Art and Architecture in Medieval Rome

During the Time of Medieval Rome, triumphal arches had become a tradition among emperors to commemorate victories, illustrate power, and ultimately present them as fit to rule. Arches were mostly considered a Pagean political device. They were custom-built and paid for by the state and served as huge billboards that presented a version of events dictated form the perspective power. They were excellent memorials. These arches can be seen all throughout the forum, each representing a different ruler and a different period in Rome. One of the most prominent arches of that time was the Arch of Constantine. The Arch of Constantine has mainly been studied for its use of spolia and close connection with the Arch of Septemerus Severus. Even though it is usually compared to the arch of Septemerus Severus it is predominantly more decorated with reliefs.

The Arch of Constantine, which stands between the Caelian and Palatine hills (Grisanti), is covered with an appropriation of spolia taken from earlier monuments. There are fine medallions and reliefs from monuments of Hadrian, Marcus Aurelius and Trajan that are composed with Constantinian reliefs specifically for the Arch. In some instances of the spoils, the faces of the previous rulers are changed to represent Constantine (Gorlin 112). Relief sculptures that were not taken from earlier buildings were carved in the commencement of Constantine's reign. These reliefs were, between October 312, when Maxentius was defeated in the Battle of Ponte Molle, and July 315, when the conqueror returned to Rome (Berenson 13). The arch was restored in 1804 to its present condition (Brooke 46).

Constantine is mostly known as the first Christian Roman Emperor. Even though this is a well-known fact, no recognizable Christian symbols appear on the Arch (Tronzo 123). The shields of Constantine's troops at the Milvian Bridge are not shown with the Chi-Rho, nor do they carry the labarum, which are the famous symbol and banner of Christ. Alternatively, Constantine's victories are overtly acknowledged with the implications of the Sun-god.