Rome’s Imperial Crisis and the Rise of Constantine

Rome’s Imperial Crisis and the Rise of Constantine

The period also known as the Imperial Crisis, was characterized by constant civil war, as various military leaders fought for control of the empire. The crisis has been further noted by historians for widespread social unrest, economic instability (fostered, in part, by the devaluation of Roman currency by the Severans), and, finally, the dissolution of the empire which broke into three separate regions. The empire was reunited by Diocletian (ruled 284–305 CE) who established the Tetrarchy (the rule of four) to maintain order throughout the empire. Even so, the empire was still so vast that Diocletian divided it in half in 285 CE to facilitate more efficient administration.

In so doing, he created the Western Roman Empire and the Eastern Roman Empire (also known as the Byzantine Empire). Since a leading cause of the Imperial Crisis was a lack of clarity in succession, Diocletian decreed that successors must be chosen and approved from the outset of an individual’s rule. Two of these successors were the generals Maxentius and Constantine. Diocletian voluntarily retired from rule in 305 CE, and the tetrarchy dissolved as rival regions of the empire vied with each other for dominance. Following Diocletian’s death in 311 CE, Maxentius and Constantine plunged the empire again into civil war

In 312 CE Constantine defeated Maxentius at the Battle of the Milvian Bridge and became sole emperor of both the Western and Eastern Empires (ruling from 306-337 CE). Believing that Jesus Christ was responsible for his victory, Constantine initiated a series of laws such as the Edict of Milan (317 CE) which mandated religious tolerance throughout the empire and, specifically, for which Christians benefitted greatly. In the same way that earlier Roman emperors had claimed a special relationship with a deity to augment their authority and standing (Caracalla with Serapis, for example, or Diocletian with Jupiter), Constantine chose the figure of Jesus Christ. At the First Council of Nicea (325 CE), he presided over the gathering to codify the faith and decide on important issues such as the divinity of Jesus and which manuscripts would be collected to form the book known today as The Bible. He stabilized the empire, revalued the currency, and reformed the military, as well as founding the city he called New Rome on the site of the former city of Byzantium (modern day Istanbul) which came to be known as Constantinople.

He is known as Constantine the Great owing to later Christian writers who saw him as a mighty champion of their faith but, as has been noted by many historians, the honorific could as easily be attributed to his religious, cultural, and political reforms, as well as his skill in battle and his large-scale building projects. After his death, his sons inherited the empire and, fairly quickly, embarked on a series of conflicts with each other which threatened to undo all that Constantine had accomplished. (68)

Art During the Imperial Crisis

Portraits of the Tetrarchs

Imperial portraiture of the Tetrarchs depicts the four emperors together and looking nearly identical. The portraiture symbolizes the concept of co-rule and cohesiveness instead of the power of the individual. The idea of the Tetrarchy, which is apparent in their portraits, is based on the ideal of four men working together to establish peace and stability throughout the empire.

The medium of the famous porphyry sculpture of the Tetrarchs, originally from the city of Constantinople, represents the permanence of the emperors. Furthermore, the two pairs of rulers — a Caesar and an Augustus with arms around each other — form a solid, stable block that reinforces the stability the Tetrarchy brought to the Roman Empire. (74)

Stylistically, this portrait of the Tetrarchs is done in Late Antique style, which uses a distinct squat, formless bodies, square heads, and stylized clothing clearly seen in all four men. The Tetrarchs have almost no body.

This is a photo of the Portrait of the Tetrarchs. The Portrait of the Tetrarchs is originally from Constantinople, but since the Middle Ages it has been fixed to a corner of the facade of St Mark's Basilica in Venice, Italy.
Figure 5-37: The Portrait of the Tetrarchs by Nino Barbieri is licensed under CC BY-SA 3.0

As opposed to Classical sculptures, which acknowledge the body beneath the attire, the clothes of the Tetrarchs form their bodies into chunky rectangles. Details such as the cuirass (breastplate), skirt, armor, and cloak are highly stylized and based on simple shapes and the repetition of lines.

Despite the culmination of this artistic style, the rendering of the Tetrarchs in this manner seems to fit the connotations of Tetrarch rule and need for stability throughout the empire. (74)

Art During Constantine’s Reign

Arch of Constantine

The Arch of Constantine demonstrates the continuance of the newly-adopted artistic style for imperial sculpture. This arch was erected between the Colosseum and Palatine Hill, the home of the imperial palace. It stands over the triumphal route before it enters the Republican Forum. This forms a dialog with the Arch of Titus at the top, overlooking the Forum, and the Arch of Septimius Severus, which, in turn, stands at the other end of the Forum before the Via Sacra heads uphill to the Capitolium. (75)

The Senate commissioned the triumphal arch in honor of Constantine’s victory over Maxentius. It is a triple arch and its iconography represents Constantine’s supreme power and the stability and peace his reign brought to Rome.

This is a current-day photo of the Arch of Constantine. Unlike Titus' arch, this arch includes three archways with the middle being the largest. Atop the archway in an inscription praising Constantine's rule as emperor.
Figure 5-38: Arch of Constantine  by Karelj is licensed under Public Domain

The Arch of Constantine is especially noted for its use of spolia: architectural and decorative elements removed from one monument for use on another. Those from the monuments of Trajan, Hadrian, and Marcus Aurelius — all considered good emperors of the Pax Romana — were reused as decoration.

Trajanic panels that depict the emperor on horseback defeating barbarian soldiers adorn the interior of the central arch. The original face was reworked to take the likeness of Constantine. Eight roundels, or relief discs, adorn thespace just above the two smaller side arches. These are Hadrianic and depict images of hunting and sacrifice .

The final set of spolia includes eight panel reliefs on the arch’s attic, from the era of Marcus Aurelius, depicting the dual identities of the emperor, as both a military and a civic leader. The incorporation of these elements symbolize Constantine’s legitimacy and his status as one of the good emperors.

The rest of the arch is decorated using Late Antique styles. The proximity of different artistic styles, under four different emperors, highlights the stylistic variations and artistic developments that occurred, both in the second century CE, as well as their differences to the Late Antique style.

Besides the decorative elements in the spandrels, a Constantinian frieze runs around the arch, between the tops of the small arches and the bottoms of the roundels. This frieze highlights the artistic style of the period and chronologically depicts Constantine’s rise to power. Unlike previous examples of Late Antique art, the bodies in this frieze are completely schematic and defined only by stiff, rigid clothes. In one scene, featuring Constantine distributing gifts, the emperor is centrally depicted and raised above his supporters on a throne. (75)

This photo shows a detail of the northern frieze of the Arch of Constantine. This detail shows Constantine distributing gifts from his throne down to his supporters.
Figure 5-39: A detail of the northern frieze of the Arch of Constantine by William Storage is licensed under CC BY-SA 3.0

Basilica Nova and the Colossus of Constantine

When Constantine and Maxentius clashed at the Milvian Bridge, Maxentius was in the middle of building a grand basilica. It was eventually renamed the Basilica Nova, and was located near the Roman Forum. The basilica consisted of one side aisle on either side of a central nave. (75)

This is a diagram of the Basilica Nova. It shows the ground plan of the Basilica Nova in Rome. From above one sees the rectangular hallway leading towards the rounded nave towards the back of the building.
Figure 5-40: A diagram of the Basilica Nova by Georg Dehio/Gustav von Bezold is licensed underPublic Domain

When Constantine took over and completed the grand building, it was 300 feet long, 215 feet wide, and stood 115 feet tall down the nave. Concrete walls 15 feet thick supported the basilica’s massive scale and expansive vaults. It was lavishly decorated with marble veneer and stucco. The southern end of the basilica was flanked by a porch, with an apse at the northern end. (75)

Exterior photo of the remains of the Basilica Nova. With only part of its walls still in place, the observer can see the long corridor that once was inside the Basilica.
Figure 5-41: View of Maxentius Basilica by Ursus assumed is licensed under Public Domain

The apse of the Basilica Nova was the location of the Colossus of Constantine. This colossus was built from many parts. The head, arms, hands, legs, and feet were carved from marble, while the body was built with a brick core and wooden framework and then gilded.

Only parts of the Colossus remain, including the head that is over eight feet tall and 6.5 feet long. It shows a portrait of an individual with clearly defined features: a hooked nose, prominent jaw, and large eyes that look upwards. Like the porphyry bust of Galerius, Constantine’s portrait combines naturalism in his nose, mouth, and chin with a growing sense of abstraction in his eyes and geometric hairstyle.

He also held an orb and, possibly, a scepter, and one hand points upwards towards the heavens. Both the immensity of the scale and his depiction as Jupiter (seated, heroic, and semi-nude) inspire a feeling of awe and overwhelming power and authority.

This is a photo of the head of the colossus of Constantine. The head is over eight feet tall and 6.5 feet long.
Figure 5-42: The head of the colossus of Constantine  by Jean-Christophe BENOIST is licensed under CC BY-SA 3.0

The basilica was a common Roman building and functioned as a multipurpose space for law courts, senate meetings, and business transactions. The form was appropriated for Christian worship and most churches, even today, still maintain this basic shape. (75)

Constantinople

Constantine laid out a new square at the center of old Byzantium, naming it the Augustaeum. The new senate-house was housed in a basilica on the east side. On the south side of the great square was erected the Great Palace of the Emperor with its imposing entrance and its ceremonial suite known as the Palace of Daphne.

Nearby was the vast Hippodrome for chariot races, seating over 80,000 spectators, and the famed Baths of Zeuxippus. At the western entrance to the Augustaeum was the Milion, a vaulted monument from which distances were measured across the Eastern Roman Empire. (75)

This is a map of the imperial district of Constantinople in present-day Istanbul, Turkey. Among the locations illustrated on the map include the Great Palace near the Bosphorus strait and the Hagia Sophia cathedral to its north.
Figure 5-43: The Imperial district of Constantinople  by Cplakidas is licensed under CC BY-SA 3.0

The Mese, a great street lined with colonnades, led from the Augustaeum. As it descended the First Hill of the city and climbed the Second Hill, it passed the Praetorium or law-court. Then it passed through the oval Forum of Constantine where there was a second Senate house and a high column with a statue of Constantine in the guise of Helios, crowned with a halo of seven rays and looking toward the rising sun. From there the Mese passed on and through the Forum Tauri and then the Forum Bovis, and finally up the Seventh Hill (or Xerolophus) and through to the Golden Gate in the Constantinian Wall (75)

The Aula Palatina, Trier, Germany

Constantine built the Aula Palatina (c. 310 CE) as a part of the palace complex. Originally it was attached to smaller buildings (such as an antehall, a vestibule, and service buildings) attached to it. The Aula Palatina has a simplified Roman basilica plan, consisting of a wide nave that ends in a north-facing apse.

Although round arches repeat throughout the interior and exterior, the building deviates from the traditional basilica with the flat ceiling that covers the nave and the flat roof that tops the apse. (75)

Picture of the exterior of the Aula Palatina, detailing a rounded nave and the outer facade of the building. There are two rows of windows on the exterior of the Aula Palatina, each in the shape of the Roman arch. This is an exterior photo of Aula Palatina, known today as the Church of the Redeemer in Trier, Germany, circa 310 CE.
Figure 5-44: The exterior of the Aula Palatina by Pudelek (Marcin Szala) is licensed under CC BY-SA 3.0
This is a picture inside the Aula Palatina. One sees within a simplified Roman basilica plan, consisting of a wide nave that ends in a north-facing apse.
Figure 5-45: Inside the Aula Palatina by Berthold Werner is licensed under Public Domain

The Fall of the Roman Empire

From 376–382 CE, Rome fought a series of battles against invading Goths known today as the Gothic Wars. At the Battle of Adrianople, 9 August 378 CE, the Roman Emperor Valens was defeated, and historians mark this event as pivotal in the decline of the Western Roman Empire. Various theories have been suggested as to the cause of the empire’s fall but, even today, there is no universal agreement on what those specific factors were. Edward Gibbon has famously argued in his The History of the Decline and Fall of the Roman Empire that Christianity played a pivotal role, in that the new religion undermined the social mores of the empire which paganism provided. The theory that Christianity was a root cause in the empire’s fall was debated long before Gibbon, however, as Orosius argued Christianity’s innocence in Rome’s decline as early as 418 CE. Orosius claimed it was primarily paganism itself and pagan practices which brought about the fall of Rome.

Other influences which have been noted range from the corruption of the governing elite to the ungovernable vastness of the empire to the growing strength of the Germanic tribes and their constant incursions into Rome. The Roman military could no longer safeguard the borders as efficiently as they once had nor could the government as easily collect taxes in the provinces. The arrival of the Visigoths in the empire in the third century CE and their subsequent rebellions has also been cited a contributing factor in the decline.

The Western Roman Empire officially ended 4 September 476 CE, when Emperor Romulus Augustus was deposed by the Germanic King Odoacer (though some historians date the end as 480 CE with the death of Julius Nepos). The Eastern Roman Empire continued on as the Byzantine Empire until 1453 CE, and though known early on as simply `the Roman Empire’, it did not much resemble that entity at all. The Western Roman Empire would become re-invented later as The Holy Roman Empire, but that construct, also, was far removed from the Roman Empire of antiquity and was an `empire’ in name only. (68)