Furthermore, that year happened to be the year of the decennalia festivities and games that were hosted as a massive celebration every ten years. This means that the Arch of Constantine was constructed, as the name might suggest, during the time of Constantine the Great, and it was built to commemorate his tenth year in power. The Arch of Constantine was started in 312 but the construction of this monument was only completed in 315. You can keep reading for some more Arch of Constantine facts.Īrch of Constantine Ancient Rome Historic Center, Rome, Italy (315 BCE) Gary Todd from Xinzheng, China, PDM-owner, via Wikimedia Commons Let’s take a closer look at when this monument was built, why it was built, what it was made of, who built it, and, lastly, a look at the architecture itself. The Arch of Constantine was built using existing monuments and later became part of the Frangipane fortress and fell into some level of disrepair before it was restored. The Arch of Constantine is a 21 m tall monument dedicated to Emperor Constantine the Great that is located along the Via Triumphalis, which was the road in Ancient Rome that was used for celebratory processions after a great victory. 3.4 What About the Arch of Constantine Architecture?Ī Look at the Arch of Constantine Architect.3.2 What Is the Arch of Constantine Made Of?.
3.1 Why Was the Arch of Constantine Built?.1.5 The Arch of Constantine Architecture.1.3 What Is the Arch of Constantine Made Of?.1.2 Why Was the Arch of Constantine Built?.1.1 When Was the Arch of Constantine Built?.Mark Wilson Jones, “Genesis and Mimesis: The Design of the Arch of Constantine in Rome,” The Journal of the Society of Architectural Historians 59 (March 2000), pp. Jaś Elsner, “From the Culture of Spolia to the Cult of Relics: The Arch of Constantine and the Genesis of Late Antique Forms,” Papers of the British School at Rome 68 (2000), pp.149–184.Įlizabeth Marlowe, “Framing the Sun: The Arch of Constantine and the Roman Cityscape,” The Art Bulletin vol. 261-273.Įrnst Kitzinger, Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art, 3rd-7th Century (Cambridge, Mass.: Harvard University Press, 1977). Ross Holloway “The Spolia on the Arch of Constantine” Quaderni Ticinesi Numismatica e Antichità Classiche 14 (1985), pp. Mary Beard, The Roman Triumph (Cambridge, Mass.: Belknap, 2009).īernard Berenson, The Arch of Constantine: The Decline of Form (London: Chapman & Hall, 1954). 330–1453) on The Metropolitan Museum of Art’s Heilbrunn Timeline of Art History The Roman Empire on The Metropolitan Museum of Art’s Heilbrunn Timeline of Art Historyīyzantium (ca. List of rulers of the Roman Empire on the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History golden age, Constantine was signaling that he intended to model his rule after earlier, successful leaders. By aligning himself with well-regarded emperors of Rome’s 2nd-century C.E. Any religious change was a threat to the ruling and political classes of Rome. Moreover, Constantine encouraged major social changes in Rome, such as decriminalizing Christianity. This was vitally important to Constantine, who had himself essentially bypassed lawful succession and usurped power from others. If, indeed, the spoliated (older) material from the arch can be traced to the reigns of Trajan, Hadrian, and Marcus Aurelius, then it situates Constantine as one worthy of the same level of reverence as those emperors-all of whom earned deserved levels of acclaim. More recently, however, analysis of the arch has focused on the political and ideological goals of Constantine and the objectives of the artists, which has highlighted new possibilities for the interpretation of the arch. Even one of the most prolific and influential art historians of the modern age, Bernard Berenson, titled his short book on the arch, The Arch of Constantine: The Decline of Form. Until relatively recently, art historians viewed the blocky sculptures and use of spolia in the arch as signs of poor craftsmanship, deficient artistry, and economic decline in the late Roman Empire (this reading is now almost wholly rejected by art historians). There is also a scene of Constantine distributing largesse (funds) to the public-recalling the scenes of emperors from the earlier sculptures. The Constantinian reliefs also depict historical, rather than general events related to Constantine, including his rise to power and victory over Maxentius at the Milvian Bridge. right: detail, Distribution of Largesse, era of Constantine, 312-315 \): Two reliefs from the Arch of Constantine: left: roundel showing Sacrifice to Apollo, era of Hadrian, c.
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