Definition and treatment of subject people
The antique and medieval Mediterranean world differed significantly in many perspectives. The treatment of subject people, slaves, in particular, was a distinctive feature of every period. The Roman Empire is taken as an example for the comparison of the treatment of subject people in the period of antiquity and medieval times. Conquered people were either executed or turned into slaves. The examination of slavery can provide various perspectives concerning the life in empires. As Joshel emphasizes, “an assessment of the place of slaves in a society is not a matter of their totals, given a reasonable large number, but of their location, in two senses — first, who their owners were; secondly — what role they played, in the economy but not only in the economy” (8).
In ancient Rome, slavery was the manifestation of social status. Labor of slaves was crucial for the elite as far as slaves functioned as administrators, financial agents, secretaries, and servants. Slavery served as a demonstration of the nobility of life of wealthy owners. The distinctive feature of slavery in this period concerned the possibility of manumission (Dunstan 101). Slavery benefited the Empire as far as it was essential for the perpetuation of power.
The Roman Empire in the Medieval Ages, known as the Byzantine Empire, practices rather different treatment of slaves. As the influences of the church increased, the social norms changed too. The social function of slavery declined. At the end of the ninth century, slaves were given some property rights. During the next two centuries, slaves were able to receive sacraments of different religions. At the end of the Middle Ages, slavery became an unpopular social phenomenon (Rautman 22). Decreasing role of slavery undermined Empire because it showed the inevitable decline. At the same time, the repudiation of slavery was a sign of the new era.
Symbolic assertion of power
Emperors of both Ancient and Byzantine Rome Empires recognized the significance of the artistic manifestation of power. Sculpture and architecture became excellent sources for the immortalization of authority. Although the purpose was common, emperors employed different ways of perpetuation.
Augustus, being the founder of the Roman Empire, demonstrated his claim for authority in the sculpture Augustus of Prima Porta. The Emperor is depicted holding a spear — symbol of power and ability to take control. Also, Augustus is depicted wearing his cuirass — a sign of military superiority and a social status of the imperator (“Roman Power and Roman Imperial Sculpture” par. 9). The death of Augustus was marked by the death of the Republic and the establishment of the monarchy. The successive rulers including Tiberius, Caligula, Claudius, and Nero, changed trends in art. Thus, their representation of power was achieved via architecture (imperial palaces) and dynastic portraiture (Tuck 146).
The symbolic assertion of power in the Medieval Ages differed. The Arch of Constantine, the Emperor, who introduced Christianity, may serve as the example. The Arch has a symbolic meaning that depicts Constantine as charismatic and kind ruler. “By showing himself as a benevolent ruler, Constantine hoped to gain the citizens’ loyalty which would compel them to follow him into a new golden age by choice, rather than because of oppression” (Vizzutti par. 4). Constantine also used pieces of the previous monuments (spolia) to create The Arch. In such a way, he showed the constant connection between the present and the past and the need to move forwards using the wisdom and accomplishments of predecessors.
Works Cited
Dunstan, William. Ancient Rome. Lanham, Maryland: Rowman & Littlefield Publishers, 2010. Print.
Joshel, Sandra. Slavery in the Roman World. Cambridge, United Kingdom: Cambridge University Press, 2010. Print.
Rautman, Marcus. Daily Life in Byzantine Empire. Santa Barbara, California: Greenwood Publishing Group, 2006. Print.
Roman Power and Roman Imperial Sculpture n.d. Web.
Tuck, Steven. A History of Roman Art. New York City, New York: John Wiley & Sons, 2015. Print.
Vizzutti, Marcus. The Arch of Constantine: A Tool of Propaganda and Change for the Roman Empire. 2008. Web.