#Constantine bronze coins

[ancientorigins]

Old bottle caps and rusty nails aren’t the only things metal detectorists can find. Sometimes amateur treasure hunters make a big haul. Such was the case with the Killingholme Treasure, a collection of over 4000 Roman coins minted by the Roman Empire almost 1700 years ago.

[names-for-alters]

Hello one and all, alters and headmates! I am Charlie! I like to make lists! I also hoard names! Are you looking for a name? GREAT! You can send an ask and request a specific aesthetic or origin of name, or you can look at my list!

With that said…

…Cracks knuckles…

Findo Tach Tails Flicker Tracer Kat Iris Blu Brick Arlo Sammy Artie Finn Stein Aleksandr Vora Olive Luna Nyx Cyrus Qrow Orian Cello Onyx Skye Grim Opal Dawn Azure Fish Bones Poppy Bronze Eggs Sparky Specs Snickers Trout Navi Bingo Chili Bandit Stripe Busker Socks Brandy Frisky Winston Lucky Chucky Bently Judo Rusty Max Honey Indie Calypso Striker Merle Moxxie Vex Ant Bugger Bee Spider Tails Hook Indigo Amber Coco Coral Scarlet Ivory Jade Ruby Emerald Chuck Loden Copper Hamelin Neo Shepard Cinnamon Visor Macalister Soul Hack Hiccup Flynn Rider Astrid Jay Raven Robyn Bolt Dagger Viper Tracer Cornwall Flock Sapphire Crystal Ghost Mochi Trick Catra Rose Raven Flip Chani Racket Red Crimson Dragon Runt Scotch Tellie Gator Croc Crow Goat Duck Creeper Kuma Jet Jeep Draco Poppy Sombra Raine Squish Spike Blaze Ender Drake Sandy MK PJ DJ CJ MJ King Creak Shadow Clay Dusty Miles Dart Willow Antonius Husk Moth Cypher Jin Yin Yang Daisy Gray / Grey Alistair Halo Angel Cake Fennec Fox Null Lull Bastion Lucky Sun Star Cosmo Tweety Vox Nerys Sonic Bark Birch Oak Cherry Blossom Peaches Velvet Shell Coffee Valley Fang Moot Redpath Pudding X V Jr Ether Fig Trunk Joy Frogger Snowflake Snowball Snow Jumper Racket Flare Vendetta Loonie Coin Six Eleven Tropica Stelina Mojave Ink Sud Fender Zero Pollen Wysteria Page Ozias Rex Tortch Buck Nickel Stripe Lynch Tramp Wolf Pup Tank Jhariah Kharma Zenith Sparrow Prism Lemon Mune Lamb Pyke Diamond Parker Graves Fizz Nugget Melody Tink Blight Fangless Ambress Vulture Eclipse Luka Bangle Constance Constantine Sommar Babble Clank Bobble Chipper Aidan Slate Tin Twire Zephyr Silver Misty Faunus Atlas Birdie Brook Cedar Chip Coal Daisy Ember Faye Fate Fern Flint Harmony Helios Ivy Junx Kit Lyria Phoebe Piper Lady Beacon Elos Rumble Ida Cross Zed Scootie Smidge Clauger Happy Sonny Hath Soldier River Song Clawtor Videl Legen Onen Chunk Reid Pop Cobra Cash Clover Saris Volante Donna Belladonna Gale Chopper Morphias Vidia Loft Kape Levi Licker Howl Dustin Newt Creek Breezy Polaris Blight Archer Sirius Warren Dream Goon Cookie Ranger Amity Jericho Viggo Besko Asra Alice Olaf Mossfeld Issic Missy Rascal Creasy Nonya Hex Pita Miguel Manuel Rayburn Daisy Dash Lucky Becky Steele Cylo Featherstone Kingston Netherfield Reacher Saltburn Quick Rubble Dust Brimstone Humble Ado Grover Norvanos Leshy Blade Cooper Calcium

Leo

Leonardo

Lebony

Silver

Linzier

Pearl

blackberry

Tatin

Bud

Raphael

Pebble

Mina

Linda

Oolong

Daeo/Dayo/Dao

Inco

Ketlyn

Risa

Ines

Lora

Flock

Lux

Rix

Reah

Destinty

Bet

Ange

Krixa

Lalien

Gloom

Bug

Rozy

Mars

Screech

Jenny

Robert

Patrick

Pierre Rosemary

Henderson

Mayfield

Sinclair

Sullivan

Hart

Solace

Daughtler

Stoll

Gatlin

Yearwood

Amos

Graves

Rothschild

Halley

Spektor

Presley

Redd

Blackwood

Notvletti

Valerie

Milo

Marian

Lychee

Aiden

Nova

Vel

Bel

Yuri

Puro

Pluto

Ramona

Angel

Nada

Shen

Mog

Hania

Udge

Kinetic

Kikos Wathel

Dupa

Sierre

Jimor

Teddy

coc

Scara

River

Shade

Foenem

Duck

Emily

Toast

Reunna

Ichigo

Rae

Sonic

MoonL

Lennus

cabaran

Marto

Leveer

Granite

Tongle

[exhibit-of-the-century]

Lecture Notes MON 22nd JAN

Masterlist

BUY ME A COFFEE

The Artwork in History: ‘Renaissance’ Art

‘Renaissance’ word association:

Rebirth, revival, Florence, Michelangelo, Leonardo, Raphael, dropping church, Christian art/ Madonna, dissection, revival, revival of Antique, Sistine Chapel, Bronze Sculpture, Medici

Compared to the words suggested surrounding ‘Medieval’, these highlight a far greater knowledge and specialisation. Presenting specific artworks, people, and places. Unlike in ‘Medieval’ which presents a greater generalisation and vagueness.

We begin the study of the ‘Renaissance’ by looking at the origins of the term/name of the period. It’s key to note that periods/movements do not have specific names during the time those artists that make those movements up are alive/create. Periods and movements usually are named after they have elapsed and passed, as well as certain meaning being prescribed to them. Although, that isn’t always the case, as for the pre-Raphaelite Brotherhood: the artists named themselves this and wrote a manifesto. Also, the closer we get to the present day, the more smaller niche movements we have happening. Partly due to knowing more, and the evolution of art and its accessibility.

Jacob Burckhardt (1818-1897)

So, the ‘Renaissance’, coined by Jacob Burckhardt. A German writer. The term comes from the French, writing a book about 15th century Italy. Although his book is slightly problematic in the sense that it doesn’t actually recommend or document any art in this so called “art-history” book.

A good example of ‘Renaissance’ art is Botticelli’s ‘Birth of Venus’. As this period of art heavily focuses on retelling classic myths, filled with antique symbolism. A reason a lot of people cite this painting is due to its immense size. A good rule of thumb as an art historian is that if it’s big, it’s important. While the period looks back on Pagan mythology, the religion however doesn’t come back. In fact, more people turn to and cite this period as one of Christian art. Theres a lack of revival of paganism, but there is a revival of form. Observe this statue:

(Right)Sandro Botticelli, The Birth of Venus, tempera on canvas. 172.5 cm x 278.9 cm, Uffizi, Florence (Left)Aphrodite/Venus, Roman, Metropolitan Museum, New York

The pose is near identical to that of the Classical Antiquity Venus, so we have some semblance and idea of where these artists were drawing their inspiration from. Whereas the ‘Medieval’ was a little bit more complicated. But the ‘Renaissance’ also makes us question as to where the people were looking to for inspiration and evolving their ideas from?

The historical awareness surrounding the Renaissance, highlights to us how they were copying and reviving Classical Antiquity, it’s also safe to say that near always in history we look back on Classical Antiquity and revive aspects of it in some manner/form.

Arch of Constantine

The Renaissance is closely associated with the visual arts. However, it’s more focused on words and the physical surprisingly.

Humanistic Script:

Humanistic script Ser Giovanni di Piero da Stia, Florence, early fifteenth century BL Harley 3426

A revival of Roman Latin occurs, and an interest in what people wrote/how they physically wrote. This prevails in the modern day, as Humanistic Script is what influences todays cursive and joined handwriting. The physical print was also important, as the Renaissance was concerned with how you spelled Latin, causing a reformation of vocab/style. Considered Roman handwriting.

While the Roman’s wrote on wax tablets, this left us with quite little to study/go off of. Apart from the in-scriptures on buildings. Surprisingly, although it was a revival of Roman Latin it was modelled on ‘Medieval’ handwriting: the earliest surviving copy is a copy of Vitruvius. Located in the British Library. Carolingian script (aka a Romanising of Medieval handwriting).

(Left) Gothic script. North Italy, thirteenth century (Right) Carolingian script An early ninth century copy of Vitruvius, British Library

Humanists were mainly concerned with text/writing.

Leonardo Bruni (tomb analysis): classical poetry doesn’t rhyme, its focus more on flow.

Bruni’s epitaph by Carlo Marsuppini

Literary and scholarly revival is actually the first thing that occurs in the Renaissance, then followed by the visual arts. The scholars worked with people in power or with people whom they shared values with. While most people name Florence as the city of the Renaissance, which it was, they are usually wrong on the city part. Florence was a republic, standing against tyranny.

Text -> Building (Architecture) -> Visual Arts

Looking at these buildings there are clear associations we can begin to link to Renaissance Architecture: simplicity, proportion, understated elegance, columns with entablature, dainty, refined and light.

Filippo Brunelleschi, Foundling Hospital, Florence, 1419-24

Baptistery, Florence Late 11th or early 12th century

When considering what the Renaissance people were reviving? It’s hard to imagine it’s the Roman buildings (‘Medieval’ post for more information), as that style was far heavier, more solid.

A name that most will recognise, is that of: Filippo Brunelleschi. The most popular architect of the time. Historians believe that rather than looking and reviving Roman Architecture or even studying it, it was Medieval architecture. The aforementioned Baptistery is a prime example of this confusion, considering this building to be a revival of Classical Antiquity when in fact it hails most of its design and inspiration from the Medieval.

Brunelleschi, Old Sacristy, San Lorenzo, c.1418-28 The tomb of Giovanni di Bicci de’ Medici (1360-1429) is at the centre

Florence, especially during this time has an important self-image, and is quietly and privately ruled by the Medici family. You’ll see their name come up a lot in art of this time, as they bolstered their position with the visual arts.

Another important figure, whose name is not as wildly known is Leon Battista Alberti, another Architect, although he dabbled really in Architecture. He was first a scholar and a writer: Humanist.

His work was more focused on borrowing than copying. It’s especially in his architecture that you see the greater details and referencing to Classical Antiquity, rather than in text.

Leon Battista Alberti, Façade of Sant’ Andrea, Mantua, c1470

(Left) Arch of Trajan, Ancona, 115CE (Right) Arch of Titus, Rome, c80CE

Brunelleschi claims to have used certain styles/ references in his biography, which was written in his late life. However, Historians aren’t too convinced by his claims. Really instead of copying, the Renaissance developed motifs.

Nudes are considered Classical Antiquity.

(Left)Apollo Bonacolsi, called Antico Apollo, 1490s (Right)Apollo Belvedere Discovered late15th century

Donatello, David, 1440s?, bronze, 1.58m, Bargello, Florence

Moreover, the bronze sculptures use a specific recipe to achieve a certain finish. The original recipe used by the Romans was lost in history, and thus the Renaissance came up with their own one. And while I reference Donatello’s David, just because it’s popular now, doesn’t necessarily mean it was popular originally/during that time in history.

A revival of Portrait Busts and Side Profile studies occurred:

(Left)Antonio Rossellino Portrait bust of Matteo Palmieri, 1468, Bargello, Florence (Right)Pisanello Portrait of Leonello d’Este, 1441

It’s also in 15th century Florence that we see great technical developments be achieved within art, like Geometrical lines indicating to perspective work, light source and shading, construction. All partially being influenced and being attributed to the Arabic optical studies.

Here in this Masaccio the perspective development can be observed.

Masaccio Trinity, 1420s, Santa Maria Novella, Florence

‘High Renaissance’ Bramante, ‘Tempietto’, c.1502, San Pietro in Montorio, Rome

PART 2 OF POST: MASACCIO

[quodnonnecatemunit]

Palazzo Massimo - Rome Inspired by the magnificent palaces of the 16th century, Palazzo Massimo was built between 1883 and 1887 by the Jesuit priest Massimiliano Massimo, based on a design by Camillo Pistrucci, to house the new Jesuit school. In 1981, the Palazzo was acquired by the Italian Government to become one of the new sites for the National Roman Museum. A radical renovation of the building was entrusted to Costantino Dardi and the Palazzo opened to the public in 1998. Since then, the original installation has been revised and adjusted on a number of occasions, interweaving the various threads of the exhibition using a design based on chronology and theme. By referring to the contexts in which the artefacts were found, this creates the suggestion that different works are jumbled together as in the bustling collections of the 16th century. Now, moving through the rooms of the Palazzo Massimo is like leafing through the pages of a wonderful book. Its four floors contain some of the greatest masterpieces of the entire artistic output of the Roman world: sculptures, reliefs, frescos, mosaics, stuccoes and sarcophagi, originating, like all of the treasures of the National Roman Museum, from excavations undertaken in Rome and the surrounding region from 1870 onwards. The route of the visit begins with the theme of the portrait and its evolution, from exclusive use by the most illustrious citizens in the Archaic Period to the widespread use of portraits among freedmen, from portraits of Greek origin, such as those of Alexander the Great, to those of simple Roman citizens eager for self-celebration at the end of the Republic, like the Tivoli General, and new forms of portraiture linked to the birth of the Empire, such as Augustus dressed as the Pontifex Maximus. Greek originals in marble, such as the Niobid from the Horti Sallustiani (Gardens of Sallust), and in bronze, including the Boxer at Rest and the Hellenistic Prince from the Baths of Constantine, are typical examples of the models of Greek art that came to Rome with the wars of conquest. Continuing the history of portraits in the Imperial Age, the first floor displays the Roman taste for reworkings and copies of ideal sculptures, like the Discobolus of Myron, presented in two well-known reproductions – the Lancellotti Discobolus and the Discobolus of Castel Porziano -, the Sleeping Hermaphroditus, the Aphrodite of Menophantos, and innumerable works depicting gods and mythological figures. However, sculpture also became a means of expression for celebrating victories at the borders of the Empire, such as the monumental Portonaccio sarcophagus, and a method for paying tribute to the greatness of well-known figures in the society of the late Roman Empire, as can be seen from the Acilia and Annona Sarcophagi. The second floor of the Palazzo is dedicated entirely to frescos, stuccoes and mosaics. One element that is fundamental in fully grasping the taste and aesthetic sense of the Roman aristocracy is the superb wall decorations of major archaeological complexes, such as the Villa di Livia in Prima Porta, the Villa Farnesina in Trastevere and the Villa di Termini. The basement level offers a selection from the collections from the National Roman Museum’s Coin and Medal Collection and is dedicated to the economy and the use of money, interpreted through an exhibition of coins, jewellery, precious ornaments and documents relating to the daily cost of life.

[handfulsofhistory]

This small bronze coin from the time of Constantine the Great (336-337 CR) shows wear but on the reverse, it reads GLOR-IA EXERC-ITVS and shows two soldiers standing facing, heads turned toward one another, each holding spear and resting hand on grounded shield; between, one standard.  

[thewholesalejeweler]

Check out this listing I just added to my Poshmark closet: Sterling Silver and Bronze Antiqued Roman Constantine Coin Pendant.

[millioncharmsog]

Check out this listing I just added to my Poshmark closet: Ancient Coins SS & Bronze Antiqued Roman Constantine l Coin Pendant.

[impacto1]

🏛️ Unraveling the Wonders of Ancient Roman Currency with Impacto! 🏛️

Step into the realm of ancient wonders as Impacto takes you on a captivating journey through the intriguing world of Roman currency! 💰🌍

The ancient Romans' monetary system left an indelible mark on history, shaping one of the greatest empires the world has ever seen. From simple barter to a sophisticated coinage system, the evolution of Roman currency was truly remarkable.

Impacto invites you to explore the very foundation of Roman trade and commerce - metal coins! 📜🏺 The Roman Republic introduced bronze coins with distinct denominations, bearing symbols of the gods and goddesses that guided their destiny.

With the rise of the Roman Empire, silver denarii emerged, embodying power and prosperity. These coins featured the emperors' portraits, allowing us to witness their faces across time. The golden aurei, a symbol of unparalleled wealth, reflected the empire's grandeur.

At Impacto, we delve deep into the historical significance of Roman coins. These ancient artifacts transcend their monetary value, offering invaluable insights into Roman politics, culture, and society.

From Emperor Augustus to Constantine the Great, each ruler's reign is etched in numismatic history. 🏆💫 Unearth the stories behind these coins as they passed hands, traversing the vast empire.

Impacto celebrates the legacy of ancient Roman currency, preserving these treasured pieces of history for generations to come. 🌟🏛️

[istanbulsurf]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[istanbulfoodtour]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[istanbulwinter]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[istanbulsy]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[oldcityistan]

New Post has been published on Mirela

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[healthistanbul]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[hookahlifestyle]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—

[heartlifestyle]

The Colossus or Built Column

The Colossus, or Built Column, an obelisk of masonry, originally 94 feet high. The exact date of its erection is not known; but a Greek inscrip tion on it states that it was restored by Constantine VII. (Porphyrogenitus), who lived in the tenth century A.D. As is evinced by the rivet-holes in the stones composing it, this monument once had a bronze sheathing. This was stripped off by the Latins when they took the city, and coined into money.

Until 1856 the lower portion of these three monuments was hidden under a gradual accumulation of stones and earth. During the Crimean War, Sir C. Newton, of the British Museum, received permission from the Ottoman Government to excavate them to the base of their pedestals. Afterwards a wall was built round reaching to the present level of the At Maidan, and this wall was surmounted by an iron railing. So the monuments rise from a pit, whose floor is on the same level as the ancient surface of the Spina.

The Pillar of Theodosius, of granite, with a Corinthian capital, some 49 feet high, stands in the Seraglio grounds, near Seraglio Point. Its Latin inscription, now scarcely legible, runs— Fortunse reduci ob devictos Gothos and seems to denote that the pillar was erected to commemorate a victory over the Goths.

The Porphyry, or Burnt Column, stands in the street called Divan Yolu, close to the tomb of Sultan Mahmud, on the site of what was the Forum of Constantine. The column was originally 120 feet high, but only 90 feet of it remain now. It is composed of six blocks of porphyry, so cleverly joined as to look like a monolith. It formerly supported a bronze statue of Apollo, altered to represent Constantine, and brought by him from Rome, like the column itself. The white marble now seen on it was added when the column was restored by Emmanuel Comnenus, after the two upper blocks had been destroyed by lightning. The frequent fires in its neighbourhood have considerably injured this monument, and to them is due the origin of the title Burnt Column, by which it is now known. Upon the upper part of the column is the inscription—