The Triumphal Arch of Constantine
The triumphal arch of Constantine is a monumental architectural structure placed in the heart of the Roman empire, on the Palatine Hill in the city of Rome. It was erected by the emperor Constantine, after the battle of the Milivian Bridge of the civil war, whom he fought against the emperor Maxentius. After this important battle, the Roman Tetrarchy ruling system fell apart, and he became the only ruler of the Roman empire. This was a very important event in the history of the Roman culture, since it changed not only the political tides, but the social changes as well – soon after this victory, Constantine made Christianity the only legal faith in the empire. The Arch was built by the senate, as the tribute to Constantine’s victory (Midford 2014).
Significance of the Arch
The Arch of Constantine, thus, represents a structure of great significance. Hence, its grandeur and the place where it was built proved its significance. The Arch was placed in Via Triumphalis, on a route which lead towards the temple of Jupiter and the Roman Forum (Marlow 2006).
Size and Material
This is one of the largest Triumph arches ever built in Rome. The Arch of Constantine is 25 m long, 7.4 meters wide, and 21 meters high. It was made of marble, more or less taken from the older monuments, so it is not consistent in the color, since the type and the color of marble used varied. This habit, the use of spolia, was not usual in the Roman culture, but it became a usual thing during the Middle Ages, especially in the aspect of Christianity, where spolia were taken from the ancient and important places to be incorporated in the house of God, adding to the building the more importance (Lenski 2007, 260). Taken from the older monuments were not only the marble pieces, but the whole representations as well, such as the panels representing Luna, which were taken from the Arch of Marcus Aurelius.
Architectural Features
The arch consists of one big and two smaller passages - arches. Around these elements is the massive body of the arch with the decorations and inscriptions. On the Arch there are several different plastic elements of the architecture: low and middle relief, pillars and the sculptures. There are eight Corinthian columns on the Arch, which were taken from an earlier monument. The reliefs themselves are organized in several different ways: in the free space, in the circular arrangements, in friezes. The scenes depicted in the monument are historical, but not only dating at the time of Constantine himself, but the previous periods as well. This includes the representation of Dacians during Trajan’s campaigns, or Aurelius’ victory over Sarmatians and Marcomanni several centuries before, represented at the marginal friezes. The diversity of the scenes should not be a surprise, since the spolia were taken from the range of earlier monuments. Among the reliefs, in the center of the structure is the inscription by the Senate, which glorifies the victory of Constantine over the tyrant, remaining the only righteous ruler of the Rome.
Exclusive Sculptures
Although the majority of the decorative elements were taken from the earlier monuments, either as a tribute to the earlier times, or as a display of the supremacy of Constantine over the past rulers of Rome, there were sculptures made exclusively for this monument as well. These represent the scenes of the Battle with Maxentius and the siege of Verona.
Works cited
:Lenski, Noel (ed.), The Cambridge Companion to The Age of Constantine, Cambridge University Press, 2007, http://eclass.uth.gr/eclass/modules/document/file.php/SEAD260/The%20Cambridge%20Companion%20to%20Age%20of%20Constantine.pdf
Marlow, Elizabeth, Framing the Sun: The Arch of Constantine and the Roman Cityscape, Art Bulletin, Volume LXXXVIII, Number 2, June 2006, 223-242. http://www.tepotech.com/Art_Bulletin/2006882MarlowFramingtheSun.pdf
Midford, Sarah, Roman Imperial Triumphal Arches, Journal of Classical Association of Victoria, New Series, Volume 27, 2014, 8-26. https://classicsvic.files.wordpress.com/2015/06/midford.pdf
