Most of the reliefs feature the emperors participating in codified activities that demonstrate the ruler’s authority and piety by addressing troops, defeating enemies, distributing largesse, and offering sacrifices.ĭiagram of the Arch of Constantine showing architectural features and spolia, 312-315 C.E., Rome ( link to large image) Although there is some scholarly disagreement on the origins of the sculptures, their imperial style corresponds to those of the reigns of Trajan (ruled 98-117 C.E.-the figures surmounting the decorative columns), Hadrian (ruled 117-138 C.E.-the middle register roundels), and Marcus Aurelius (ruled 161-180 C.E.-the large panel reliefs on the top registers). In fact, most scholars accept that many of the sculptures of the arch were spolia taken from older monuments dating to the 2nd century C.E. Other sculpted elements, however, show a multiplicity of styles. and older spolia, marble and porphyry, Rome Victoria (Nike) figures (personifications of victory, spandrels, Arch of Constantine (north side), 312-315 C.E. Some aspects of the sculpture are quite standard, like the Victoria (or Nike) figures that occupy the spandrels above the central archway or the typical architectural moldings found in most imperial Roman public and religious architecture (below). Perhaps the most striking feature of the Arch is its eclectic and stylistically varied relief sculptures.

The mention of divine inspiration has been interpreted by some scholars as a coded reference to Constantine’s developing interest in Christian monotheism. Curiously, the inscription also attributes the victory to Constantine’s “great mind” and the inspiration of a singular divinity. The inscription on the arch refers to Maxentius as the tyrant and portrays Constantine as the rightful ruler of the Western Empire. But in 312 C.E., Constantine took control over the Western Roman Empire by defeating his co-emperor Maxentius at the Battle of the Milvian Bridge (and soon after became the sole ruler of the empire). and older spolia, marble and porphyry, Romeīeginning in the late 3rd century, the Roman Empire was ruled by four co-emperors (two senior emperors and two junior emperors), in an effort to bring political stability after the turbulent 3rd century. Pious, fortunate, the Senate and people of Rome,īy inspiration of divinity and his own great mindĭedicated this arch as a memorial to his military victory The end of the Tetrarchyįrieze with Constantine’s siege of Maxentius’s troops at Verona (before the Battle of the Milvian Bridge), Arch of Constantine (south side), 312-315 C.E. To the Emperor Caesar Flavius Constantinus, the Greatest, The central opening is approximately 12 meters high, above which are identical inscribed marble panels, one on each side, that read: Three portals punctuate the exceptional width of the arch, each flanked by partially engaged Corinthian columns. The monumental arch stands approximately 20 meters high, 25 meters wide, and 7 meters deep. This location was significant, as the arch was a highly visible example of connective architecture that linked the area of the Forum Romanum (Roman Forum) to the major entertainment and public bathing complexes of central Rome.Īrch of Constantine, 312-315 C.E., and older spolia, marble and porphyry, Rome The Arch of Constantine is located along the Via Triumphalis (Triumphal Way (the exact route is disputed) was the route taken by triumphal processions that celebrated a victorious general and his army, often with booty and prisoners) in Rome, and it is situated between the Flavian Amphitheater (better known as the Colosseum) and the Temple of Venus and Roma.

Reconstruction of the location of the Arch of Constantine (lower left) and the sculpture of the Colossus of the Sun (center)-both situated between the Temple of Venus and Roma (far left) and the Flavian Amphitheater (Colosseum-right), model © 2008 The Regents of the University of California image © 2008 The Board of Visitors of the University of Virginia. The Triumphal Arch of Constantine in Rome is not only a superb example of the ideological and stylistic changes Constantine’s reign brought to art, but also demonstrates the emperor’s careful adherence to traditional forms of Roman Imperial art and architecture. Constantine’s status as an agent of change also extended into the realms of art and architecture. These include his political transformation of the Roman Empire, his support for Christianity, and his founding of Constantinople (modern day Istanbul). The Emperor Constantine, called Constantine the Great, was significant for several reasons. Beth HarrisĪssistant Professor of Art History and Humanities

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