Arch of Constantine
Ryerson School of Interior Design
September 27, 2013
IRH 110 Essay assignment: Literature review
Due November 13
Length is to be no more than 800 words, double-spaced, and submitted to turnitin. A hard copy will be submitted at the beginning of class on the due date.
But it is perhaps more likely that the column was erected in 329 or 330, in which case Nicagoras may be supposed to have arrived at Thebes nearer the date of his graffiti. History does not of course relate whether Constantine was pleased with the rather unusual column he finished up with. It rapidly came to be treated with great reverence -on the Tabula Peutingeriana, whose iconography probably reached its final form in the later fourth or earlier fifth century, it stands alongside the city's personification, a seated female figure, as Constantinople's visual symbol.60 But that was of course no judgement on its aesthetic merits. Such a judgement is implied, though, by Theodosius 1's decision not to follow his illustrious predecessor's example. When he in turn erected a monumental column in the new forum he provided for Constantinople, the Forum Tauri, he reverted to the well-tried formula established by Trajan: a marble column carved with reliefs celebrating his martial exploits, and containing a ~taircase.~'Only the Life of Elagabalus preserves a hint of real scorn for the porphyry column -and indeed for the statue, but here there is corroboration in the Byzantine sources.
The Arch of Constantine - WriteWork
Constantinewas the sort of person who habitually planned ahead. Eusebius remarks with reference to the construction of the Anastasis basilica at Jerusalem that 'this object he had indeed for some time kept in mind, and had foreseen, as if by the aid of a superior intelligence, that which was to come to pass'.45 The acquisition of the obelisks and the porphyry monolith was no less prestigious a project, that Constantine will already have had in mind before his conquest of the East in September 324. Indeed, he had been embellishing the Circus Maximus since 312,~~
Compare and contrast the arch of Titus and the arch of Constantine.
The relics and reliefs on the arch badly “sculptured victories in the spandrels of the central arch, the river-gods over the side arches, the medallions of the rising and setting sun at the ends, the Victories on the pedestals of the giallo columns, and the bands over the side arches, are all of Constantine's time, and show the miserably degraded state into which Roman art had sunk by the beginning of the 4th century AD.” The few reliefs made for the monument are recognizable for their hasty craftsmanship, stiff formality and lack of workmanship in antiquity while also considering that it is a arch that the road did not pass through.
Right next to the Colosseum in Rome stands the Arch of Constantine
The inconstant goddess, who so blindly distributes and resumes her favours, had now consented (such was the language of envious flattery) to resign her wings, to descend from her globe, and to fix her firm and immutable throne on the banks of the Tiber. A wiser Greek, who has composed, with a philosophic spirit, the memorable history of his own times, deprived his countrymen of this vain and delusive comfort by opening to their view the deep foundations of the greatness of Rome. The fidelity of the citizens to each other, and to t...
Constantine the Great had a huge impact on both the Roman ..
One can hardly imagine that several decades ago the concept of spolia did not yet indicate a field of widespread research in the history of architecture, art and archaeology. The title of this volume with 12 essays and a fascinating introduction, points to this change in research focus, since the value of reuse of objects and materials has not always been recognized. As the cover text indicates, modern society has a fascination for recycling and appropriation in which the idea of reuse seems to fit rather well. The field was opened up with the famous article published in 1969 by historian Arnold Esch, ‘Spolien. Zur Wiederverwendung antiker Baustücke und Skulpturen im mittelalterlichen Italien’, as Dale Kinney analyzes in her introduction to the present volume. Another impetus came several years later with Richard Brilliant’s article on sculptures in the Florentine Boboli Gardens. Since those days indeed a flow of publications, both articles and books, has been produced, addressing smaller and larger items in the field, and focusing both on objects and on the concept of what the word spolia may have meant. These publications have shown, as the essays in the present volume illustrate once again, that the field is much wider and much more varied than it may have seemed some 40 years ago, though on the other hand Esch had already described and analyzed many different forms and examples of spolia.