Constantine the Great. The Emperor Who Changed the Course of History

Over the past few years – roughly the same period during which I’ve been writing this blog – I’ve repeatedly come across traces of Emperor Constantine, often in places far apart from one another. Sometimes it happened by chance, other times more deliberately. The first encounter was in far-off York, in northern England. I was busy taking photos and probably wasn’t paying full attention to the guide, but the statue of Constantine didn’t surprise me. After all, who hasn’t heard of this emperor? He was the one who founded Constantinople – the eastern capital of the Roman Empire, named in his honour.

Later, in the Vatican, I visited the Room of Constantine in the Raphael’s Rooms, richly decorated with frescoes illustrating scenes from his life. A few years on, during another visit to Rome, I took close-up photos of the Arch of Constantine – by then already aware that my next journey would soon take me to Istanbul, once known as Constantinople, and home to the famous Hagia Sophia. Even though the great basilica has seen better days, it still houses remarkable Byzantine mosaics, including one of Constantine offering his city as a religious gift.

And so, the time has come for a post about the emperor and visionary – Constantine the Great. He was one of the most significant emperors in Roman history. Under his rule, Christianity ceased to be persecuted. He was not only a brilliant military strategist but also a far-sighted leader. It was Constantine who moved the capital of the empire to Byzantium, renaming it Constantinople – today’s Istanbul. Although he was only baptised towards the end of his life, his impact on the development of Christianity was profound. He also convened the first ecumenical council – the Council of Nicaea – which played a crucial role in shaping the doctrine of the Church.

By the end of the third century, the Roman Empire was plunged into chaos: civil wars, economic crises, and external threats had seriously weakened the state. In response, Emperor Diocletian introduced a new system of rule – the tetrarchy – a model of shared power involving four emperors: two Augusti (senior emperors) and two Caesares (their junior partners and designated successors). The system was designed to ensure more effective administration of the vast empire and prevent succession conflicts. In 293 AD, Diocletian established the original tetrarchy as follows: Diocletian – Augustus of the East; Maximian – Augustus of the West; Galerius – Caesar of the East; and Constantius Chlorus – Caesar of the West. The tetrarchy functioned relatively effectively for about 10 to 12 years (293–305), but the following decade was marked by escalating succession crises and power struggles.

In 305 AD, an unprecedented event occurred in Roman history – Diocletian and his co-ruler Maximian voluntarily abdicated, stepping down from imperial power. Diocletian, weakened by illness, retired from public life and withdrew to his palace in Spalatum (modern-day Split), aiming to set a precedent: that imperial authority should not be lifelong or hereditary, but rather serve the stability of the state and operate on a principle of orderly transition. Maximian also relinquished his office, though unlike Diocletian, he struggled to let go of power and would later attempt to return to politics.

Upon their abdication, the senior emperors did not promote their own sons but instead selected trusted associates as the new Caesars – Flavius Severus (Severus II) in the West and Maximinus Daza in the East – both loyal military officers, particularly to Galerius. This deliberate sidelining of imperial sons broke with traditional expectations of dynastic succession. Among those overlooked were Constantine, son of the newly appointed Augustus Constantius Chlorus, and Maxentius, son of the retired emperor Maximian. Although the tetrarchy was based on merit rather than bloodline, this decision sparked unrest. When Constantius died in 306, his troops in Britain unilaterally declared Constantine emperor. Not long after, Maxentius seized power in Rome. Over the next several years, the empire descended into civil wars as multiple claimants fought for control. The final struggle for sole rule played out between three rivals: Constantine, who commanded support in the western provinces; Maxentius, who held power in Italy and the capital, Rome; and Licinius, who governed the eastern territories. It was between these men that the future of the Roman Empire would ultimately be decided.

Constantius Chlorus, the father of Constantine, embarked on a military campaign to Britain in 305 AD as the western Augustus, aiming to suppress Pictish raids and secure the northern frontier of the Roman Empire. This was a strategically significant operation: earlier barbarian attacks had unsettled the region, and the emperor sought to reaffirm his authority. At the time, Constantius was seriously ill. His son, Constantine, was then at the court of the eastern Augustus, Galerius – likely as a political hostage. Upon learning of his father’s condition and impending campaign, Constantine either escaped or was granted permission to join him. He travelled rapidly across Gaul to reunite with his father. Once in Britain, Constantine participated in the campaign against the Picts, though likely not on the front lines. His exact tactical role remains unclear, but sources confirm his presence alongside his father in military operations.

As Constantius’s condition deteriorated, he withdrew to Eburacum (modern-day York), where he died shortly thereafter. In response, the legions stationed there, impressed by Constantine’s leadership and involvement, proclaimed him emperor. This was a typical instance of military acclamation, with strong precedents in Roman history (e.g. Septimius Severus, Claudius). Although technically illegal – violating the tetrarchic succession system – the army viewed Constantine as the natural heir, being both a commander and the son of the deceased Augustus. Nevertheless, other claimants remained, and Constantine spent the following years consolidating power and defeating rivals.

Nearly two millennia later, to commemorate Constantine’s proclamation as emperor in York in AD 306, a bronze statue was unveiled in 1998 near York Minster. Commissioned by the York Civic Trust and created by sculptor Philip Jackson, the monument highlights the city’s Roman legacy and its role in a turning point of imperial and Christian history.

Following the death of Constantius Chlorus, his son Constantine was proclaimed emperor by the legions. However, the eastern emperor Galerius recognised him only as Caesar, not Augustus. Constantine, nonetheless, began to consolidate his power in the western provinces, successfully defending the Rhine frontier, battling Germanic tribes, and securing the loyalty of the army, while avoiding direct conflict with other tetrarchs. In 307 AD, he formed an alliance with Maximian, the former Augustus and father of Maxentius, marrying Maximian’s daughter Fausta. However, relations with Maxentius, who ruled Italy, deteriorated in the following years.

After Galerius’s death in 311, Constantine declared himself Augustus, abandoning all pretence of adhering to the tetrarchic order. In 312, he launched a military campaign against Maxentius, culminating in a decisive victory at the Battle of the Milvian Bridge near Rome. According to tradition, on the eve of battle he saw a vision of the cross in the sky with the words In hoc signo vinces (In this sign, you will conquer), marking the beginning of his alignment with Christianity.

After taking control of Rome, Constantine solidified his rule over the western Roman Empire. In 313 AD, together with Licinius, co-emperor of the East, he issued the Edict of Milan, which granted religious freedom to Christians and brought an end to their persecution. However, the alliance with Licinius soon collapsed. In 316, a first military conflict broke out between them, culminating in Constantine’s victory at the Battle of Cibalae, which extended his influence over the Balkans. Yet, the final resolution of their rivalry would come only later. In 315, to mark the tenth anniversary of Constantine’s reign, the monumental Arch of Constantine was erected in Rome. It celebrated his triumph over Maxentius and symbolically affirmed his status as one of the empire’s leading rulers.

Constantine now faced a decisive confrontation with his final rival, Licinius, who ruled the eastern part of the empire. The conflict ended in 324 AD, when Constantine secured a decisive victory in battles at Adrianople, Chalcedon, and Chrysopolis (modern-day Üsküdar in Istanbul). This triumph made him the sole ruler of the Roman Empire – for the first time in several decades.

After seizing complete control of the empire, Constantine deliberately distanced himself from Rome, which he found politically and symbolically problematic. The city remained dominated by a pagan Senate, closely tied to the traditions of the old Republic. Though Constantine never converted during his lifetime, he increasingly aligned his rule with Christianity and sought a new centre of power that reflected the ideological and strategic realities of his reign.

From 324 AD, Constantine began spending more time in Asia Minor, particularly in Nicomedia, Diocletian’s former capital and a key eastern administrative hub. It was here that he established his imperial office and began preparing for the foundation of a new capital. That same year, he selected Byzantium – a historic Greek city on the Bosphorus – as the location for his new seat of power. Strategically placed between Europe and Asia, easily fortified, and with excellent maritime access, Byzantium offered both symbolic and logistical advantages. Today, Istanbul remains one of Europe’s largest cities, with a population three times that of greater Rome.

Meanwhile, in 325 AD, Constantine convened the First Ecumenical Council of the Christian Church in nearby Nicaea (modern İznik). Although unbaptised, he presided over the council and sought to enforce religious unity across the empire.

During this period, Constantine pressed ahead with the transformation of Byzantium into a grand new capital. From 326 AD, the city underwent a major reconstruction. The imperial palace was built alongside with a new forum, temples, baths, Christian basilicas, city walls, and harbours. The city was formally inaugurated on 11 May 330 AD as Nova Roma (New Rome). Yet it was almost immediately referred to as Constantinople – City of Constantine, a name that would endure for centuries. The new capital symbolised a break with Rome’s pagan past, the emergence of a Christian empire, and the rise of a centralised imperial monarchy. Constantine relocated part of the administration there, and in time, Constantinople would fully assume the role of the eastern imperial centre – later the heart of the Byzantine Empire.

After founding his new capital, Constantine continued to strengthen his rule and pursue his vision of a reformed empire. Constantinople quickly rose to prominence as the chief imperial centre – the emperor relocated the court, officials, and part of the army there, making the city not only a symbolic seat of power, but also a functional hub for managing the increasingly important eastern provinces. As Constantine resided less frequently in Rome, Constantinople emerged as its full-fledged successor.

At the same time, Christianity, though not yet the official state religion, was becoming an integral part of imperial identity. Constantine supported the Church, funding major basilicas – including the Church of the Holy Sepulchre in Jerusalem and St Peter’s Basilica in Rome – and granting the clergy privileges and property. Though unbaptised for most of his life, his policies consistently favoured Christians.

After 330 AD, Constantine focused increasingly on consolidating the changes he had introduced. He completed Diocletian’s administrative reforms, restructured the army, centralised power, and began to portray imperial authority in quasi-sacred terms. The emperor came to be seen not only as a ruler, but as a “divinely appointed” leader, protector of the Church and supreme religious authority. His ideological programme rested on uniting imperial power with Christianity, while rejecting the pagan institutions of the old order.

In the final years of his life, Constantine prepared for succession. His three sons – Constantine II, Constans, and Constantius II – were granted the title of Caesar and designated to divide the empire between them. In 337 AD, while preparing for a planned campaign against the Persians, Constantine fell ill near Nicomedia, where he received baptism. It was a symbolic yet belated act – although a lifelong supporter of the Church, he only formally became a Christian on his deathbed.

He died on 22 May 337 AD, and his body was transported to Constantinople, where he was buried in the Church of the Holy Apostles – a site he had chosen as the imperial mausoleum. The church, though rebuilt several times, survived for centuries. However, during the Fourth Crusade in 1204, when crusaders captured and plundered Constantinople, it was destroyed and looted. Constantine’s sarcophagus was broken, and his remains were likely desecrated or lost.

After Constantine’s death, his three sons assumed power, dividing the empire among themselves. Soon after, a wave of purges swept through the imperial family, resulting in the murder of many of Constantine’s relatives. Although the empire would remain formally united for decades, its spiritual and political centre had permanently shifted eastwards—to the city that would bear Constantine’s name for the next thousand years.

Constantine the Great. The Emperor Who Changed the Course of History

The Blue Mosque. A Living Monument of Faith and Empire

This is the first time I’m featuring a mosque on the blog – and, surprisingly, it was also my first time ever stepping inside one. Although I spent part of my childhood in a Muslim country, I somehow never crossed that threshold until now.

The mosque we visited is one of Istanbul’s most recognisable landmarks: the Blue Mosque, officially known as the Sultan Ahmed Mosque. Unlike many religious sites, it’s open to visitors, which means you can not only admire its famous silhouette from the outside, but also experience its richly decorated interior – and, if you happen to be there at the right time, quietly observe the rhythm of daily prayer as it unfolds around you.

Istanbul became a Muslim city in 1453, when it was conquered by the Ottoman Empire under Sultan Mehmed II. At the time, it was still known as Constantinople and served as the capital of the Byzantine Empire, which had been predominantly Christian for over a thousand years.

By the mid-15th century, however, the Byzantine Empire was a shadow of its former self. It had lost nearly all its territories and was reduced to little more than the city of Constantinople and a few scattered holdings. The city was poorly defended, under-resourced, and politically isolated, with little support from Western Europe despite calls for aid.

The Ottomans, by contrast, were rising in power and territory. Under Mehmed II, they launched a carefully planned siege of Constantinople in the spring of 1453, using advanced military tactics and artillery, including one of the largest cannons ever built at the time. After 53 days, the city walls were breached, and the Ottomans entered the city on 29 May 1453.

Following the conquest, the Ottomans began transforming the city into an Islamic imperial centre. Many existing churches were gradually converted into mosques, administrative buildings, or charitable institutions. The most prominent of these was the Hagia Sophia, the former imperial church of the Byzantines, which was converted into a mosque within just five days of the city’s fall. (I’ll talk more about that in a separate post.)

The Ottomans also initiated new construction projects to reflect the city’s new role. They built imperial mosques, religious schools (madrasas), public kitchens (imarets), and hammams, gradually reshaping the city into the political, religious, and cultural heart of the Ottoman Empire. Even so, the legacy of its Byzantine past remained visible in the urban fabric of what would eventually be called Istanbul.

The Blue Mosque was commissioned by Sultan Ahmed I and built between 1609 and 1616. At the time, Hagia Sophia was still regarded as the most impressive and historically significant building in Istanbul – even though it had been converted into a mosque decades earlier.

By placing the new mosque directly across from Hagia Sophia, on the grounds of the former Byzantine hippodrome, Sultan Ahmed I clearly intended it as a counterpart – a structure that would rival the Byzantine masterpiece in scale and splendour, while affirming the strength and legitimacy of the Ottoman Empire. The Blue Mosque’s monumental proportions, central location, and elaborate decoration were all designed to symbolise both imperial authority and religious devotion. But the project also had a deeper political meaning. In the early 17th century, the Ottomans were no longer expanding as they once had. During Ahmed I’s reign, the empire was entangled in a long and expensive war with Persia (1603–1618), which brought few meaningful victories.

Against this backdrop, the construction of such a grand and visible monument was more than just an act of piety or prestige. It was a symbolic response to a period of military stagnation – a statement of resilience, intended to restore confidence, prestige, and imperial identity both at home and abroad. However, unlike earlier grand mosques of the Ottoman Empire, which were typically financed through war booty and victory endowments, the Blue Mosque was paid for using state treasury funds. This was unusual and controversial, especially since Sultan Ahmed I had not achieved significant military victories. Critics – both religious scholars and members of the elite – argued that using public money for a monumental project during a time of military stagnation and economic pressure was inappropriate and self-serving.

Sultan Ahmed I reigned from 1603 to 1617, ascending the throne at just 14 years old following the death of his father, Mehmed III, making him one of the youngest sultans in Ottoman history. His reign marked a turning point in Ottoman politics and royal tradition in several important ways.

Unlike many of his predecessors, Ahmed I broke the longstanding practice of fratricide – a brutal custom where newly crowned sultans would have their brothers executed to eliminate rival claims to the throne. Instead, he allowed his younger brother Mustafa to live. This decision would later lead to a new model of succession based on seniority within the dynasty, rather than direct descent from the previous ruler.

Politically, Ahmed’s reign was characterised by instability and military challenges, especially the prolonged and costly war with the Safavid Empire of Persia. These conflicts strained the empire’s finances and failed to produce decisive victories. At home, the empire faced economic difficulties and growing unrest among both the Janissaries and provincial governors. The Janissaries, who were originally elite soldiers, had by this time become a powerful political force. Their support or opposition could determine whether a sultan remained on the throne, and they increasingly influenced matters of succession and internal politics. Despite ascending the throne as a teenager and ruling during a challenging period, Ahmed I managed to maintain a degree of internal stability. His reign did not witness any major rebellions or coups, which, given the turbulent nature of 17th-century Ottoman politics, was a notable achievement.

He died relatively young, at the age of 27, possibly from typhus or another illness. His legacy was mixed: he left behind no great military conquests, but he did commission the Bluse Mosque – one of the most enduring architectural symbols of imperial power and religious devotion

The architect of the mosque was Sedefkâr Mehmed Ağa, a student of the renowned Mimar Sinan, the chief imperial architect of the Ottoman Empire during its architectural golden age. Ağa inherited Sinan’s approach and technical mastery. He began his career as a craftsman specialising in ornamental decoration and gradually rose through the ranks to become the empire’s chief architect. In the design of the Blue Mosque, he combined elements of traditional Islamic architecture with Byzantine Christian influences. As a result, the mosque reflects a blend of Ottoman and Byzantine styles, characteristic of the classical period of Ottoman architecture.

The most prominent Byzantine feature is the large central dome, supported by a system of pendentives and massive piers – a structural solution first perfected in Hagia Sophia. In the Blue Mosque, the central dome measures 23.5 metres in diameter and rises 43 metres above the floor. Like in Hagia Sophia, it is surrounded by a cascading system of semi-domes, which help distribute the weight outward and downward. This creates a sense of balance and monumental spaciousness characteristic of major Byzantine churches. The dome is supported by four massive piers, often referred to as elephant feet, due to their size and solidity. Another element influenced by Byzantine design is the emphasis on a vast, open interior space beneath the dome, which enhances both the visual and spiritual impact of the architecture.

At the same time, many features of the Blue Mosque are distinctly Ottoman and Islamic. The six slender minarets are unprecedented in Byzantine architecture and were considered unusual even by Ottoman standards at the time. Most mosques had only one, two, or occasionally four. According to historical accounts, this feature caused some controversy, as the mosque in Mecca also had six minarets. Matching its number of minarets could be interpreted as arrogance or even religious insensitivity. To resolve the issue, it is said that the Ottomans funded the construction of a seventh minaret for the mosque in Mecca.

One of the most striking elements of the Blue Mosque’s interior is its decoration with over 20,000 hand-painted İznik tiles, mostly in varying shades of blue – hence the building’s popular name. These ceramic tiles were produced in the town of İznik (formerly Nicaea) in western Anatolia, which was the main centre of Ottoman ceramic production from the 15th to the 17th century. The tiles feature traditional Ottoman motifs, including stylised tulips, carnations, and abstract floral patterns, rendered in vibrant blue, turquoise, red, and green.

The mosque is also illuminated by more than 200 stained glass windows, which, together with numerous chandeliers, create a soft, diffused light throughout the interior. One of the most notable lighting features is the large circular chandelier suspended over the main prayer area. It hangs low on long, delicate chains and holds dozens of small glass lamps. This type of low-hanging, circular chandelier has its roots in early Islamic (particularly Arab) architectural traditions. The Ottomans adopted the form and enhanced it, often incorporating Venetian glass for added brilliance. These chandeliers not only served a practical purpose but also contributed to the mosque’s intimate, contemplative atmosphere, encouraging focus and spiritual reflection.

Also the richly decorated mihrab and minbar, follow Ottoman artistic traditions. The mihrab is a decorative niche set into the wall of the mosque that indicates the direction of Mecca (qibla), which Muslims face during prayer. It is always positioned in the centre of the qibla wall and serves as a spiritual focal point within the prayer hall. In the Blue Mosque, the mihrab is made of finely carved white marble and framed by blue İznik tiles, making it easily visible from all areas of the space. Next to the mihrab stands the minbar, a raised pulpit from which the imam delivers the Friday sermon (khutbah) and other religious addresses. It typically has a staircase with a small platform at the top and is often elaborately decorated. In the Blue Mosque, the minbar is constructed from marble and features intricate detailing.

Although still an active place of worship, the Blue Mosque is open to visitors outside of prayer times – that is, during periods when large, organised prayers are not taking place. During visiting hours, the interior is divided into two sections: a smaller area for visitors, which covers about one-third of the space, and a larger section reserved for Muslims in prayer. The two areas are separated by a low wooden balustrade. The entire floor of the mosque is covered with carpet, so visitors must enter barefoot. There are plenty of shelves along the walls where you can leave your shoes. Women are expected to cover their heads and hair; a hood is usually sufficient, but scarves are also provided at the entrance if needed.

While inside, we were able to observe Muslim men praying individually in the main prayer area. There is a separate space for women, which is not accessible to non-Muslim visitors. Private prayer, unlike the communal Friday prayer or the five daily group prayers, can take place at any time of day. Each worshipper prays at their own pace, always facing the mihrab, the prayer niche indicating the direction of Mecca. Before entering the prayer area, worshippers perform a brief purification ritual called wudu, which involves washing the hands, face, and feet. In fact, just outside the mosque, along one of its exterior walls, we noticed rows of taps with small stone seats, where people can sit and carry out this ritual cleansing. Once on the carpeted floor, worshippers go through a sequence of movements and recitations – beginning in a standing position, then bowing, kneeling, and finally touching the forehead to the ground in a posture of submission.

At certain times of the day – starting around dawn, usually close to 6 a.m. – you can hear the call to prayer, or adhan, broadcast from the mosque’s minarets. Traditionally recited by a muezzin, it is now most often played through loudspeakers. The adhan is an auditory signal for one of the five daily prayers and can be heard throughout the city. Interestingly, while standing outside, we noticed that the sound of the call to prayer didn’t always come from the same direction. Sometimes it seemed to be coming from the Blue Mosque; at other times, it echoed from Hagia Sophia, which stands just across the square. The two mosques often broadcast the adhan slightly offset from each other, creating a kind of call-and-response effect. The overlapping sound carries across the plaza, producing a layered, almost musical atmosphere that defines this part of Istanbul.

Visiting the Blue Mosque was not only a chance to admire one of Istanbul’s most iconic buildings, but also an opportunity to better understand how architecture, religion, and history intersect in this city. It’s a place that continues to function as both a house of worship and a symbol of imperial legacy – where past and present quietly coexist under one vast, tiled dome.

The Blue Mosque. A Living Monument of Faith and Empire