![]() Victorious generals or emperors would have ridden in horse-drawn chariots in these orchestrated events. Romans loved victory, which they celebrated in grand civic gestures called “Triumphs.” They erected massive stone arches, many of which survive in the streets of Rome today, for their military heroes to ceremoniously march beneath in parades. Observed carefully, this statue of horse and rider idealizes Marcus Aurelius in an imagined moment of triumph. In the Marcus Aurelius statue, the emperor’s powers of statecraft are stressed, but his mastery of horsemanship clearly connects him to this elite military class, upon which he depended to manifest his far-reaching power. The Western tradition of creating equestrian statues is interlinked with an appreciation of the equites. Emperors selected members of this class for their elite Praetorian Guard, and used them politically as a counterweight to levy power from the high-ranking bureaucrats of the senatorial class. Generally speaking, the equites received positions of privilege through merit and imperial favor instead of through a noble bloodline. The equites, a military class, played an incredibly important role in Roman society. Roman equestrian statues, like many equestrian statues before and after, were about much more than men with horses they embody the relationship between the leader and the military. In contrast to many excavated archeological discoveries, the statue of Marcus Aurelius and his horse stayed above ground, where it surveyed the streets of Rome for nearly 2,000 years. The Romans were acutely aware of these artworks, especially those from Greece, and sought to collect and display them in their luxury villas, as well as dedicate them in public and religious spaces. Before the Roman Empire existed, other regional cultures used this form of representation to commemorate their noblemen, kings, and heroes. Thousands of years later, the statue has become a hallmark in art history textbooks and the pride of the Capitoline Museum in Rome, where droves of tourists flock to see the work and to match it against the illustrations in their guidebooks.Įquestrian statues were not first seen in Rome. This monumental bronze equestrian statue, inarguably one of the most extraordinary artworks that has come down to us from antiquity, was created to commemorate Marcus Aurelius’ great victories over Germanic tribes in 176 CE, or possibly posthumously to honor his prosperous reign (161-180 CE), when he, was canonized as one of Rome’s greatest emperors-a leader who ruled with intellect and decisive action. Art historians have defined this gesture as one of “pacification,” displaying authority and the ability to subjugate foreign enemies or forces of chaos that threatened the stability of the Empire. The emperor effortlessly motions with an outstretched left arm and hand. The emperor’s posture, legs, and complete mental dominance over the beast underscores his great power. The horse’s bit and bridle indicate that there were originally bronze reins, which were separately cast pieces lost over the centuries. The rider fully controls his muscular mount. The figure of the emperor is seated on top of a regal horse, artfully posed as if it were moving gracefully through a crowd. ![]() Perhaps, no statue embodies these values more than a famous depiction of the emperor Marcus Aurelius on horseback. And, by doing so, they established a template that has persisted for centuries. Traditionally cast in bronze, these huge forms of horse and rider display messages of dominance, power, and virtue through strength. The ancient Roman tradition of publicly displaying monumental equestrian statues of important historical figures is a particularly striking case of how to convey meaning in no uncertain terms. By contrast, historic monumental sculptures employ symbolism that is direct and intentionally easy for viewers to understand. ![]() Contemporary public artworks, for example, use purposely veiled messages aimed to generate thoughtful exchange with the viewer and to prompt reflection.
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