Theodosius I
Art patronage

According to art historian David Wright, art of the era around the year 400 reflects optimism amongst the traditional polytheists. This is likely connected to what Ine Jacobs calls a renaissance of classical styles of art in the Theodosian period (AD 379- 395) often referred to in modern scholarship as the Theodosian renaissance. The Forum Tauri in Constantinople was renamed and redecorated as the Forum of Theodosius, including a column and a triumphal arch in his honour. The missorium of Theodosius, the city of Aprodisias's statue of the emperor, the base of the Obelisk of Theodosius, the columns of Theodosius and Arcadius, and the diptych of Probus were all commissioned by the court and reflect a similar renaissance of classicism.

According to Armin Wirsching, two obelisks were shipped by the Romans from Karnak to Alexandria in 13/12 BC. In 357, Constantius II had one (that became known as the Lateran obelisk) shipped to Rome. Wirsching says the Romans had previously watched and learned from the Egyptians how to transport such large heavy objects, so they constructed "a special sea‐going version of the Nile vessels... – a double‐ship with three hulls". In 390, Theodosius oversaw the removal of the other to Constantinople.

The obelisk with its sculpted base in the former Hippodrome of Constantinople is well known as a rare datable work of Late Antique art. A sixth-century source puts the raising of the obelisk in the year 390, and Greek and Latin epigrams on the plinth (the lower part of the base) credit Theodosius I and the urban prefect Proclus with this feat.

Linda Safran says that relocating the obelisk was motivated by Theodosius's victory over "the tyrants" (most likely Maximus Magnus and his son Victor). It is now known as the obelisk of Theodosius and still stands in the Hippodrome of Constantinople, the long Roman circus that was, at one time, the centre of Constantinople's public life. Re-erecting the monolith was a challenge for the technology that had been honed in the construction of siege engines.

The obelisk's white marble base is entirely covered with bas-reliefs documenting Theodosius's imperial household and the engineering feat of removing the obelisk to Constantinople. Theodosius and the imperial family are separated from the nobles among the spectators in the imperial box, with a cover over them as a mark of their status. From the perspective of style, it has served as "the key monument in identifying a so-called Theodosian court style, which is usually described as a "renaissance" of earlier Roman classicism".
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