In the 4th century reliefs, the figures are disposed geometrically in a pattern that "makes sense only in relation to the spectator", in the largesse scene (below) centred on the emperor who looks directly out to the viewer.
Kitzinger continues: "Gone too is the classical canon of proportions.
Constantine's Arch is an important example, frequently cited in surveys of art history, of the stylistic changes of the 4th century, and the "collapse of the classical Greek canon of forms during the late Roman period", although it should be noted that where the head of an earlier emperor was replaced by that of Constantine the artist was still able to achieve a "soft, delicate rendering of the face of Constantine" that was "a far cry from the dominant style of the workshop".
So, for those wanting easy access to the Hellblazer, it’s a pretty big deal. The extras include: the "Actors don't generally like to revisit their own filmed performances, but I really enjoyed watching the episodes myself because Constantine is such a bold, outright character - both to play and to watch," star Matt Ryan said in a statement about the release.
"He's this brilliant ball of wise-cracking, chain-smoking street magic - and it's so much fun exploring his fascinating, dark world of torment and mystery.
By contrast Maxentius concentrated on restoring the capital, his epithet being conservator urbis suae (preserver of his city).
Thus Constantine was perceived amongst other things as the deposer of one of the city's greatest benefactors, and needed to acquire legitimacy.
Much controversy has surrounded the patronage of the public works of this period.