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Tropaion

A tropaion (Greek: τρόπαιον), from which the English word "trophy" derives, was an ancient Greek monument erected on the battlefield immediately after a victory to commemorate the defeat of the enemy, typically consisting of a wooden post or tree trunk upon which the captured panoply—armor, weapons, and shields—of the routed foes was hung or arranged.^[1]^[2] This structure marked the precise location where the enemy lines turned in retreat, symbolizing the turning point (tropē) of the battle.^[1] The practice originated in Greece during the 5th century BC, likely following the Persian Wars, with the earliest literary references appearing around 475–465 BC in works such as those by Pigres and Aeschylus.^[2] Tropaia were raised shortly after combat, often the day following the rout, as part of a ritual process that included singing a paean (victory hymn) and performing sacrifices to gods like Zeus Tropaios, to whom the trophy was dedicated as a votive offering.^[2] In the competitive environment of Greek poleis, erecting a tropaion served to assert control over the battlefield, clarify the victor in ambiguous outcomes, and enhance the prestige of the winning side among rival city-states.^[2] Initially temporary and constructed from battlefield materials, tropaia evolved into more durable forms by the Classical period, with some rebuilt in stone or bronze to ensure permanence, reflecting the growing need for lasting commemoration amid expanding Greek conflicts.^[1] Notable examples include the tropaion at the Battle of Leuktra in 371 BC, where the Thebans erected a permanent stone monument that set precedents for political and artistic representation of victory.^[3] These monuments not only functioned as talismans against evil—due to their apotropaic elements like facing armor—but also as icons of kairos (opportune moment), tying victory to specific time and space in Greek iconography.^[1] The Romans adopted the tropaion during the Republic, transforming it from a simple battlefield marker into a multifaceted propaganda tool integrated into triumphal processions, coinage, and architectural reliefs to legitimize imperial power.^[1] In Roman contexts, such as the Tropaeum Traiani erected after 109 AD to celebrate Trajan's Dacian victories or the Tropaeum Alpium built in 7–6 BC to mark Augustus's Alpine campaigns, these structures often incorporated figural sculptures of barbarians or deities, emphasizing dominance over conquered peoples.^[1] This evolution underscored the tropaion's enduring role as a symbol of triumph across Greco-Roman antiquity, bridging military ritual with cultural and political narrative.

Definition and Etymology

Meaning and Origin

The term tropaion (Ancient Greek: τρόπαιον) originates from the adjective tropaios (τροπαῖος), meaning "of a rout" or "pertaining to a turning point," derived from trope (τροπή), which denotes the decisive moment in battle when the enemy turns to flee.^[4] This etymology underscores the tropaion's role as a symbol of the psychological and tactical reversal in combat, capturing the essence of victory through the enemy's defeat and retreat.^[5] The word first appears in ancient Greek literature in the 5th century BCE, notably in the tragedy Seven Against Thebes by Aeschylus and the History of the Peloponnesian War by Thucydides, where it refers to monuments commemorating military triumphs on the battlefield.^[2] Through Latin adaptation as tropaeum, the term evolved into the modern English "trophy," shifting from a battlefield emblem to a broader symbol of achievement, though retaining its core association with conquest. In ancient contexts, the tropaion emphasized collective honor and divine thanksgiving rather than individual glory, distinguishing it sharply from contemporary trophies that function primarily as personal awards in non-military domains. Unlike later permanent structures, early tropaia were temporary assemblages of captured enemy weapons and armor arranged on a post or tree trunk at the rout's location, serving as an immediate ritual marker of success before being dedicated to a deity.^[4]

Physical Form

The tropaion in ancient Greece typically consisted of a central trophy pole, often a tree trunk or wooden post fixed into the ground, serving as the core structure for displaying captured enemy arms and armor.^[4] This pole was frequently shaped to evoke a humanoid form, with lateral branches or crossed sticks simulating outstretched arms, upon which the panoply— including helmets, shields, greaves, cuirasses, swords, and spears—was arranged to mimic a standing warrior in defeat.^[6]^[5] The armor was affixed using methods such as nailing or hanging, ensuring stability for the temporary battlefield erection, which usually reached a height of approximately 2.5 meters.^[5]^[4] Materials were primarily perishable and organic in early forms, utilizing nearby trees like olive or oak trunks for the pole, along with leather, fabric, metal, and wood from the captured equipment, which contributed to the tropaion's transient nature as a votive offering.^[7]^[4] Over time, this evolved into more permanent replicas constructed from durable stone, bronze, or marble, often replicating the original wooden design on pedestals or columns to preserve the symbolic arrangement for posterity.^[4] These later versions maintained the anthropomorphic posing of the armor to evoke the routed enemy's humiliation, transforming the battlefield marker into an enduring emblem of victory.^[5]

Origins in Ancient Greece

Historical Development

The practice of erecting tropaia first emerged in ancient Greece during the 7th and 6th centuries BCE, coinciding with the rise of hoplite warfare and the phalanx formation, where these structures marked critical turning points in battles symbolizing the enemy's rout (from the Greek tropē, meaning "turn" or "defeat"). Early instances are attested in Dorian contexts, such as the Spartans' victory over the Amyclaeans around the 8th century BCE, after which they raised a trophy and established a temple to Zeus Tropaios to commemorate their success.^[8]^[4] This custom likely drew from broader Indo-European traditions of dedicating spoils, evolving into a distinctly Greek battlefield ritual tied to the collective discipline of hoplite combat.^[5] The origins of tropaia may reflect influences from earlier Near Eastern victory monuments, such as stelae erected by Assyrian and Persian rulers to proclaim triumphs, which Greeks encountered through trade and conflict; by the 5th century BCE, this practice had been adapted into a more localized Greek form emphasizing immediate post-battle erection using captured enemy arms.^[2] Literary evidence from the Archaic period, including proto-trophies in Homer's Iliad (e.g., dedicated armor in Book 12), hints at preexisting habits of offering war spoils to avert evil or honor deities, predating the formalized tropaion.^[5] These early structures, often temporary and arranged with helmets, shields, and greaves on a post or tree trunk, underscored the phalanx's role in decisive clashes.^[4] The Persian Wars (490–479 BCE) marked a pivotal institutionalization of tropaia, transforming them into standardized votive offerings dedicated primarily to Zeus Tropaios as thanks for divine aid in repelling the invasion; permanent stone versions were erected at key sites like Marathon, Salamis, and Plataea to perpetuate the memory of these panhellenic victories.^[4] Pausanias describes such monuments as inviolable religious symbols, reinforcing communal identity and military prestige in the classical city-states. First explicit references appear in mid-5th-century sources, such as Aeschylus' Seven Against Thebes and inscriptions, indicating widespread adoption amid the era's intense interstate conflicts.^[2] By the late classical period (4th century BCE), the temporary tropaion began to decline as warfare shifted from rigid hoplite phalanxes to more flexible tactics involving light infantry and cavalry, reducing the need for on-site markers of routs; instead, Greeks increasingly favored enduring memorials like bronze statues and columnar monuments for lasting commemoration.^[5] Literary allusions grew metaphorical, with references diminishing as the practice yielded to these more artistic and propagandistic forms, though the concept persisted in Hellenistic and Roman adaptations.^[4]

Construction and Erection

The construction and erection of a tropaion in ancient Greece occurred immediately following a battlefield victory, typically within hours at the precise spot where the enemy forces turned and routed, ensuring the monument marked the turning point before the victorious troops dispersed.^[9]^[4] This practice, which rose during the hoplite era of the Archaic period, emphasized the tropaion's role as an impromptu emblem of triumph.^[10] The process was carried out directly by the soldiers involved in the battle, without the need for specialized builders or artisans, relying on readily available materials from the field. Common soldiers would collect an intact set of enemy panoply—typically including a helmet, shield, greaves, and cuirass—from the fallen or abandoned gear, then strip and arrange these items on a simple pole, branchless tree trunk, or wooden post to evoke the silhouette of a defeated warrior.^[9]^[4] The arms were affixed by hanging, nailing, or tying them in a anthropomorphic form, often with the shield centered and helmet atop, creating a rudimentary but recognizable trophy that symbolized the routed foe's vulnerability.^[9] Erection included ritual elements to consecrate the tropaion as a votive offering, with soldiers performing libations, prayers, or vows to deities such as Zeus Tropaios or Athena Nike in gratitude for divine aid in battle.^[9]^[4] In some cases, the structure was inscribed with the names of the victorious commanders or the battle details to record the achievement, enhancing its dedicatory purpose.^[10] As perishable constructs of wood and captured metal, tropaia were designed to decay naturally over time, embodying the transient nature of military glory unless later relocated to a sanctuary for preservation.^[9]^[10] This impermanence underscored their function as immediate, site-specific memorials rather than enduring monuments.^[4]

Notable Greek Examples

Classical Period

The Battle of Marathon in 490 BCE marked the first major Greek victory over the Persians during the First Persian Invasion, where Athenian and Plataean forces defeated a larger Persian expeditionary force led by Datis and Artaphernes. Following the rout of the Persian center near the tumulus known as the Soros, the Greeks erected a tropaion at the battle's turning point to symbolize their triumph and deter further pursuit; this monument, constructed from captured Persian arms and armor arranged in a trophy-like pile, underscored the hoplite phalanx's superiority over the Persian infantry. Although Herodotus provides a detailed account of the battle's tactics and aftermath in his Histories (Book 6.102–117), emphasizing the Athenians' pursuit and the recovery of their dead, the tropaion itself is attested by Pausanias as a white marble column likely topped with a statue of Nike, positioned to commemorate the site's pivotal moment.^[11] The Battle of Plataea in 479 BCE, the culminating land engagement of the Second Persian Invasion, saw a Greek alliance under Spartan regent Pausanias decisively defeat the Persian army commanded by Mardonius, effectively ending the immediate threat to mainland Greece. In the aftermath, the Greeks constructed multiple tropaia on the battlefield using captured Persian weaponry, including shields, spears, and breastplates, to honor the victory and Apollo; Pausanias notes one such trophy erected fifteen stadia from Plataea's ruins, serving as a enduring marker of the allied triumph. A portion of the spoils—specifically one-tenth of the captured gear—was dedicated at Delphi as the famous Serpent Column (or Tripod of Plataea), a bronze monument with intertwined serpents supporting a gold bowl, inscribed with the names of the 31 participating Greek city-states, which Herodotus references in connection with the division of the booty (9.81). These tropaia not only commemorated the battle's scale, with Greek forces numbering around 40,000 against a Persian host of comparable or greater size, but also reinforced pan-Hellenic unity against the barbarian foe.^[12]^[13] The Battle of Leuctra in 371 BCE saw the Theban forces under Epaminondas defeat the Spartan army led by King Cleombrotus I, shattering Spartan hegemony and ushering in Theban dominance in Greece. Following the victory, the Thebans erected a tropaion on the battlefield using captured Spartan arms and armor, which was later rebuilt as a permanent stone monument. This tropaion, one of the earliest known durable examples, featured inscriptions and sculptural elements that emphasized the tactical innovations of the Theban oblique phalanx order. Archaeological remains, including the base of the monument, survive near the battle site in Boeotia, highlighting its role in political propaganda and as a precedent for later victory memorials.^[14] Philip II of Macedon's victory at the Battle of Chaeronea in 338 BCE over a coalition of Theban and Athenian forces represented a watershed in Greek power dynamics, establishing Macedonian hegemony and curtailing the independence of the major city-states. After breaking the enemy lines through a combined assault led by his son Alexander on the elite Sacred Band of Thebes, Philip erected a tropaion on the battlefield from the arms of the defeated, a standard practice to claim the field and proclaim dominance; Diodorus Siculus records this act explicitly, noting that Philip raised the trophy before returning the dead for burial and marching on Thebes (16.86.6). This monument, symbolizing the end of Classical Greek autonomy, highlighted the phalangite innovations of the Macedonian army, which outnumbered and outmaneuvered the allied hoplites, resulting in heavy casualties—over 1,000 Athenians and the annihilation of the 300-man Sacred Band. The tropaion at Chaeronea thus served as a stark emblem of Philip's strategic consolidation of power across Greece.^[15] Archaeological evidence for Classical tropaia corroborates literary accounts, with fragments of the white marble Marathon trophy discovered near the Mesosporitissa Chapel in Schinias, including column bases and inscriptions attesting to its dedication circa 490 BCE. Vase paintings from the period, such as Attic red-figure kraters depicting warriors assembling captured arms into trophy piles, illustrate the ritualistic erection process and cultural significance of tropaia as immediate post-battle markers. Inscriptions, like those on the Delphi dedications from Plataea spoils, further confirm locations and communal contributions, while similar epigraphic evidence from Chaeronea sites references Macedonian victory monuments, reinforcing their role in 5th–4th century BCE conflicts.^[16]^[11]

Hellenistic Period

In the Hellenistic period, following Alexander the Great's death in 323 BCE, tropaia adapted to the expansive conflicts among the Diadochi and successor kingdoms, where victories often spanned vast territories and involved diverse armies incorporating Eastern elements like war elephants. These markers evolved from temporary battlefield constructs to more enduring symbols of dominance, reflecting the need to commemorate triumphs over large-scale campaigns rather than localized clashes. The practice emphasized divine sanction and territorial control, with tropaia sometimes erected in urban centers to reinforce royal authority.^[17] The era's vast empires prompted a broader shift toward semi-permanent tropaia, constructed from stone or bronze to endure beyond immediate battlefields. Unlike Classical Greece's ephemeral wooden poles, these Hellenistic versions—often relocated to acropolises or agoras for public veneration—served as lasting emblems of dynastic power, accommodating the Diadochi's expansive realms where tropaia reinforced legitimacy over distant provinces.^[17]

Adoption in Ancient Rome

Roman Adaptations

The Romans encountered the Greek tropaion through their wars against Hellenistic forces, particularly during the Pyrrhic War (280–275 BCE), which introduced them to the practice of erecting battlefield monuments from captured enemy arms as symbols of victory dedicated to the gods. Prior to this, Roman practice involved dedicating spoils in temples rather than on the field, as seen in the First Samnite War, where the first recorded tropaeum—a pile of spears with suspended helmets and shields—was erected in 309 BCE following a victory over the Samnites led by Lucius Papirius Cursor. This early form emphasized dedication over permanent commemoration, but Greek influences encouraged a shift toward more structured, anthropomorphic representations resembling a warrior figure.^[18] During the Republic, Roman tropaea retained the core use of captured arms but were closely integrated with triumphal processions, where generals displayed spoils before dedicating them, enhancing the victor's prestige among the populace. Polybius, a Greek historian familiar with Roman customs, noted that Romans displayed ancestral images in prominent places within their homes to inspire young men to emulate their ancestors' valor, reflecting a cultural adaptation that blended military symbolism with domestic motivation. This practice underscored the tropaeum's role not only as a religious offering but also as a tool for fostering martial ethos within Roman society. Erection of permanent tropaea required Senate approval, ensuring they aligned with state interests and were not merely personal aggrandizement; such monuments were often placed on provincial borders to mark territorial conquests and deter foes, as exemplified by the trophy raised by consuls Gnaeus Domitius Ahenobarbus and Quintus Fabius Maximus in 121 BCE after defeating the Allobroges and Averni near the Rhône, signaling Roman dominance in southern Gaul. Similarly, Pompey erected a tropaeum in the Pyrenees after his 72–71 BCE campaigns against Sertorius, marking the conquest of Hispania. By the late Republic, this evolved into urban displays in Rome itself, where generals like Gaius Marius erected enduring stone tropaea on the Capitoline Hill following the Cimbric War in 101 BCE, transforming temporary battlefield markers into lasting public symbols of imperial ambition.^[18]^[19]

Imperial Tropaea

Under the Roman Empire, tropaea evolved into grand, permanent monuments constructed from durable stone and marble, serving as enduring symbols of imperial conquest and propaganda. These structures marked a departure from the temporary wooden trophies of earlier periods, emphasizing engineering prowess and state-sponsored glorification of the emperor. Erected at strategic locations, they commemorated major victories while asserting Roman dominance over newly subdued territories.^[20]^[21] One of the earliest and most prominent imperial tropaea was the Tropaeum Alpium at La Turbie, built around 6–5 BCE under Augustus to celebrate the pacification of the western Alpine tribes following campaigns in 25, 16, and 15 BCE. Rising to an original height of approximately 50 meters on a square podium, the monument featured a cylindrical colonnade of 24 Corinthian columns supporting a conical roof topped by a statue of Augustus, with local stone quarried nearby. Its inscription, preserved through Pliny the Elder, boasted of the Senate and people's dedication to Augustus for subduing 45 tribes from the Cadmus River to the Var, listing names like the Trumpilini and Salassi to highlight the scope of Roman conquest. This tropaeum functioned as a visible border marker between Italy and the province of Alpes Maritimae, reinforcing the security of trade routes to Gaul.^[22] A later exemplar is the Tropaeum Traiani at Adamclisi, Romania, erected in AD 109 by Emperor Trajan to honor victories in the Dacian Wars (101–102 and 105–106 CE), particularly the Battle of Adamclisi where heavy Roman losses occurred. The 37-meter-tall cylindrical structure, built on nine steps with a concrete core faced in local limestone, includes 54 metopes depicting graphic battle scenes—Romans pursuing Dacians, executing prisoners, and reviewing captives—along with friezes of bound Dacian warriors and dedicatory inscriptions to Trajan from his thirteenth tribunician year. Dedicated as a cenotaph for fallen soldiers, it underscored themes of vengeance and imperial might, with annual ceremonies held there as noted by Cassius Dio.^[20] Imperial tropaea increasingly employed marble for sculpted elements, such as figures and reliefs, replacing earlier wooden or bronze constructions to ensure longevity and aesthetic grandeur, as reflected in the shift toward luxurious materials during the Augustan and Trajanic eras. Vitruvius, in his De Architectura, describes trophies as sacred dedications that, once erected, could not be relocated without impiety, prompting architectural adaptations like enclosing structures around them to preserve their site, as the Rhodians did with a temple. These monuments doubled as border markers, delineating conquered frontiers and deterring unrest, while their imposing visibility along roadsides drew travelers, functioning as early landmarks that propagated Roman imperial ideology.^[22]^[20]

Symbolic and Cultural Significance

Military and Religious Role

In ancient Greek warfare, the tropaion served as a potent military symbol erected on the battlefield to assert dominance and deter potential enemies by visibly claiming the site of victory where the foe had turned in flight.^[23] This placement, often facing toward enemy territory, not only marked the turning point of battle but also boosted the morale of the victors by commemorating their success and reinforcing unit cohesion through shared triumph.^[24] Psychologically, it humiliated the defeated by displaying their captured panoply—shields, helmets, and weapons—hanging from a post or tree, transforming enemy gear into a stark emblem of rout and submission.^[4] Religiously, the tropaion functioned as a votive offering to the gods, particularly Zeus Tropaios, representing a thank-offering for divine favor in battle and seeking protection against future threats.^[25] Accompanied by sacrifices and paeans, its erection formed part of purification rituals that cleansed the battlefield of pollution and averted nemesis, the divine retribution for hubris in victory.^[24] These rites underscored the tropaion's sanctity, rendering it inviolable and integrating military achievement with piety.^[4] The practice persisted across cultures, adopted by the Romans who maintained its core functions in their armies to foster discipline and collective identity, adapting the Greek battlefield trophy into more elaborate tropaea that continued to blend deterrence, morale enhancement, and religious dedication.^[23] This continuity ensured the tropaion's role in psychological warfare and spiritual observance remained vital for unit cohesion in both Hellenistic and imperial contexts.^[25]

Artistic and Literary Representations

In ancient Greek art, tropaia were frequently depicted in Attic red-figure vase paintings of the 5th century BCE, often symbolizing military triumph through the arrangement of captured enemy armor on a post or tree, sometimes accompanied by Nike, the personification of victory. A notable example is a pelike from circa 450–440 BCE in the Museum of Fine Arts, Boston, where Nike is shown attaching a Corinthian helmet to a tropaion, illustrating the motif's integration with divine endorsement of victory.^[26] An earlier fragment from the Cabeiri sanctuary near Thebes, dating to the 5th century BCE, provides one of the oldest known vase representations of the tropaion as a pile of spoils.^[4] Literary works further elevated the tropaion as an emblem of glory and divine favor. The Greek traveler Pausanias, in his Description of Greece (2nd century CE), describes several enduring tropaia, such as the white marble trophy at Marathon commemorating the Persian Wars, noting its role in perpetuating memories of battlefield successes.^[27] In Roman literature, Virgil employs the term tropaeum in the Aeneid (1st century BCE) to evoke heroic conquest, as seen in the prayer of Arruns to Apollo (Aeneid 11.859), where it signifies anticipated spoils and martial prowess, aligning with Augustan ideals of imperial destiny.^[28] Tropaia appeared prominently on Hellenistic and Roman coinage as propaganda tools, reinforcing rulers' victories. During Trajan's reign (AD 98–117), silver denarii depicted Mars advancing with a spear and shouldered tropaeum, celebrating Dacian conquests and linking the emperor to divine warfare.^[29] Hellenistic examples, such as those from the late 3rd century BCE onward, similarly featured tropaeum motifs on coins to commemorate battles, evolving the symbol from a battlefield marker to a standardized icon of dominance.^[4] Sculptural representations of tropaia underwent significant evolution, transitioning from realistic assemblages of armor to more allegorical forms incorporating victory personifications. In early Greek examples, tropaia were rendered as simple piles of shields, helmets, and weapons on a post, as seen in 5th-century BCE reliefs, emphasizing the spoils' materiality.^[4] By the Roman period, sculptures like the Tropaeum Traiani (AD 109) in Romania integrated anthropomorphic elements, with bound captives at the base and Nike figures crowning the structure, transforming the tropaion into a narrative monument blending realism with symbolic triumph.^[4] This shift highlighted the tropaion's adaptation from ephemeral trophy to enduring artistic emblem of imperial power.

References

[1]
(PDF) Tropaion – an Ancient Symbol of Victory - ResearchGate
Opposite to the ruler is the title tropaion: a wooden post on which the armour and weapons of defeated enemies were hung (the enemies, in turn, are portrayed at ...Missing: definition | Show results with:definition
[2]
https://brill.com/downloadpdf/book/edcoll/9789004251175/B9789004251175_009.pdf
[3]
The Leuktra Tropaion: A Case Study in Ancient Greek Victory ...
Jun 2, 2017 · This is a an analysis of the political, cultural, and art historical precedents set by the Thebans in their construction of a permanent victory ...
[4]
[PDF] Tropaion – an Ancient Symbol of Victory - Rocznik MNW
May 30, 2025 · In its classical form, the tropaion consists of a panoply (πανοπλία)5 mounted on a tree standing on the battlefield.6 Other variations existed, ...
[5]
The Greek and Roman Trophy: From Battlefield Marker to Icon of ...
The trophy's function as not merely a victory icon, but a symbol of power, a Greek necromantic and apotropaic talisman, and a Roman tool for empire building.
[6]
Tropaion - IMPERIUM ROMANUM
Apr 19, 2020 · Tropaion, also simply called the trophy (tropaeum) is a form of military monument erected by Greeks and Romans in honour of victory in the battle.
[7]
None
### Summary of the Physical Form, Structure, Materials, Components, Height, Assembly, and Evolution of the Ancient Greek Tropaion
[8]
PAUSANIAS, DESCRIPTION OF GREECE 3.1-13
To this heroism the Dorians bore witness by raising a trophy against the Amyclaeans, implying that their success was the most memorable exploit of that time.
[9]
https://www.researchgate.net/publication/334282472_Marking_the_Victory_in_Ancient_Greece_some_Remarks_on_Classical_Trophy_Monuments
[10]
Marking the Victory in Ancient Greece: some Remarks on Classical ...
Jul 7, 2019 · At first, they gave thanks immediately after a battle by erecting a tropaion on the battlefield, which from the time of the Greek-Persian Wars ...<|control11|><|separator|>
[11]
(PDF) Greek trophy monuments, in: S. des Bouvrie (Hrsg.), Myth and ...
This article explores the significance of Greek trophy monuments, which served as both historical and sacred symbols of victory.Missing: assembly | Show results with:assembly
[12]
τρόπαιον λίθου λευκοῦ - ToposText
Modern Description: Fragments of the marble trophy for the Athenian victory at Marathon in 490 BC, Mesosporitissa Chapel, Schinias, AttikiMissing: tropaion | Show results with:tropaion
[13]
William Custis West, III, Greek Public Monuments of the Persian Wars
Ruins of sanctuaries as a memorial of Persian impiety, either not rebuilt atall or rebuilt after a long delay, because of the Oath of Plataea.Missing: tropaion institutionalization
[14]
The Tripod of Plataea (the Serpent Column) - Archaeological Site of ...
In 479 B.C., after the battle at Plataea, the 31 Greek cities which participated at the wars against the Persians dedicated to the sanctuary of Apollo.
[15]
Diodorus on the battle of Chaeronea - Livius.org
Jul 14, 2020 · In August 338, the Macedonian king Philip defeated an army of Athenians and Thebans on the plain of Chaeronea, a town in Central Greece.Missing: tropaion | Show results with:tropaion
[16]
[PDF] THE MARBLE TROPHY FROM MARATHON IN THE BRITISH ...
famous battle of 490 B.C. It might possibly, I suppose, have been part of some later embellishment of the " trophy of white marble s or the tomb of the ...
[17]
[PDF] THE TRANSFORMATION OF VICTORY INTO POWER
The new style of warfare in the Hellenistic period led, however, to many new ambiguities and uncer ... not choose a tropaion but a structure of sacrifice. The ...
[18]
LacusCurtius • Diodorus Siculus — Book XXI
### Summary of Content Related to "tropaion" or "trophy" in Diodorus Siculus, Book XXI
[19]
The battle of Ipsus - Livius.org
Sep 23, 2020 · The battle started when Demetrius, commanding Antigonus' cavalry, attacked Seleucus' son Antiochus and drove him from the battlefield. At the ...Missing: tropaion Siculus
[20]
Ancient Greek Warfare - World History Encyclopedia
Mar 27, 2018 · In the ancient Greek world, warfare was seen as a necessary evil of the human condition. Whether it be small frontier skirmishes between ...
[21]
[PDF] PERGAMON AND THE HELLENISTIC KINGDOMS OF THE ...
... Hellenistic period,. 278–270/269 b.c. (cat. 129). Other illustrations: p. xxii ... tropaion (trophy) over her left shoulder. In fairly low relief, the ...
[22]
the trophy and the cross: pagan and christian symbolism in the - jstor
Gauls in 222 B.C.. The first Roman tropaeum set up on the battlefield was that of. Domitius Ahenobarbus and Fabius Maximus for their victory over the ...
[23]
Capitoline Trophies (Tropaea Marii) - Ancient Rome Live
Nov 11, 2019 · These two marble sculptures represent a stone version of the “trophy” that was an ornamental display of the captured arms of the defeated foe.
[24]
The Tropaeum Traiani at Adamklissi (109 CE) - Judaism and Rome
Oct 20, 2017 · The monument comprised a large drum, placed on top of a flight of nine steps. Made of concrete, the circular drum was faced with local limestone ...
[25]
Marble in the Roman Empire - UNRV.com
The Imperial period marked a shift in the type of marble used by the Romans. The introduction of more luxurious and exotic marbles demonstrated the wealth and ...Ancient Roman Marbles: Types... · A City Of Bricks To A City... · The Legacy Of Roman Marbles...
[26]
Tropaeum Augusti (La Turbie) - Livius.org
Aug 18, 2020 · Augustus' victory monument at La Turbie, just north of Monaco, was built in 5 BCE, and commemorates the submission of the tribes in the western Alps.Missing: text | Show results with:text
[27]
https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D1%3Achapter%3D27%3Asection%3D7
[28]
None
Below is a merged summary of "tropaion" or "trophy" in the *Cambridge History of Greek and Roman Warfare, Volume 1*, consolidating all information from the provided segments. Given the volume of data and the need for a dense representation, I will use a table in CSV format to organize the details efficiently, followed by a narrative summary to tie it all together. The table will capture page references, military and religious roles, and other key details, while the narrative will provide context and address gaps or inconsistencies.
[29]
https://www.vcoins.com/en/stores/numiscorner/239/product/coin_trajan_denarius_98117_rome__silver_ric340/1769711/Default.aspx
[30]
Two-handled jar (pelike) depicting Nike setting up a trophy
Caskey-Beazley, Attic Vase Paintings (MFA), no. 160. DescriptionA: A winged victory figure (Nike) erects a trophy in the form of a mannequin on this pelike.
[31]
https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D1%3Achapter%3D27%3Asection%3D7
[32]
THE "TROPAION" IN THE "AENEID" - jstor
Vergil's presentation of the perceptions of the trophy by various characters reflects the central prob- lems surrounding the establishment of foedus in the epic ...
[33]
Coin, Trajan, Denarius, 98-117, Rome, , Silver, RIC:340 - VCoins
Free delivery 14-day returnsCoin, Trajan, Denarius, 98-117, Rome, , Silver, RIC:340Bust right, draped and laureate., Mars with lance and shouldered tropaeum striding to the right.