It has often been argued that Constantine was not particularly interested in Rome’s pagan traditions, choosing primarily to build churches he has been understood as “a Christian first and an emperor only secondarily” (for instance, see Hans Pohlsander, Emperor Constantine, p. 60-61 for the quotation, Elizabeth Marlowe, “ Liberator Urbis Suae,” p. 205-206). This propagandistic message, where Constantine is presented as ushering in a bright new age for Rome under one divinely chosen leader, restoring it to its former glory, was forwarded on the arch by emphasising both Constantine’s military victories and his connections to Rome’s older, renowned emperors. During the Tetrarchic period, the city of Rome was somewhat neglected by the emperors, who made their imperial residences elsewhere in the empire, choosing to focus on defending its threatened borders.Ĭonstantine’s triumph over Maxentius is presented in a way that views him as a liberator of and benefactor to this ancient and renowned city and its people, freed from a tyrannical regime that debased them (see the commentary on the Life of Constantine I.39). The arch was dedicated on the 25 th of July 315 CE, on the Decennalia (the tenth anniversary of Constantine’s reign). Constantine had actually entered Rome on 29 October 312, amidst great rejoicing, and the Senate then commissioned the monument. The Roman senate dedicated the arch to the emperor, having commissioned it upon his triumphal entry into Rome in 312 CE (see the commentary on Life of Constantine I.39). The Arch of Constantine, which stands prominently in Rome on the triumphal route, was built in around 315 CE, and commemorates the emperor’s victory over the tyrant Maxentius at the battle of the Milvian Bridge near Rome. There are round sculptures depicting the Sun (east) and Moon (west) riding chariots on each of the short sides of the monument, and below these is a frieze depicting the entry into Rome (east) and the departure from Milan (west). Above the two small arches the sculpture includes river gods and two victories, and the column bases bear winged victories with palm branches, Roman legionaries, and captives. On the north façade, the left side depicts the emperor addressing the people in the Forum, while the right side shows Constantine distributing money. The left side of the south façade depicts the siege of Verona, while the right side of the south façade shows the battle against Maxentius. The frieze scenes below each pair of medallions, were specifically sculpted for the arch. The Corinthian columns were commandeered from a first century Flavian monument, with the Dacian prisoners standing above them possibly being taken from an unknown monument to Trajan. The first two panels show Trajan or Domitian (again with the head altered to represent Constantine) charging at barbarians on his horse, and the emperor being crowned by Victory, flanked by females possibly representing Honour and Virtue, dressed respectively as an Amazon and in armour. The white marble reliefs in the two inner central arches, slightly altered, are from the Great Trajanic Frieze taken from the Basilica Ulpia in the Forum of Trajan. The eight white Luna marble tondi on the north and south façades are reused from a lost monument dedicated to Hadrian, and are set in pairs depicting various hunting scenes, and sacrificial ceremonies to Hercules, Apollo, Diana, and Silvanus. The head of the emperor on these images has been re-cut to resemble Constantine. The arch features eight marble panels, four on each of the façades, depicting scenes where the emperor is at war (on the south side) or carrying out civic duties (north side). The marble panels were taken from the Arch of Marcus Aurelius. The arch was constructed from a combination of earlier first and second century monuments. Sculpted panels and an inscription, repeated on both sides, decorate the block above the arches. The arch was therefore a combination of vibrant colours. The statue pedestals were Carystian green, and the statues themselves were in Phrygian purple. The frieze of the main entablature was constructed in green porphyry. Each of the four facades bear a Hadrianic roundel in purple porphyry. From this extend four pedestals, which each hold a statue representing a Dacian prisoner.

In between the arches and on the ends of the monument are four Corinthian columns of Numidian yellow marble, which each stand on a pedestal topped with an entablature.

There is a large central arch flanked by two shorter, narrower arches on each side.

The unmissable Arch of Constantine, standing roughly 21 metres tall and 25 metres wide is constructed of grey and white Proconnesian marble, and features three arches.

Arch of constantine tinkercad