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The Equestrian Statue of Marcus Aurelius and the Equestrian Monument to Bernado Visconti are two works of art that at a cursory glimpse, look so parallel, both have powerful men on horses, thus equestrian. But each sculpture embodies a polar opposite man at unrelated times in history. A statesman of conflict verses a statesman of peace, a loved head of state as opposed to a detested head of state. One monument sponsored by affectionate supporters after death while the other by money levied by unhappy citizens during the lord's lifetime.
An enormous mission faced Marcus Aurelius when he became the Roman emperor in 161 AD. Generations of extravagance had made the nobles, weak and selfish. The middle class was vanishing, and the working class was being reduced to a state of slavery. Germanic tribes were at the borders of the empire, while few Romans seemed willing to defend their homeland. Marcus Aurelius had been trained in the Greek philosophy, and he followed it throughout his life. He placed the good of society before his own comfort. He put good government into effect, limited the gladiatorial games, and passed laws that benefited slaves. Although he loved peace, he was a good warrior and succeeded in defending the border provinces against invasion. In his spare moments he jotted down in Greek the rules that guided his own conduct. The resulting volume of Meditations was for many generations one of the worlds most accepted books of practical and political wisdom. Marcus Aurelius spent most of his reign on foreign battlefields, trying to defend the frontiers of the Empire. He eventually died while on campaign in 180 AD in the town that became Vienna. (McKay Antiquity to Enlightenment)
A type of imperil portrait invented by the Romans is the equestrian monument meaning, depicted or represented on horseback. The bronze statue of the emperor Marcus Aurelius on horseback standing on the pedestal in the center of the Campidoglio is an excellent fake erected in 17 in preparation for Jubilee 000. The original, which had stood on the Campidoglio since 158, survived a 17 bomb attack, but was then discovered to be deteriorating rapidly from atmospheric pollution. It was carefully restored between 181 and 18 and is now kept under a glass cover in the Capitoline Museum .Twice life-size and originally gilded to look like solid gold; the statue may have been produced after the emperors death in 180AD, when he was deified. Michelangelo moved the original to the Campidoglio in 158 from a position near St John Lateran where it had stood since at least the eighth century. It was then believed to represent Constantine, and that misidentification probably saved the statue from papal melting pots, which consumed statues of so many non-Christian emperors and generals. In later years it was also misidentified as the Roman knight Marcus Curtis, who had saved Rome from destruction by leaping on horseback into an abyss which had opened in the center of the Forum in the time of the ancient kings. Later still, it was identified as Theodoric the Great, the Ostrogoth king. It was only in the fifteenth century that portraits on old coins pointed to the true identity of the man on horseback (Buckler Rise of Rome)
The equestrian tomb of Bernabo Visconti, Lord of Milan sat behind the high altar of the now demolished S. Giovanni in Conca in Milan. The monument is made of marble, and the rider figure was at one point covered in silver and had a golden shield and spurs, these attachments are indigenous of northern Monuments. As a result of his unexpected death the work was never completed. Given that it was being commissioned by Visconti
Bernabo Visconti was an iron-fisted tyrant from Milan; he married Regina Della Scala of Verona which forged both a political and aesthetic alliance between the two cities. Viscontis intrigues and territorial ambitions kept him at war with Florence, Venice, and even the Pope. Sir Bernabo heavily oppressed that part of Lombardy of which he was head of state, and taxed his citizens two or three times a-year, a half or a third of their income; but none dared to speak out against him. Being at war continuously with several neighboring countries and taxing his citizens heavily to finance these military explorations, Sir Bernabo was detested from all angles. While riding from one town to another, considering himself perfectly safe, the lord entered an ambush, men advanced toward the tyrant, instantly capturing him. Sir Bernabo was made prisoner without any defense made by his attendants, and carried to a castle where his nephew was, who much rejoiced his arrival. That same day, Visconti's wife and children were also arrested, and confined by the lord of Milan's nephew, who took possession of all the lordships, castles, towns, and cities which Sir Bernabo held in Lombardy. Visconti died shortly after his incarceration, rumored to have been bled form the neck. News of this was soon spread abroad some were pleased at it, others irritated; for Sir Bernabo had in his time done so many acts of cruelty without reason, that few pitied him, saying, he had well deserved it. (Hill Life in European Middle Ages)
The equestrian statue of Marcus Aurelius was sculpted in 165 A.D. while the monument to Bernabo Visconti was formed between the years 16 to 185. Two works of sculpture with striking similarities erected in different ages, early Roman and Medieval. Both show men of power and conquest on horseback. The largest factor to consider is the status of these two statesmen, while Visconti was powerful; he was equivalent to a mayor today as opposed to the president or emperor Marcus Aurelius, which is evident by the use of marble covered by bronze and gold in Visconti's tomb, and the use of solid bronze in the emperor's statue. The emperor's statue aimed to embody both a warrior and the philosopher. The beard illustrates the Greek fashion set by Hadrian and signifies that he is a philosopher, whereas the toga is representative of a military combatant, the absence of reins on the horse signify that he will no prematurely enter in to violent conflicts. His right arm outstretched in a gesture of clemency. Under the raised right hoof of the horse there was once a small figure of a kneeling barbarian. The Monument to Visconti is a sarcophagus tomb, the rider atop, is wearing a knight's armor to indicate all of Visconti military triumph, there is no fluidity by either the horse or the knight. A scene of the crucified Jesus is also present to denote the monarch divinity status of Visconti.
o Art History Web-site http//witcombe.sbc.edu/ARTHLinks.html
o Buckler, Kathy. Milflan books Rise of Rome New York ; Bulfinch Press [Little, Brown and Co.], 14.
o Hill, David. Life in Europe During Middle Ages. Boston Little Simon, 18.
o Mckay, Eduard. Antiquity to the Enlightenment vol. New York Reinhart & Company, Inc., 176.
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