Trajan's Column — Attraction in Rome

Trajan’s Column, monument that was erected in 106–113 CE by the Roman emperor Trajan and survives intact in the ruins of Trajan’s Forum in Rome. The marble column is of the Roman Doric order, and it measures 125 feet (38 metres) high together with the pedestal, or base, which contains a chamber that served as Trajan’s tomb. Originally the column stood in the middle of a courtyard surrounded by galleries from which one could view at various levels the spiral band (over 800 feet [240 metres] long and about 4 feet [1.2 metres] wide) covered with low-relief sculpture that forms a continuous narrative of the emperor’s two campaigns in Dacia. A spiral staircase is contained within the shaft’s interior, which measures 12 feet 2 inches (3.7 metres) in diameter. At first a bronze eagle had been placed on top of the column and then after Trajan’s death a bronze statue of the deceased emperor, which was replaced in 1588 by a statue of St. Peter. bas-relief, also called low relief or basso-relievo, in sculpture, any work where the projection from a supporting background is shallow. Bas-relief contrasts with high relief (alto-relievo), another type of relief sculpture in which projections are deep and may in parts be completely disengaged from the ground, thus approximating sculpture in the round. The bas-relief technique can be used on its own or with high relief and middle relief (mezzo-relievo) to create different effects. Relief sculpture is a complex art form that combines many features of the two-dimensional pictorial arts and the three-dimensional sculptural arts. Similar to a painting or drawing, a relief is dependent on a supporting surface, and the composition must be extended in a plane in order to be visible. Yet its three-dimensional properties do not have to be suggested but are in some degree actual, like those of fully developed sculpture. Among the various types of relief, bas-relief is perhaps the one that approaches most closely the pictorial arts. It requires the artist to translate the three-dimensional world into a two-dimensional one using systems of conventions or illusions.

One of the most difficult tasks in carving any relief sculpture is to depict within the limits of a slab of wood or stone the relationship between forms occupying a deep space. Sculptors can solve the problem mainly by paying attention to the planes, or imaginary layers, of the relief. In a carved relief the highest, or front, plane is defined by the original surface of the material. Many sculptors respect this front plane by keeping their highest projections at that level. The back plane is the deepest level from which the forms project. The space between these two planes can be thought of as divided into a series of planes, one behind the other. The relationship of forms in deep space can then be thought of as the relationship between forms lying in different planes.

Technically, the simplest kind of low relief is the two-plane relief. For this, the sculptor draws an outline and then cuts away the surrounding surface, leaving the figure raised as a flat silhouette above the background plane. This procedure is often used for the first stages of a full relief carving, in which case the sculptor will proceed to carve into the raised silhouette, rounding the forms and giving an impression of three-dimensional structure. In a two-plane relief, however, the silhouette is left flat and substantially unaltered except for the addition of surface detail. Assyrian sculptors used this method of relief carving to create bold figurative and abstract reliefs.

The forms of low relief usually make contact with the background all around their contours. If there is a slight amount of undercutting, its purpose is to give emphasis, by means of cast shadow, to a contour rather than to give any impression that the forms are independent of their background. Donatello used this technique in his marble sculpture Madonna of the Clouds (c. 1425–35). The deep carving around Mary’s profile is used to draw the viewer’s eyes to her face, rather...

The Column of Trajan, one of the most iconic monuments of ancient Rome, stands as a testament to the achievements of Emperor Trajan and the grandeur of the Roman Empire. Built in 113 AD, it commemorates Trajan’s victories in the Dacian Wars (101–102 AD and 105–106 AD), which were critical to expanding the empire’s reach into modern-day Romania.

Design and Construction

The column, crafted from Carrara marble, rises to a height of 38 meters (125 feet), including its pedestal and the statue on top. Designed by Apollodorus of Damascus, Trajan’s favorite architect, it originally supported a statue of the emperor. However, during the 16th century, Pope Sixtus V replaced the statue with one of Saint Peter, which remains there today.

The structure is remarkable for its spiral bas-relief, which winds 23 times around the shaft. This intricate relief contains 200 meters of carvings depicting over 2,500 figures in a narrative sequence. The scenes illustrate the story of the Dacian campaigns in great detail, from the preparation of the Roman army to battles, sacrifices, and the eventual Roman victory. Notably, the images highlight the discipline and ingenuity of the Roman military while portraying the Dacians as formidable adversaries.

Historical Purpose

More than a simple war monument, Trajan’s Column was a propaganda tool. It celebrated Trajan’s leadership, the superiority of Roman engineering and organization, and the spoils of war, which helped fund public works like Trajan’s Forum and the adjacent markets. The column also served as Trajan’s tomb, with his ashes interred in a chamber at its base.

Artistic Significance

The column’s frieze is a masterpiece of Roman art. While the figures are not to scale, their narrative power is unmatched, showcasing the Roman army constructing bridges, negotiating with Dacians, and fighting in battle. The column was not merely decorative—it communicated the emperor’s triumphs to a largely illiterate population.

Legacy

Trajan’s Column influenced many later monuments, such as Napoleon’s Vendôme Column in Paris. It also became a source of inspiration for historians and archaeologists, providing insight into Roman military practices, architecture, and daily life.

Even today, the column stands as a reminder of Rome’s imperial might and Trajan’s enduring legacy. Though it has weathered nearly two millennia, its carvings remain remarkably well-preserved, offering a vivid window into...

Trajan's Column (Italian: Colonna Traiana, Latin: COLVMNA·TRAIANI) is a Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. It is located in Trajan's Forum, built near the Quirinal Hill, north of the Roman Forum. Completed in AD 113, the freestanding column is most famous for its spiral bas relief, which artistically describes the epic wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern.

The structure is about 30 metres (98 feet) in height, 35 metres (115 feet) including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble[a] drums, each weighing about 32 tons, with a diameter of 3.7 metres (12.1 feet). The 190-metre (620-foot) frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides access to a viewing platform at the top. The capital block of Trajan's Column weighs 53.3 tons, which had to be lifted to a height of c. 34 metres (112 feet).

Ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle, but after construction, a statue of Trajan was put in place; this statue disappeared in the Middle Ages. On December 4, 1587, the top was crowned by Pope Sixtus V with a bronze figure of St. Peter, which remains to this day.The column was originally flanked by two libraries, which may have contained Trajan's scroll-written despatches from his Roman-Dacian Wars. Filippo Coarelli suggests that such scrolls are the basis both of the column's design and its spiraling, sculpted narrative. The column shows 2,662 figures, and 155 scenes; Trajan himself appears on the...