|
Arcadius – Roman Emperor: 383-408 A.D.
Bronze AE4 13mm (0.67 grams) Heraclea mint: 383-392 A.D.
Reference: RIC 26c (IX, Heraclea)
DNARCADIVSPFAVG – Diademed, draped and cuirassed bust right.
SALVSREIPVBLICAE Exe: SMHB – Victory advancing left, holding trophy and dragging captive.
You are bidding on the exact item pictured, provided with a Certificate of Authenticity and Lifetime Guarantee of Authenticity.
 In ancient Roman religion, Victoria or Victory was the personified goddess of victory. She is the Roman equivalent of the Greek goddess Nike, and was associated with Bellona. She was adapted from the Sabine agricultural goddess Vacuna and had a temple on the Palatine Hill. The goddess Vica Pota was also sometimes identified with Victoria.
Unlike the Greek Nike, the goddess Victoria (Latin for “victory”) was a major part of Roman society. Multiple temples were erected in her honor. When her statue was removed in 382 CE by Emperor Gratianus there was much anger in Rome. She was normally worshiped by triumphant generals returning from war.
Also unlike the Greek Nike, who was known for success in athletic games such as chariot races, Victoria was a symbol of victory over death and determined who would be successful during war.
Victoria appears widely on Roman coins, jewelry, architecture, and other arts. She is often seen with or in a chariot, as in the late 18th-century sculpture representing Victory in a quadriga on the Brandenburg Gate in Berlin, Germany; “Il Vittoriano” in Rome has two.
Winged figures, very often in pairs, representing victory and referred to as “victories”, were common in Roman official iconography, typically hovering high in a composition, and often filling spaces in spandrels or other gaps in architecture. These represent the spirit of victory rather than the goddess herself. They continued to appear after Christianization of the Empire, and slowly mutated into Christian angels.
 A trophy is a reward for a specific achievement, and serves as recognition or evidence of merit. A tropaion (Latin: tropaeum), whence English “trophy” is an ancient Greek and later Roman monument set up to commemorate a victory over one’s foes. Typically this takes the shape of a tree, sometimes with a pair of arm-like branches (or, in later times, a pair of stakes set crosswise) upon which is hung the armour of a defeated and dead foe. The tropaion is then dedicated to a god in thanksgiving for the victory.
Greece
In the Greek city-states of the Archaic period, the tropaion would be set up on the battlefield itself, usually at the site of the “turning point” (Gk. tropê) at which the routed enemy’s phalanx broke, turned and ran. It would be dressed in the typical hoplite panoply of the period, including (at different times), a helmet, cuirass (either of bronze or linen), and a number of shields,etc, would be piled about the base. It remained on the battlefield until the following season’s campaigns (since battles were often fought in the same, relatively few plains amid Greece’s numerous mountains), where it might be replaced with a new trophy.
In later eras in the Greek world, these tropaia might be vowed at the battle-site, but in fact erected at pan-Hellenic sanctuaries such as Olympia or Delphi to further increase the prestige of the victorious state.
The significance of the monument is a ritualistic notification of “victory” to the defeated enemies. Since warfare in the Greek world was largely a ritualistic affair in the archaic hoplite-age (see Hanson, The Western Way of War for further elaboration of this idea), the monument is used to reinforce the symbolic capital of the victory in the Greek community.
Ancient sources attest to the great deal of significance that early Greek cities placed upon symbols and ritual as linked to warfare–the story involving the bones of Orestes, for example, in Herodotus 1 which go beyond the ritualistic properties to even magically ‘guaranteeing’ the Spartan victory, displays the same sort of interest in objects and symbols of power as they relate to military success or failure.
Rome
The tropaeum in Rome, on the other hand, would probably not be set up on the battle-site itself, but rather displayed prominently in the city of Rome. Romans were less concerned about impressing foreign powers or military rivals than they were in using military success to further their own political careers inside the city, especially during the later years of the Republic. A tropaeum displayed on the battlefield does not win votes, but one brought back and displayed as part of a triumph can impress the citizens (who might then vote in future elections in favor of the conqueror) or the nobles (with whom most aristocratic Romans of the Republican period were in a constant struggle for prestige).
The symbolism of the tropaeum became so well known that in later eras, Romans began to simply display images of them upon sculpted reliefs (see image and Tropaeum Traiani), to leave a permanent trace of the victory in question rather than the temporary monument of the tropaeum itself.
Originally the word trophy, derived from the Latin tropaion, referred to arms, standards, other property, or human captives and body parts (e.g. headhunting) captured in battle. These war trophies commemorated the military victories of a state, army or individual combatant. In modern warfare trophy taking is discouraged, but this sense of the word is reflected in hunting trophies and human trophy collecting by serial killers.
Trophies have marked victories since ancient times. The word trophy coined in English in 1550, was derived from the French trophée in 1513, “a prize of war”, from Old French trophee, from Latin trophaeum, monument to victory, variant of tropaeum, which in turn is the latinisation of the Greek τρόπαιον (tropaion), the neuter of τροπαῖος (tropaios), “of defeat” or “for defeat”, but generally “of a turning” or “of a change”, from τροπή (tropē), “a turn, a change” and that from the verb τρέπω (trepo), “to turn, to alter”.
In ancient Greece, trophies were made on the battlefields of victorious battles, from captured arms and standards, and were hung upon a tree or a large stake made to resemble a warrior. Often, these ancient trophies were inscribed with a story of the battle and were dedicated to various gods. Trophies made about naval victories sometimes consisted of entire ships (or what remained of them) laid out on the beach. To destroy a trophy was considered a sacrilege.
The ancient Romans kept their trophies closer to home. The Romans built magnificent trophies in Rome, including columns and arches atop a foundation. Most of the stone trophies that once adorned huge stone memorials in Rome have been long since stolen.
 Arcadius (Latin: Flavius Arcadius Augustus; Greek: Ἀρκάδιος; 1 January 377 – 1 May 408) was Byzantine Emperor from 383 to 408. He was the eldest son of Theodosius I and his first wife Aelia Flaccilla, and brother of the Western Emperor Honorius. A weak ruler, his reign was dominated by a series of powerful ministers and by his wife, Aelia Eudoxia.
Arcadius was born in Hispania, the elder son of Theodosius I and Aelia Flaccilla, and brother of Honorius, who would become a Western Roman Emperor. His father declared him an Augustus and co-ruler for the Eastern half of the Empire in January 383. His younger brother was also declared Augustus in 393, for the Western half.
As emperors, Honorius was under the control of the Romanized Vandal magister militum Flavius Stilicho while Arcadius was dominated by one of his ministers, Rufinus. Stilicho is alleged by some to have wanted control of both Emperors, and is supposed to have had Rufinus assassinated by Gothic mercenaries in 395; though definite proof of Stilicho’s involvement in the assassination is lacking, the intense competition and political jealousies engendered by the two figures compose the main thread of the first part of Arcadius’ reign. Arcadius’ new advisor, the eunuch Eutropius, simply took Rufinus’ place as the power behind the Eastern imperial throne.
Arcadius was also dominated by his wife Aelia Eudoxia, who convinced her husband to dismiss Eutropius, who was holding the consulate, at the height of his power, in 399. That same year, on 13 July, Arcadius issued an edict ordering that all remaining non-Christian temples should be immediately demolished.
Eudoxia’s influence was strongly opposed by John Chrysostom, the Patriarch of Constantinople, who felt that she had used her family’s wealth to gain control over the Emperor. Eudoxia used her influence to have Chrysostom deposed in 404, but she died later that year. Eudoxia gave to Arcadius four children: three daughters, Pulcheria, Arcadia and Marina, and one son, Theodosius, the future Emperor Theodosius II.
Arcadius was dominated for the rest of his rule by Anthemius, the Praetorian Prefect, who made peace with Stilicho in the West. Arcadius himself was more concerned with appearing to be a pious Christian than he was with political or military matters, and he died, only nominally in control of his Empire, in 408.
Character and works
In this reign of a weak Emperor dominated by court politics, a major theme was the ambivalence felt by prominent individuals and the court parties that formed and regrouped round them towards barbarians, which in Constantinople at this period meant Goths. In the well-documented episode that revolved around Gainas, a number of Gothic foederati stationed in the capital were massacred, the survivors fleeing under the command of Gainas to Thrace, where they were tracked down by imperial troops and slaughtered and Gainas dispatched. The episode has been traditionally interpreted as a paroxysm of anti-barbarian reaction that served to stabilize the East. The main source for the affair is a mythology à clef by Synesius of Cyrene, Aegyptus sive de providentia, (400) an Egyptianising allegory that embodies a covert account of the events, the exact interpretation of which continues to baffle scholars. Synesius’ De regno, which claims to be addressed to Arcadius himself, contains a tirade against Goths.
A new forum was built in the name of Arcadius, on the seventh hill of Constantinople, the Xērolophos, in which a column was begun to commemorate his ‘victory’ over Gainas (although the column was only completed after Arcadius’ death by Theodosius II).
The Pentelic marble portrait head of Arcadius (now in the Istanbul Archaeology Museum) was discovered in Istanbul close to the Forum Tauri, in June 1949, in excavating foundations for new buildings of the University at Beyazit. The neck was designed to be inserted in a torso, but no statue, base or inscription was found. The diadem is a fillet with rows of pearls along its edges and a rectangular stone set about with pearls over the young Emperor’s forehead.
|
