Arch Of Constantine Analysis

The Arch of Constantine has stood as one of the triumphal symbols in Rome, along with the Triumphal Arch, and the Arch of Titus. It was in 313 A.D, when Emperor Constantine the Great established what is known as the largest arch in Rome, situated near the Colosseum. Through the structure, the reliefs, and the mixture of historic scriptural decoration, the Arch of Constantine communicates a manipulative message of Imperial power. In addition, it is in the Formalist approach: consisting of line, shape and other various features, as well as the Marxist approach: which deals with the manipulation of art by the ruling class and conveying of social messages, that we can witness this message of Roman imperialism. Firstly, in its formalistic
Reliefs all around the Arch display a record of military campaigns, conquest and Constantine’s personal qualities. Many of the reliefs are even reused from monuments of earlier emperors, such as the two-framed panels on the attic, originally found on a monument of emperor Marcus Aurelius. Another example is the Dacian statues situated in between the framed panels, while they were originally from a Trajanic monument. These reused imagery were all chosen to demonstrate the success and the official military role of the emperor. By doing so, Constantine hoped to gain some of the same honour and recognition as the earlier emperors did. In addition, the Arch consists of “Victories”, who are statues of powerful women with wings. Their symbolism is likewise to their name, suggesting to the viewer of Rome’s great success in battles won. In this way, Constantine uses these well-recognized, iconographical figures to interpret ideas to the people of Rome. However, besides the message of conquest, two longer panels are found under the medallions on both sides, illustrating the emperor’s influence on the people. The first panel, known as oratio, shows Constantine giving a public speech in the Roman Forum, suggesting leadership and guidance in the emperor. Within this panel, great emphasis is used to lead the viewer’s focus on none other than Constantine, as heads of Romans are generally turned to face the speaker. The second panel, called donatio, displays the emperor distributing money to the public, also showing the emperor’s influence on the people, and even his ability to provide for Rome at his own expense. In furthering these two panels, it is intriguing to find that the head of Constantine is missing in both pieces. This is due to the fact that his head was made of a different, perhaps finer marble and after time, has disconnected with the rest