Constantine gaius flavius valerius aurelius constantinus

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Constantine gaius flavius valerius aurelius constantinus

Constantine's iconography and ideology
Coins struck for emperors often reveal details of their personal iconography. During the early part of Constantine's rule, representations first of Mars and then (from 310) of Apollo as Sun god consistently appear on the reverse of the coinage. Mars had been associated with the Tetrarchy, and Constantine's use of this symbolism served to emphasize the legitimacy of his rule. After his breach with his father's old colleague Maximian in 309–310, Constantine began to claim legitimate descent from the 3rd century emperor Marcus Aurelius Claudius Gothicus, the hero of the Battle of Naissus (September, 268). The Augustan History of the 4th century reports Constantine's paternal grandmother Claudia to be a daughter of Crispus, Crispus being a reported brother of both Claudius II and Quintillus. Historians however suspect this account to be a genealogical fabrication to flatter Constantine.


Coin of Constantine, with depiction of the sun god Sol Invictus, holding a globe and right hand raised. The legend on the reverse reads SOLI INVICTO COMITI, to (Constantine's) "companion, the unconquered Sol".
Follis by Constantine. On the reverse, a labarum with the chi-rho.Gothicus had claimed the divine protection of Apollo-Sol Invictus. In mid-310, two years before the victory at the Milvian Bridge, Constantine reportedly experienced the publicly announced vision in which Apollo-Sol Invictus appeared to him with omens of success. Thereafter the reverses of his coinage were dominated for several years by his "companion, the unconquered Sol" — the inscriptions read SOLI INVICTO COMITI. The depiction represents Apollo with a solar halo, Helios-like, and the globe in his hands. In the 320s Constantine has a halo of his own. There are also coins depicting Apollo driving the chariot of the Sun on a shield Constantine is holding and another in 312 shows the Christian chi-rho on a helmet Constantine is wearing.


An example of "staring eyes" on later Constantine coinage.The great staring eyes in the iconography of Constantine, though not specifically Christian, show how official images were moving away from early imperial conventions of realistic portrayal towards schematic representations: the Emperor as Emperor, not merely as this particular individual Constantine, with his characteristic broad jaw and cleft chin. The large staring eyes will loom larger as the 4th century progresses: compare the early 5th century silver coinage of Theodosius I.


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