The third paragraph considers the influence of Sol on the reverse side of Constantine’s coinage and the probable reference it makes to a ‘golden age’. It will be argued that his portrait was modelled to resemble the portraits of Augustus and Trajan and that it had a distinctly different style than the Tetrarchs. In the second paragraph, Constantine’s portrait is discussed. Firstly, it is placed in the context of the Tetrarchs and of Maxentius. The second chapter provides an analysis of Constantine’s coinage. It will be argued that Constantine is placed in the tradition of his renowned predecessors by the use of a traditional iconography on the Arch and by the re-use of decorative panels from the second century. The second paragraph of this chapter discusses Constantine’s representation through the iconography on the Arch of Constantine. His appropriation of Maxentius’ buildings will be discussed, most notably the Basilica Nova and the Temple of Venus and Roma, as well as Constantine’s own building activity: the Thermae Constantinianae and his restoration of the Circus Maximus. The subject of the first paragraph is Constantine’s building activity in Rome. The central question of this research is: to what extend does Constantine present himself as a traditional Roman emperor? Chapter one will look at Constantine’s representation through buildings and iconography.
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