shaping memories in the west 125

episodes from Constantine’s earlier invasion of Italy and visit to Rome.

Panels with scenes of warfare were placed inside the central passage-
way and at the ends of the attic, and roundels of Sol, the sun god,
and Luna, the moon goddess, stared out from the short sides of the
arch. Tall columns framed the three passageways, along with reliefs of
winged Victories and other deities in the spandrels. On the bases of
the columns reliefs depicted more winged Victories as well as Roman
soldiers and barbarian captives. With its inscriptions, relief panels,
roundels, and statues the arch was an especially eloquent text about
Constantine, a “panegyric of sculptures” as expressive as the panegyric at
Trier.34
As an overtly honorific monument, the arch commemorated differ-
ent moments in Constantine’s reign. One was his earlier battle outside
Rome. Inside the central passageway, short inscriptions accompanied
the panels depicting the emperor as a soldier in or after battle. By hon-
oring him as “liberator of the city” and “founder of tranquility,” the
inscriptions recalled the consequences of his earlier victory. Another
moment was the beginning of the tenth anniversary year of Constan-
tine’s accession, celebrated on July 25 concurrently with the dedication
of the arch. Yet another was the next decennial anniversary. Short
inscriptions over the side passageways linked best wishes for the current
anniversary with high hopes for the next: “so the tenth, likewise the
twentieth,” and “with vows for the tenth, with vows for the twentieth.”
The inscriptions and the iconography hence offered a succinct overview
of Constantine’s relationship with Rome, from his first appearance as a
victorious general in 312 to the current celebration of his tenth anniver-
sary in 315, and on to expectation of the next celebration in ten years. To
affirm the bond between Constantine and Rome the arch remembered

34
The analysis and detailed photographs in L’Orange and von Gerkan (1939), remain funda-
mental for interpreting the iconography of the arch; for additional photographs, see Giuliano
(1955). Perhaps there were also sculptures on top of the arch. During his visit to Rome at
the beginning of the fifth century, the poet Prudentius had observed honorific arches: see
Prudentius, Contra orationem Symmachi 2.556–57, “we marvel at the four-horse chariots on
the very top of an arch and at the commanders standing in the lofty chariots.” Quotation
about panegyric translated from Ruysschaert (1962–1963) 92.