By Professor R. Ross Holloway
Constantine the good (285-337) performed an important function in mediating among the pagan, imperial previous of town of Rome, which he conquered in 312, and its destiny as a Christian capital. during this realized and hugely readable publication, Ross Holloway examines Constantine's notable construction programme in Rome. Holloway starts by way of reading the Christian Church within the interval ahead of the Peace of 313, whilst Constantine and his co-emperor Licinius ended the persecution of the Christians. He then makes a speciality of the constitution, variety, and importance of significant monuments: the Arch of Constantine and the 2 nice Christian basilicas, St. John's within the Lateran and St. Peter's, in addition to the imperial mausoleum at Tor Pignatara. In a last bankruptcy Holloway advances a brand new interpretation of the archaeology of the Tomb of St. Peter underneath the excessive altar of St. Peter's Basilica. The tomb, he concludes, was once no longer the unique resting position of the is still commemorated as these of the Apostle yet used to be created in simple terms in 251 by way of Pope Cornelius. Drawing at the most modern archaeological proof, he describes a cityscape that was once instantaneously Christian and pagan, mirroring the character of its ruler.
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Extra resources for Constantine and Rome
The secondary ﬁgures, especially the bearded individuals and youths, such as the almost nude boy of the departure scene, are also typically Hadrianic. ⁶ On the south side of the arch to the left (west) of the central opening we ﬁnd the departure for the hunt (ﬁg. 3) and a sacriﬁce to Silvanus. The hunters assemble before the arch of a gateway. A tree suggests that they are already outside the city. A frontal ﬁgure in the center is the leader. His head, both original and replacement, is missing.
26). ] Fig. 23 The Arch of Constantine. West face. The Great Trajanic Frieze. Photo Fototeca Unione Neg. 28750. Copyright. ] Fig. 24 The Arch of Constantine. East face. The Great Trajanic Frieze. Photo DAI Rome, Inst. Neg. 1271. Copyright Deutsches Archäologisches Institut. ] Fig. 25 The Arch of Constantine. East face. Tondo with the Sun God and frieze of Constantine’s entry into Rome. Photo DAI Rome, Inst. Neg. 3134. Copyright Deutsches Archäologisches Institut. ] Fig. 26 The Arch of Constantine.
Presentation of barbarian chieftain. Photo Fototeca Unione Neg. 28747. Copyright. ] Fig. 12 The Arch of Constantine. South face. Imperial address. Photo Fototeca Unione Neg. 28743. Copyright. ing the crowd of soldiers is the subject of the presentation. Being a friend of Rome, he is a noble barbarian, but as a mark of his identity he wears a fringed cloak. Behind the soldiers of the foreground the standard-bearers of the army appear in their characteristic animal-pelt headgear. They hold standards which carry ﬁgures among which one can distinguish Victory, Mars, and Hercules.