Memorial and triumphal structures of ancient rome. Arc de Triomphe of Constantine in Rome: description, history and interesting facts

Triumphal arches and columns. The most common were the triumphal arches, erected already in the republican period, but became especially popular in the imperial era. By the IV century. AD in Italy and the provinces, there were more than 350 arches. The arches were given the most varied meanings - political, memorial, religious, triumphant. They were erected in honor of emperors, statesmen, or even private individuals; in cities and in border areas - as a sign of their subordination to Rome, as well as on the occasion of the construction or reconstruction of a road or bridge, at the entrance to a forum or stadium, to a circus, to a port, etc. The Roman arch served as a passage and passageway, and also as a pedestal for a statue, sculptural group, or quadriga. In the few surviving monuments, these crowning parts were lost many centuries ago, so our understanding of Roman arches is incomplete. The arch consisted of two or more pylons, covered with one or more vaults, and ended with an attic, in the field of which a dedicatory inscription was placed. The Roman arch was formed by the middle of the 1st century. BC. Its composition was influenced by the city gates and arches of Hellenism.

The earliest arches were wooden. From sources it is known about the existence of single-span triumphal arches with gilded bronze statues, which at the beginning of the II century. BC. were delivered at the Roman and Bull market of the capital on the occasion of the victorious end of the campaign to Spain. A similar arch in 133 BC was erected in Rome in honor of the tribune Tiberius Gracchus, who died in the struggle for the rights of the people. In early structures, along with vaulted, flat roofs were also found. V Arch of Augustus at the Roman Forum(29 BC) the central vaulted span was flanked by lateral rectangular spans (Fig. 135).

Among the arches that have come down to us, one of the most ancient - arch in Arimina(modern. Rimini), 27 BC, built to commemorate the reconstruction of the militarily important Flaminia road (Fig. 136). At the entrance to Rome, it was matched by an arch on the Mulvia bridge, through which the road entered the capital. Due to the relatively shallow depth of the vault, the arch at Arimina, enclosed between two fortress towers, in its proportions resembled an architecturally designed opening in the wall and was still very close in type to the city gates, from which it was rebuilt. The arch span (9 m in size) is framed by a portico of Corinthian semi-columns with loosened parts of the entablature above them and a low pediment between them. The architrave, which is west relative to the half-columns, covers the extended wedges of the arch and includes a sculptural decoration of the keystone, which corresponds to the relief medallions in the corners of the tympanum above the profiled archivolt. A low attic with an inscription, apparently, towered over the middle part, like the pediment, accentuating only the arched span. Thus, the design and decor of the arch in Rimini did not agree well with each other and, on the whole, gave the impression of a wall cut through the opening, on which an architectural decoration was superimposed.

Arch of Augustus in Aosta(ancient Augusta Pretoria), built in 25 BC. e. in honor of the founding of a new colony city by the emperor, it had already stood out from the line of the city walls and was an isolated volume with corners accentuated by columns and one deep vaulted passage 8.86 m wide (Fig. 137). The interior of the arch was decorated with murals. Unlike the previous one, this arch was no longer thought of as an opening in the wall, but as a monumental passage formed by pylons and a vault, i.e. the tectonics of the wall has been replaced here by tectonics resulting from the peculiarities of the new type of structure. The order also took on a different meaning. By visually highlighting the structures bearing pylons from the total mass, which simultaneously limited the span and supported the upper parts of the building, the order thereby revealed both functions of the arch - the front passage and the pedestal of the sculptural group. This was an important achievement that later determined the main features of the monumental Roman arches.

At the same time, some architectural articulations here are still of different scales and poorly coordinated with each other: the pilasters of the archivolt are excessively small in comparison with the Corinthian half-columns, and the length of the middle part of the Doric entablature protruding above the archivolt of the arch emphasizes the weakness of the parts of the entablature above the corner half-columns. The proportions of the arch in Augusta Pretoria are somewhat heavy, as a result of which it retains the resemblance to the city gate.

Already by the end of the 1st century. BC. triumphal arches acquired harmony of proportions. This is especially different Arch of Augustus in Seguzion(modern. Susa, Liguria, 7 BC), erected by the inhabitants of the city in memory of their way through the Alps (Fig. 138). This arch finally took the form of an independent structure, no longer resembling a gate in the fortress wall. Its volume is more developed - the depth of the span is equal to its width. The three-dimensionality of the arch is emphasized by three-quarter columns at its corners and by a strong horizontal entablature, devoid of braces, which bypasses the structure on top. The smooth surface of the pylons and the flat framing of the span, in which the archivolt smoothly turns into pilasters without imposts, interrupted only by their capitals, give the structure a rare integrity. Architectural means are used here extremely laconically, the decor is reduced to a relief ribbon of a frieze. From other arches of the 1st century. BC. the arch in Seguzion is distinguished by the clarity of forms and the harmony of the whole.

The further development of the Roman arch allows us to trace Arch of Sergius in the Field(fig. 139). It was installed, apparently, in the 1st third of the 1st century. a private person - the noble city dweller Salvia Postuma - in honor of her three dead brothers and had a pronounced memorial character. The slenderness and tectonicity of the arch in Seguzion are preserved here, but the composition is complicated by the introduction of two Corinthian half-columns on the facade. Together with the corner ones, they made up pairs of closely shifted semi-columns on the sides of the span. Placing pairs of semi-columns on separate plinths entailed unfastening the corresponding parts of the entablature and attic. In the center, the attic is also loosened, forming, as in its lateral parts, pedestals for the now-lost statues of the three Sergius. Thus, the facades of the arch received a dynamic solution, forming two spatial plans, enlivened by the play of chiaroscuro. The second plan is decorated with figures of flying geniuses that first appeared on the arch in the corners of the tympanum and inscriptions in the sunken planes of the attic. The surfaces of the pilasters and vaults are covered with a delicate weaving of floral ornamentation, the small pattern of which picturesquely sets off large architectural forms. All divisions of the arch are well coordinated with each other, forming a single architectural organism.

140. Rome. Arch of Titus, 81 AD Order, general view

This type of structure reached its classical completion by the end of the 1st century. in a triumphant Arch of Titus dedicated to the victory in the Jewish War of 70. Erected in 81 at the highest point of the Sacred Road and clearly visible, the arch has monumental design of the solemn entry of the triumphal processions to the Roman Forum and further to the Capitoline Temple (Fig. 140, 141). Its facades repeated in general outline the composition of the arch in Augusta Pretoria, the opening of the entablature above the span and above the corner columns. But those elements that were discordant with each other in the arch of Titus are harmonious, thanks to the successful proportions. In this respect, the extremes of the earlier arches are overcome here - the too squat arch in August Pretoria and the emphatically slender arch in Paul. The proportions close to the square gave the Arch of Titus a calm stability. This impression is reinforced by the clearly perceived division of the facades into three mutually balanced horizontal (basement, middle part and attic) and vertical (span and pylons with the corresponding parts of the entablature and attic) zones. At the same time, a slight predominance of vertical articulations expresses the elasticity of the bearing forces of the arch - the pedestal under the emperor's quadriga.

Equally harmonious is the relationship between smooth surfaces and decor. In the Arch of Titus, the compositional and semantic centers of the structure coincide. The sculptural decor revealing the purpose of the arch is concentrated in its passage and in the central field of the facade, where it is shaded by the smooth planes of the pylons and lateral divisions of the attic. The width of the archway is accentuated by narrow blind windows on its sides (behind one of them, inside the pylon, there is a staircase leading to the attic). More than one triumphal procession proceeded through the Arch of Titus. At a distance that concealed details, the arch appeared in the stately integrity of its outwardly simple volume, which lifted the statue of the emperor on a chariot. As they approached, the words of the dedicatory inscription on the attic, and then the frieze with scenes of sacrifice to the gods in gratitude for the victory, became distinguishable. The archway was flanked by a heavily profiled archivolt with a carved volute on the keystone, decorated with the figure of Fortune. Flying victorias in tympans were overshadowed by the banners of the winners entering the arch. Inside the passage, on the relief of the right pylon, the chariot of the triumphant Titus, surrounded by lictors and guided by the goddess Roma, moved parallel to the running ones. On the left relief, Roman soldiers were leading the captives and carrying trophies taken from the Jerusalem Temple - an altar with trumpets and a sacred seven-branched candlestick. All the reliefs were made with great skill and were distinguished by the richness of forms and the subtlety of their processing.

The arch was also of a memorial nature: in the middle of its caisson vault there was an image of the genius of the deified emperor, ascended to heaven by the eagle of Jupiter. Inside the attic, it is believed, was an urn with the ashes of Titus, to which a staircase in a pylon led.

Arch of Titus is classic in the organic unity of functions, architecture and decor achieved in it, in the impeccable sense of proportion, which manifested itself in the composition of facades and reliefs, and in the laconicism of architectural and decorative means. In the Arch of Titus, a composite order was used for the first time.

Titus' successor Domitian built many arches, but they were all destroyed after his death. Arches of the beginning of the 2nd century AD follow the type established by the Arch of Titus. During the reign of Trajan in Ancona, the lighthouse and pier were reconstructed, supported by arcades facing the sea. At the end of work in 115, the port was decorated arch in honor of Trajan and his family (fig. 142). By the noble simplicity of its appearance, it is close to the Arch of Titus, but its proportions are greatly lengthened: the ratio of the span to its height is 3.25x8.2 m. The height of the arch is due to its comparison with a long breakwater, on which a low structure could get lost. The impression of elongation was reinforced by the sharply marked vertical lines of the order, which were continued by the ripping not only of the attic, but also of the base. The loosened parts of the attic served as pedestals for the statues that crowned the arch. The modesty of the decor - profiled panels and bronze garlands - corresponded to the business character of the port buildings. The Trajan's Arch gave the port an architectural completeness.

Another architectural image of arches of Trajan in Benevent(114-115), erected in honor of the construction of the Rome-Brindisi road (Fig. 143). Its facades, entirely covered with marble high-reliefs, resurrect an abundance of sculptural decor from the Flavian era. On the side of the arch facing the city, the reliefs tell about the creative activity of the emperor, and on the outside - about his conquests. Compared to the Arch of Titus, the balance between architecture and decor is disturbed in favor of the latter, which has led to a different kind of expressiveness. The pylons, in the Arch of Titus, are smooth, here they are also broken horizontally - by sculptural stripes of two different scales, and in depth - between the strongly protruding front figures there is a second row of figures, and behind them is the plane of the wall. The versatility of the facade surface is revealed by the chiaroscuro, outlining the figures on the reliefs. The thick shadows from the cornices contrasted with the illuminated semi-columns and the attic ledges, giving the arch a picturesqueness. But such a solution to the facades of the arch visually created a deceptive impression of the constructive weakness of the structure. The bearing pylons, shattered by the reliefs, are perceived as filling between the order divisions, forming a fragile frame, which at the top is weighed down by heavy ledges of the cornice and attic. The lack of a sense of proportion in the use of decor manifested itself in later arches.

By the III century. the complicated shape of the arch developed. Instead of single-span arches, three-span arches began to be built, in which the central opening usually exceeded the side ones. The columns that used to adjoin the façade separated from the arch and began to be placed in front of the pylons on separate pedestals. Accordingly, the erection of the crowning parts of the order has intensified. The earliest three-span arch in Italy was the unpreserved Arch of Augustus in the Roman Forum. In the development of the type of three-span arch, the architects of the provinces - Gaul and North Africa - played a significant role.

The oldest surviving three-span arch built at the beginning of the empire in Arausio(fig. 144). It bears a resemblance to the single-span arches of the same time: in the design of the main facade, a pediment was used, as in the arches of Arimina and Verona. The very beginning of the development of the type of a three-span arch is also indicated by the fact that in it the architects still do not follow the rule obligatory for later arches: the level of the imposts of the middle aisle should lie above the archivolt castle of the side vaults. The forms are not yet balanced, the attic is excessively heavy, the divisions of the facade are too fractional, and the decor is extremely abundant (a feature characteristic of the Gallic art of this time). The high attic of the arch, divided into two tiers, forms three pedestals for sculptural groups. An unusual interpretation of the entablature of the lateral facades of the arch. The entablature, loosened over the middle semi-columns, is bent in the form of an arch - a technique very common in East Roman architecture.

Within Italy, only three-span arches of the last two centuries of the empire have survived.

In 203 in Rome at the foot of the Capitol was erected a marble triumphal arch of Septimius Severus dedicated to the victories of the emperor in Mesopotamia. Its great height - 23 m was partly determined by its setting in the lower part of the forum. The arch was crowned: in the center - the figures of the North and his sons Geta and Caracalla in a chariot with six horses, and in the corners - four horse groups. The peculiarity of the arch was made by the internal openings in the middle pylons. The composition of the facade is not entirely successful. Compared to the flat attic filled with reliefs, the façade seems overloaded. Its middle link is solved especially non-tectonically. On the pedestals lined with bas-reliefs, the columns of the composite order look devoid of support, and at the top they do not find completion, since the attic, which is entirely occupied by the inscription, is not loosened in the center. The reliefs of the arches are of poor quality, with too small figures.

Almost all of these shortcomings have been overcome in arch of Constantine, built in 315 between the Colosseum and the Palatine (Fig. 145-147). This triumphal arch in honor of the victory of Constantine over Maxentius reached a height of 20.35 m and was assembled from ready-made fragments removed from structures of the late 1st - early 2nd centuries, which is very typical for the construction of the late empire. The reliefs of the middle span, medallions with scenes of hunting and sacrifice, and eight barbarian statues in the attic were transferred from the Trajan's Arch at the Capen Gate. Only low-quality friezes over small spans, reliefs of plinths and medallions of short lateral facades of the arch are simultaneous with the construction. Despite the "prefabrication" and some disproportionality of individual details, the Arch of Constantine has great architectural merits. It is clearly organized: Corinthian columns, continued by the racking of the crowning parts of the arch and statues, divide the entire facade into three unequal links. The principle of symmetry is consistently carried out in the composition of the arch as a whole and in its individual parts: the side links are symmetrical to the middle one, and the details are located symmetrically to the main axis of each link, which is highlighted by the arch keystone and the vertical attic. Such a clear distribution of the individual elements gives the whole a calm poise. The strong verticals of the columns and rivets passing over the horizontal articulations of the arch unite all parts of the facade into one integral volume, the organic nature of which is especially evident when compared with the arch of Septimius Severus. At the same time, the protrusions of these verticals, rhythmically alternating with the depressions of the facade, make the volume of the arch plastic. The yellow marble of the order in combination with the porphyry background of the cladding revived the structure, giving it a major color, which is not characteristic of most arches.

To accentuate the central part of the structure, the opposite method was used in comparison with the Titus arch. The sculptural decor is concentrated not in the center, but along the edges of the facade, therefore, the wide, even field of the middle division of the attic with a dedicatory inscription stands out in contrast to its lateral parts, which are crushed by embossed inserts. The high quality of most of the reliefs with scenes of battle and triumph is consonant with the skill of composition, which makes the Arch of Constantine the best of the arches of the late empire.

In addition to one- and three-span arches, as well as more rare two-span arches, which were sometimes erected in the form of propylae at the entrance to the circus, on a bridge, etc., there was also an interesting type of four-pillar arches - tetrapils. Tetrapils were usually erected at the crossroads of streets and had equal facades.

Arch in the Bull Market, built in the IV century. AD and known under the erroneous name of the Arch of Janus, it is one of the few surviving ones (Fig. 148). Four massive, partially hollow pylons with rooms inside were covered with a cruciform vault, lightened by amphorae, and were crowned with a pyramid. The appearance of the arch was unusual due to the lack of braces and columns. The identical treatment of equal-sized facades and attic with rows of decorative niches emphasized the cubic shape of the building and its centricity. The semicircular ends of the niches, processed in the form of shells, were surrounded by profiled archivolts and framed with thin columns. Three tiers of columns formed a transparent mesh overlaid on the facades. The graceful forms of the columns, juxtaposed with elegant niches, contrasts of light and shadow, sun glare on the white marble surface of the facades made the volume of the arch light and refined.

The arches survived in many provincial cities of the empire, especially in Africa. The provincial architects who erected the arches interpreted Roman principles in their own way. This is well illustrated by the Arch of Hadrian in Athens, erected in 120 AD. on the border of the old and the new city (Fig. 149) and decorated the entrance to Olympieon. Being both a memorial arch and a gate included in the fence, it is very different in its appearance from most Roman arches. Instead of a massive attic, it is crowned by a light colonnade with a double-sided aedicula in the center. The slightly larger width of the lower part gives the impression of stability of the structure, without depriving it of its lightness and slenderness. At the same time, the excessive width of the passage (6.1 m) and the fact that the archivolt cuts into the architrave show that it was difficult for Greek architects to penetrate the logic of Roman design solutions. Hadrian's Arch features a Greek reworking of a Roman architectural theme; it fits very well into the surrounding cityscape, which would not be matched by an ordinary Roman arch, too heavy for the architecture of Athens.

The type of three-span triumphal arch was very common in the provinces. Such were the arches of the 2nd century. - in Palmyra at the turn of the road (Syria, Fig. 150), Antinous (Egypt), Timgad and Sbeitla (North Africa). Of particular interest is the three-span arch at Timgad (Fig. 151), usually called Trajan's arch, although it was built somewhat later. Here you can clearly see how the design of the corners of the three-span arches has changed. In the earliest arches (in Arausio), the corner is decorated with a three-quarter column, in Timgad it was replaced by a pilaster, and in later arches (the arches of Septimius Severus and Constantine in Rome), the decoration of the corner is absent. The four Corinthian columns on the facade of the arch are no longer directly connected to the pylon. The opening of the entablature of the arch in Timgad and two segmental pediments connecting the columns in pairs gave the impression that they frame more of the side aisles than the central one. The niches with statues above the small aisles were framed by columns supported by consoles. The peculiarity of the arch in Timgad lies in the accentuation of the lateral parts of the facade. Their plastic design is in contrast to the flat, recessed central part of the arch.

In addition to arches, columns also served as triumphal structures, the best example of which was Trajan's triumphal column on his forum and repeated it later Column of Marcus Aurelius in Rome(fig. 152).

Trophies... These monumental monuments were erected by the Romans as a sign of victory in the conquered countries or on their borders, glorifying the victorious Roman weapons and reminding the conquered peoples of the power of the conquerors. In terms of architectural composition, they are extremely close to tumulus-type mausoleums. Some of the trophies were very similar to high-rise mausoleums. This is the trophy of Augustus in Turbi, erected in 7-6 years. BC. emperor after his conquest of the Alps. It was a slender tower-type building: on a low plinth there was a square-section volume with a side of 32.5 m, on which a cylinder 21 m in diameter, cut by niches and surrounded by 24 columns, rested. Above the conical roof towered a bronze statue of Augustus the conqueror with the figures of shackled barbarians at his feet (Fig. 153). Inside there was a row of stairs to climb to the upper tier.

154. Adamklissi (Dacia). Trajan's Trophy, AD 109 Details of the embossed frieze; reconstruction

Others in their image are closer to the classic mausoleums of the 1st-2nd centuries. AD Trajan's trophy at Adamklissi, built in AD 109, belonged to this category. after the victory over the Dacians who lived along the Danube, on the territory of modern Romania (Fig. 154). The mighty ring of its walls (27 m in diameter) was surrounded by a belt of metopes of an enlarged scale. According to F. Bobu-Florescu's hypothesis (F. Bobu-Florescu. Monumentul de la Adamclissi Tropaeum, Bucuresti, 1961), it took place in the middle strip of the wall. His reliefs in six battle scenes, composed of nine metopes each, eloquently revealed the brutal history of the enslavement of Dacia by the Romans. The stone-tiled roof had a scaly surface. Its smooth ascent (at an angle of 45 °) brought the gaze to a two-tiered hexagonal pedestal, on which, at the foot of the formidable trophy, sculpted figures of captured Dacians froze in painful poses. The monument in Adamklissi, dedicated to Mars the Avenger, reached 32 m in height and was clearly visible from afar. It was surrounded by wide steps that invited spectators - most of them conquered, but not humbled Dacians - to consider at close range the reliefs of the frieze, which showed the inexorable strength of the invaders. The trophy in Adamklissi, which in the full sense of the word was a monument of monumental propaganda, was placed for better viewing in an open place.

One of the most recognizable arches in Rome is the Triumphal Arch of Emperor Constantine. It attracts with its grandeur, grace of bas-reliefs and massiveness, as well as its advantageous location - near the Colosseum.

What does an arch look like?

This is a three-span gate, twenty-one meters high and twenty-five wide. Corinthian columns are used to decorate them, and captives are depicted above them. The columns seem to divide the arch into three sections, each richly covered with bas-reliefs. They show stories from Roman history and religion. The building was erected in honor of the victory over Maxentius. The battle took place at the Milvian Bridge in 312. It was this battle that pushed Constantine to Christianity, and therefore established a new religious order in Europe.

On the attic there are eight bas-reliefs taken from the monument to Marcus Aurelius. It is not known for certain from which one. Above each column is a dac, they were taken from Trajan's Basilica. Bas-reliefs were removed from the same basilica to decorate the sides of the arch. The eight columns on either side of the arch are made of yellow Numidian marble.

Scientists all cannot agree on what exactly the bas-reliefs want to show us. However, it is believed that earlier the bas-reliefs on the sides formed a single picture on the forum at Trajan or Theodoric. They are made of white Pentelikon marble with barely visible golden veins.

Arch history

Its construction began in the same year, 312, and ended three years later. The Senate ordered the construction. The Arc de Triomphe was completed by the day of the tenth anniversary of Constantine's reign - 25 July. There is an assumption that earlier the arch was also decorated with a quadriga, which disappeared after the invasion of the Visigoths in 410. Due to the wide spread of times in the bas-reliefs, it is possible to trace the development of architectural thought over several centuries. This is a real museum of Roman art. Also, the arch is of particular value because it is the last ancient building before Christianity was declared the official religion in the whole country.

Interesting facts

1. Many of the bas-reliefs have been removed from other structures at an earlier date. Compositions made in the fourth century do not look very favorably against the background of earlier works and even in some way testify to the decay of architecture. They kind of create a feeling of arrogance.
2. Also, the bas-reliefs from different buildings can be explained by the fact that the workers were put in a very prisoner time frame - to build such a grandiose arch in just three years.
3. The marathon participants finished near her at the 1960 Olympics.
4. When construction began on the metro station in 2007, the treasures of Emperor Maxentius were found in the Palatine Hill. Apparently he hid them before the battle.
5. The decor involves details of the reigns of the emperors Trajan, Hadrian, and also Marcus Aurelius, which was symbolic - so Constantine also seemed to become a “good emperor”.

How to get there?

It will not be difficult to find the Triumphal Arch of Constantine in Rome, it is located on Via di San Gregorio, just between the Colosseum and

Arch of Constantine Is the largest surviving Roman triumphal arch. It has come down to us almost in its original state, with the exception of the metal parts, in particular, the four-meter quadriga at the top. The history of the arch, as well as the deeds of Emperor Constantine in Rome and beyond, continue to cause controversy to this day.

In addition to arches, temples, sanctuaries, and civil buildings were built along or near the path of the triumphal procession in honor of the victory.

In order to understand for what purpose the Romans built triumphal arches, you need to understand what the triumphal procession was.

Arch north facade

Triumphal processions in Rome

Triumph was a ritual ceremonial procession with which the Senate awarded the Roman military leaders. This was a tradition that took shape in the 4th century BC. to demonstrate power and glorify the emperor.

Originally the triumph was a procession carrying the broken weapon of a defeated foe. According to the Roman historian Lucius Anneus Florus (c. 70 - 140), before the victory of Manius Curius Dentatus over the king of Epirus Pyrrhus in 275 BC. the triumphal processions were not so spectacular: "until that time, the only prey that could be seen were the Volcinian cattle, herds of the Sabines, the Gauls carts and the broken weapons of the Samnites" (Flor, 1.13.26). After defeating Pyrrhus in triumphal processions one could see "Molosians, Thessalonians, Macedonians, Bruttians, Apulians and Lucans ... statues of gold and charming Tarentian painted panels" (Flor, 1.13.27). The more Rome conquered lands, the more money, metals, jewelry, weapons, statues, paintings, rare trees, animals and captives, its generals ("triumphants") brought to the city.

According to the historian Titus Livy, there was no more honorable triumph for a Roman. In order for a military leader to be awarded a triumph, he had to meet all criteria:

- to hold a certain position (dictator, consul, proconsul, praetor or propraetor);
- smash a foreign enemy of equal status, killing at least 5,000 people (rebellious slaves, for example, were not considered an "equal enemy");
- to be proclaimed emperor by his soldiers;
- to return the army home (i.e. complete the war to the end);
- to obtain approval from the Senate to conduct a triumphal procession.

Due to the high demands, the triumph was very rare and prestigious award... Before the Punic Wars (264 - 146 BC), there were rarely more than one triumph per year. During the expansion of the empire, triumphs were held more often, for example, from 200 to 170 BC. 35 triumphal processions took place.

Approximate path of the triumphal procession in Rome

The triumphant was allowed distribute captured booty between the state, army, generals and yourself at your own discretion. Of his share, each commander, first of all, sacrificed part of the captured to Jupiter Optimus Maxim, since going to war usually promised him this in exchange for support. Further, from his own part of the booty, the triumphant could organize special games.

The ritual nature of the triumphal procession assumed that the order of the procession was strictly defined (at least during the Republican period). At the head of each procession were senators and other high-ranking Romans, then musicians walked, then they carried the booty, led the animals intended to be sacrificed on the altar of Jupiter Optimus Maximus. The prisoners were led before the army, which led by the triumphant... If in the war someone from the family of the ruler of the conquered people was captured, then he was led right in front of the triumphant, riding in a quadriga. Behind him stood a slave who was supposed to hold a laurel wreath over his head and whisper “respice post te! Hominem te memento! " ("Look back! Remember that you are human!").

Triumphal processions never did not follow the same path, because, firstly, the city was constantly rebuilt, and secondly, each military leader visited the altars and temples associated with the history of his family.

Arch south facade

Arch history and questions

After Constantine ended the civil war and went to Rome with his army, the Roman Senate ordered the construction of a triumphal arch in his honor. As it is written on it, it was dedicated simultaneously to the tenth anniversary of the imperial reign of Constantine and his victory over the then emperor Maxentius in the battle at the Mulvian bridge, which happened 28 312 years. The official opening of this triumphal arch took place on 25,315 years. In the same year, Rome hosted Decennalia - sports games that were held in honor of the gods once every ten years of the emperor's reign.

The arch is 25.7 meters wide, 21 meters high and 7.4 meters deep. It was built from used pro-Connesian marble (modern Turkish island of Marmara).

Since the arch consists from parts of different periods, the history of its construction causes a lot of controversy. Many scholars believe that it was the triumphal arch of Hadrian, which was partially rebuilt under Constantine.

Others are of the opinion that the arch was built, or at least began to build, under Maxentius(306 - 312). This emperor was distinguished by the fact that, unlike his predecessors, he focused not on the protection of borders, but on the restoration of the city, for which he even earned the epithet "conservator urbis suae" ("keeper of his city"). Constantine, among other things, was perceived as the man who overthrew one of the greatest benefactors of Rome, because of which he had to issue a decree on the “damnatio memoriae” of Maxentius, and erase his name from all monuments. Therefore, there is a possibility that initially it was not a triumphal arch of Constantine, but of Maxentius, defeated by him.

In the Middle Ages, the Arch of Constantine was turned into strengthening for one of the wealthy Roman families (the same fate befell, for example, and). The first restoration work took place here in the 18th century, and the last archaeological excavations took place in the late 1990s. During the 1960 Summer Olympics, the Arch of Constantine served as the finish line in running competitions.

View of the Arch of Constantine from the second level of the Colosseum

Choosing a location for the Arch of Constantine

Triumphal arches in Rome usually stood along the path of a triumphal procession. Before the architects Constantine stood not an easy task: they had to put an arch in the place where the road (now called "Triumphal Road") entered Flavius ​​Square, and at the same time, due to the asymmetry, they had to choose between the orientation of the arch along the road or along the square. Difficulties were added by the fact that at the intersection there was already a fountain of Meta Sudans, which had nothing to do with military victories and with its appearance could destroy the symbolic content of the future arch. Architects found extraordinary elegant solution all these topographic problems. They chose a place not on the road itself, but somewhat to the north, which made the arch appear on the square. Thanks to this, they got rid of the need to place the central arch span over the road and moved it two meters to the east. This was not very noticeable to contemporaries, but because of this shift, the architects were able to ensure that the high cone of the Meta Sudans fountain was almost completely hidden behind the second support of the arch. In addition, thanks to this shift, a giant bronze sun god statue("Colossus", by which the Flavius ​​Theater got its second name), which was located 108 meters from it. The creation of an association between the sun god ("Invincible Sun" or Sol Invictus) and the emperor was necessary during the period of civil wars and the strengthening of the eastern provinces.

Arch of Constantine and the round base of the Meta Sudans fountain

Arch description

North facade (from the side of the Colosseum)

Arch north facade dedicated to peaceful activities Emperor Constantine.

On the wide upper part of the arch, above each column there is a dhaka sculpture, the creation of which belongs to the period of the reign of Emperor Trajan (98 - 117). The Dacians stand on square pedestals of gray Caristian marble from the Greek island of Euboea.

Above the central part is located inscription, identical from both facades. It reads:

IMP CAES FL CONSTANTINO MAXIMO
P F AVGUSTO S P Q R
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 Emperor Caesar Flavius ​​Constantine, the great, virtuous and blessed Augustus: for the fact that he, inspired by a higher power and his great mind, with his army and force of arms, freed the state from the tyrant and from all his followers, the Senate and the people of Rome dedicated this triumphant arch ".

Inscription on the south side of the arch

This inscription was originally made bronze letters, but to date, only well-read gaps have survived.

The greatest number of controversies in this inscription is caused by the expression "INSTINCTV · DIVINITATIS", i.e. " inspired by a higher power/ deity ". It is considered to be a symbol of the beginning of a change in the religious preferences of Emperor Constantine. The early Christian writers Lactantius and Eusebius of Caesarea referred to the story that before the battle at the Mulvian bridge on October 28, 312, the Christian god sent Constantine a sign in the form of a large cross in the sky (the original cross, which later became part of the labarum). From the same year, the emperor began to support Christians, although until 324, only the sun god was listed in official documents (including on coins). The vague wording "inspired by a higher power" the author of the inscription on the arch, probably wanted to please both pagans and Christians. As was customary, the defeated enemy is not called, but simply called "tyrant", emphasizing the legitimacy of his murder.

On the sides of the inscription, above the small arches, is located in pairs embossed panels from Carrara marble, which were removed from an unknown building, erected in honor of the victory of Marcus Aurelius over the Marcomanians and Sarmatians, thanks to which he was awarded a triumph in 176. The panels show (from left to right):
- the emperor returning to Rome after a military campaign;
- the emperor leaving the city, who is greeted by the personification of the street Flaminia;
- the emperor, distributing money to the people (here the figure of Commodus, the son of Marcus Aurelius, who was punished with the "curse of memory" is erased);
- the emperor interrogating a German prisoner.

Two panels on the left and two duck

Two panels on the right

Couples circlesmall reliefs made of white Carrara marble with a diameter of about 2 meters, located above each of the two side arches, date from the time of the reign of Emperor Hadrian (117 - 138), since they are made in the style of the early - mid-second century and in one of the scenes in the background there is a close friend of the emperor Adriana Antinous. However, identifying them is problematic because some of them are incomplete.

The medallions depict scenes of hunting and sacrifices (from left to right):
- is a wild boar hunter;
- making a sacrifice to Apollo;
- hunting for a lion;
- sacrifice to Hercules

The head of the emperor Hadrian was altered on all medallions: in the scenes of the hunt for Constantine, and in the scenes of sacrifices - on Licinius or Constantius I. The space around the round reliefs was finished with porphyry however, this decoration has survived only around the right pair of medallions on this side.

Medallions on the left, inscription VOTIS X and a panel with Constantine's address to the Romans from the rostra

Two medallions with a porphyry frame on the right, the inscription VOTIS XX and a panel on which Constantine distributes money to the Romans

Above the circular reliefs on this side of the arch it is written “ VOTISX"(Left) and" VOTISXX" (on right). These inscriptions can be translated as "sacred oath for the 10th anniversary" and "sacred oath for the 20th anniversary". They refer to the 10th anniversary of the reign of Constantine, which he celebrated in Rome in the summer of 315 (according to another version, he left Rome at the beginning of 313 and returned only in 326).

Below the round reliefs on both the long and short sides, there are long narrow "historic" panels created under Constantine. They illustrate his military campaign against the emperor Maxentius, in which he won a victory and for which he was granted triumph. The short western panel depicts the departure of the troops from Milan ("profeczio"). The story continues on the southern façade, which depicts the siege of Verona (obsidio) on the left and the battle at the Mulvian bridge (“prelium”, right), in which Constantine's army defeated the enemy and drove him into the Tiber. On a panel on the eastern narrow façade, Constantine's army enters Rome ("ingressus"), but not in the form of a triumphal procession, as Constantine probably did not want to demonstrate his triumph. The northern facade, facing the city, depicts his actions after he became the sole ruler: he addresses the Romans at the forum from the rostra, behind which the arches of Septimius Severus and Tiberius ("Orazio", left) are visible, and gives them money ("Liberalitas", right).

On each long side on the Arch of Constantine there are four corinthian columns with flutes on high bases. Seven of the columns are carved from Numidian yellow marble, and the eighth from white marble, since the original column was transported to the Lateran Basilica (later there it was also replaced by a column of yellow-purple Phrygian marble). The bases of all columns decorated with reliefs similar to those of the Arch of Septimius Severus and the destroyed New Arch of Diocletian. On the front, the goddess of victory, Victoria, is depicted, who either makes an inscription on a shield or holds palm branches, and on the sides there are reliefs in the form of captive barbarians or captive barbarians and Roman soldiers. Probably, such decorations were standard for the triumphal arches of their time. The foundations of the columns were made during the reign of Emperor Constantine.

The bases (plinths) of the columns on the north side of the arch

Extreme skirting on the right on the north side

In the sinuses of the vaults On both sides of the central arch, there are high reliefs in the shape of Victoria holding trophies. In the axils of the vaults of the side arches, there are high reliefs in the form of river gods. All of them, like the foundations of the columns, date from the era of Constantine.

Victoria in the vaults of the central arch on the north side

River gods above the arch on the left

River gods over the right arch

South facade (from the side of the forum)

The southern facade of the arch is dedicated to the military activities of Emperor Constantine.

On the upper reliefs
- a captured enemy commander who was brought to the emperor;
- a prisoner who was brought to the emperor;
- the emperor makes a speech to the army;
- the emperor is about to sacrifice a pig, a sheep and a bull

Ducky and two panels on the left

Ducky and panels on the right

Below in round medallions above the side arches it is shown (from left to right):
- departure for hunting;
- making a sacrifice to Sylvan;
- bear hunting;
- making a sacrifice to Diana

On these medallions, Hadrian's head was altered to Licinius or Constantius I in the hunting scenes and to Constantine in the sacrifice scenes.

Medallions on the left, SIC X inscription and a panel depicting the siege of Verona

Two medallions on the right, SIC XX inscription and a relief panel depicting the Battle of the Mulvian Bridge

Above the medallions on this side of the arch it is written “ SICX"(Left) and" SICXX"(On the right), i.e. "For both 10 and 20 anniversaries." As on the opposite side, these inscriptions commemorate the tenth anniversary of Constantine's reign.

Center skirting

The far left plinth on the south side (Victoria in the center, captives on the right)

Victoria in the sinuses of the vault of the central arch from the south side

River gods above the left arch on the south side

River gods in the vaults of the vault above the right arch on the south side

Short sides

On top on the short sides, as well as inside the central arch, there are high (3 m) panels depicting scenes from Trajan's war with the Dacians. Initially, they formed a large frieze of Pentelian marble, which was located either in the Forum of Trajan or in the barracks of the imperial horse guards, which stood on the Caelian hill. These panels also date from 98 to 117 years.

Top panel on the west side

Top panel on the east side

Below on the short sides of the arch is by medallion with reliefs depicting rising Sun(east side) and the moon(west side). Both are in the form of women in chariots. They, unlike the medallions on the long sides, were made under Constantine. Their presence on the arch is a symbol of the eternity of the capital of Rome and links its rule with endless prosperity.

Medallion with the moon and a panel depicting the departure of Constantine's troops from Milan

The personification of the sun and the panel depicting Constantine's army entering Rome (east side)

The interior of the Arch of Constantine

Inside central arch there are two panels depicting the war of Trajan (converted into Constantine) with the Dacians. On one, he is depicted on horseback fighting enemies, and on the other - standing in anticipation of the coronation of Victoria in the presence of personified Honor and Virtue.

Above each of the panels of the central arch is made inscription, emphasizing that Constantine fought not for the sake of capturing something, but for the sake of freeing Rome from the tyrant:
"LIBERATORI VRBIS" ("liberator of the city")
"FUNDATORI QVIETIS" ("founder of the world")

A panel inside the central arch with Trajan (Constantine) on horseback and the inscription "liberator of the city"

Inside side arches on each side, two busts (8 in total) are carved, degraded to such an extent that they cannot be identified.

Busts in the side arch

Busts in the side arch

Explanation of the description

Arch of Constantine is an important example destruction of the classical Greek sculptural canon, which happened in Rome in the 4th century. On the arch, the contrast between the panels made during the reign of Trajan, Hadrian and Marcus Aurelius and the panels during the reign of Constantine is very clearly visible. For example, on the medallions of the Hadrian era, hunting scenes are made in such a way that there is a feeling of free space in which people can go wherever they want, while on the panels of the era of Constantine people stand very tightly to each other, their gestures are not coordinated, and their poses are illogical. In addition, these figures have disproportionately large heads, short legs, identical hairstyles and angular capes. Their rank is shown not by composition, but very roughly by changing the size of the whole body.

Why did the degradation occur? both style and performance?

This issue gave rise to a lengthy discussion that did not end with a single conclusion. Possible reasons:
- the destruction of the process of transfer of skill due to the political and economic crisis of the third century;
- increased influence of eastern and other pre-classical regional styles from the outskirts of the empire (unlikely);
- the strengthening of the influence of the simple "folk" or "Italic" style, which existed in parallel with the high Greek style for the needs of the poor Romans;
- a deliberate rejection of the classical style.

Why were used details of other monuments?

- the placement of reliefs with the deeds of Constantine next to the reliefs of the emperors of the "golden" second century symbolically equated him with them;
- the arch was built for only three years, and, perhaps, the craftsmen did not have time to create the required number of reliefs from scratch;
- the sculptors of the era of Constantine believed that they were not able to surpass their predecessors;
- the Romans of the 4th century lacked the skill to do a job worthy of an emperor.
Probably, to one degree or another, all these reasons together led to the fact that old sculptural panels were used in the Arch of Constantine.

View of the northern facade of the arch from the Colosseum

Attractions nearby: Colosseum, Forum, Palatine Hill, Nero's Golden House, Ludus Magnus

Useful information on the Triumphal Arch of Constantine in Rome

Where is:
Between the Colosseum and the Forum

How to get there:
Colosseo metro station on line B (blue)

Colosseo Tourist Bus Stop

Coliseum (from colosseus - huge, colossal) or Flavian amphitheater (Amphitheatrum flavium) - amphitheater, architectural monument Ancient Rome, the most famous and one of the most grandiose structures of the Ancient World that have survived to our time

I'll start with the story, although, for sure, it is familiar to many. In this case, let's just refresh our memories.

The Colosseum in Rome was built in 80 AD under the Roman emperor Titus of the Flavian family. In its original form, the Colosseum amphitheater had 3 floors. The first was the Emperor's box and marble seats for the Senate. On the second floor, marble benches were installed, intended for the citizens of Ancient Rome. On the third floor, there were places for all other spectators, made in the form of wooden benches and just standing places. In the II century, the last fourth floor was completed.

This is how the Colosseum looked according to the project, and, probably, it really was when it was built in the first century AD.

And this is how Sylvester Feodosievich Shchedrin (1791-1830) portrayed the Colosseum in his painting "View of Rome. Colosseum". In the foreground is the Arc de Triomphe of Constantine.

This is very close to what we see now, 2 centuries after this painting was painted.

The main purpose of the Colosseum in Rome was to conduct gladiatorial battles. The arena of the amphitheater could accommodate up to 3 thousand soldiers. And although today the Colosseum in Rome is half destroyed, it still makes a huge impression and holds the title of the symbol of Rome with dignity.

Now the Colosseum can only be viewed from the outside for free. Pay attention to the crowds of tourists around. And in ancient Rome, not only was the entrance free, there spectators were also fed free of charge. It is not surprising that the Romans spent a third of their lives in the Colosseum, where various games, competitions and holidays were held up to 100 days a year!

A few more historical facts.

Beneath the arena was a whole system of cages, galleries, storage rooms, dressing rooms and basements, now opened thanks to the excavations carried out. We are talking about a number of rooms where various objects and mechanisms were kept, and where animals were kept before and after the shows. The main spectacles were gladiator fights and hunting for animals (elephants, tigers, lions, bears, hippos, etc.). The arena also hosted magicians' performances, sports competitions, equestrian tournaments and even naval battles. The lower part of the Colosseum under the arena was filled with water from specially supplied aqueducts.

It is known from history that on the day the Colosseum was officially opened in Rome, more than two thousand gladiators died in the arena and about five thousand animals were killed. And according to the most conservative estimates, in the entire history of this unique architectural monument, more than half a million people and at least a million predators have died here.

On the day of the official opening of the Colosseum, 5,000 animals were killed in its arena. According to conservative estimates, in the entire history of this structure, more than 500 thousand people and more than a million animals were killed in it.

In 1349, a powerful earthquake in Rome caused the collapse of the Colosseum, especially its southern part. After that, they began to look at him as a source of obtaining building material. Not only the stones that had fallen off, but also the stones deliberately broken out of it, began to go to new structures.

At the end of the 13th century, a quarry was generally formed here: more than 20 aristocratic houses and churches were built from parts of the Colosseum - it was used as a cheap building material. Part of the Colosseum destroyed by earthquakes was used for the construction of St. Peter's Basilica ... Everyone tried to drag at least a brick.

There were so many stones in the Colosseum that various souvenirs are still being produced from their remains. One of these mementos, like the memory of the 2008 electroluminescence conference, I keep in my collection.

Real travertine marble of the 1st century, from which the Colosseum was built.

At the end of the first part of the story about the Colosseum, I tried to estimate how many photographs of the Colosseum have been taken by mankind in recent years. In terms of attendance of all museums in Italy, the Colosseum confidently takes first place. About six million tourists visit it annually. Over the past 20 years, when digital cameras began to be actively used, it has about 120 million visitors. If we assume that each visitor has taken at least a dozen pictures (in fact, much more), then a mind-boggling figure is already obtained, exceeding 1 billion pictures! At the same time, is it possible to add something new to the common photo box about the Colosseum? Probably, not. Nevertheless, everyone has their own associations, so I will give a few photos of how we remember the Colosseum.

This is how we saw the Colosseum on the first day of our stay in Rome from the Vittoriano observation deck.

Majestic skeleton

Triumphal arches

Arch of Titus

Commanders or emperors returning after successful victories in ancient Rome were always greeted solemnly. To perpetuate their exploits, they began to erect special triumphal arches. These were powerful stone structures, decorated with statues of prominent people, bas-reliefs with images of their great deeds.

The oldest of the three surviving triumphal arches of ancient Rome is the one-span arch of the Emperor Titus. It was erected in 81. Titus received such a high honor for capturing Judea and destroying Jerusalem in 69.

Arch of Titus. Rome. 81 g

Arch of Constantine

Emperor Constantine was awarded a more solemn three-span triumphal arch. The arch is located next to the Colosseum. Its construction began in 312, the year of Constantine's victory over the emperor Maxentius. And they just couldn't finish. Therefore, when Constantine entered Rome with the honors of a triumphant, he did not see his arch. This is the only triumphal arch in Rome, which was erected in honor of the victory not over an external enemy, but over his own Roman despot.

Triumphal archConstantine (Arcus constantini, Arco di costantino) is a three-span arch located in Rome on the ancient Via Triumphalis. It is one of the largest arches ever built in Rome. Its height reaches 21 meters, its width is almost 36 meters, and the thickness of its walls exceeds 7 meters.

To feel its thickness, it is better to look at it from the end.

Let's go around the arch from the opposite side, and mentally return to 306.

In Rome, Maxentius ruled - a tyrant, a ruler unbridled in his desires. The inhabitants very quickly regretted that they had helped him become emperor. And then Constantine, who was informed about the events in Rome, set out with an army from Britain, crossed the Alps, and in 312 defeated parts of Maxentius on the territory of Italy. The corpse of Maxentius was found and decapitated. The head was taken to Rome for demonstration to all residents - the former emperor was defeated. After that, Constantine entered Rome with all the honors befitting an emperor. But not through the triumphal arch, which was still built for him ...

The arch was finished only in 315, and on it appeared the inscription "To Emperor Flavius ​​Constantine, the greatest, pious, happy ...", then all his exploits were listed. But Constantine did not appreciate the later attention shown to him by the Senate and the citizens of Rome. He fell out of love with this city and in 326 moved the capital of the state to Byzantium (in 330 it was renamed Constantinople), creating a new state structure there. And the triumphal arch in his honor remained in Rome.

The main part of the arch is made of heavy marble blocks. It is decorated with four Corinthian columns on both sides. Bas-reliefs depicting the victorious episodes of Emperor Constantine are pressed into the walls. Some of the decorative elements for the monument were taken from other, earlier Roman structures. For example, statues, medallions with hunting scenes were transferred from the forum of Emperor Troyan, and bas-reliefs depicting his triumph from the building of Emperor Marcus Aurelius ...

During the 1960 Olympic Games, marathon runners finished near this arch.

April 2016

"You can take the whole world for yourself, but leave me Italy."

Giuseppe Verdi

More details about walks in Italy can be found in the book: " ITALIAN VACATIONS "

ITALIAN VACATIONS

This book can serve as a short guide to Italy in 7 days:

Three days in Rome(Piazza Venezia. Piazza Navona. Trevi Fountain. Piazza di Spagna. Capitoline Hill. Roman Forum. Colosseum and Arches of Triumph. Mouth of Truth. Bridges and embankment of the Tiber. Pantheon and Piazza Rotonda. Roman Castles (Castelli Romani). Appian Way. Grottaferrata, Crypt Ferrata Frascati Castel Gandolfo Tusky Streets of Rome.

Two days in Florence: Church of Santa Maria Novella. Cathedral of Santa Maria del Fiore. Baptistery of San Giovanni. Republic Square. Signoria Square. Ponte Vecchio. Uffizi Gallery. Basilica of San Lorenzo. Santa Croce ("Holy Cross") Piazza Michelangelo. Palazzo Pitti.

One day in Venice: Murano. St. Mark's Square and Cathedral. City Tour.

In the book, I also included non-tourist routes, very interesting and little known to a wide range of travelers. I hope that the book will arouse the interest of those who have already visited these places, and they will be pleased to once again mentally walk through familiar places, remember and compare this virtual trip with their own impressions of this amazing and beautiful Italy.

The price of the book is 100 rubles

- a three-span arch located in Rome. It was built in honor of the Emperor Constantine and is dedicated to his victory over Maxentius at the Battle of the Mulvian Bridge in 312.

The arch rises in the immediate vicinity of the Colosseum and is perhaps the most magnificent of the three ancient triumphal arches of Rome that have survived to this day. This majestic monument is installed on the ancient road "Via Triumphalis", along which the Roman emperors entered the city after victories in wars, and which traditionally ended on the Palatine Hill. A very detailed inscription on the attic of the arch informs about the victory of Emperor Constantine the Great over Maxentius at the Milvian bridge and that the triumphal arch was built by the Senate and the people of Rome.

The construction of the monument began in the same year 312 and was completed on July 25, 315. On this day, Constantine celebrated the beginning of the 10th year of his reign. The customer of the construction was the Senate. It is believed that this structure was originally crowned with a quadriga, which disappeared as a result of the invasion of the Visigoths led by Alaric in 410 or the attack of Geiseric in 455.

In the Middle Ages, the Arch of Constantine, like the Colosseum, was integrated into the system of city fortifications. At the beginning of the 19th century, the monument was brought to its present architectural state. In modern Rome, this arch, like many other ancient architectural monuments, suffers greatly from the exhaust gases of cars and motorcycles.

The Arc de Triomphe of Constantine is the largest and latest of the three triumphal arches preserved in the ancient quarter of the city around the Roman Forum. Its height is 21 meters, width is 25.7 meters, and its span is over 7 meters. It differs from other arches primarily in that it uses some decorative elements, as well as corrugated Corinthian columns that previously belonged to other monuments and buildings.

The four columns that adorn the pediments of the arch give it an architectural resemblance to the triumphal arch of Septimius Severus, which served as a model for it. On the plinths of the columns there are reliefs of the goddess Victoria, soldiers and captive barbarians. In the corners of the arch, one can discern allegorical decorations and figures of deities, gods personifying the seasons, and river spirits. This is followed by a relief located above the small spans of the arch, which shows the history of Constantine's military campaign, his victory and seizure of power in Rome: the relief begins on the western, narrow side of the arch with a picture depicting the departure of troops from Milan (profectio), then the shown on the south side is a picture of a siege of a certain city, possibly Verona (obsidio), and a depiction of the battle at the Milvian bridge (proelium). The eastern side shows the entry of the victorious emperor into Rome (adventus), and the north side shows the emperor's speech in the Roman forum (oratio), as well as the presentation of monetary gifts to the people (largitio).

The Triumphal Arch of Constantine is visible from the Colosseum; at the same time to the right of it you can see the ancient road "Via Sacra" and the triumphal arch of Titus.

Eight medallions arranged in pairs (4 on the side arches on each side of the monument) belong to the era of Emperor Hadrian. They depict hunting scenes and 4 sacrifice scenes. The main figure of the medallions is Hadrian, but on 4 of them his head was replaced by the head of Constantine, and on the other 4 by the heads of his father, Constantine I or the East Roman co-ruler of Constantine, Licinius (exact identification is impossible). The reliefs of the main span of the arch previously belonged to the Ulpia Basilica in the Trajan Forum.

The statues crowning the columns at the height of the attic depict the Dacians and remind of Trajan's military campaign against them. Between the statues, rectangular reliefs with scenes from the Marcomanian war of Marcus Aurelius are located in pairs. They show the departure on a campaign, then the war itself and the return of the emperor in 173. Above the main arch is located the inscription - dedication.

Researchers argue about what caused the reuse of elements of older buildings in the construction of the Arc de Triomphe of Constantine, financial difficulties and forced economy, or whether the authors of the monument wanted in this way to exalt Constantine in the tradition of early, senatorial historiography. Some scientists suggest that since the time of Hadrian, a predecessor arch existed on this site, which was later only supplemented by an attic and re-faced. Thus, the modified and altered reliefs refer to the years of the reign of Trajan (98-117), Hadrian (117-138) and Marcus Aurelius (161-180).

The monument is made in a strict style, there is a so-called hierarchical perspective, which clearly emphasizes social oppositions and social hierarchy in the era of dominance. Regardless of his place on the relief, the emperor is depicted larger than the surrounding characters, courtiers and Roman soldiers, whose figures are also subject to a hierarchical gradation.

Arch of Constantine Is a real open-air museum of ancient Roman art. A closer look at the monument reveals the stylistic development of Roman sculptural art for almost 200 years.

This last ancient Roman monument with its magnificent reliefs of various styles, created shortly before the establishment of Christianity as the state religion, is of invaluable importance for science and architecture.