 49, 61, 67
Western Roman Empire 59

law Athens 49
Delphoi . . , 44
Lukourgos 33
Vendryes 9
of the habit 33, 44, 47, 48
she-wolf with twins 78
238
Page 272
consecration of tropaion 11,12,15,16,24,36,43,46,96,126

arm 30, 40, 41, 47, 53
dowry 43, 46, 96
Xanthos (Lucia) 193
ointment bottle (Berlin) 85, 157

seal 55. 131
signet ring Pompey 69
sulla 69
victory prize 22
victorious 22
pillars of victory 4, 27
seat 56, 156
Zeus Apotropaios 45
Pheretrios 13
Tropaiophoros 25
Tropaios 24, 31, 32, 43, 45, 161
Tropaiouchos 24, 43
consecration of tropaia 42
Southern Italy , 122
sword sheath (Trichonion) 53, 81, 137, 138
239
Page 273
SUMMARY
INTRODUCTION
Since the 15 th century the many varieties of trophies have received

ample attention especially from a literary point of view, as may be seen
from the survey of what has been written on this subject. even when
restricted to the military memorials, to the exclusion of the agonistic
and choragic ones, the field remains very wide. The present study
therefore deals only with anthropomorphous trophies. Thought this
kind has been discussed in a number of publications, an archeological
conspectus of it as presented here had never been done. It is preceded by
an exposition on the nature and the meaning of the tropaion, which
must be based mainly on linguistic and literary data.
Chapter I
THE TROPAION IN GREEK AND ROMAN LITERATURE
§ 1. — Derivation, meaning and spelling of the word
The meaning of τρόπαιον can be concluded from its derivation from

τροπή : several Greek writers use it in so striking a connection with τροπή
and τρέπω that one is forced to the conclusion that the tropaion proper
cannot have been anything else than a sign set up because the enemy
was made to fall back. The Romans adopted institution and word :
tropaeum, trophaeum or tropheum.
§ 2. — Accent
The earlier Attic authors write τροπαΐον, the later ones τρόπαιον;
this shifting of the accent can be accounted for by the anacusis occurring
generally with neuters : the law of Vendryès seems redundant here, and
besides, an appeal to it too often necessitates recourse to analogy.
According to Servius in Latin accent was in different places in the
plural and in the singular (trópaea — tropaéum).
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Page 274
§3 — Grammatical and stylistic use
The verbs used for erecting a tropaion express that it is put upright,
fixed in the ground, decorated, provided with an inscription and dedicated
to a deity. They clearly point to an anthropomorphous, and not a
tumular tropion. A few verbs indicate destruction or transport of
just such a trophy.
The cases used in connection with τρόπαιον are the genitive (of the
defeated, victor or victory) and the dative (for whom the trophy was
setup). Prepositions are also frequently used (κατά, άπό, επί, προς", υπέρ,
de, ab, ex).
From early on τρόπαιον-tropaeum is used in a figurative sense as well,
"to set up a tropaion" meaning "to gain a victory".
The concrete meaning of the word grows wider also (statue, building,
monument, prize of victory).
§ 4. — References in literature
From the Batrachomyomachia onward „tropaion" occurs in practice

cally the whole of Greek literature. It is not found in Homer. It's quite
remarkable that it does not occur in Herodotus; the reason for this is a
matter of conjecture, and the more puzzling because Thucydides and
Xenophon mention the word frequently. Less surprising is its absence
from Aeolic lyrical poetry, from Pindar and Bacchyhdes. It's the later
writers who provide most of the details (Plutarch, Pausanias).
Since Aeschylus the word is also used metaphorically, mostly in
philosophical and rhetorical writings. While in Greek the word is
further met with in inscriptions, papyri, scholia and in the grammarians,
it occurs far less often in Latin where it is used mainly by writers of the
ist century . С (Cicero) and the ist century AD; nor is it absent from
Christian writings.
§ 5. — Related words
The parts played by τροπή and τρέπω were indicated above. the
adjective τροπαίου occurs mostly with the names of gods in the meaning
or : „who causes the enemy to fall back" (Zeus, Hera, Poseidon). Τροπαία
(change), τροπαίαι (sc. πνοαί) and venti tropaei are mentioned merely for
the sake of completeness.
Τροπαιούχος' (from this : τροπαιουχέω) is said mainly of Zeus and of the
emperor, τροπαιοφόρος· (from this : τροπαιοφορία and τροπαιοφορέω) mainly of
gods, triumphal arches, statues and coins. A coin bearing the image of
a Victoria adorning a tropaion with a wreath is called besides victoriatus
also τροπαϊκόν or tropaicum.
241
Page 275
Topography furnishes the place-names : Tropaion (Salamis), Tropaia

(Arcadia), Tropaios (Mysia), Tropeos or Tropaios (Scythia) and Muni-
cipium Tropaei (after the Tropaeum Traiani at Adamklissi) for the
inhabitants of which Tropaeenses is used. Some of these names are clearly
connected with the tropaion.
Finally there are the botanical terms Tropaion and Tropaeolum.
Chapter II
HISTORICAL DEVELOPMENT OF THE TROPAION
§ I. — Time and place of origin
There is no evidence at all that the ancient Egyptians and Persians

knew the tropaion. Therefore Hesychius's remark : , τρόπαια παρά
Πέρσαις , must remain an unsolved mystery so long as no further data are
1
discovered.
In spite of dissident opinions held by Poulsen and A. Reinach the
tropaion proves to be unknown also on the isle of Crete as well as in the
Mycenaean era. Everything points to a Greek origin of the war trophy :
in art and literature it is found from the beginning of the fifth century.
Though references to tropaia belonging to legendary times and
to the beginning of the more historical period offer little certainty it is
remarkable all the same that Greek tradition (eg in Pausanias and the
rhetoricians) believes in a Doric origin of the tropaion. This would agree
rather well with the militant nature of the Dorians, with the fact that
Zeus Tropaios is their war-god, and with the protest of the Spartans
to the Amphictyons.
The arguments against a Doric and in favor of an Attic origin of
the trophy adduced especially by Zofia Gansiniec are not very convincing.
§ 2. — Distribution among Greeks, Ko mans and other peoples
The tropaion is found almost everywhere in the Greek world, till

it appeared for the last time on coins of Ariarathes X of Cappadocia.
An explanation for the fact that it does not occur among the Macedonians
is found in an aetiological tale to the effect that a lion knocked over a
trophy of king karanos. The romantic or religious motives suggested
by other writers carry no conviction at all. Several towns in Magnan
Graecia and in Sicily have a tropaion depicted on their coins. in this
way it penetrates into Italy as early as the 3rd century В. С Besides the
Roman-Campanian coins (victoriates) the Megarian bowls and miniature
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Page 276
terra cotta incense altars play an important part. Many Roman Gentes
adopt the image; moreover the institution itself finds acceptance in
Rome. There is hardly an emperor who does not have the tropaion on
his coins. Tropaion-buildings, triumphal arches and triumphal pro-
cessions in particular were adorned with it.
According to Aelian the Celts also erected tropaia sometimes. the
word is found in the Christian writers as well; instead of the pagan
institution, however, the Christians set up the cross.
§ 3. — The meaning of the tropaion

A tropaion was a sign erected there where the enemy had been made
to fall back. It was composed of the captured arms of the enemy which
were fixed in the same way as they used to hang about the body of a
hoplite. This anthropomorphous form must have been a substitute for
the opponent himself who was killed in the battle : motives of practical
hygiene of respect for the dead easily account for this substitution.
There is no reason to assume that the anthropomorphous tropaion
was connected with a single combat, and the tumular one with a fight
on a large scale (A. Reinach), nor that it was the outcome of tree worship
(Botticher). Practical considerations will have decided the species of
tree used : there is no evidence that it was chosen in accordance with
particular deities. The trophy was a consecrated offering and must not
be violated. But subtle ways were found to divert public attention from
embarrassing tropaia. Adler has never proved that a Delphic regulation
forbade durable tropaia to be erected.
The setting up of a trophy was often accompanied by ceremonies
(sacrifices, crowning with wreaths, flute-playing, singing).
Common usage as well as early reports contradict the opinion that
the tropaion should be explained as an apotropaion or that it can only
be explained as contrasted with this.
Once the silence round the dedicated trophy was broken in the
fifth century and it came to be reproduced as well, man in his relation to
the tropaion comes more to the fore. It is then made from durable
material and set up in much-frequented centers. Beside the fixed type,
portable trophies are also made : beside the name of a deity, that of the
victor is now recorded on the trophy, sometimes that of the defeated
enemy as well, and pictures of them are added. That in Greece it also
had some significance in connection with the laws and usages of war may
be gathered especially from Thucydides and Xenophon : he who sets
up a tropaion is the acknowledged master of the field; he has the disposal
of the booty and the dead and he may allow the enemy to bury their dead
during a suspension of arms.
¿43
j. 18
Page 277
At the end of the 3rd century . C. an Athenian law even granted

privileges to those who had erected a tropaion. It's been impossible
to follow up individually the historical importance of a great number
or trophies.
C hapter III
THE TROPAION IN ANCIENT ART. DISTRIBUTION AND FORM
§ 1. — Chronological survey of the tropaion in ancient art
No tropaia in the proper sense of the word have come down to us.
The oldest representations of them date from the 5 th century В. c,
but there are only a few. In the 4th century, however, they are distributed
far and wide by means of gems and coins (Aenos, Lampsacus, Heraclea
in Bithynia, Thrace, Clazomenae, Loeris Opuntia, Syria, Corinth, Syracuse
and Capua). In the plastic arts the first tropaion modeled in the round
that has been preserved dates from the 3rd century (Thermon, Aetolia).
The other minor arts then also begin to take an interest in it (small terra
cotta incense-altars from Olbia to Cumae, and Megarian bowls). it
remains a favorite theme in numismatics (Syria, Boeotia, Aetolia,
Bithynia, Athens, Chalcedon, Marathus in Phenicia, Syracuse, Messana,
Southern Italy); by way of Magna Graecia it penetrates into Rome
(victoriates). The decline in the Greek field in the 2nd century is due
no doubt to the political situation in Greece. In Italy the victoriates go
on repeating the same motif, until the mint-masters take up the tropaion
as one of their themes which leads to great variety.
The isst century . С produces a large number of coins with a
representation of a trophy (eg Sulla, Caesar, Antony, Augustus).
In Rome it's found everywhere. Of exceptional interest is the tropaion-
building at La Turbie. Even Erotes invade the field (cf. the frieze of
Erotes at Pompeii). Representations of tropaia occur from Lusitania
to Cyzicus and Cappadocia.
Apart from coins and gems the ist century AD provides several
monumental tropaia (Trofei di Mario; at Hippo), and tropaion-statuettes,
a number of which are from garrison shrines. The trophy has penetrated
into Gaul and Germany (column of Jupiter at Mainz) and is found on the
most varied reliefs, but especially on triumphal arches and statuae thora-
catae, in all parts of the empire. Its frequent occurrence, also on frescoes
and in the minor arts, suggests the conclusion that this century was the
culminating point for the representation of the trophy. The decline
sets in in the 2nd century, more noticeably so on gems and in the minor
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Page 278
doctor. Still, however, the tropaion remains one of the official emblems
(coins, sarcophagi, reliefs, the monument of Adamklissi). The 3rd century
shows a continuation of this process. Monumental tropaia are no longer
erected, but there are still a number of reliefs eg on capitals. the
trophy is represented on coins as late as the 4th century, when there is a
slight shifting eastwards (Tomis, Thessalonica, Constantinople). For a bit
in the 5 th century it still holds its own on coins, though in less variety, but
it disappears in the 6th century (Justinian).
§ 2. — Typology of the tropaion
The determining feature for the different types is not the trunk or
the post, nor the material these are made of; nor is it the question whether
the trophy is fixed in the ground or is portable and provided with a
pedestal. The decisive features are the arms (kind, number, place) and
the angle from which the tropaion is viewed. Of special importance
is the shield.
From these features the following types can be distinguished :
IA : hoplite-trophy, full face with the arms of one hoplite attached
as on a soldier's body; jth century . c.
Ι В : the same, in profile; 4th century . c.
I С : the same, full face with the shield right in front of the breast;
Novel.
II : symmetrical type with a shield on the left and one on the
right; 4th century.
III : disarmed type with only helmet and armour; 4th century.
IV A : overloaded type, arms heaped up at the foot; Novel.
IVB : the same, many weapons hanging on the arms; Novel.
Г С : the same, a combination IV A and IV B.
Naturally there are transitional forms.
Special observations. After different designs had been tried a more
or less fixed scheme was adopted in the 5th century. Type I occurs
mostly on Megarian bowls, small incense-altars, and victoriates. Type II
and III (sometimes without the helmet) are rare. Coins of Pyrrhus are
the first to show a portable tropaion.
The Romans go in for freer arrangements with a view to producing
the best artistic effect. There is an important difference between bar
barian and classical tropaia (consisting of the enemy's and of Roman arms
respectively, eg Trofei di Mario). Gaulish tropaia are generally very
lung. Trophies with a human head also occur. In the 2nd century AD
there are tropaia with a cruciform trunk. These form the last new type,
though variations in arms and surroundings (Christ monogram) still
occur.
24J
18·
Page 279
Chapter IV
THE TROPAION AND ITS ACCOMPANYING FIGURES
§ I. —The tropaion surrounded by people

I. As early as the 5th century В. C. the tropaion is found in the centre
or battle scenes. Such representations are not very frequent and later
on they are found mostly on Roman sarcophagi.
IL As a trophy used to be set up after the battle the victor is often
depicted near his triumphal sign carrying out one of the following
functions :
A) he erects a tropaion (fixes arms, sacrifices, puts on a wreath or
an inscription);
B) he is standing near his finished tropaion (looking at it, resting
his hand on it, being crowned with a wreath by Nike-Victoria);
C) he carries a tropaion (general type; trophy-bearing Romulus-
type; trophy-bearing emperor and his prisoners);
D) special representations (the victor places the tropaion in a temple
or on a rock; it is brought along at the handing over of Jugurtha,
at the apotheosis of Augustus, at an address delivered by Con-
stantine; it is carried in a triumphal procession by soldiers,
horsemen, the emperor, Victoria or on a stretcher surrounded by
prisoner).
III. Since the 5th century . C. the killing of prisoners may be depicted
near a tropaion. Especially in Roman times, however, the representation
of one or more prisoners near a tropaion grows into a standard type
allowing of the following variations :
A) one prisoner kneeling, sitting, standing, squatting or lying under
a tropion; often he symbolizes the subjected territory (Germany,
Dacia etc.);
B) two prisoners in identical or in different positions near a tropaion
(sitting, standing, squatting, kneeling or sitting-kneeling and
sitting-standing) ;
C) with more than two prisoners in the picture there are more
variations than standard combinations. A number of prisoners
being brought to a tropaion is an often recurring theme.
D) A few unusual representations show a tropaion being placed on
a prisoner, prisoners as atlantes, and children near a tropaion.
§ 2. — The tropaion in connection with a deity

The device of depicting gods near a tropaion runs parallel with the
representations of men near it and the gods have of course a symbolical
significance.
246
Page 280
i. Nike-Victoria.
The connection of Nike with a tropaion dates from the 5 th
century . c.
A) Nike-Victoria sets up a tropaion (attaches arms, sacrifices a
bull, puts on a wreath or an inscription); in Roman times two
Victoriae fixing a shield to a tropaion are preferably placed in
antithetical positions on the breast-plate of statuae thoracatae,
Nike crowning a tropaion is found mostly on Megarian bowls,
small incense-altars and victoriates, Victoria writing on the shield
of a trophy is a Roman device.
B) The trophy-bearing Nike brings a tropaion (grants victory)
to men. Originating on coins of Pyrrhus this representation
becomes general at once and infinitely varied. The trophy-
bearing goddess of victory often carries other symbols as well
(wreath, palm-branch, caduceus, shield, globe, horn of plenty,
helmet, garland of flowers, spear, sacrificing disk, wreath and
shield, wreath and palm . Sometimes she is found with two
tropaia and in the company of a prisoner. In some cases she is
standing on a globe.
C) The finest example of a Victoria with a standing tropaion is the
Victoria of Carthage. Sometimes the goddess is seated on a pile
of arms in front of a trophy.
II. Heracles-Hercules.
In contrast to Victoria and Mars Heracles is only connected with a
tropaion when there are special reasons for it. Two types can be distin
guessed :
A) the trophy-bearing Heracles type (mosdy on coins from He-
raclea in Bithynia);
B) the "Phoenician" type, in which Hercules puts his hand on a
tropaion (on coins from Heliogabalus to Probus).
III. Pan.
The rare combination of Pan with a tropaion is seen in the 3rd
century . С on medallions of Antigonus Gonatas on the occasion of
the battle of Lysimachia in which Pan played a special part.
IV. Mars.
Mars with a tropaion is a Roman combination and dates from the
2nd century . C. Compared with the trophy-bearing Mars the combina
tion of the war-god with a standing tropaion is of little importance.
There are several variations of the trophy-bearing type (especially Mars
with spear and trophy). It is often found in Gaul and Germany evidently
because here the Roman population consisted mainly of soldiers. In
247
Page 281
comparison with Victoria the paucity of forms is remarkable. the
only important figure is that of Mars who is holding a trophy in one hand
and a Victoria in the other. The inauguration of the temple of Mars
Ultor in Rome, in which a trophy-bearing Mars served as ritual statue,
considerably increased the popularity of this ìvlars-type, which continued
to be used on coins as late as the 4th century.
V. Athena-Minerva-Roma.
The goddess Athene occurs only in an indirect connection with a
tropaion (coins of Lysimachus).
In Roman times on coins of M. Fourius Philus (104 BC) an Athene-
Roma type is found crowning a tropaion. Among the very varied re-
presentations (ist century В. С on gems, from the time of Galba in nu
mismatics) a few more common combinations can be distinguished :
A) Roma (sometimes called Minerva) with varying attributes standing
near a tropaion;
B) Roma seated on the spoils of the enemy in front of a tropaion
(from the time of Titus);
C) Roma carrying a tropaion.
VI. Eros-Amor.
Of Roman origin, but short-lived, was the combination of Eros
(sometimes with Psyche) and a tropaion (ist century В. C. and ist century
AD). Different actions are portrayed, mostly on gems.
. Aphrodite-Venus.
There are only a few examples of Aphrodite-Venus connected with
a tropaion.
VIII. Dionysus-Bacchus.
Hardly more important is the combination with the god of wine
for whose conquest of india a trophy was erected.
IX. astarte.
Astarte is found with a tropaion in the 3rd century AD, but only
on coins. Sometimes she puts one hand on the trophy, sometimes she
is carrying it. The most important variations are those in which Astarte
with a tropaion in placed on a ship or in a temple.
X. Sol.
A trophy-bearing Sol is extremely rare and occurs only on coins of
aurelian.
XI. Jupiter.
Contrary to observation Jupiter is found beside a tropaion only
on a coin of the Licinii.
248
Page 282
XII. personifications.
Among the personifications two kinds can be distinguished :
à) Countries and towns usually representing the defeated (Asia,
Caria, Armenia, Dacia, Parthia, Sarmatia, Germania, Britannia,
ludaea, Alamannia, Francia, Baetica, Tarraco, Pannonia, Africa,
and a woman in a mural crown); they are found mostly on
coins. Very rarely the victor is personified (Aetolia, Roma).
b) Abstract concepts. This kind of personification is exclusively
Roman (Virtus or Honos, Abundantia or Tellus, Concordia
Exercitus, luventus, Salus Reipublicae, Libertas and nameless
figures).
§ 3. — Animals near a tropaion
The significance of some animals near a tropaion is not clear (he-

goat, doe), but of others it is evident (serpent in connection with the
cult of heroes, lion as Phobos, cock as announcer of victory, dolphin
in connection with a naval battle). Half-animals also occur (satyrs and
centaurs).
§ 4. — Objects and Symbolic Signs

Some of the objects represented near a tropaion have a connection
with the battle (arms, wreaths and standards), others have a symbolical
meaning (two hands intertwined, horn of plenty, gnostic signs, Christ-
monogram).
Chapter V
THE TROPAION BY ITSELF
Many tropaia are without accompanying figures either because they

were originally erected thus or because they lost their additions.
From the 3rd century . С to the 4th century AD large and small
tropaion-statues in the round occur which sometimes formed part of a
building or a triumphal monument, and sometimes served as ritual
statues in army shrines.
For the rest tropaia by themselves are found on reliefs (often ar
chitectural remains of triumphal arches, statuae thoracatae etc.), on
coins, gems and in the rest of the minor arts. There is a great variety
of form and of arms (Gaulish, Spanish, Celtiberian and other arms).
Three trophies side by side are found on the coins of Faustus Cornelius
Sulla, M. Aurelius and L. Verus.
249
Page 283
Chapter VI
SPECIAL FUNCTIONS OF THE TROPAION
I . — The tropaion as a small background figure
As a small figure in the background of a larger representation the

tropaion is found from the 4th to the ist century В. С Sometimes on
coins it may bear a certain relation to the stamp, sometimes it has no
such relation (tropaion as mint mark).
§ 2. — The tropaion having a function in a composition
A favorite device is the use of two tropaia to frame a central group

especially on sarcophagi, urns, breastplates and in architecture (eg on
triumphal arches).
§ 3. — The tropaion in architecture
a) That triumphal arches were used as bases for tropaia and other (eg
trophy-bearing) statues is evident from literature and from illustrations
(especially coins and reliefs).
b) Tropaion buildings.
Tropaia were also used to crown tropaion-buildings. this was
probably the case with a building of the 2nd century В. C. on the
Panajir Dagh near Ephesus. Well-known examples are the monuments
or La Turbie and Adamklissi. According to some writers they are
products of a combination of tropaion and tumulus.
c) Temples.
Tropaia and trophy-bearing figures are frequently found adorning the
roofs of temples.
d) Other buildings.
The tropaion was also used in other buildings, where it was placed on
a base in a niche or between pillars. The circus eg was decorated
with them.
C hapter VII
THE NAVAL TROPHY
Tropaia were also set up to commemorate victories at sea; they

were erected on the nearest coast and did not differ essentially from
the other tropaia; ancient terminology makes no distinction between
them.
250
Page 284
Its only difference consists in the added presence of a ship, parts

of a ship or merely certain signs characterizing it as a naval trophy. on
the Nike parapet an ear is the differentiating feature. The scanty
literary data mention eg the dedication of a ship at the erection of a
Tropaion after the battle of Naupaktos. Practically all the representations
of a naval trophy date from Roman times. The following types can be
distinguished :
i. a tropaion by the side of a ship or a prow, sometimes with a deity
placing his foot upon it (ist century В. C);
2. a tropaion on a ship or a prow, sometimes in a temple (2nd to ist
century . C); seen in particular on ornamental roofing tiles;
3. a trophy-bearing figure (general, deity) on a ship or a prow (2nd
century AD);
4. a tropaion with parts of a ship (anchor, stern, beak, helm) or with
symbolical signs (trident, dolphin, Scylla and Charybdis);
5. particular incidental types.
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285
286
287
288

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ANDREAS JOZEF JANSSEN

THE ANTIQUE TROPAION

THE ANTIQUE TROPAION

PROMOTER .· Prof. dr. dr. FJ DE WAELE

THE ANTIQUE TROPAION

ACADEMIC THESIS AVAILABLE

ANDREAS JOZEF JANSSEN

LIST OF TEXT EDITIONS OF TENDER AND AUTHORS . . xxvni

THE TROPAION IN GREEK AND ROMAN

THE HISTORICAL DEVELOPMENT OF TRO

THE TROPAION IN ANCIENT ART. SPREAD

§ 1. Chronological overview of the tropaion in the ancient

THE TROPAION AND ITS ACCOMPANYING FIGURES . 81

§ 1. The tropaion in a human environment 81

1. The victor attaches arms to a

3· The tropaion with a standing prisoner . . 104

3. Nike describes the shield of a tropaion . 125

THE LONE TROPAION 170

SPECIAL FUNCTIONS OF THE TROPAION 179

THE SHIP STROPE 191

§ 3· The tropaiophore figure on prora or ship 196

SCHEMATIC OVERVIEWS 201

LITERARY INDEX 210

INDEX GRAECUS 211

INDEX LATINUS 213

GENERAL INDEX 214

46. ​Coin of Alexander Severus 92

59. Relief of the tomb of Caecilia Metella in Rome 101

97- Hellenistic vase from Malta or Todi 130

48. Gemme 164

BARTOLIUS, PS, JP BELLORIUS, Veterum lucernae sepulcrales, collectae ex cavernis

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46. Coin of Alexander Severus 92