"The History of Constantine the Great" tapestry series.
Peter Paul Rubens, Flemish, 1577-1640
Pietro da Cortona, Italian, 1596/7 - 1669
Creation: 1623-1640
Tapestry Series. Makes use of many gold and silver threads alongside the threads of wool place emphasis on the wealth associated with the figures depicted, also suggesting the religious significance.
Louis the XIII is amongst the previous owners of the tapestries, however it should be noted that he nearly immediately gave away seven of the tapestries as gifts to the pope in order to secure favor.
"The History of Constantine the Great" details various events from the life of Emperor Constantine, who amongst changing the name of Byzantium to Constantinople was the first Emperor to embrace Christianity, albeit while on his deathbed. Such has changed im into a holy symbol for Christianity, and signalled a further shift from the traditional gods idolized by the republic and the later empire. Thus, it may come as no surprise that many later Christian individuals seek to elevate him and make note of his accomplishments, placing heavy focus on his own alignment with Christianity, as well as emphasizing the means in which he stood out as a pinnacle of the now more religiously aligned Roman culture as well.
The use of gold and silver threads within the tapestry point towards the decadence (or one might say, splendor) that accompanied late Roman and Byzantine people of office. Further, the tapestry titled “Constantine Fighting the Lion” seeks to instil some of the virtus that was held by previous leaders, through strength of combat, generally amongst soldiers The tapestry “Fight Against Licinius further shows the value of combat and military prowess, as Constantine is shown victorious over his foe in the sea, cementing his place as ruler over the Eastern and Western reaches of the empire. Even further supporting this image of the emperor as a conqueror and effective military commander is the depiction of him returning to Rome in a triumph, having eliminated his rival Maxentius who served as a co-emperor.
“The Founding of Constantinople” seen further glorify and place Constantine in line with other founding figures for Rome such as Romulus and Lucius Junius Brutus, especially understanding the epithet for Constantinople as “New Rome”. All of this, and the choice to depict Constantine’s baptism by Pope Sylvester in Rome, rather than the actual location of Nicomedia further supports the idea of elevating the emperor, with his baptism further elevating Christianity in turn.
Apologies for the selfie provided, unfortunately the tapestries were covered under tarps the day I visited. However, I was able to snag an image of one of the oil cartoons (not a selfie) which I thought was cool.