page_title: Gemma Augustea
section_title: Lower tier: erection of tropaion
hierarchical_section_title: Gemma Augustea / Interpretations of the figures and scenes / Lower tier: erection of tropaion
caption_attribution_description: Reverse of Dupondius coin (24mm, 12.28 g, 11h) of Emperor Marcus Aurelius. AD 161-180.. Rome mint. Struck AD 177. Legend: IMP(ERATOR) VIII CO(N)S(UL) III (TERTIUS) PP; across field: S(ENATUS) C(ONSULTO); in exergue: DE SARM(ATIS); Seated male and female Sarmatian captives (the right-hand female with head resting on hand, possibly a representation of the defeated "Sarmatia", (c.f. similar imagery on coins showing defeated "Germania", "Armenia" etc. in similar poses) flanking vexilium draped with spoils. Catalogue :RIC III 1188. VF, brown patina, area of roughness on portrait. From the White Mountain Collection.
context_page_description: The Gemma Augustea is an ancient Roman low-relief cameo engraved gem cut from a double-layered Arabian onyx stone. It is commonly agreed that the gem cutter who created the Gemma Augustea was either Dioscurides or one of his disciples, in the second or third decade of the 1st century AD.
context_section_description: The lower scene, in which the figures are less readily identifiable, depicts the erection of a tropaion. In some interpretations of the scene, all the lower figures are by design anonymous. Other interpretations attribute definite real or mythological persons to the figures. At left, the seated male and female figures (combined in #11) are either Celts or Germans, as is apparent from their clothing and hair styles, including the man's beard, and represent prisoners of war, symbolizing the Roman victory. The man is bound with his hands behind his back, and both are apparently about to be tied to the base of the as yet half-erected tropaion (figure #19), a trophy of war displayed upon winning a battle, usually fixed into the ground at the position of the "turning-point" of the battle in favour of the victors. The trophy consists of a wooden cross, designed to support human clothing. A helmet is placed on top, and the breastplate and weaponry of the enemy is placed upon it. In the scene, four young men are raising the trophy into a vertical position. Figure #18 is the least identifiable, but his helmet has led some to believe that he may be a Macedonian soldier of King Rhoemetalces I, who helped Tiberius in Pannonia.
  Figure #15 is often identified as a personification of the god Mars with his armor and flowing cape. Although figures #16 and #17 seem less important, they look very much alike and may represent the constellation Gemini. Gemini is the more difficult constellation to pick out, and it might represent the hidden identity of figure #8. Two others, however, are more obvious. Figure #20 is a shield with a large scorpion emblazoned upon it. Tiberius was born in November, and thus might be represented with such an item. Figure #9 shows Augustus’ favorite sign, the Capricorn. Although Augustus might have been conceived during December, he claimed the Capricorn as his constellation. The sun or moon, which were necessary to show the full power of a constellation, is seen behind the sign. Mars is represented by figure (#15), and thus at least three signs of the Zodiac are evident.
  Figure #13 is probably Diana, identified with the moon, although some commentators believe her to be a mere auxiliary troop with #14. Diana holds spears in her left hand and her right hand seems to rest on the head of the man in figure #12, but not gripping his hair as supposed by many. Another identifying feature of Diana is her bountiful hair, bound up for the hunt, and her hunting clothes. Figure #14 might be an auxiliary, but more likely he personifies Mercurius (Mercury/Hermes), identified by his rimmed hat. Mercurius seems to be dragging the female in figure #12 by her hair towards the tropaion. The scene is clearly complex. Many interpretations insist that the ‘auxiliaries’ are dragging the barbarian prisoners to join their kindred in being bound to the trophy. However, there are indications that this might not be the case at all. First, the man on his knees is begging for mercy from Diana, who does look down on him. That same man wears around his neck a torque, suggesting him to be a Celt or German. It may be significant that Diana has her back turned to the observer and possibly the scene itself. She is the only one as such, and perhaps to contrast the celebration of victory in battle, she shows instead mercy to one pleading for his life. In addition, since the man is a leader, it makes for better propaganda that he should beg for mercy before a Roman goddess. Mercurius might not be dragging the woman to be bound to the trophy, but might be bringing her to kneel before Diana to beg for mercy as well. She shows the sign of a truce by placing her hand upon her chest. Perhaps Diana and Mercurius are sheltering them, perhaps offering them salvation in the final moments of victory. Whatever the case, the couple in #12 are not comparable to the despairing couple in #11, with whom they appear both to balance and contrast; balance by having barbarians on the right and left, literally balancing the composition, and contrast as one couple being do
caption: A fully erected tropaion with shackled and adorsed seated male and female Sarmatian captives (the right-hand female with head resting on hand, possibly a representation of the defeated "Sarmatia") tied to base. Dupondius from reign of Emperor Marcus Aurelius, AD 161-180.
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