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 attributes, the monument holds a definite symmetrical appearance, consisting of three openings with the middle opening being the center of focus, as it is the largest of the three.
As for the arch itself, it is made from pure marble with an evident repetition in components of four: from the columns, to the medallions, and also the Dacian statues on the attic of the monument, which were taken from the time of Trajan. As well, the rest of the arch is lavished with decorations of the original reliefs as well as the reliefs of other emperors from earlier monuments like Hadrian, Trajan, and Marcus Aurelius. In turn, the combinations of both old and new reliefs show the history of the Roman military campaign as well as the conflicting mixture of styles and traditions in Rome.
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When looking at the Arch from an Marxist approach, we can acknowledge its strategic placement in the city of Rome. In turn, we can read the reasoning in the placement of the monument when the theory of Marxism is understood as dealing with the struggle of the working class as well as the alienation of the ruling class. Being situated near the Colosseum and acting as a gate into the Palatine Hill, the Arch allows much public accessibility while the reliefs on the monument remind the public of the achievements and historical events in Rome.
However, what is most evident is the constant reminder of the Emperor’s authority, a manipulative message that is perhaps repeated through out the whole arch. In furthering this, the monument was a glorious by pass in commemorating Constantine for his victory over Maxentius, his rival. However, it is also through this Arch that the Roman army travels to enter into battle, as well as returning home in victory. Besides the formal structure of the arch, the reliefs decorated upon it also impose a great notion on the power of the state.
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.
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... second century emperors into his own arch also served to publicly affirm Constantine as their embodiment and legitimate successor " The eight rectangular reliefs in ... Forum of Trajan, as do the two large panel reliefs at one end of the arch and in the reveals of the central ... times for the two parts. The decorative elements on the monument are from different periods and are said to be. Spol ...
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 of the piece. However, despite the renewing of earlier monument figures, the reliefs on the Arch of Constantine no longer follow the same naturalistic styles but have become more abstract and formal. Losing the classicality of former monuments, the heads of individual figures are enlarged and stubbier, while their poses are more repetitive, and their carving is flatter.
Yet through out many of the reliefs, the message stays the same, showing the emperor has the sovereign, triumphant one, who dominates in each scene. Furthermore, it is the formalistic attributes of the shape and structure of the arch, as well as the Marxist approach in the mixed reliefs that shape the Arch of Constantine as an icon of imperial power. In addition, much of these aspects that shaped the Arch can be seen in many structures in our world today. As well, the way we read these images can be applied to our modern structures, discovering the hidden agendas and implications in the piece.
Likewise, facilities such as the White House or a courthouse can be seen with the same principles as icons of power and control as well as order. Other examples include the no longer existing World Trade Centers, which were the iconographical symbols of capitalism. As well, facilities like many schools and universities display the pride and control of the school staff through posters, banners. We are sometimes reminded of the achievements and respective position of the school as we enter its front doors.
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Similar to the Arch, these structures literally influenced the public, as people are bound to come in contact with them, walk pass them or even through them. Even sport arenas can be seen in the same light, as many stadiums display their historical success and victories or even legendary leaders. It is clear that the usage of formalistic structure and iconographical imagery, in the light of Marxism, is still relevant today. From propaganda, to commercial advertisements, to authoritative visuals, we are confronted in equally similar ways everyday.
