The Arch of Constantine and its historical relief frieze containing the victory over Maxentius however commemorates the victory in a civil war between two Romans, which is unlike to almost all the other commemorating monuments in the Roman Empire.
Table of Contents
1. The Arch of Constantine
2. The General Design and Setting
3. Construction and Reuse (Spolia)
4. Architectural Layout and Facade
5. The Main Inscription
6. Relief Panels and Marcus Aurelius
7. The Dacian War Reliefs
8. The Hadrianic Tondi
9. Constantinian Historical Reliefs
Objectives and Topics
This work examines the historical, architectural, and artistic significance of the Arch of Constantine in Rome, focusing on its construction, its complex use of recycled materials (spolia), and the political message conveyed through its elaborate decorative programs.
- Architectural evolution and structural design of the Arch of Constantine.
- The role and interpretation of spolia from earlier imperial monuments.
- Analysis of the main inscription and its implications for Constantinian ideology.
- Iconographic study of the relief friezes, tondi, and historical depictions of military campaigns.
- Comparison between the Constantinian narrative and earlier Roman triumphal iconography.
Excerpt from the Book
The Arch of Constantine
The Arch of Constantine is a triumphal arch in Rome, located between the Colosseum and the Palatine Hill. It was erected to commemorate Constantine’s victory over his brother-in-law Maxentius at the Battle of Milvian Bridge in October 312 AD. Dedicated in 315 AD, it is the latest of the existing triumphal arches in Rome, from which it differs by spolia, the extensive re-use of parts of earlier buildings.
The arch is 21 m high, 25.7 m wide and 7.4 m deep. It has three archways, the central one is 11.5 m high and 6.5 m wide, the lateral archways are 7.4 m by 3.4 m each. The lower part of the monument is built of marble blocks, the attic is brickwork wrapped up with marble. A staircase formed in the thickness of the arch is entered from a door at some height from the ground, in the end towards the Palatine Hill.
The general design with a main part structured by detached columns and an attic with the main inscription above is modeled after the example of the Arch of Septimius Severus on the Roman Forum. It has been suggested that the lower part of the arch is re-used from an older monument, probably from the times of the Emperor Hadrian. It seems Constantine ordered that an existing Arch, dedicated to the Emperor Hadrian, be rebuilt in his honor.
The arch spans the Via Triumphalis, the way taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left at the Meta Sudans and march along the Via Sacra to the Forum Romanum and on to the Capitoline Hill, passing both the Arches of Titus and Septimius Severus.
Summary of Chapters
1. The Arch of Constantine: Provides an overview of the monument's location, historical context, and basic dimensions.
2. The General Design and Setting: Details the urban placement of the arch along the Via Triumphalis and its relation to other Roman monuments.
3. Construction and Reuse (Spolia): Explores the reasons behind the reuse of sculptural material from earlier eras, including artistic and chronological factors.
4. Architectural Layout and Facade: Describes the physical structure, column order, and decorative arrangement of the facade.
5. The Main Inscription: Analyzes the text displayed on the attic, focusing on its ambiguity regarding religious affiliation.
6. Relief Panels and Marcus Aurelius: Discusses the reused panels depicting the campaigns of Marcus Aurelius and their iconographic adaptations.
7. The Dacian War Reliefs: Examines the panels illustrating Trajan's wars and their integration into the Constantinian structure.
8. The Hadrianic Tondi: Explains the origin and subject matter of the round hunting and sacrifice reliefs.
9. Constantinian Historical Reliefs: Interprets the frieze depicting Constantine's civil war against Maxentius and its uniqueness in Roman commemorative art.
Keywords
Arch of Constantine, Rome, Spolia, Triumphal Arch, Constantinian, Trajan, Hadrian, Marcus Aurelius, Via Triumphalis, Historical Relief, Iconography, Imperial Propaganda, Civil War, Sculpture, Antiquity.
Frequently Asked Questions
What is the primary subject of this publication?
The publication focuses on the Arch of Constantine in Rome, analyzing its architectural features, historical origins, and the specific use of reused artistic elements.
What are the central themes of the analysis?
The main themes include imperial propaganda, the stylistic evolution of Roman monumental architecture, and the practice of incorporating spolia to legitimize political authority.
What is the research focus regarding the arch?
The research investigates how Constantine utilized earlier monument styles and recycled reliefs to position himself within the legacy of "good" Roman emperors.
Which historical methods are applied to analyze the monument?
The study utilizes stylistic analysis, architectural survey, and historical contextualization of inscriptions and sculptural programs.
What does the main body of the work cover?
The main body provides detailed descriptions of the arch's components, such as the Corinthian columns, the attic inscription, and the varied origins of the relief panels.
Which keywords characterize this study?
Key terms include Arch of Constantine, spolia, triumphal arch, imperial iconography, and Roman historical reliefs.
How is the arch connected to the Via Triumphalis?
The arch spans the traditional route taken by victorious emperors through Rome, linking the Campus Martius to the Forum Romanum and the Capitoline Hill.
What does the inscription "INSTINCTV DIVINITATIS" refer to?
The phrase is a subject of scholarly debate, as it remains ambiguous whether it refers to the Christian deity or a traditional Pagan divinity.
Why are the relief panels dated to different centuries?
The panels are dated differently because they were reused from earlier monuments belonging to the eras of Trajan, Hadrian, and Marcus Aurelius.
What makes the historical frieze of Constantine unique?
It is unique because it commemorates a victory in a civil war between two Roman factions, which contrasts with the common practice of celebrating victories over external enemies.
- Quote paper
- M.A. Diana Beuster (Author), 2007, The Arch of Constantine, Munich, GRIN Verlag, https://www.grin.com/document/128678
