Trajan’s face was re-carved to resemble Constantine's, and thus, also gave him the title. Above, “ Fundatori quietis ” or “For the Founder of Peace,” labels the emperor visibly represented. The other half depicts the Roman army subduing the Dacian enemies. The left half reveals Trajan standing between Roma and the goddess Victory, who prepares to crown him in a triumphal wreath. The second relief shows a fusion of two scenes. The inscription above reads “ Liberatori Urbis ”, or “For the Liberator of the City”. In the passageway, the relief on the west side is crowded: figures trample over each other, running away from Trajan who charges into battle on horseback. On the outer ends of the arch and in the inner passageway are segments of a once lengthier frieze depicting the emperor in heroic scenes of combat. By mounting such recognizable sculptures across the arch, the arch's designer connects past triumphs to the current emperor, simultaneously legitimizing both his and Rome’s power. Their realistically portrayed bodies stand in contrapposto (typical ancient Greek sculpture stance with one bent knee) with their hands bound together and heads lowered in defeat. Their large scale and centrality indicate their significance, but most notably, make an obvious reference to Trajan’s victory in the Dacian Wars. 2 Now, the prisoners stand high on a cornice above the Corinthian columns. The captive Dacians likely derive from from Trajan’s Forum (where sculptures of Constantine were also added, perhaps in exchange).
These earlier sculptures played an integral role in conveying the Arch for Constantine’s purpose. The Arch for Constantine incorporates two main elements that likely date back to Trajan: eight statues of Dacian prisoners and four panels of relief sculpture long thought to be from the "Great Trajanic frieze." 1 By referencing the triumphs and successes of past leaders, the monument's designer could evoke memories of them.
IMAGES OF ARCH OF CONSTANTINE PRO
The spolia on the Arch for Constantine were taken pars pro toto, or part representing the whole, from previous monuments dedicated to emperors ranging from Marcus Aurelius to Hadrian. Arch for Constantine, detail of "Liberatori Urbis" panel
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