The Arch Of Constantine – A Synthesis Of Roman Political Systems
Embroiled in numerous political reforms and battles, even contributing to paradigm shifts in Roman religion, Constantine's reign is undoubtedly one of the most complicated periods in Roman art history. Built in 312-315AD, the Arch of Constantine is a key monument of Constantine's reign, characterized by strange contradictions that reflect the period. Strong (1976, 277) believed that “The confidence in the new order of the Tetrarchs was past; Constantine's attitude, like that of so many of his predecessors, combined strong conservatism with an attempt to found his own new order, and the Arch of Constantine is its embodiment”. Building upon that, my essay focuses on the arch exhibiting a synthesis of Roman political systems, specifically during the Diocletian-Constantine era.
The arch stands approximately 21 meters tall, 26 meters wide, and 7 meters deep. Such monumental arches were one of the most identifiable features of Roman architectural inventions, erected in honor of victorious generals, who would lead his army in procession through Porta Triumphalis, signifying the Roman Imperial power. Purposefully erected near other important monuments such as the Colosseum, the Roman Forum and Palatine Hill, it commemorated Constantine's victory over Maxentius in the Battle of Milvian Bridge and the tenth anniversary of his reign Constantine's rule as a Tetrarch to Sole Emperor is reflected in the composition of the Constantine friezes, Oratio and Donatio. In both, Constantine is seen elevated- by the Rostra or throne, and as a centralized dominating figure. Furthermore, Constantine is represented with a strong frontality, breaking the narrative continuity of the surrounding Roman citizens. This distinction shows his central position in the state via depicting the sole Emperor as the apex of the triangular composition that represents the state hierarchy.
However, he is framed by perfectly symmetrical rows of citizens and architectural settings on both sides alluding to the qualities of the tetrarch empire constituted by Diocletian. The balance and symmetry of the friezes echoes the imperial concordia and suprepersonal symmetry of the twin powers in the East and West of Rome, made up of four emperors. The lack of a depiction of four emperors portray Constantine's reign as single emperor; but the treatment of the forms also show his participation in the tetrarchy- the roman citizens are depicted like equal units with uniform stylized representation, embracing the perfect similitudo and equalness of the divine tetrarchs.
The arch is also a subtle record of the shift in religion, from Pagan to Christianity in Roman politics. Constantine was known to demonstrate religious tolerance for both Pagans and Christians and eventually issued the Edict of Milan. Before the battle at Milvio, Constantine reportedly saw sun-rays change into a cross, with "Christ" appearing in a dream that night. For a while, Constantine viewed the occurrence as a manifestation of Victory and Apollo. Pagan deities are scattered throughout the arch- Victories on the Voussoir, the sacrifice to Sylvanus, Diana, Apollo and Hercules in the four Hadrian roundels describing Hunts. The arch itself can also be seen as a frame for the sun, symbolizing Sol Invictus. However, the arch is also laced with hidden Christian inferences. The dedication inscription in the attic specifically uses "divinitas", instead of more customary "deorum". This choice of imprecise terminology, is interpreted as a code to Christian monotheism. It can even later be referenced to the Edict of Milan, whereby Constantine uses "divinitatis reverentia" and "quicquid divinitatis in sede caelestri" to represent Christ.
The story of Constantine in the friezes can also be used as a parallel to that of Christ. In conclusion, the arch can be read as a double-entendre, encapsulating the political dualities during Constantine's reign- Tetrarch and Imperator, Paganism and Christianity. The time of tetrarchy is observed through not only the symmetrical and orderly style of the Constantian friezes that mirror the symmetrical political tetrarch system, but also through some of the older spolia whereby facial features of past emperors were altered into portraits of Constantine and Licinius (who was co-regent). Though the arch is pagan in artistic style and theme, the dedicatory inscription, is carefully worded to vaguely signal Christian monotheism; a fusion of state and Church. Truthfully, the arch's use of spolia from earlier emperors can be further analyzed- The classical style of the older reliefs in contrast to the mechanical Constantian ones reflect the transition from Principate state to Dominate.
