procure them ready made, either by purchase or as the spoils of victory. With them religion was not an all-pervading sentiment, influencing their actions and claiming supreme reverence, but it was made a secondary duty in the routine of life. Hence, their best sculptures were of a historical character, such as the statues of emperors and heroes, and bas-relievos adorning columns and triumphal arches erected in honour of some important victory.

The most magnificent of all these columns, was that of Trajan, which stood in the midst of a large square, or forum, as it was called, around which stood buildings comprehending a palace, a gymnasium, a library, several triumphal arches, porticos and other splendid architectural erections. Gilded statues and military ensigns of every description adorned the fronts of these buildings, and besides the column itself, a magnificent equestrian statue of the emperor occupied a conspicuous position in the open area. The column represents, in one continued winding relief from the base to the summit, in innumerable figures and characters, the actions of the emperor, and at the top his statue was originally placed. The ashes of Trajan are said to have been contained in a golden ball which was placed upon the top of the head of the statue. The column is of white marble, and consists of thirtythree pieces, secured by cramps of bronze, and, including the statue, is one hundred and forty feet high. It is ascended by means of a spiral staircase in the interior, cut out of the same stone, and is lighted by forty-three loop-holes or apertures.

The most remarkable part of this military

monument, is the sculpture in bas-relief, by which the whole column is covered. The series runs round the pillar in an ascending spiral riband, which, from pedestal to capital, makes twentytwo revolutions. On this is represented in chiselling of beautiful workmanship, the successive victories of Trajan, among which are two triumphal processions by which they were celebrated. The figures, which are designed with great spirit, as represented in the cut on the opposite page, are between two and three thousand in number, that of Trajan occurring fifty times. In the lower part of the shaft, the figures are about two feet in height, but increase as they approach the top, to almost double that admeasurement. Speaking of this column, and the spi ral riband of relievi, Ariosto says:

"From its low base the sculptures wind aloft,

And lead, through various toils, up the rough steep,
Its hero to the skies."

In his Description of the Antiquities of Rome, Mr. Burton makes the following reference to the bassi-relievi on this column. "The Roman dress and manner may receive considerable light from these bas-reliefs. We find the soldiers constantly carrying their swords on the right side. On a march they are generally bare-headed; some have no helmets at all; others wear them suspended to the right shoulder. Some of them have lion's heads by way of caps, with the mane hanging down behind. Each of them carries a stick over the left shoulder, which seems to have been for the purpose of carrying their provisions; we may observe a wallet, a vessel for wine,

a machine for dressing meat, &c. We know from other accounts that they sometimes carried sixty pounds, forming their food for seventeen days; they never carried less than enough for three days. Their shields are oblong, with dif ferent devices upon them. The standards are of various kinds, such as a hand within a wreath of laurel, which was considered a sign of concord. Pictures also were used, which were portraits of gods or heroes. The soldiers wear upon their legs a kind of tight pantaloon, reaching a little below the knee, and not buttoned. The Dacians have loose pantaloons, reaching to the ankle and shoes; they also carry curved swords. The Sarmatian* cavalry, allies of Decebalus wear plate armor covering the men and horses. These were called Cataphracte, or Clibanarii; and the words of Ammianus exactly answer the representation on the column. Their armor was a covering of thin circular plates, which were adapted to the movements of the body and drawn over all the limbs, so that in whatever direction they wished to move, their clothing allowed them free play by the close fitting of its joints.' Some Roman soldiers have also plate armor, but they are archers. The horses have saddles, or rather cloths, which are fastened by cords round the breast and under the tail. (See cut on the opposite page.) The Dacian horses are without this covering, and the Germans or some other allies, have neither saddle nor bridle to their horses. We might observe several other particulars, such as a bridge of boats over a river, and that the boats everywhere are without a rudder,

* Ancient inhabitants of Poland.

but are guided by an oar on one side of the stern. has battlements, and the

fastened with a thong The wall of the camp heads of the Dacians

are stuck upon it. The Dacian women are rep resented burning the Roman prisoners."

In a word, this magnificent column, considered in its relation to history and art, is one of the greatest triumphs of sculpture, and, standing as it does in all its original beauty and perfection, (except the changing of Trajan for St. Peter on the top,) it may be regarded as the most wonderful monument extant, of an era in the arts long since passed away, but still looked to with rev

erence.

Although the cultivation of the art of sculp ture was limited among the Romans, if we except the reign of Nero, yet wherever they extended their conquests, there are traces that they