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mn large sculptures representing dacians can be seen which date from trajan above the central archway is the inscription forming the most prominent portion of the attic and is identical on both sides of the arch flanking the inscription on both sides are four pairs of relief panels above the minor archways eight in total 34 these were taken from an unknown monument erected in honour of marcus aurelius on the north side from left to right the panels depict the emperor s return to rome after the campaign adventus the emperor leaving the city and saluted by a personification of the via flaminia the emperor distributing money among the people largitio and the emperor interrogating a german prisoner on the south side from left to right are depicted a captured enemy chieftain led before the emperor a similar scene with other prisoners illustrated below the emperor speaking to the troops adlocutio and the emperor sacrificing a pig sheep and bull suovetaurilia together with three panels now in the capitoline museum the reliefs were probably taken from a triumphal monument commemorating marcus aurelius war against the marcomanni and the sarmatians from 169 175 which ended with marcus aurelius triumphant return in 176 on the largitio panel the figure of marcus aurelius son commodus has been eradicated following the latter s damnatio memoriae from the same time period the two large 3 m high panels decorating the attic on the east and west sides of the arch show scenes from trajan s dacian wars together with the two reliefs on the inside of the central archway these came from a large frieze celebrating the dacian victory the original place of this frieze was either the forum of trajan or the barracks of the emperor s horse guard on the caelius main section edit the general layout of the main façade is identical on both sides of the arch consisting of four columns on bases dividing the structure into a central arch and two lateral arches the latter being surmounted by two round reliefs over a horizontal frieze the four columns are of corinthian order made of numidian yellow marble giallo antico one of which has been transferred into the basilica di san giovanni in laterano and was replaced by a white marble column the columns stand on bases plinths or socles decorated on three sides the reliefs on the front show victoria either inscribing a shield or holding palm branches while those to the side show captured barbarians alone or with roman soldiers though constantinian they are modelled on those of the arch of septimius severus and the destroyed arcus novus f and may be considered as a standard item 35 some scholars have also argued from proportional analysis that the monument s overall geometry indicates a unified constantinian construction rather than an earlier full arch that was later rebuilt 11 detail of north plinth on second column from east see gallery viewed from east with victoria left prisoners right detail of western plinths see detail of left plinth in side bar round reliefs above right lateral archway from south over friezes plinths of columns on north side looking west see detail to right plinths north side looking east spandrel over main arch with victory the pairs of round reliefs above each lateral archway date to the times of emperor hadrian they display scenes of hunting and sacrificing north side left to right hunt of a boar sacrifice to apollo hunt of a lion sacrifice to hercules on the south side the left pair show the departure for the hunt see below and sacrifice to silvanus while those on the right illustrated on the right show the hunt of a bear and sacrifice to diana the head of the emperor originally hadrian has been reworked in all medallions on the north side into constantine in the hunting scenes and into licinius or constantius i in the sacrifice scenes on the south side vice versa the reliefs c 2 m in diameter were framed in porphyry this framing is only extant on the right side of the northern façade similar medallions of constantinian origin are located on the small sides of the arch the eastern side shows the sun rising on the western side the moon both are on chariots the spandrels of the main archway are decorated with reliefs depicting victory figures with trophies illustrated below those of the smaller archways show river gods column bases and spandrel reliefs are from the time of constantine constantinian frieze edit obsidio detail liberalitas detail the horizontal frieze below the round reliefs are the main parts from the time of constantine 5 running around the monument one strip above each lateral archway and including the west and east sides of the arch these historical reliefs depict scenes from the italian campaign of constantine against maxentius which was the reason for the construction of the monument modern scholarship has emphasized that these scenes projected constantine s ongoing identity as an armed ruler within rome koortbojian notes that the frieze contributes to a consistent imagery of the emperor s martial character 19 the frieze starts at the western side with the departure from milan profectio it continues on the southern face with the siege of verona obsidio on the left south west an event which was of great importance to the war in northern italy on the right south east is depicted the battle of the milvian bridge proelium with constantine s army victorious and the enemy drowning in the river tiber 5 on the eastern side constantine and his army enter rome ingressus the artist seems to have avoided using imagery of the triumph as constantine probably did not want to be shown triumphant over the eternal city koortbojian similarly argues that the constantinian frieze hardly conforms to that of a traditional triumph despite the inscription s reference to triumphi 19 on the northern face looking towards the city are two strips with the emperor s actions after taking possession of rome on the left north east is constantine speaking to the citizens on the roman forum oratio while to the right north west is the final panel with constantine distributing money to the people liberalitas 36 37 rose argues that if the spoliation of the frieze were to be acknowledged it would disrupt the proposed program of the arch that has been anchored in place since 1939 and that diocletianic imagery was pulled into the matrix along with spoliated reliefs of trajan hadrian and marcus aurelius all of which became part of a completely new monument celebrating constantine s decennalia 21 west profectio south west obsidio south east proelium east ingressus north east oratio north west liberalitas inner sides of the archways edit detail of two of the destroyed portrait busts in the central archway there is one large panel of trajan s dacian war on each wall inside the lateral archways are eight portraits busts two on each wall destroyed to such an extent that it is no longer possible to identify them inscriptions edit the main inscription on the attic would originally have been of bronze letters it can still be read easily only the recesses in which the letters occur and their attachment holes remain it reads thus identically on both sides with abbreviations completed in parentheses imp eratori caes ari fl avio constantino maximo p io f elici avgvsto s enatus p opulus q ue r omanus qvod instinctv divinitatis mentis magnitvdine cvm exercitv svo tam de tyranno qvam de omni eivs factione vno tempore ivstis rempvblicam vltvs est armis arcvm trivmphis insignem dicavit to imperator caesar flavius constantine the greatest pious blessed augustus because he inspired by the divine and by the greatness of his mind has delivered the state from the tyrant and all of his followers at the same time with his army and just force of arms the senate and roman people have dedicated this arch decorated with triumphs 5 the words instinctu divinitatis inspired by the divine have been greatly commented on they are usually read as sign of constantine s shifting religious affiliation 5 the christian tradition most notably lactantius and eusebius of caesarea relate the story of a vision of god to constantine during the campaign and that he was victorious in the sign of the cross at the milvian bridge the official documents esp coins still prominently display another sun god called sol invictus until 324 while constantine started to support the christian church from 312 on in this situation the vague wording of the inscription can be seen as the attempt to please all possible readers being deliberately ambiguous and acceptable to both pagans and christians as was customary the vanquished enemy is not mentioned by name but only referred to as the tyrant drawing on the notion of the rightful killing of a tyrannical ruler together with the image of the just war it serves as justification of constantine s civil war against maxentius two short inscriptions on the inside of the central archway transport a similar message constantine came not as conqueror but freed rome from occupation liberatori vrbis to the liberator of the city fvndatori qvietis to the founder of peace over each of the small archways inscriptions read votis x votis xx sic x sic xx they give a hint on the date of the arch solemn vows for the 10th anniversary for the 20th anniversary and as for the 10th so for the 20th anniversary both refer to constantine s decennalia i e the 10th anniversary of his reign counted from 306 which he celebrated in rome in the summer of 315 it can be assumed that the arch honouring his victory was inaugurated during his stay in the city works modeled on or inspired by the arch of constantine edit brandenburg gate 1770 potsdam prussia arc de triomphe du carrousel 1806 paris arcul de triumf 1922 bucharest marble arch 1828 london arcade du cinquantenaire 1905 brussels washington union station 1908 washington d c american museum of natural history east façade 1936 new york city bond university 1989 gold coast australia kedleston hall derbyshire england church of saint denis façade paris arch of triumph pyongyang north korea pitzhanger manor ealing london siegestor munich arch of constantine viewed from the colosseum looking south west to palatine hill see also edit aqua alexandrina roman aqueduct a landmark of rome italy arch of dolabella ancient roman arch a landmark of rome italy list of ancient monuments in rome list of roman triumphal arches notes edit by the senate and people s p q r according to the inscription though the emperor may have suggested see also a l frothingham who built the arch of constantine iii the attic american journal of archaeology vol 19 no 1 jan mar 1915 pp 1 12 constantine chose to date his accession to power from the time of his acclamation by the troops at york in england on 25 july 306 thus he chose to celebrate his decennalia in the year july 315 to july 316 3 deane 14 comments that gradara 15 published an excerpt from the diary of pietro bracci in 1732 in which bracci states that he carved new heads for seven of the dacian slaves surmounting the columns and a completely new statue for the eighth right of centre south side he also made new heads for the emperors and other figures on the reliefs between the slaves for which see conforto 17 however for the contrary view that the whole arch was constructed in the 4th century see pensabene panella 18 the controversy extends to a number of other public buildings attributed to constantine as hinted at by aurelius victor in de caesaribus 10 the arcus novus was erected by diocletian ca 314 on the via lata one of three triumphal arches on that road and was destroyed ca 1491 during reconstruction of santa maria in via lata the remains including the plinths are now in the boboli gardens in florence 35 citations edit watkin david 2011 a history of western architecture fifth edition london laurence king publishing p 87 sande siri 2012 the arch of constantine who saw what in birk stine poulsen birte eds patrons and viewers in late antiquity aarhus aarhus universitetsforlag p 277 isbn 978 87 7124 417 5 oclc 1109724820 ferris 2013 p 20 1 2 3 4 5 ferris 2013 p 7 1 2 3 4 5 6 aicher 2004 p 184 1 2 stephenson paul 2010 constantine roman emperor christian victor new york the overlook press p 151 barnes 1981 pp 44 47 ferris 2013 p 11 lanciani 1892 p 20 1 2 3 marlowe 2010 1 2 3 jones mark wilson 2000 03 01 genesis and mimesis the design of the arch of constantine in rome journal of the society of architectural historians 59 1 50 77 doi 10 2307 991562 issn 0037 9808 bredekamp lorenzinos de medici angriff 1 2 elsner 2000 deane 1921 p 91 gradara 1918 a lightning strike damages rome s ancient constantine arch associated press 2024 09 04 retrieved 2024 09 04 conforto 2001 pensabene panella 2001 1 2 3 koortbojian michael constantine s arch and his military image at rome crossing the pomerium 2020 123 168 via 10 2307 j ctvr69521 10 frothingham 1912 1 2 3 rose c brian june 2021 reconsidering the frieze on the arch of constantine journal of roman archaeology 34 1 175 210 doi 10 1017 s1047759421000015 issn 1047 7594 marlowe elizabeth june 2006 framing the sun the arch of constantine and the roman cityscape the art bulletin 88 2 223 242 doi 10 1080 00043079 2006 10786288 issn 0004 3079 1 2 3 kitzinger 1977 p 7 gibbon edward the decline and fall of the roman empire vol 1 new york alfred a knopf p 467 kitzinger 1977 p 29 1 2 kitzinger 1977 p 8 kitzinger 1977 pp 8 9 kitzinger 1977 pp 9 12 kitzinger 1977 pp 10 18 1 2 watkin david 2011 a history of western architecture london laurence king publishing p 88 kitzinger 1977 pp 5 6 9 19 ferris 2013 p 13 kitzinger 1977 pp 8 15 arch of constantine rome day 1 cite web cs1 maint url status link 1 2 ferris 2013 p 21 bandinelli torelli 1992 follo et al 2015 references edit aicher peter j 2004 rome alive a source guide to the ancient city wauconda ill bolchazy carducci isbn 978 0865164734 retrieved 19 october 2015 bandinelli ranuccio bianchi torelli mario 1992 l arte dell antichità classica volume 2 etruria roma in italian 2nd ed torino utet isbn 978 8877501950 retrieved 23 october 2015 barnes timothy d 1981 constantine and eusebius cambridge ma harvard university press isbn 978 0 674 16531 1 conforto maria letizia 2001 adriano e costantino le due fasi dell arco nella valle del colosseo in italian milan electa isbn 978 8843578399 retrieved 21 october 2015 deane sidney n ed january march 1921 archaeological news july december 1920 american journal of archaeology 25 1 83 109 jstor 497891 elsner jaś 2000 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 68 149 184 doi 10 1017 s0068246200003901 s2cid 192088697 ferris iain 2013 the arch of constantine inspired by the divine stroud amberley publishing limited isbn 978 1445635446 retrieved 25 october 2015 follo valentina harris beth zucker steven 2015 arch of constantine video art of the ancient mediterranean r...