Constantinople Painted by Warwick Goble

The foundation of Constantinople was an event of the utmost political significance. That personal feelings actuated Constantine the Great in the decision to establish a seat of government far from the walls of Rome is doubtless true. The insults to which he was exposed, on the occasion of his visit to the ancient capital of the Empire, in 326, on account of the execution of his wife and of his son, could not fail to annoy him, and make him willing to shake the dust of the rude city from off his feet. To have a placard put on his palace gates comparing him with Nero was not flattering. Certainly the Roman populace did not make respectful subjects. Diocletian also, before Constantine, had found Roman citizens insolent, and fled from the slings and arrows of their sarcasm without waiting to meet the Senate, or to be invested with the consular dignity. But after all, personal feelings go only a short way towards the explanation of an event so serious in the history of the Roman State as the establishment of another seat of imperial authority. The volume and force of a mighty river might as well be explained by the drops of a shower which fall into its current. Constantine was too great a statesman to be swayed by mere personal impulse. The foundation of Constantinople was the outward and visible sign of profound changes in the ideas and policy created and long embodied by the city enthroned beside the Tiber. It was the expression of the spirit of a new epoch; as much so as the foundation of Alexandria signified a change in the political conceptions of the Hellenic world, or the building of St. Petersburg marked the new aspirations heaving in the heart of Russia, or the erection, in more recent times, of Washington or Ottawa proclaimed the birth of new commonwealths, and the application of new principles. Old ideas and ancient institutions cannot be altered in one day, or at the caprice of one man. They are not the flimsy things which can be created or destroyed by the wave of a magician?s wand. Constantine only placed the copestone on an edifice which other hands, before his reign, had gradually raised from the foundations to the point demanding completion. He finished what others had begun. The creation of the new capital was the result of causes, long in action; not a whim or matter of taste.