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The True Face of Constantine the Great Author(S): David H. Wright Source: Dumbarton Oaks Papers, Vol. 41, Studies on Art And

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The True Face of Constantine the Great Author(S): David H. Wright Source: Dumbarton Oaks Papers, Vol. 41, Studies on Art And The True Face of Constantine the Great Author(s): David H. Wright Source: Dumbarton Oaks Papers, Vol. 41, Studies on Art and Archeology in Honor of Ernst Kitzinger on His Seventy-Fifth Birthday (1987), pp. 493-507 Published by: Dumbarton Oaks, Trustees for Harvard University Stable URL: http://www.jstor.org/stable/1291584 Accessed: 14/11/2008 11:25 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=doaks. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Dumbarton Oaks, Trustees for Harvard University is collaborating with JSTOR to digitize, preserve and extend access to Dumbarton Oaks Papers. http://www.jstor.org THE TRUE FACE OF CONSTANTINE THE GREAT DAVID H. WRIGHT he head of Constantine in the Boar Hunt me- and who generally affected an intense expression, dallion (Figs. 1 and 2) is the best preserved of often a look of ferocious power, in the tradition of the portraits of Constantine on his Roman Arch. Caracalla, instead of the ideal calm we perceive in Although recut from a head of Hadrian, it shows Constantine. More specifically, both in combing his no trace of the earlier face, and agrees in every rather short hair casually over his brow, and in the surviving detail of physiognomy with the other shape and bony character of his youthful face, portraits of Constantine on his Arch, two of them Constantine reminded the Roman beholder of Au- recut from heads of Hadrian, two from heads of gustus. The other inscription inside the Arch with Trajan, and one in one of the original historical which Constantine characterized his accomplish- reliefs, the Siege of Verona.' Since the head in the ments, Fundator quietis, reinforced the allusion Boar Hunt is also of remarkably high artistic qual- without actually quoting the founder of Augustan ity, it has an obvious claim to authenticity. We may Peace. take it to represent accurately the image of himself This head, together with the others on the Arch, that Constantine wanted to present to the Roman is the key witness for any attempt to identify and People at the time of his decennalia, on 25 July put in order the marble portraits of Constantine. 315, the occasion indicated by the votive inscrip- On this basis a considerable group of heads of sim- tion on the Arch. ilar expressive character but generally lower qual- We see a youthful face, with a broad forehead ity can be recognized. One other head has a claim and prominent cheekbones that give the upper to authenticity almost equaling those on the Arch, of his face a part rectangular character. This is the colossal marble head found in the main apse complemented by strongly modeled facial muscles of the Basilica Nova (Fig. 3). Its date is not docu- flanking the nose, mouth, and chin, and by a jaw- mented, but circumstances suggest the same era as bone that expands outward slightly at the back of the Arch.2 This head is quite different in style and the clear-cut jaw, giving articulation between jaw expressive character because it is a cult image and neck. Intrinsically, this is a face both strong about eight times lifesize instead of a narrative im- and muscular, handsome and youthful. We sense age somewhat less than lifesize. In a style that em- intuitively that it is appropriate for the heroic phasizes the abstract organization of forms, rather hunter obvious and, by implication, the heroic vic- than the organic rendering of anatomy, the eyes the man who calls himself tor, Liberatorurbis in one are made much larger and more arbitrarily of the inscriptions inside the Arch. shaped, and the muscular articulation of the The beholder of 315 saw a more specific mean- cheeks is relatively suppressed. But the basic fea- ing in this head. Constantine was clean-shaven as tures of the face are the same as those on the Arch, well as handsome and youthful, the first emperor and because the colossal head preserves the com- to show himself clean-shaven a after long succes- plete nose it is particularly helpful in establishing sion of who the emperors adopted military iconog- the profile of Constantine. It seems he had a long of hair and raphy close-cropped stubble beard, nose, sharply indented at the top between the eyes, with a prominently projecting ridge in the middle 'See Hans Peter L'Orange, Das spiitantike Herrscherbildvon Diokletian bis zu den Konstantin-sohnen,284-361 n. Chr. (Berlin, 1984), 32-34, 36-37a; and for fuller pls. descriptions and illus- 2Heinz Kahler, "Konstantin 313," JDAI 67 (1952), 1-30; tration, L'Orange and Armin von Gerkan, Der spdtantikeBild- Klaus Fittschen and Paul Zanker, der romischen in schmuckdes Katalog Portrits Konstantinsbogens(Berlin, 1939). den CapitolinischenMuseen, I (Mainz, 1985), 147-52. 494 DAVID H. WRIGHT and a pointed tip at the end. It seems he also had imply physiognomic accuracy, and we recognize a strongly projecting chin and a squarely articu- the family trait of the long hooked nose. lated jaw. A gold coin of Maximinus Daia as Caesar, struck To pursue questions of physiognomy further, at Trier at about the same time (Fig. 5),6 must on and secure a broader basis for interpreting Con- the other hand be viewed as a standard type for a stantinian portraiture, it is necessary to turn to youthful Caesar, not as a physiognomically accu- numismatic evidence, where the range of material rate portrait. Maximinus was the nephew and is vast, and where most examples are reliably dated adoptive son of Galerius, selected by him as his and localized. We can therefore select series of Caesar in the East when he became Augustus in coins that can be assumed to have been struck 305. We know almost nothing about the previous under Constantine's immediate supervision, and if career of Maximinus, but apparently he was quite we select specific examples on the basis of artistic young and inexperienced. Just as the first coins quality as well as condition, if we seek out the struck for Constantine in eastern mints are de- prime die rather than a derivative copy, we can monstrably inaccurate in physiognomy, we should gain a much better understanding of Constantine's not expect a true portrait of Maximinus in Trier in intentions in publishing his official image than can 305/6. What we have is a very youthful beardless be reached on the basis of the marble portraits face, softly modeled in what appears to be a natu- alone.3 ralistic style, but a face without distinctive physi- For Constantine's early years we must turn to the ognomy or character. Other coins of Maximinus as mint at Trier, which had been established in 293/4 Caesar struck at Trier in the years 305-308 have a as the principal mint of Constantius, the newly se- squarer shape and harsher features more like nor- lected Caesar for the West. It struck gold coins and mal Tetrarchic iconography, but they do not agree medallions of remarkably high artistic quality, and among themselves in physiognomy. A few have by 305, when Constantius became Augustus for sideburns and moustache, but none has the stub- the West, it had developed a style much more nat- ble beard that we expect on Tetrarchic coins. uralistic than that of any of the other western Such iconography emphasizing the youth of the mints, a style very different from the harsh and Caesar and successor is rare at this time but not schematic style of the eastern mints.4 A gold coin unique. Similar coin portraits of Maximinus as of Constantius from 305/6 (Fig. 4)5 shows the ex- Caesar were struck at Rome, Aquileia, and Car- pected close-cropped hair and beard of Tetrarchic thage, and a similar iconography had been used iconography, but it also shows subtly modeled for some of the coins of Numerianus, the younger musculature in the brow and cheek, and a convinc- son of Carus, when he was named Caesar in 282. becomes ing three-dimensional eye socket with the eyeball The specific meaning of this iconography in profile, qualities very different from our normal clearer when we realize that Carinus, the older son Cae- expectations of Tetrarchic style. These qualities of Carus, was always shown bearded, even as sar, and that Numerianus was always shown bearded when he was raised to the rank of 3A brief version of part of the following analysis was pre- Augus- sented in my article "Style in the Visual Arts as Material for tus in 283. Clearly, it was not just youth but the Social Research," Social Research45 (1978), 130-52; a summary idea of succession that was the main bur- was at the 17th Interna- expected of the present argument presented den of this beardless for a caesar.
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