Down the centre of the Hippodrome ran the “spina,” or division wall, which every circus showed; it was ornamented with three most curious monuments, whose strange juxtaposition seemed almost to typify the heterogeneous materials from which the new city was built up. The first and oldest was an obelisk brought from Egypt, and covered with the usual hieroglyphic inscriptions; the second was the most notable, though one of the least beautiful, of the antiquities of Constantinople: it was the three-headed brazen serpent which Pausanias and the victorious Greeks had dedicated at Delphi in 479 b.c., after they had destroyed the Persian army at Platæa. The golden tripod, which was supported by the heads of the serpents, had long been wanting: the sacrilegious Phocians had stolen it six centuries before; but the dedicatory inscriptions engraved on the coils of the pedestal survived then and survive now to delight the archæologist. The third monument on the “spina” was a square bronze column of more modern work, contrasting strangely with the venerable antiquity of its neighbours. By some freak of chance all three monuments have remained till our own day: the vast walls of the Hippodrome have crumbled away, but its central decorations still stand erect in the midst of an open space which the Turks call the Atmeidan, or place of horses, in dim memory of its ancient use.
Along the outer eastern wall of the Hippodrome on the western edge of the Augustaeum, stood a range of small chapels and statues, the most important landmark among them being the Milion or central milestone of the empire, which we have already described. The statues, few at first, were increased by later emperors, till they extended along the whole length of the forum. Constantine's own contribution to the collection was a tall porphyry column surmounted by a bronze image which had once been the tutelary Apollo of the city of Hierapolis, but was turned into a representation of the emperor by the easy method of knocking off its head and substituting the imperial features. It was exactly the reverse of a change which can be seen at Rome, where the popes have removed the head of the Emperor Aurelius, and turned him into St. Peter, on the column in the Corso.
North of the Hippodrome stood the great church which Constantine erected for his Christian subjects, and dedicated to the Divine Wisdom (Hagia Sophia). It was not the famous domed edifice which now bears that name, but an earlier and humbler building, probably of the Basilica-shape then usual. Burnt down once in the fifth and once in the sixth centuries, it has left no trace of its original character. From the west door of St. Sophia a wooden gallery, supported on arches, crossed the square, and finally ended at the “Royal Gate” of the palace. By this the emperor would betake himself to divine service without having to cross the street of the Chalcoprateia (brass market), which lay opposite to St. Sophia. The general effect of the gallery must have been somewhat like that of the curious passage perched aloft on arches which connects the Pitti and Uffizi palaces at Florence.
The edifices which we have described formed the heart of Constantinople. Between the Palace, the Hippodrome, and the Cathedral most of the important events in the history of the city took place. But to north and west the city extended for miles, and everywhere there were buildings of note, though no other cluster could vie with that round the Augustaeum. The Church of the Holy Apostles, which Constantine destined as the burying-place of his family, was the second among the ecclesiastical edifices of the town. Of the outlying civil buildings, the public granaries along the quays, the Golden Gate, by which the great road from the west entered the walls, and the palace of the praetorian praefect, who acted as governor of the city, must all have been well worthy of notice. A statue of Constantine on horseback, which stood by the last-named edifice, was one of the chief shows of Constantinople down to the end of the Middle Ages, and some curious legends gathered around it.
It was in a.d. 328 or 329—the exact date is not easily to be fixed—that Constantine had definitely chosen Byzantium for his capital, and drawn out the plan for its development. As early as May 11, 330, the buildings were so far advanced that he was able to hold the festival which celebrated its consecration. Christian bishops blessed the partially completed palace, and held the first service in St. Sophia; for Constantine, though still unbaptized himself, had determined that the new city should be Christian from the first. Of paganism there was no trace in it, save a few of the old temples of the Byzantines, spared when the older streets were levelled to clear the ground for the palace and adjoining buildings. The statues of the gods which adorned the Baths and Senate House stood there as works of art, not as objects of worship.
To fill the vast limits of his city, Constantine invited many senators of Old Rome and many rich provincial proprietors of Greece and Asia to take up their abode in it, granting them places in his new senate and sites for the dwellings they would require. The countless officers and functionaries of the imperial court, with their subordinates and slaves, must have composed a very considerable element in the new population. The artizans and handicraftsmen were enticed in thousands by the offer of special privileges. Merchants and seamen had always abounded at Byzantium, and now flocked in numbers which made the old commercial prosperity of the city seem insignificant. Most effective—though most demoralizing—of the gifts which Constantine bestowed on the new capital to attract immigrants was the old Roman privilege of free distribution of corn to the populace. The wheat-tribute of Egypt, which had previously formed part of the public provision of Rome, was transferred to the use of Constantinople, only the African corn from Carthage being for the future assigned for the subsistence of the older city.
On the completion of the dedication festival in 330 a.d. an imperial edict gave the city the title of New Rome, and the record was placed on a marble tablet near the equestrian statue of the emperor, opposite the Strategion. But “New Rome” was a phrase destined to subsist in poetry and rhetoric alone: the world from the first very rightly gave the city the founder's name only, and persisted in calling it Constantinople.
III. The Fight With The Goths.
Constantine lived seven years after he had completed the dedication of his new city, and died in peace and prosperity on the 22nd of May, a.d. 337, received on his death-bed into that Christian Church on whose verge he had lingered during the last half of his life. By his will he left his realm to be divided among his sons and nephews; but a rapid succession of murders and civil wars thinned out the imperial house, and ended in the concentration of the whole empire from the Forth to the Tigris under the sceptre of Constantius II., the second son of the great emperor. The Roman world was not yet quite ripe for a permanent division; it was still possible to manage